THEATRE ETIQUETTE and BASIC GUIDELINES for School and Community Theatre Actors

Hey everyone, and welcome to theater is a sport.  Today I wanted to talk about the very important topic of theater etiquette, for those people who are perhaps getting involved in community or school theatre for the first time.  Now, granted, every director may have different thoughts on certain subjects, but I think the guidelines as I have outlined below are pretty standard.

• Please respect your director, stage manager, crew members, and fellow actors at all times. Be aware of their thoughts and feelings.  (This is perhaps the most important rule I can think of.)
• Acting is a hard enough job! Please leave the directing/design/stage managing to the people with those jobs. I would ask especially that your refrain from giving your fellow actors unsolicited advice or direction... The director will take care of that stuff. (now, obviously, if someone asks you, "How do you think I was in that scene?", you can give them your thoughts, but don't so in a way that would be stepping on the director's toes.)
• Remember that you  are part of  a team. There is no “I” in C-A-S-T (although, there is an “I” in director.)   :-)
• Please arrive promptly to rehearsals. As much as I love the social aspect of theater, it is important to be efficient with time, so be ready to go right at start time.  Directors are usually early to rehearsals, so if you have questions for them, go in a bit early.  Also, if you want to chat with your new extended family (your fellow actors) before rehearsal is always a good time.
• Please, unless there is a personal emergency going on, silence your cell phones or turn them off completely during rehearsal. (Let your stage manager know if you have to have an exception to this rule). Cell phones ringing (or being answered) are very distracting to the rehearsal process.  I literally have had students rehearsing a scene stop, answer their phones and actually start a conversation, mid-rehearsal.  Did not please me, to say the least. 
• Please don't chew gum while rehearsing a scene, unless it has been discussed that your character is a gum chewer.  It's a mouth and diction obstruction, and an unnecessary one at that.
• Please try to keep a positive attitude and stay focused while we rehearse. Sometimes, things may go very slowly with a lot of stops. Please stay focused and on the ready to resume.
• If you have questions about a note a director gives you, please speak to  them about it after notes are given, and privately. This goes also for any thoughts and suggestions. I am a collaborative fellow, but I don't like to get off-track while I'm giving notes. This doesn't mean I won't listen to your thoughts. I may not always agree with them, and, as director, I would ask you to trust me to try it my way, but I will always listen and consider your thoughts. Promise.
• Be safe! Don't jump on and off the stage, or put yourself or your fellow actors in any kind of risk at rehearsal (or, well, anywhere). We want to make sure we all stay healthy for the show!
• If you are going to be late or miss a rehearsal, give as much advanced notice as possible, and, ideally, give that information to the stage manager, and not the director.   

**** Do not take advantage of stage kisses.  Make sure everyone is comfortable.  At a theater I have been a part of for years, there was an actor we learned who had trouble keeping his tongue to himself during stage kisses.  This is very unprofessional (unless the kiss has been choreographed and planned that way).  Taking liberties like that with your fellow actors is wrong, and, quite frankly, pretty creepy.  And, in case you were wondering. that actor, once found out, never appeared in a play there again.

****Please do not make negative comments or suggestions to "improve" a designer's work.  (For example, "That set piece should be painted yellow, not green", or "Man, that costume is ugly.")  If you have concerns about something, please talk privately with the director, or, just keep your thoughts to yourself for the good of the show's morale.

• When we get to the point of being off script, if you need a line, just stay in place, stay in the scene, and call “Line”, and the line will be provided. In this way, you can stay focused and move smoothly. A lot of people will step out of the scene and make a big fuss (I have done this myself out of frustration), but it really is better to stay in place, say "Line" and then continue. 
• I know these guidelines may seem many, but honestly, remember, it is called a PLAY for a reason. It is good to have a good, productive FUN time in a TEAM environment!  Do your part to make sure everyone has a great time.

Thank you for reading this post, and I hope that you have found it helpful.

Remember, theater etiquette is important, and theater is a sport.

Thoughts on Building a Character

Whether you are cast in a community theatre production or a multi-million dollar movie, building a character is an actor's job. Sounds simple, right? Well, in my experience as an actor, director, and playwright, I have found that building a character that is unique in its own ways can be a very big challenge. Below are some of my thoughts on what an actor can do as “homework” to start giving their characters a life of their own, thereby facilitating a richer experience not only for the audience, but for themselves as well.

• Read the script. And then re-read it. As you do, pay close attention to how your character helps tell the overall story. What is your role in getting the overall picture across?
• What does your character want? It is important as an actor to ask yourself what your character's objectives are. Most likely, they have a grand objective for the show, but they also have objectives for every scene they are in (sometimes even from moment to moment). Really think about what your character wants whenever they are onstage--- after all, why else would they be there.
• How do you get what you want? Your character's ACTIONS informs how your character is played. Actions are what a character does to get what they want. For example, does your character flirt, deceive, or threaten to get what they want? Or do they coax, plead, or promise to get what they want? There are many, many verbs to create many, many actions. And have fun figuring it out! Play!
• Create an Autobiography! This can be a wonderful exercise to be creative about your character. Write out your character's life story. It needn't be an epic, but give them a back story: where are they from, what were there parents like, what major events have shaped who they are within the world of the play? Write this story in first person, i.e., “I was born in the Bedford Falls hospital at...” etc. For those with larger roles, there may be a lot of clues in the script. For those who have less clues in the script, here's a chance to create a great identity for your character. Every “townsperson” is more than just a “townsperson”! They are a human being! Give them a story that influences their reactions every time they're on stage. Give them a name, and give them a purpose! Have fun and be creative, but be sure to stay within the “world” of the play and within the playwright's intentions (for example, in “It's a Wonderful Life”, it probably wouldn't be wise to give your character a backstory that includes being a super villain on a distant planet who fell to Earth on a meteorite).
• The movie poster: This is an exercise I use with my casts a great deal to help the process of creating a physicality for their character. Imagine that your character, no matter how big or small it might be in the play, as the star of their own movie about them. What do they look like on the movie poster? Do they stand tall, chest out, shoulders back? Do they hunch? Do their eyes shift to the sides, or look straight on? Are they smiling? Are they angry? Really close your eyes and picture this movie poster, and then begin to bring the physicality in your body. Mimic the posture, and see if it feels right. In time, try walking about and seeing how the character's posture translates into a walk. What feels right? What part of the body leads your character? Where is your energy located? Imagine what your character looks like, and remember: they don't have to look like YOU. Eventually, you will have to try to look like THEM.
• Voice: What does your character sound like? Look for hints in the script. Do they speak haltingly? (“I'd like...a...uh... glass of...water?”). Figure out a cadence that seems right to you.
• Relationships: How does your character feel about everyone they interact with? Many may find clues in the script, but if there are no clues to be found, then determine on your own. In “It's a Wonderful Life” especially, it is important that everyone have thoughts about others in the town. It is a small town story, with small town gossip. Everyone knows everyone. You all will have opinions on Mr. Potter for example. You may have gossiped about who Violet is dating now.

All of this character building work is vital when building working inner lives and motivations for every character on stage. This is what makes a production tight and believable. The more you know your individual character, the more you are doing your part to help tell the story of the play.

And when you know your character, you can let go and really begin LOOKING and LISTENING and REACTING to your scene partners.

Thank you for reading this post.  In case you can't tell,   I am in the midst of directing a production of "It's a Wonderful Life".  Yay!

Until next time, please remember--- theater is a sport.

5 Tips For Improving Your Improvisation!

Yours Truly, Bobby Keniston

So today at Theater is a Sport, I'm talking about improvisation and how it relates to theatre, particularly in school and community theatre. 

To answer the first question you must all be thinking.... WHAT IS IMPROVISATION?

In simplest terms (or, at least in the terms I think of it), improvisation is the act of creation with no (or very limited) preparation.  It is diving in and just creating.  It's being spontaneous. 

Because of this almost freestyle nature, improvisation can make many newcomers to theatre nervous.  Scared, even.  Heck, even I get nervous when playing improvisation theater games from time to time. 

It's acting without a safety net (the safety net being lines written for you).

But, then, here's another question:  WHY IMPROVISATION?  WHAT'S THE POINT?

However, I'm a firm believer in improvisation and its uses in character development and really digging into questions of motivation and "as ifs".  Not to mention, it can be SO MUCH FUN.  It's a great way to learn to trust yourself, and trust your cast mates.  And, if you can become proficient at improvisation, it truly comes in handy when you get on stage and something goes awry. 

In a sense, I believe Improvisation to be the purest form of acting, really.  The goal of any play should be to appear like it's happening right there in the moment, and the performers should appear to be creating their own lines and actions.  It's trying to create the notion of improvisation, only you've had rehearsal and lines written for you. 

And, my favorite thing about improvisation is that it makes the two biggest rules of acting come to startling life:  LOOKING and LISTENING.  And then, REACTING.

So here are a few tips for spontaneously creating a scene when playing theatre games or learning to improvise.  Hopefully these tips will help you to keep a scene going:

TIP #1:  I did not invent this, and anyone who has ever had any experience with improvisation has probably heard it:  YES, AND...  What this means is that you should take what your partner gives you, and treat it as fact.  And then build on it. 
For example:    
PARTNER A:  Boy you sure are getting fat!
PARTNER B:  It's the Ho-Hos, man.  They call to me in the middle of the night.  It's like I'm cheating on my wife with snack treats!
That's accepting what your partner is giving you, and building on it.  This scene could now go in different directions, with the subplot of the wife o what-have-you.
Now, Partner B might be as skinny as a rail, but not in the truth of this improvisation. 

TIP #2:  ESTABLISH YOUR CHARACTER ASAP!  When improvising a scene, it's a good idea to cut the malarkey and get right into it.  Audiences will want to know who you are from the get-go. 
For example:
PARTNER A:  Doctor, help me!  My arm was just cut off!
PARTNER B:  Careful!  Your dripping blood all over my examining room!  Don't you have any manners?
Right away, Partner A has established him or herself as a person in dire need of medical attention, and Partner B has built on that, making his or her doctor a bit fussy and unfeeling.  This scene could build in many interesting ways. 

TIP #3:  Some call this setting up a BLOCK and some call it DENYING, and both those terms are true, but I'll put a more positive spin on it:  GO ON THE JOURNEY WITH YOUR PARTNER.  Remember that in an improvised scene, it is not about YOU.  It's about you and your partner(s) working together as a team.  Blocking or denying your partner is a way to kill a scene very quickly, which, obviously, is the exact opposite of what you want to do. 
Here is an example:
PARTNER A:  Doctor, help me!  My arm was just cut off!
PARTNER B:  Your arm is right there.  And I'm not a doctor.
And another:
PARTNER A:  Is this your first frat party?
PARTNER B:  What are you talking about?  I'm in the supermarket!
And another:
PARTNER A: (miming holding a puppy)  Do you like my new puppy?
PARTNER B:  There's nothing there!
See what I'm talking about?  Go with your partner.  This is all part of Yes, and... to an extent, but it's more than that, too.  It's about moving in synch with the person you're performing with, and not shooting down their creations. 

TIP #4:  KEEP RAISING THE STAKES!  Just like a scripted scene, a performance is more interesting if the stakes keep going up, and the action keeps rising and rising.  Scenes are interesting if they build.  No one wants to see something stay on the same level for too long.  It's boring.  Part of the point of improvisation is for you and your partner to keep building, just like a written scene should keep building.  Now, fun improvisations often go off and build in a somewhat exaggerated or surreal fashion, but that's okay, too.  As long as it builds.

TIP #5:  RELAX AND DON'T BE IN YOUR HEAD TOO MUCH!  You're going to be a very nervous improviser if you stay in your head too much.  If you keep worrying, "I don't know what to say, I don't know what to say, I don't know what to say...", then guess what?  You're not going to know what to say.  But if you really look, listen, and put trust in yourself and your partner, then you can do this.  Don't worry about being as funny as the Upright Citizen's Brigade, or Drew Carey's Improv shows.  In fact, right now, don't worry about being funny at all.  In fact, don't worry.

Just make a scene.  Relax.  Create.  You'll be fine.  No one's life is hanging in the balance.

Remember, improvisation can be a really great time, if you can let yourself go. 

And also remember--- theater is a sport.

Any questions or comments?  Let me have 'em!  Share them with me below, or send me an e-mail at theater.is.a.sport@gmail.com!

Free Excerpt from "AEROPLANE OVER THE SEA" For Two Males and One Female, for Auditions or Class Work!

Script Cover For my play, Aeroplane Over the Sea

Today at Theater is a Sport, I would like to offer a free excerpt from my play Aeroplane Over the Sea, a one act drama available from Brooklyn Publishers, for the use of auditions or drama class scene work.  Or, if you just like reading excerpts of plays, of course!

I am very fond of this play.  The title comes from a great song by Neutral Milk Hotel called In An Aeroplane Over the Sea.  I tried to write a play that would make people feel the way that song makes me feel. 

The play takes place in an Unnamed Country.  A Good Doctor from America has arrived to help people.  Unfortunately, the political climate is not very friendly toward Americans.  In particular, the Peacemaker hates all Americans.  In this scene, the Doctor has been arrested after a bombing in the streets.  He did not commit this act, but has been arrested for it.  Now, he must face the Interrogator.  The Interrogator is a pretty blond woman, who has VERY unorthodox methods of interrogation. 

If you want to read more of the play, or order it for a production, you can do so by CLICKING HERE.  If using this scene for classwork or audition purposes, please give the play and the writer (me, Bobby Keniston) credit, okay? 

So, without further ado, here's the scene:

Aeroplane Over the Sea – Page 15

 

SCENE THREE

SETTING: The Interrogation room. It is simply a room without

much light. There is a table with a chair behind it. About five feet

away from this table, there is another chair.

 

AT RISE: The DOCTOR is in the chair away from the desk. There is

a burlap bag over his head and his hands are bound. The

PEACEMAKER stands behind him with his club out. HE takes the

bag off the DOCTOR’s head. The DOCTOR gasps.

 

PEACEMAKER: Be ready, Doctor. The Chief Interrogator will be here in

a moment, and you will stand out of respect. Is that understood?

DOCTOR: Yes.

PEACEMAKER: Good. (HE calls out) The American is ready!

(PEACEMAKER roughly pulls the DOCTOR to his feet. The

INTERROGATOR enters. SHE is blonde, pretty, wearing an American-style

businesswoman suit with a skirt. SHE carries a clipboard/folder

that SHE sets on the table. SHE has a big smile as SHE faces the

DOCTOR. SHE crosses to him. When SHE speaks, SHE sounds

American, no different than the DOCTOR in syntax or accent.)

 

INTERROGATOR: The Good Doctor! Such a pleasure to meet you.

Out of respect, I will give you the highest greeting we possess in thiscountry. (SHE leans in kisses the DOCTOR’s left cheek and then his
right.) Are you comfortable, Doctor? Peacemaker, you may free his
hands. I don’t think the Doctor is going to give us any danger, are
you?

(PEACEMAKER frees the DOCTOR’s hands.)

You may sit, doctor, take a load off, as they say. You’ll pardon me if

I walk around a bit. I’ve been sitting all day.

(The PEACEMAKER pushes the DOCTOR roughly into the chair.)

Now, Peacemaker no need to be so rough. I’m sorry, Doctor, but the

poor Peacemaker has such a stressful job. I’m afraid it has madehim a bit of a sourpuss. (Playful) You are much younger than I
expected, Doctor! I’m happy to have you hear. It gives me an
opportunity to speak in a manner I became accustomed to when I
was living in America. (The DOCTOR reacts.)

Aeroplane Over the Sea – Page 16

Are you surprised? It’s true, I lived all over America… Los Angeles,

Texas, Detroit, and even some time in New York City. I’m quite fond
of America, really.

DOCTOR: (With a hint of rancor) But not Americans, I take it?

INTERROGATOR: Nothing could be further from the truth! I have
nothing but the highest respect for Americans, particularly those in
the medical field. No, Doctor, I have nothing against Americans.
After all, I once imagined I might become one. My problem is with
terrorists.

DOCTOR: Then you should have no problem with me.

INTERROGATOR: That is what we’re here to figure out. Isn’t this some

situation we find ourselves in together? Perhaps had we met when I
was in your country under different circumstances, we might have
been friends. So why don’t we try being friends now.

DOCTOR: You want to be my friend?

INTERROGATOR: At the very least, friendly acquaintances. After all, I

have job to do, and you can’t fault someone for doing their job, now
can you? Especially when the job is trying to put an end to violence
in the streets.

DOCTOR: I came here to help people.

INTERROGATOR: I have no doubt. And what more noble purpose is

there than that? (SHE leans over and points to a place on her leg)

This here, Doctor. Do you see this spot on my leg? I’ve been
wondering if I should have it looked at or not? Can you see it?Should I be concerned? (Slight pause) Don’t be shy, Doctor.
Please, do me this personal favor.
 

(The DOCTOR leans over and takes a quick look at her leg, and then

sits back up.)

DOCTOR: It looks like a freckle.

INTERROGATOR: A freckle? A simple freckle? Are you sure?

DOCTOR: I believe so. It’s impossible to say for certain in this light, but

I am fairly sure it is a simple freckle.

INTERROGATOR: What a relief! How about that, Doctor? You came

here to help people, and you’ve already helped me. You’ve
accomplished your goal. Congratulations.

DOCTOR: Don’t mention it.

INTERROGATOR: How much do I owe you? An arm and a leg? (SHE

laughs) Don’t you enjoy expressions that employ body parts for
imagery? An arm and a leg, give you ahand, have a heart, off with
his head… although, that last one is moreof a French expressionthan American, isn’t it? Off with his head. (SHE smiles) Would you

Aeroplane Over the Sea – Page 17

like a drink of water, Doctor? Perhaps some Coca-Cola? Americans

love Coca-Cola, don’t you?

DOCTOR: I’m fine, thank you.

INTERROGATOR: Such nice manners. Tell me, do I remind you of your

dead wife? She had blonde hair, didn’t she? I’ve seen her picture.
It’s right here in the file. So pretty, your dead wife. Tell me about
her.

DOCTOR: No.

INTERROGATOR: I beg your pardon?

DOCTOR: I will not discuss my wife with you.

INTERROGATOR: (playfully pouty) Oh, but why? I would love to hear

about her… what her secret was for capturing your heart!

DOCTOR: Some things belong to me, and only to me.

(The PEACEMAKER hits him open-handed across the back of the head.)

INTERROGATOR: Now, Peacemaker, let’s be civil.

PEACEMAKER: I’m sorry, Chief Interrogator.

INTERROGATOR: If the Good Doctor does not wish to tell me about his

wife, I won’t be crude enough to pry. (to the DOCTOR) I see you

can be very strong-willed. While I find that an admirable quality in a
person, it makes my job a bit more difficult.

DOCTOR: Sorry.

INTERROGATOR: (dismissive wave of the hand) No need to apologize,

Good Doctor. (slight beat) Everyone can be broken. Are you sure
you wouldn’t like a glass of water?

DOCTOR: No. Thank you.

INTERROGATOR: As you wish. (SHE looks into the folder for a

moment) You’ve worked hard all of your life, haven’t you Doctor?
Jumping from home to home growing up. It says here that you even
paid your own way through college. That is quite an achievement.

DOCTOR: I suppose.

INTERROGATOR: You worked for a construction company during your

college breaks, didn’t you? That’s not easy labor. You know how to
really work.

DOCTOR: Being a Doctor is real work.

INTERROGATOR: Of course it is, but let’s not pick nitties, Doctor. I

believe you know what I mean. I’m talking about the difference
between an educated man and unskilled labor.

DOCTOR: I would not describe my construction work as unskilled.

INTERROGATOR: No? What area of construction did you work in,

Doctor? (SHE smiles a very big smile) What skills did you develop

while working construction?
 

Aeroplane Over the Sea – Page 18

(The DOCTOR says nothing. The INTERROGATOR looks at the

PEACEMAKER and gives him a slight nod. The PEACEMAKER grabs

the DOCTOR by his hair and pulls his head back. HE takes his club and

places it across the DOCTOR’s neck, choking him. After a moment, the

INTERROGATOR holds up her hand and the PEACEMAKER stops.)

Peacemaker, what am I going to do with you? Tch, tch, tch. So

rough. How is the Doctor going to answer my questions if he can’tbreathe? (back to the DOCTOR) Let’s see here. (looking at file)
Apparently you worked with the demolition department in your
construction job. Would it be safe to say you learned a great deal
about explosives in that line of work?

DOCTOR: I was never in charge of…

 

INTERROGATOR: (cutting him off) The question was not about being in

charge. The question, good sir, was whether you learned about

explosives.

DOCTOR: Working in the demolition department taught me a small

amount about explosives in regards to their purpose with
construction sites, but…

INTERROGATOR: Thank you, Doctor. It is so much easier this way

when you cooperate, isn’t it? (beat) Did you cry when your wife

died?

(No response)

You must have. I would guess you cried buckets and buckets. Her

dying like that, leaving you all alone. Your unborn daughter dying
with her. It must have been quite a waterfall of tears, never being
able to hold your child. Did you resent the doctors who let them die?
 

DOCTOR: (fierce) Shut up.

INTERROGATOR: Or did you rage against the Universe itself? Are you
an angry man, Doctor?

DOCTOR: No. I am not.

INTERROGATOR: Not even when those you called friends

disappeared? Those same friends who always secretly wondered to
themselves after a dinner party, ‘what does she see in him? Nice
enough guy, sure, but why him? What’s his secret? How did he get
her?’

DOCTOR: My wife loved me.

INTERROGATOR: Of course. But it’s true your friends all disappeared,

isn’t it? Perhaps they couldn’t understand why it had to be her who
died and not you. Have you ever wondered that? Have you ever
wished it was you who died, Doctor?

DOCTOR: (quietly) Yes.

Aeroplane Over the Sea – Page 19

INTERROGATOR: (with faux sympathy) Perfectly natural. To blame

yourself. (beat) After such an emotional trauma, many might wish to
have revenge. Retribution. Is that why you came here? To find
your revenge?

(No response.)

I’m trying to help you.

DOCTOR: Help me how?

INTERROGATOR: Why, to help you clear your conscience of course.

To help you save your soul.

DOCTOR: From what I understand, there have been bombings here

long before I ever arrived. Some group that calls themselves the
Resistance…
 

INTERROGATOR: (snapping a little) That’s enough! (composing

herself) The idea of any “resistance” is a nothing but a fairy tale. And
it suggests, Doctor, that our people are not happy here. Suchsuggestions are not very polite. (beat) Violence in our country
comes from outsiders. And you, sir, are an outsider.

DOCTOR: I’ve done nothing wrong.

INTERROGATOR: If you say so. (SHE sighs) I suppose that is enough

for now. You will be our guest here, Doctor, until we decide your

case. I thank you for diagnosing my freckle. We’ll talk again
tomorrow. Perhaps you shall find me prettier then.
 

(SHE leans over and kisses the DOCTOR on his left cheek and then his

right cheek. SHE stands, looks at the PEACEMAKER and nods. The

PEACEMAKER puts the burlap bag back on the DOCTOR’s head.

Blackout.)  Again, you can order the play by CLICKING HERE.  I hope you enjoyed this excerpt from what I consider to be a fairy tale for older audiences.

Until next time, always be braking your legs, and remember--- theater is a sport.

Free Scene For Student Actor Auditions!

Welcome to Theater is a Sport.  My name is Bobby Keniston, and I love writing plays, acting in plays, and talking about theater. Today, I wanted to offer you all a free scene to use for audition purposes, or for classroom exercises.  If you are a student or community theatre actor, feel free to use this brief excerpt with a partner for an audition or for a class involving scene work. 

This scene is for 1 male and 1 female.  It is from my play, Avoiding The Pitfalls of High School Dating, available from Eldridge Publishing.  You can order a copy or license a production by CLICKING HERE

So, here goes (Note--- Lucky is written as male, Starry as female):

AVOIDING THE PITFALLS OF HIGH SCHOOL DATING

By Bobby Keniston

(Excerpt may be used royalty free for auditions.)

(In this mini-scene, LUCKY DAYE and STARRY KNIGHT,

charismatic characters dressed in flashy clothes, are on
stage and address the audience directly, as though talking to
a live studio audience. They are both “dating experts,” and
are plugging their new system about avoiding the pitfalls of
high school dating.)

STARRY: Dating isn’t easy.

LUCKY: That’s right. And neither is high school.

STARRY: So imagine how hard it can be to combine the

two!
 LUCKY: And yet, high school dating is perhaps the most
important time in one’s life to develop socially.
 

STARRY: Yes! High school dating is the training grounds for

building successful, adult relationships in years to come.
 

LUCKY: And while I don’t have any (Makes “air quotes” with

fingers.) “statistics” or any actual (Once again.) “scientific
proof,” I think it’s safe to say that if you don’t master the art
of high school dating, you will probably never get married
and most likely wind up dying alone.
 

STARRY: That’s right, Lucky. With an unhealthy number of

cats and ceramic figurines, I might add.
 

LUCKY: But if you’re in high school and have never been on

a date, don’t despair! Help is on the way!
 

STARRY: Tonight, Lucky and I are going to teach you the

ins and outs of navigating the rough waters of teenage
relationships with our amazing new system…
 

LUCKY AND STARRY: “Avoiding the Pitfalls of High School

Dating!” (Encourage audience to applaud.)

LUCKY: If you follow our FIVE simple rules, you will be well

on your way to landing the girl or guy of your dreams.
 

STARRY: And best of all, you’ll be doing so in a safe and

responsible manner.

LUCKY: That’s very important.

STARRY: I know, Lucky. That’s why I said it.

LUCKY: Ha-ha. Right. (Beat.) Once you master these easy-to-

follow rules, you will understand what it means to be
popular…
STARRY: Confident…

LUCKY: Attractive…

STARRY: Well-liked. And oh-so…

LUCKY and STARRY: Dateable!

LUCKY: Even if you have never been on a date in your life,

you will find success with our program! It’s so simple…

LUCKY and STARRY: Even a child could do it!!!

(Pause.)

STARRY: Not that children should be dating.

LUCKY: Of course not!

STARRY: Wait until high school, kids!

LUCKY: That goes without saying.

STARRY: Not according to our lawyers, Lucky.

LUCKY: Right. (Slight pause. Big smile.) Well, let’s get

started, shall we? Who would like to see a demonstration
of our program in action?
 

From: Avoiding the Pitfalls of High School Dating - By Bobby

Keniston

Published by: Eldridge Publishing Co.

 http://www.histage.com/playdetails.asp?PID=2533

All right, hope you enjoyed this free scene, and have fun with it.  Please feel free to order the whole play if you're of the mind, and have a wonderful day.

Until next time, please remember--- theater is a sport.

An Example of an Actor's Resume

This Logo Made for Me by Claire Hamlin.  Note:  I'm in no way affiliated with HBO or "Game of Thrones", but I hear it is a good show.

Hi everybody, and welcome to Theater is a Sport.  Today I'm going to give you an example of an actor's resume.  I want to make it clear that there are many types of actor's resumes, and the type I'm going to show you today is geared more toward an actor with basic community theater experience who might be going to an open casting call just to see what happens, or for the senior in high school who is auditioning for acting schools and needs to bring a resume.  The more you get into the business, the more your resume will change. 

Here's an example of a resume I used recently for myself.  It is not the most glamorous resume in the world, but it will do the trick:

BOBBY KENISTON

Actor, Playwright, Theatre Educator

 

 

(207) 564----              theater.is.a.sport@gmail.com               theaterisasport.blogspot.com

 

 

 

 

Height: 5' 5" Weight: 180 Hair: Brown Eyes: Hazel

SELECTED THEATRE EXPERIENCE
 THE PAJAMA GAME                                                  PREZ                                            LAKEWOOD THEATER

THE REPROGRAMMING OF JEREMY                     HANK                                      LIGHT BABY PRODUCTIONS


ONCE UPON A MATTRESS                                        DAUNTLESS                              LAKEWOOD THEATER


I LOVE YOU, YOU'RE PERFECT
NOW CHANGE                                                            MAN 1                                          LAKEWOOD THEATER


ALMOST, MAINE                                                        VARIOUS                                      CENTER THEATRE

GODSPELL                                                                 JESUS CHRIST                              CENTER THEATRE

DRACULA                                                                   DR. SEWARD                                LAKEWOOD THEATER

LITTLE SHOP OF HORRORS                                    SEYMOUR                                     CENTER THEATRE

SCROOGE AND MARLEY                                          JACOB MARLEY                          CENTER THEATRE

CURTAINS                                                                   Lt. FRANK CIOFFI                       LAKEWOOD THEATER

THE PRODUCERS                                                      LEO BLOOM                                 LAKEWOOD THEATER

INCORRUPTIBLE                                                       JACK                                               LAKEWOOD THEATER

FAME!                                                                         SCHLOMO                                  WATERVILLE OPERA HOUSE

THE BALTIMORE WALTZ                                          THE THIRD MAN                           BENNINGTON COLLEGE
BIOGRAPHICAL SKETCH
Bobby Keniston is an actor, playwright, director, and theatre educator currently living in Dover-Foxcroft, ME. After studying at Boston University's School For the Arts, Bobby completed his Bachelor of Arts degree at Bennington College, with majors in Theatre and Literature. Since then, Bobby has appeared in over 50 plays, ranging from children's theatre, musicals, dramas, comedies and even a farce or two. As a playwright, Bobby has 24 plays published with three different houses, all for the youth and community theater markets (list available upon request). He also won an award for Best Emerging Playwright at the New England Regional Festival of community theatres, sponsored by the NETC. He currently teaches drama at Foxcroft Academy. Full list of publications and acting credits available upon request.
SKILLS
Singer with a vocal range of Tenor I or 2, basic knowledge of piano, ukulele, and trumpet. Skilled with various dialects, including Standard British, Cockney, Coastal Maine, Boston, American Southern, and Irish. Responds well to choreography.


Okay, so there you have it.  As you can see, this is not like your typical headshot/resume that you may see all over the place.  For starters, instead of a headshot, I have included a small headshot picture right on the resume.  Why?  Well, I'm not pursuing a huge career as a professional , just the occasional open casting call at an Equity house.  I'm not in the union, and I do far too much community theater to give up, so I probably won't be in a union any time soon (unless something beautiful falls in my lap and I can do this full-time), so there's really no need for me to spend a ton of money on really professional headshots and resumes.  If I were trying to make a go as a professional actor right now, I surely would make the investment, and be sending my headshot and resume all over the place, but that's not the case. 

Another difference between this resume and others---  I opted to write a brief biographical sketch in the section that most people reserve for Education.  Why?  Well, it has been a long time since I was a student of acting, and, instead of pursuing professional jobs in the business right out of school, my life took me on other paths.  Hence, it might seem funny to a casting director to see I was a graduate of Bennington College in 2000 with a degree in Theater, but have no professional credits on my resume.  That is why a brief biographical sketch, I think, is better way for me to go.  It explains where my life has taken me, and somewhat shows that I am ready to finally be stepping up.  It also notates that I have still been working hard in the business in other aspects, just outside of "professional".  If you are a student applying to an acting school, use this space for Education--- I do not recommend a biographical sketch at this point for you.  And, under Education, list your high school, of course, and any kind of summer acting programs or special classes in scene study or acting technique you might have studied, as well as the teacher's name who taught you.  For example:

SUMMER SHAKESPEARE WORKSHOP,  Bobby Keniston, instructor

For someone who has done a lot of community theatre work over the years, and is trying their shot at an open casting call for an Equity House, my example is a way to have a resume that will work, and not cost you a lot of money.

Note:  be honest in your special skills, and mention things that might come in handy on stage, or just really interesting skills that you have that might get attention.  Also, make sure your resume is not longer than one page.  Seriously. 

Hope you all have found this helpful!

Happy auditioning, and remember--- theater is a sport! 

IMMORTALITY and the MOMENT: The Writing On the Wall

Lakewood Theater, my summer home growing up

I had the karmic good fortune (to borrow a phrase from novelist Roland Merullo, one of my favorite professors from Bennington) to spend my summers growing up at Lakewood Theater, first as a theater brat tagging along with my parents, and then as an actor.  I can't say for certain how many plays I have been in at Lakewood Theater, only that it is a whole lot.  Because of my association with this historic institution, I have one of the largest extended families you will ever see.

There is a rich history and many ghosts running through the walls of this building, one of my favorite buildings on the planet.  I could write an entire post on its history, and may some day, but today I would like to focus on just a relatively small piece of history that only a relatively select few are given the opportunity to behold.

The dressing rooms, behind the hallowed stage, have walls that are covered with signatures of actors who have lived inside of them for the run of a show.  All right, perhaps they are not technically "lived in", but, trust me, they are lived in.  I have been in each and every one of them over the years.  My favorite is dressing room number 2.  I have especially fond memories of number 2.  You will find my name on that wall quite a bit. 

It's amazing the names you will find in Lakewood's dressing rooms.  When I was playing Finch in "How to Succeed in Business Without Really Trying", I was delighted to find the signature of Hal Holbrook on the wall of my dressing room for the same part more than 30 years before.  Hume Cronyn is there, as well as John Travolta (who appeared in Bus Stop years ago, his signature now faded, but always a source of excitement), as well as countless others. 

And there are plenty of names that years from now no one will recognize (I count my own among them). 

Every one signs differently.  Some make huge pieces of art, others are small and humble, barely noticeable.  Some write their name, followed by their character's name, followed by the name of the show and the year it was performed (I do variations of this).  Some write quotes from the show.  Some people write their names together.  Some search to find the perfect, unobtrusive spot, and others search for the spot that will get them the most attention. 

It's all good. 

I can't say for certain that I have signed for every show I've been in, but I know I have for most of them.  And whenever I move into a dressing room at Lakewood, I look around, checking out for the names of people I know, as well as the older signatures of rep actors, young hopefuls getting their professional start as part of Lakewood's stock company, back when it was an Equity house. 

Funny, but the old lighting booth at my high school, Foxcroft Academy, is also covered with signatures of actors and techies from shows over the years (the shows are no longer performed at FA, but at the local theater in town, Center Theatre). 

Why this desire to sign the walls?  Why do actors take part in this fun, legal graffiti? 

In my opinion, I think it comes from the idea of leaving your mark.  Theater, as we know, is a medium of the moment.  A performance is a specific time in the Universe that is shared by the performers, the crew, and that particular audience.  And then it is gone from the physical, tangible world.  It is filed into the memories of each person involved, all of the witnesses if you will.  Obviously, this is unlike film and video, which is a more permanent medium. 

It is this shared moment that makes me love live theater above other forms of performing.  It is this connection, this shared memory, that makes it all worthwhile.  Each signature on the wall of Lakewood Theater's dressing rooms represents a treasured experience--- it represents an individual with a theater story to tell, a perception of a moment in time that is fixed and unshakeable and beautiful in their memory.  It is a way to capture a sense of permanence and immortality in a passing flash of creation, a piece of art that is viewed but once and must be held on to.  These signatures say, "I was here.  I was part of this connection, this communion with others.  I made something with these people, something imperfect, but all the more beautiful because of it.  I was a part of this family."

A very wise and lovely person once told me that it is a good thing that some moments are not captured by anything but memory.  Because in memory, every moment can truly last forever, and never be anything but perfect. 

I wish I could say things so eloquently.

I will be back in good old dressing room number 2 this afternoon, but will not sign its walls yet again until the end of the run.  But I will look at some of the old signatures, one in particular, and take a moment to bask in those perfect memories, those moments that have become immortal for me.

Until next time... remember, theater is a sport.

COMMUNITY and SCHOOL THEATRE: A NO DIVA ZONE!

Former student Taryn Lane as diva "Passionella" in "The Apple Tree"  Fortunately, Taryn was not a diva in real life.
Photo and costume courtesy of Michaela Petrovich

Today at Theater is a Sport, I want to talk about something that I believe firmly.  The title of the post says it all:  Community and School Theatre should be a no diva zone.  When cast in a school or community theatre production, it is best to check your ego at the door and be ready to work as part of a cast. 

Remember, there is no "I" in C-a-s-t.  (I say this when directing, and then add, "But there IS an "I" in director!"--- this is a joke.  Even though the director needs to be the number one person in charge, there is still no excuse for acting better than everyone). 

The beautiful thing about school and community theatre is that one should be involved because they love it.  You're not getting paid for acting in community theatre, other than the joy that comes along with being involved, so there's no need to try to put yourself front and center at the expense of your cast mates--- this isn't the race for more work that professional credits are.  Your livelihood does not depend on being the "star" in a community theater or school production, so please, enter into the endeavor with the mindset of being involved with an ensemble.

I know this is wishful thinking on my part.  I, myself, have sinned in this regard, and yes, human actors, even in the "amateur markets", love the thrill of performing in front of a live audience and getting attention for it.  And there's nothing wrong with that.  Just make sure that you can love the process almost as much, if not more. 

In high school and college, there are other factors that can lead to a diva-like attitude.  Maybe you're a senior in high school who has paid their dues in chorus roles and supporting parts your freshman through junior years, and now it's your turn to be the lead.  I get this, I do. The same thing happens in community theatre--- you've been a loyal player with your local community theatre for years, when is it going to be your turn to shine?  Why did so-and-so, a freshman, or, so-and-so, who just moved here, get the lead part, when I've been working hard for these people for years? 

Don't beat yourself up for having these thoughts.  But, unless you want to annoy everyone around you, and perhaps risk any future involvement in upcoming productions, don't share them.  I know it's hard, but, if you must complain, complain discreetly and not at rehearsal.  I'm not going to say "Your Time Will Come", as a good number of directors might, because that's not necessarily true.  You may not ever get the lead.  Not everyone can, no matter how much they love being in plays.  You might always be the sidekick, the supporting role, the walk-on waiter in scene two.... if your ambitions are beyond that, or it makes you resentful to play those parts, then try other places or just take some time off.  If you take time off from community theater and miss it desperately, it will certainly help you appreciate any part you get when you go back to it.  If you don't miss it, and develop equally pleasurable hobbies, then, congratulations, there you go!

On the other side of it, if you're someone who often gets cast in plum roles, that doesn't mean you are the local equivalent of Marlon Brando or Meryl Streep.  There's no need to flaunt your success.  There's no reason to talk to the director differently than anyone else, or expect special treatment.  Nothing's worse than the leading school or community theater actor who likes to flaunt their resume every chance they get, or talk about all their "training".  Please, oh please, avoid this "big fish" attitude.  Don't misunderstand me--- training and an impressive resume is great--- acting like you're any more important than your cast mates is not. 

I realize there is no way to wipe out diva attitudes in school or community theatre.... almost every group I know has one or two.  It's kind of the nature of things, really.  However, the best way to decrease that kind of behavior is in the director's hands.  Just don't tolerate it.  If you see that a certain actor is taking liberties, making other cast members feel bad in any way, or acting superior, talk to them about it, and let them know that the most important thing you want to foster is a "team" environment.  If this certain actor can't deal with it, then maybe, no matter how talented they are, they are not worth casting again.

MOST OF ALL--- remember that you make the CHOICE to be a part of community theatre or a school production.  Please do it for the right reasons.  Keep a positive attitude of fun an ensemble-spirit.  Help each other out.  Be each other's cheerleaders.  Encourage one another and rejoice in each other's successes, no matter how small (so-and-so got that dance step they've been missing, or Johnny got that line that's been giving him trouble!)  MAKE EACH OTHER LOOK GOOD.  When you're onstage, it's not about you--- it's about your scene partners and the audience!  That's how you make a tight cast, and a tight cast equals a bonded cast, and a bonded cast equals a terrific production.  That's what makes your cast mates your extended family.

Thanks for taking the time to read my thoughts. 

Until next time, please remember--- theater is a sport.  A TEAM sport.

Should Community Theater Worry About Accents?: When and When Not To Attempt Different Dialects in Your Production

My Cast for "The Importance of Being Earnest"--- I made them do British Accents
 

Greetings fellow theater lovers and drama geeks!  My name is Bobby Keniston, and I would like to welcome you to Theater is a Sport, the only blog I know of that maintains beyond a shadow of a doubt that Theater is, in fact, a sport.

Right now, I am in a play at the beautiful Lakewood Theater in Madison, ME, called "Sherlock Holmes and the Adventure of the Suicide Club" by Jeffrey Hatcher.  Recently, an issue has presented itself that I have encountered several times before in community and school theatre:

should we do the accents or not?

This is an important question, but the answer isn't always clear. 

In this play, I am playing duel roles, one is of a German man called Mr. George, the other, Inspector Micklewhite, a Scotland Yard British fellow. 

I have had experience with accents.  When I was in college, I was in a play called "The Baltimore Waltz" by Paula Vogel, in which I had to slip in and out of several different European dialects. 

I will say up front that I love accents.  I love working on them, learning them--- they can do wonders to add to the realism, the musicality, the rhythm and color of a production.  In a perfect world, I would say that every community theatre, when doing a play that requires accents, should attempt them.

The Key Word here is ATTEMPT.

When  I was in middle school, a film called "Robin Hood:  Prince of Thieves" came out to much fanfare and great success.  Blockbuster that it proved to be, there was not one review of the film that failed to mention that Kevin Costner, in the role of Robin Hood, did not use an English accent.  Surprising, perhaps, but, by all accounts, he attempted, and couldn't get the accent quite right.  I personally think the filmmaker made the right choice to have him just drop it, because a poor or inconsistent accent is troublesome and distracting. 

Others are brilliant at accents, of course.  Peter Sellers, Meryl Streep, Daniel Day-Lewis, to name but a few. 

Some thoughts:

WHEN YOU SHOULD USE AN ACCENT IN COMMUNITY OR SCHOOL THEATRE

1. When it is absolutely necessary for the play.  In the picture above (as it says in the caption) is of a lovely cast of people for a production of "The Importance of Being Earnest" by Oscar Wilde, that I directed at the Center Theatre in Dover-Foxcrft, ME.  I made my cast learn English accents because I felt is was vital for the humor, rhythm and Wilde-ness of the play.  I was, and am, convinced that the humor in that show does not land the same way in plain old American dialect.  People are free to disagree, but as director, it was my call.  I am happy to report that I had a very hard-working cast who rose to the challenge with the help of a lovely dialect cd (more on those later)

2.  When you have a cast that is very facile with accents.  In that case, why not?

3.  If other characters make note of a character's accent.

4.  When it serves an educational purpose.  This last school year, I made a group of my students learn the English accent for a play they were in because it added to the play, but also because I felt it would be an opportunity for them to learn just how specific accents can be.  And, at the school level, EDUCATION should come first (especially in high school).


WHEN YOU SHOULD JUST NOT BOTHER

1.  If one of your actors cannot hold a convincing or consistent accent, let it go.

2.  If the accent is so bad that it is distracting, let it go.

3.  If the actors are only focusing on their accents and not their characters, let it go.
(Note:  *  For me, accents can be a key into finding a character, but, for others, they're head is so wrapped up in the accent, that they lose sight of everything else.  This is not advisable.  Character is more important.  Looking and listening is more important.)

4.  If the accent is making the actor almost impossible to understand, let it go.

These are just a few guidelines I've picked up over the years. 

It should be noted that an accent is what we would call a "given circumstance" of sorts, and, it is a lovely thing to achieve if possible.  However, it is important to remember that an accent ADDS to a play and character, and is not THE PLAY or CHARACTER.  In fact, in a sense, an accent, particularly at the community theatre level, is a garnish--- can be tasty, but with a real chance of being overdone.  Be cautious.  Sometimes, just adding a flavor of an accent can work and not jumping into the deep end.  For example, maybe instead of a thick English accent, an actor can just clip their words some to give the feeling of being upper crust. 

If you do choose to pursue accents, and there's never harm in trying, I have always had a great deal of success with David Alan Stern, who has a wonderful series of different dialect cds.  I know there are plenty of others out there, but he's a lot of fun, and he breaks it down simply, with many call and repeat exercises.  Google the man's name, and you'll find a bunch of stuff about him.

All right.  That's enough for today.  I have to go listen to my German dialect CD and see if I can get this thing down by opening night!

Until next time, please remember--- theater is a sport!

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To learn more about Bobby the Playwright, click here, or here, or here , or, finally, here.

People in the photo:  Front:  Raelene and Robert Keniston
Back:  Tracy Michaud Stutzman, Teresa Myers, Sandra Beaulieu, Frank Applebee, Chelle Atwatter, Lucas Boffin, and Mathias Ringle.