NO ONE SHOULD BE SURPRISED ABOUT DAVID MAMET AND HIS HYPOCRISY

 

The Cover of Mamet's new collection of rambling essays, perhaps better titled "Get Off My Lawn!"

David Mamet, who I have long thought became a parody of himself in terms of his work, is now proving to be a parody of a human being with any kind of rational or sane thought. While promoting his new book of old essays, he made comments accusing teachers of being prone to pedophilia (especially male teachers), all in a discussion ultimately geared toward encouraging the "Don't Say Gay" bill (so much for the Free Speech in his book's title). While these comments are indeed flabbergasting and upsetting, I don't really think anyone should be surprised that Mamet made them, nor should they be surprised that he made them with ABSOLUTELY NOTHING in terms of facts to back them up. One should almost have expected it considering that Mamet, since becoming a relic of a playwright, has spent the last 25 years of his career working hard at being a contrarian, who I'm sure would prefer the terms "iconoclast" or "rebel," a blowhard hoping that there is some connection between notoriety and relevance. Sadly, though, the very aspects of Mamet that enables him to shamelessly make such idiotic comments, were given to him by the theater critics and audiences over the years, the ones who built him up and confused much of is bluster with "bravery" and "genius". I am not blameless in this myself. 

It would be a lie if I said I was never a Mamet fan. Like many playwrights (particularly, but not exclusively male) of my generation, I grew up hearing he was the best. The movie adaptation of his play "Glengarry Glen Ross" was electrifying with James Foley's slick direction and a handful of truly wonderful and wonderfully energetic performances by some great actors. I remember buying copies of his plays "Sexual Perversity in Chicago/The Duck Variations" and "Oleanna", and trying to break them down. His Pulitzer-winning "American Buffalo" is perhaps the first example of Mamet being called a master of dialogue, a poet using four-letter words. And indeed, there is no question he has made an impact on American Theatre in a big way--- but it hasn't all been good. In fact, I would say it is arguable that "Glengarry Glen Ross" is his last good play, and that was in 1984.  "Oleanna," though immensely popular for college scene work, is a play that doesn't come from character but from theme. In fact, I would say that the playwright's intentions are like a big fingerprint all over that script, making it more of a diatribe than a play. By the end, both characters feel more like husks that are being moved around. As for plays like "Race"--- well, who really needs another rich white guy talking about how complicated race is, except when seen through his own white lens? 

Mamet has always had a problem with education. His book, "True and False", encourages young actors to not go to college, and his own daughter, actress Zosia Mamet, told Conan O'Brien during an interview that her father encouraged her not to pursue higher education. Much of what Mamet describes as being the job of an actor in "True and False" is to learn their lines and to say them "courageously". He wrote the slim volume in the height of "Look at me! I'm slaughtering sacred cows!" days. And certainly, the silliness of some method acting needs to be taken down more than single peg, and one can't help but argue that was part of Mamet's intentions with the book. Though one should also remember that Mamet himself went to Goddard College, and also studied under famed acting teacher Sanford Meisner--- he is interviewed for a Meisner documentary and blurbs Meisner's acting book--- and said he was one of the great teachers who was telling the truth. One should also remember that "The Practical Handbook for the Actor" (which I bought when I was in high school and highlighted extensively) was written by STUDENTS of David Mamet and his frequent collaborators William H. Macy and Gregory Mosher. Mamet himself wrote the introduction, calling it the "best book on acting written in the last twenty years"---- this, of course, was before "True and False" came out. The Atlantic Theater Company, founded by Mamet, Macy and their ACTING STUDENTS, still teaches classes based Mamet's thoughts on what actors should know. 

So much for a generation of actors who should stay out of school. 

And one must wonder how someone who has spent a good deal of time teaching can make statements about male teachers being especially predatory. I certainly couldn't accuse Mamet of being predatory himself, though he seems to have no problem generalizing about the predatory nature of teachers for an interview on Fox News. 

Still, he has reason to believe that the verbiage he spews on any topic that crosses his mind is sacred, because so many are quick to call him a genius. He used to get off on it when it came from Hollywood liberals, but, after he very publicly rebranded himself as ultra-Conservative (in typical blustery fashion, saying he was no longer a "Braindead liberal"), he is happy to take the label wherever he can get it. This is why he can call Trump a "great President" and even talk about how the election was stolen--- even though, in a rare moment of walking back, he said he "misspoke".  He has propped up by many to be one of the sacred cows he used to enjoy slaughtering so much. One could reasonably guess he prefers actors without training because they make better puppets. One may suggest that he thinks his dialogue, in which people hardly speak in full sentences but are cut off by dashes and ellipses, is realistic because he likely prefers to be the only one talking and not letting anyone else sneak a thought in a conversation. 

If Mamet possessed any self-doubt instead of his brash, encouraged narcissism, he might be mortified by how ignorant and absurd his recent statements about teachers came off. Unfortunately, I've no doubt that his ego is steering him to view the justifiable backlash as "cancel culture", probably going so far as to smugly think how it proves his point. And this is the same narcissism that destroyed his work long before it hindered his reputation. It doesn't seem like coincidence that Mamet stopped being a "Braindead liberal" as soon as he was completely affluent and celebrated by New York critics as being "the greatest living American playwright," a title which, even when I was a fan, I never thought was true. 

When it comes right down to it, David Mamet is just another hypocrite with too large a platform, an overpraised rich white dude, who believes that what "free speech" means for him (and other overpraised rich white dues) is to never be criticized or ostracized for the "brilliant" things he says, no matter whether they are true or not. Cancel culture only exists when it is directed to people of his ilk. Mr. Mamet wants the rest of the world to be cut off by his dashes and ellipses--- because it really only matters if his speech is free of opposing opinions. 

A History of the Play "Mid-Summer" by Viña Delmar: How Vaudeville Lies at the Center of this Nostalgia Piece

 

BACKSTORY WITH BOBBY KENISTON

Note:  This was originally written for Lakewood Theater's production of Mid-Summer

Mid-Summer, tonight's entertainment, was one of only 3 plays Viña Delmar wrote, but don't let that fool you--- she was a very prolific writer for nearly fifty years, rising to fame in the late 1920s with her then provocatively titled novel Bad Girl, and went on to receive an Academy Award nomination for the screenplay of The Awful Truth in 1937. Mid-Summer, premiering in 1953, was a love letter of sorts to vaudeville, and featured a young Geraldine Page in her Broadway debut. Speaking of auspicious debuts, I am happy to report that this production marks the Lakewood directorial debut of (among many other titles) my good friend, Arturo Meneses, who was good enough to talk with me about the play, about vaudeville, and about his love of Lakewood Theater.

“It really is like home,” he told me, a sentiment to which I, and many others, can certainly relate.

Audiences have been enjoying Art's work for quite some time. He made his acting debut while still a teenager in 1997 in the musical Jungle Queen Debutante, and played a memorableHarvey Johnson in Bye, Bye, Birdie. I first acted with him a few years ago in Incorruptible, andaudiences cheered his performances in The Legend of Georgia McBride and Godspell. On topof his work as an actor and director, Art has been spending some time this summer organizingthe Lakewood archives, sifting through old memories of friends made throughout the years.

Art found his summer home after working with Mark Nadeau at Messalonskee High School,who encouraged him to audition, and also cites the late Jeffrey Watts as a mentor and influence. He first pursued his interest in directing at the University of Maine at Farmington, taking the helm of such productions as Pillow Talk and Medea (the hilarious Christopher Durang comedy). He really cut his teeth by directing his very own production of Bye, Bye Birdie at the Hsinchu International School in Taiwan with a group of young people who had never acted before!

“They all auditioned very well,” he said with a shrug. “But then didn't know how to act as soon as they were cast in the play.”

A self-proclaimed “Actor's Director,” Art has certainly made an impression on the cast of Mid-Summer. “He really takes the time to ask us questions, encouraging us to find our motivation,”

Kaelie Merrill, the talented young actress who plays Lily, the Geraldine Page role, told me. “He really wants us to think about our characters and how we connect to them. This experience has taught me how I can grow as a person just by putting myself in her [Lily's] shoes.”

Art has delved into the world of vaudeville, and read the delightfully titled No Applause- JustThrow Money, a history of vaudeville by Trav S.D. When I asked him how we make an older art form like vaudeville accessible to audiences today, he said, “The issues we go through today are the same ones people went through back then. The situations will always be relevant.”

Kaelie agrees, and adds, “I think vaudeville is fascinating... They could say things that we can't say!”

Though the brilliant Viña Delmar is no longer with us, and, sadly, vaudeville itself has faded away, we are all fortunate to experience a kind of time travel tonight, thanks to the hard work of Arturo and the talented cast and crew. So prepare to be transported to the Lenoir Hotel in New York City in the year 1907, as we enjoy Mid-Summer during our very own glorious mid-summer here at Lakewood Theater.

If you are interested in producing Mid-Summer, you can find it at Concord Theatricals by following this link:

Mid-Summer (Delmar) | Concord Theatricals

Bad Morning: Bobby Keniston Talks More About Rejection

Greetings, and welcome to Theater is a Sport.  I am your host, Bobby Keniston, and I keep this little part of the internet to write about theater.  As always, feel free to comment below if you agree with me, or think I'm full of poo.

Today's post is a bit more personal than usual--- I tend to like to act like an instructor of sorts, give out tips and advice, but, today, well, I've had the wind knocked out of my sails for a little bit.  I'll be fine, of course, I'm used to it, but, for the moment, I'd rather just write and see what happens.

I've talked about rejection before, but it bears repeating for anyone who is interested in pursuing theater, acting, and writing as a livelihood, or even just as a hobby.  You are going to face a great deal of rejection, and you have to learn to deal with that and not let it knock you all over the place.  At least, don't let it knock you all over the place for too long.

So this morning, I check my email, and, lo and behold, there is a nice rejection note from a nice company for a play I recently submitted.  It is a company I have other plays published with, and a good relationship with--- I like them a whole lot, love how they handle my plays, and am grateful for the work they do getting my plays productions all around the country.  I like the company so much, I gave them an exclusive first look at this new play, when, usually, I submit to a few companies at the same time.

Okay, so I should be used to rejection by now, shouldn't I?  I've been in the business long enough, and have certainly been rejected plenty of times.  Yet this rejection has hit me harder than many others, and I am trying to figure out why.

You see, usually, the second I get a rejection notice, the first thing I do is submit the play to another company.  It's good for the soul.  So I did that very thing this morning.  I went to another company I love, who have an online submission form.  I uploaded the play, filled in all the information, revised my synopsis to make sure it was as good as could be, spent a good half hour making sure everything was as it should be, and when I pressed the button to submit, and error occurred, telling me to try again later.  So, I don't really have that feeling of satisfaction yet, the feeling of moving on and trying again after my rejection.  I'm not going to let a computer error keep me from submitting to this second company, of course, but I just can't fill it all out again at this moment.  I don't have the energy.

So here I am, thinking about my rejection.

It's natural, and, indeed okay to feel bad about being rejected.  In fact, it's not easy to feel good about it.  It's all right to think, but not to wallow, and so, hopefully, this blog post will help me move things in the right direction.

So why is this one bothering me so much?  Here are some thoughts:

1.  I haven't had a play rejected in a while.  My submission numbers have been down this year, and every play I have submitted has been accepted.

2.  I really thought this company was going to accept this play.  Which, I guess goes to show, you shouldn't be overconfident about such things.  I just thought this particular company would think itself a good home for this particular script.  Alas, that is not my decision to make, and, nor should it be.  This is a fine company that knows what it is doing, and, if they don't think they can sell this particular script, then they made the right decision.  Again, their rejection letter was kind, and very mindful of the fact that I am currently one of their writers.  I shouldn't have assumed they would like this one as much as some of the others I have with them already.  (Of course, it's not necessarily a matter of "liking" the script, but whether they feel its right for their catalog--- two very different things)

3.  Many of the plays I write are accepted without a prior production, so I've never really seen them on their feet.  This show, however, I produced with my hometown theater as part of an evening of one acts.  I directed the play, had a great cast, and I saw fist hand how well audiences responded to the play.  So much laughter and cheering!  People loved it!  I've never had such positive feedback for a play I've written and directed!  And my hometown doesn't necessarily get excited about theater all that often.  I know the script is easy to produce, has witty dialogue, but is also poignant--- I've heard the laughs and seen the other emotional impacts of it--- so, I guess, what I'm saying is, I know that the play PLAYS and PLAYS WELL.

4.  Because it was so successful in production, perhaps I was riding high on the script as a surefire win.  It's easy to do so when you see how much an audience loves it.  It's like you've got proof that it should be a "hit", because your individual production was a hit.  But the page and the stage are two different things.

So, yeah, I'll get over this, and fairly quickly, but I am going to allow myself to feel upset about it for a while.

Perhaps that will make it all the more sweeter when the script does find a home.


To Learn More about my published plays, CLICK HERE, OR HERE, OR HERE, OR HERE!

I've started a new blog where I am writing a short story every day for a whole year!  Each story will be between 100-250 words.  Please check it out!  (I've had too much rejection for one day).  
CLICK HERE to read my new blog!

On Saying Goodbye to Your Character and Your Play Family

Greetings, and welcome to Theater is a Sport, my own little place on the internet to talk about all things theatrical.  My name is Bobby Keniston, and I'm a playwright, an actor, and a director.  I'm also an all-around theater geek, and proud of it.

Recently, a production of The Jungle Book I directed for the Center Theatre, my hometown theater, came to an end.  It has me thinking about when a show ends, and that feeling of letdown that we in the theater experience when saying goodbye to a character and cast of people who have become your family.  So, that's what I'm going to talk about today.

First, I'd like to share this quote from Daniel Day-Lewis, arguably one of, if not the best film actor of the last thirty years or so, about disengaging from a character:

"There's a terrible sadness. The last day of shooting is surreal. Your mind, your body, your spirit are not in any way prepared to accept that this experience is coming to an end. In the months that follow the finish of a film, you feel profound emptiness. You've devoted so much of your time to unleashing, in an unconscious way, some sort of spiritual turmoil, and even if it's uncomfortable, no part of you wishes to leave that character behind. The sense of bereavement is such that it can take years before you can put it to rest."

Now, perhaps we don't all  invest as much of ourselves when we do a play for the community theater or a school show, but, to be honest, I do, and I think Mr. Day-Lewis has described the feeling in the best way I've ever heard it described.

When you are putting on a play, there are weeks of rehearsal, often with people you may not know, or, other times, with a gang of actors you've performed with many times before.  As days go by, you learn to depend on one another, trust one another, complain about one another, praise one another, and, yes, love each other.  You may not always like all of your cast mates, but I do think you grow an indescribable bond with each of them.  After all, you are a group of people who have come together with the purpose of creating.  The act of creation is a powerful one, not to be taken lightly.  For weeks, you have sacrificed time to focus your energy with this group of people.  You have been pretending to be someone else to tell a story.  You have thought what it would be like this character, and, to some extent, whether you are a method actor or not, you have been doing your best to become this character, if only for a few hours a night, for the sake of the audience.  You invest feelings and actions that come from you, explore "as ifs" that get you thinking about your own life on this planet.  

It ain't easy to just shake off.  At least, it's not for everyone.  It's absolutely fine if you are a person who can shake it off--- in fact, you may be one of the lucky ones.  

For those who are more like me, folks who feel a terrible loss after a show closes, here's a few tips I have found helpful...

--- SAY GOODBYE TO YOUR CHARACTER:  Start a personal ritual of how you can say goodbye to a character.  Don't be concerned if it would appear silly to others or not.  It doesn't matter.  It's not for other people, it's for you and your character.  How you say goodbye is a private matter.  

---ALLOW YOURSELF TO GRIEVE AND "MISS IT":  There's not shame in missing a play.  There's no shame in wishing you were still up on that stage, giving your lines, playing your actions... it's an exhilarating and joyful experience.  You've made new friends, possibly lifelong friends.  It's okay to miss spending this time creating with them.

--- GET SOME REST:  You deserve it.  Take it easy for a few days.  Pamper yourself as much as you can.  

--- JUMP INTO A NEW CREATIVE ENDEAVOR:  I have found this to be very helpful.  Try out for another play!  Write some poetry or a short story!  Bake!  Knit!  Sing!  Anything that feels creative and lovely to you.  

And most of all, remember--- these moments in time you shared with your cast and the audiences who watched you, this shared experience lasts forever.  Energy lasts forever, so do these moments.  

And chances are, if you live in a small community, you're going to be acting with these people again sooner than you think.  

Please feel free to comment below with your tips on saying goodbye to a show or character! 

My Two Proudest Moments as Director of "The Jungle Book"

Some of the Cast of "The Jungle Book" at the Center Theatre in Dover-Foxcroft, ME

Greetings all, and welcome to Theater is a Sport, my little place on the internet to talk about all things theater.  My name is Bobby Keniston, and you can find me here pretty much five days a week (Monday-Friday).  Why?  Well, because I love theater.

Since early February, I have been honored to be the director of "The Jungle Book" at the Center Theatre, right here in my home town of Dover-Foxcroft.  Every spring, the theater does an all-youth cast show, and, happily, I applied for the job to direct and was hired.

It's been a lot of work.  The cast is comprised of kids between the ages of 3 and 17.  Obviously, that's quite a big range!  It's been a challenge for me to find different ways to communicate with different cast members, and making myself understood by everyone.  There have been times when the process has tested my patience (I"m proud to say that I passed), and, of course, many other moments where it has given me great joy.  

I want to tell you about my two proudest moments as the director of "The Jungle Book".  And, the reason they are my two proudest moments, is because I had nothing to do with them.

Of course, as a director, I try to make sure the kids are prepared for anything.  But that's not always possible....

Last Sunday, during our matinee performance, all was going well.  In fact, it was my favorite of the three performances to date.  We were near the end of Act One, everything was smooth sailing, and I was watching the show from the back of the auditorium (in the shadows), and really enjoying it.  And then, the power went out.  

Black stage, during a big group scene with almost every character present on stage.  

To be honest, I expected within seconds for them to be worried, maybe even panicked, which I would have understood.  I expected some shouting out, some "What do we do?", or maybe a mass attempt to clear the stage, which, in the pitch black, could have been dangerous.  

But they stayed right there on stage.  I walked down to the foot of the stage, as did the stage manager, and whispered that they were doing a great job, and to just stay in place, and, when the lights came back on, to just keep going.

Fortunately, the lights came back on relatively quickly.  And the moment they did, BAM!, as if there were NO INTERRUPTION AT ALL, they kept going.  They picked it right back up with the same energy and focus as if they and the audience had not just been in the dark for a few minutes.  They didn't miss a beat.  

My second proudest moment was yesterday, when we spent the day performing for school children. The kids had FOUR (!) performances of the show yesterday for surrounding area schools.  Talk about a long day!  

Midway through the third play, something went wrong.  A character who was supposed to be onstage, didn't come on stage.  I figured they had just missed their entrance, but would run on.  The cast members onstage started improvising and ad-libbing, keeping the scene going,  I headed backstage to find there had been a bit of a costume mishap.  And all this while, the kids onstage kept going and going and going.  Without looking panicked, without breaking character, without freaking out.  They didn't give up.  They kept acting and improvising their hearts out, as if nothing in the least bit was out of place.  I'm telling you, I have never seen adults work to cover a scene so well!  It blew my mind.  

"Where did they learn how to do that?," I asked myself.

And then, when the mishap was sorted out, the actor went onstage, proud and confident as though nothing had been wrong.  Amazing. 

The thing is, I can't take the credit for it.  

And that is why it makes me very proud.

For those in the Dover-Foxcroft area, the final 3 performances of "The Jungle Book" are Friday, April 17th at 7 PM, and Saturday April 18th at 2 PM and 7 PM, at the Center Theatre.  You really should come check it out!

OPENING NIGHT

The Marquee

For the last seven weeks or so, my energies have been largely given to directing a production of "The Jungle Book", an adaptation by Vera Morris (one of the many pseudonyms for the prolific Tim Kelly), available through Pioneer.  Tonight is opening night.

I don't know about other directors, but, for me, a rehearsal process can feel like a lifetime, but, no matter what, when we get to opening night, it always seems to have blown by. Opening night really is a night for directors to freak out--- after all, aside from a few last notes and a pep talk, there is absolutely nothing we can do.  

The venue for this production is in my hometown of Dover-Foxcroft, ME, at a lovely place called the Center Theatre.  SOCP, the group attached to the theater that produces plays in-house, is an abbreviation for "Slightly Off-Center Players".  And this production is put on specifically for children performers to be a part of.  No adults in the cast whatsoever (though, one of the teenagers in the group is very close to eighteen).  I have children from the ages of 3-17 in the show, with most being in 9-12 area.  I've never done a play with that had one as young as three (as well as a five year old in the cast, too), and this play has presented new and interesting learning opportunities for me.  

I am, of course, proud of the kiddos hard work throughout this process.  It's not always easy being in a play, sitting still for direction, and focusing energy on the task at hand as opposed to letting fly in all directions.  In a sense, I have watched the play go from chaos, and evolve into the shape of what a play should be.

And here we are at opening night, and there are about a million and a half more things I would like to impart to the cast, but, given the opportunity, probably couldn't think of more than a handful.  Remember not to turn your back to the audience.  Don't block one another in the group scenes.  Don't upstage your fellow actors or yourself.  Keep your hands out of any pockets.  Keep your feet still.  Keep the volume up.  No matter what, STAY IN CHARACTER.  Things I have told them many times already, with varying levels of success, but still want to keep reminding them before an audience sits down to watch them.  

I will give them a pep talk tonight to tell them how proud I am of them, and how if they keep their energy up and believe in themselves and the hard work they've done, then they will soar.  And all of this is true.  And then, they will go backstage, I will be in the auditorium or talking to people in the lobby, or going outside and freaking out a bit.  I'll most likely stand at the back of the auditorium as the play is going on, and try not to pace, because I don't want to distract the kids, and as soon as the lights go up, part of me will have a nervous breakdown.  Not because I don't believe in the kids.  But because I know that there is nothing for me to possibly do any more to help them.  And that's a hard thing to let go of.  

The nervous breakdown will subside in a minute or two, and, before you know it, the show will be over, and I'll be telling the kids what a great job they did, yet warning them not to get over-confident because we still have a lot of performances.  I will look at the other adults on the crew, and I'm sure we'll all smile and say, "They did it," and then, "We did it." 

At every point in a rehearsal process, a director most likely asks themselves, "Why do I put myself through this."  And after tonight, after opening night, that questions is immediately forgotten.

Dress Rehearsal

Greetings ladies and gentlemen, and welcome to theater is a sport.  My name is Bobby Keniston, and this is a little piece of the internet that belongs to me, where I talk about all things theater.

Dress rehearsals are on my mind today, because, well, tonight, I have dress rehearsal for a production of The Jungle Book I have been directing for the last seven weeks or so in my home town of Dover-Foxcroft, Maine, for my home town community theater, The Slightly-Off Center Players.  I have twenty-four kids between the ages of 3 and 17 in the cast, my charges, my students, my actors.  And, after tonight, the show no longer belongs to me--- it belongs to them (and the stage managers, of course).

Dress rehearsals can be painful for a director, and they can be joyous, and they can be stressful, or a huge relief, or all of these feelings and more at once.  It is the last chance for a director to make any major changes through notes.  Theoretically, it is the last time that a director can even stop the rehearsal to make changes if need be...

REALLY TRY NOT TO DO THAT.

I'm going to really try not to stop and make any adjustments tonight.  It's difficult.  There will be moments that my brain is screaming for me to stop, I know this, but my goal is to not do it, to write down whatever I need to say, and maybe run a part after ward if necessary, but to not stop them during the run.

Why?  The cast needs to run the show, and they need to run it in performance mode.  They need a run-through where the safety net isn't so obviously there.  They have to know that, no matter what happens, they must find a way to keep going.

This is particularly tough when you are directing children, believe me.  You have spent all this time being their guide, their teacher, and hopefully a mentor of some sort. It's not easy to watch them up on stage if something goes wrong and they are obviously uncomfortable.  But, hey, it's dress rehearsal.  The time to learn how handle it is now, not when there are over a hundred people in the audience.

When you're a cast member in a play, you might feel a pang of loss when the show reaches its final performance and, alas, you say goodbye to a character.  For a director, the dress rehearsal is kind of like the last night for them.  Certainly I will be there opening night (and, for this show, for every performance), and I will be giving pep talks, and maybe tiny notes for anything glaring that hasn't been fixed, but, essentially once the curtain goes up on opening night, my work is done and over with.  There is nothing more I can do.  Once the show begins in front of an audience, well, I can no longer do anything to help.

And I NEVER go backstage to talk to a cast at intermission.  Well, almost never.

I truly believe that a director has to separate from the show in order to give it wings.  That's why a dress rehearsal is so difficult... you have so much more you want to say, but the time is running out, and, you just have to hope what you do say will sink in, be implemented, and make the show work as best as it can.

As I director, I want a great show.  But I want it to be a great show not for me or my personal glory, but for them.  I want them to be proud of it, feel safe and prepared.  But that will not be up to me tomorrow night when the curtain opens.  Tonight is my last chance, in a three hour rehearsal window, to finish my job up in a way that will help make them shine.

All while not stopping them unless I absolutely have to.

No pressure.

The Joy of Acting

Greetings and welcome to theater is a sport, my own little place on the internet.  My name is Bobby Keniston, and, if you've ever wondered what I look like, see the picture above and add a beard.

Since January, I've been very busy directing.  I directed a play I wrote called Waiting to be Probed:  A Love Story, and I am currently in upweek for a production of The Jungle Book, starring 24 children between the ages of 3 and 17.

I love to direct.  It's a great feeling, corralling a group of people together with the similar aim of creating something.  I love to have a vision realized, and changed and added to by the input of other creators.  I love the responsibility of making stage pictures and moments that will hopefully be found compelling and interesting to watch.

Having said this, I'm getting pretty tired, and I'm looking forward to doing some acting this summer. I have been cast in three productions at my summer home, the historic Lakewood Theater in Madison, ME, and I can't wait to just focus on building my characters, and being responsible in my own little way to help tell the story we are telling.  I have the distinct pleasure of playing E.K. Hornbeck in one of my favorite plays of the last 100 years, Inherit the Wind (easily in my top 20), Mr. Applegate, the devil, in Damn Yankees, and Cookie in the new musical comprised of Gershwin tunes, Nice Work if You Can Get It.  

After spending a good deal of time directing and writing, acting feels almost like a vacation.  Please don't get me wrong--- acting is hard work, and a craft I have the utmost respect for.  What I mean to say is that acting, in comparison to directing, is pure playground.  It's giddy exploration.  You are responsible to yourself and to your scene partners.

You needn't worry about the bigger picture, the grander vision.  Your responsibility as an actor is to bring your character to life, and, in doing so, telling your piece of the story.

I'm often surprised when I see actors worrying about the bigger picture, criticizing a director's choices, things like that.  I get it, of course--- every person on stage and off, has opinions about how things should be.  I suppose I have even been that way in the past.  But, now, for me, at the community theater level, I am simply grateful to act and to not have all the aesthetic choices left up to me.  Certainly, as an actor, I have strong opinions of how my character should look, move, talk, react and behave.  But I have no interest in figuring out the greater problems of how to stage everyone, unless that's the job I've been hired to do.

As a director, particularly as you get closer to performance, you have to be ready for questions constantly, from actors, designers, volunteers, the producer, pretty much everyone.  And when you're working with children, you have to be ready for a great number of those questions to feel like a non sequitur, but still try to answer it as seriously as possible, because, while you may not understand their concern or where it is coming from, it is a genuine concern for them.

It's nice not to have to have the answer to all of those questions for a while, and just focus on yourself, When I got my new scripts, the first thing I did was highlight my lines and read through all of them for the first of what will wind up being many, many times.  Since Inherit the Wind is the first one up, I have already starting learning lines, searching for a character arc, doing research on the real Scopes trial and H.L. Mencken, who my character is loosely based on (or inspired by).  It's the fun kind of homework that comes with breathing life into a character--- analyzing a script, looking for actions, creating a physicality and a rhythm of speaking.  It all feels like play to me, which is a beautiful thing.  I don't need to worry about how the lights are going to create the transition from the courtroom to the town square... not my job, and I'm glad it's not.

I give my all to directing when I'm directing.  I keep so much in my head, that sometimes it feels like it might leak out between my ears.  It's a joy, but a joy that comes with a great deal of pressure.

Acting is a joy with its own pressures, of course, but the pressures are not as far reaching, and the rewards are far more immediate and sometimes quantifiable.  You see, a director's work, when done well, should almost be invisible, where, an actors' work is right there in plain sight for all the audience to see and hear and applaud.

Acting is creation without worry of the budget or how much dough the show rakes in for the theater. Acting is being there, and giving your all for rehearsals and performances, but not for production meetings

Yes, acting is my vacation.  I mean, after all, who wants to sit still and relax during a vacation when you can be creating something?

Thanks for reading my blog.  Feel free to leave comments about your feelings and experiences with acting and directing below.  And if you like my blog, please feel free to follow it!

Until next time...

Community Theater Directors: How to Avoid Becoming Overwhelmed at Rehearsals

Me, Bobby Keniston, trying to figure something out in "Silent Laughter" at Lakewood Theater

Greetings everyone, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be your host at this blog, where I write down my thoughts on theater, most often for the school and community theater markets, but, sometimes, just theater in general.

Today, I have some thoughts and advice for any community theater directors out there who are feeling stressed out and overwhelmed.  First of all, this is natural.  You are not alone.  In fact, I am writing about this subject today because I am currently directing a production for a local community theater, and I am feeling a little stressed out and overwhelmed.  These thoughts are a way of helping me psych myself up, too.

So, let's see...

TIP #1:  PAY CLOSE ATTENTION WHEN CASTING
While this is true for all productions, it is especially true for school and community theater.  A good number of times, us directors have to make concessions and compromises when casting, or, if we are directing a really large cast play, we may just have to take everyone who auditions.  This happens sometimes.  But there are important things to take into consideration, aside from person's talent.  Do they have a great number of conflicts that will make them constantly late to or absent from rehearsals?  Believe me, you want to know this right away.  Always have a tentative rehearsal schedule for auditions, and ask for conflicts on their audition forms.
What's their personality like?  Do they come off as arrogant or diva-esque?  This is important, although, you can't always judge a person in that way from a short audition.  However, if a fellow director tells you that you should be careful with a certain person because they were a nightmare in a play they directed, you might want to listen to them.  Nothing makes rehearsals more frustrating than a person with a bad attitude.  Likewise, if you're directing a play with children or teens, you might want to inquire to others about any behavior issues or anything like that.
Trust me, I would rather cast a less talented person who works hard and has a great attitude, than a good actor who is going to make my life as a director difficult.  This might not be true for me for professional endeavors, but at the community theater and school levels, I think it is a good code to go by.

TIP #2  GO INTO EACH REHEARSAL WITH A PLAN
Have an idea of what you think the overall shape of the characters on stage will be.  A foundation of blocking when you go into it is very important.  Now, this might have to be adjusted or outright changed when you see it on it's feet, but it's still wise to have a plan.

TIP #3  KNOW THE TEXT, KNOW THE TEXT, KNOW THE TEXT!
You should know the script, the way it flows, the characters in each scene, the technical and prop concerns for each scene.  Again, some of these things may be added to or removed during the rehearsal process, but you should go in with the a good understanding of what you'll need, and an impeccable understanding of the story, and how it is told.  Have an aesthetic vision, and make sure the cast and crew know what it is as soon as possible!

TIP #4  YOU'RE IN CHARGE, SO BE IN CHARGE
This isn't an episode of "Who's the Boss?," and you're not Tony Danza or Judith Light.  You're the director--- you're the boss.  Does this mean you should be an unflinching, draconian automaton?  Of course not.  You should encourage some collaboration, and, yes, actors should be allowed some ownership of your characters.  But a production needs a leader, a number one person, and you are it.  If actors in the play pipe up when you're giving notes, make it clear kindly, but firmly and without question, that this decision is yours.  If they want to talk to you at another time, that is fine, but not when you are giving direction, and not in front of the rest of the cast.  This goes for parents, volunteers, and pretty much anybody.  You will never get anything done, and the cast will feel like they can direct themselves, if you open up every bit of direction to a town meeting.

TIP #5:  HAVE A GOAL TO ACCOMPLISH FOR EACH REHEARSAL.
You may not accomplish them all, but that's okay.  For rehearsals that you don't accomplish your daily goal, say, blocking pages 12-18, make notes as to why the work couldn't be finished in the allotted time, and minimize those reasons, if possible, for future rehearsals.

TIP #6:  ALWAYS HAVE AN ANSWER, EVEN IF THAT ANSWER IS "I'M CONSIDERING OPTIONS TO TRY"
Directors are asked a lot of questions.  That's what being the leader gets you.  Actors, designers, crew members--- they all have questions, and many of them good ones.  Always give them an answer.  It's good for your confidence, and it inspires confidence in others.  And instead of having an answer be "I don't know", say "I'm considering different options to try out."  Doesn't that feel good to say?  Warning:  don't use that answer too much, though.

TIP #7 BREATHE AND TAKE A BREAK
There's no shame in reaching a saturation point at a rehearsal.  It happens.  If you get to a point where you know you're no longer being productive for yourself or the cast, take a break.  Give them five or ten minutes, to give yourself five or ten minutes.  Breathe.  Ask everyone to refrain from asking you questions during the break.  Separate yourself from the group if need be and allow yourself to think without all those expectant eyes looking at you, waiting for direction.  You're only human.

TIP #8  FIND WAYS TO MAKE DIRECTION A TEACHABLE MOMENT
If you're directing for community theater and schools, you will most likely have a wide variety of skill sets in your cast, some very high, some very inexperienced.  It is okay to phrase your direction almost as lesson with young people and inexperienced adults.  Don't condescend, of course.  But this isn't Broadway... sometimes you need to teach.  Sometimes a person's first play is like their Intro to Theater 101.  Don't be afraid to be their professor.

TIP #9  MAKE PEACE WITH HAVING TO BE FLEXIBLE
You're going to have to do this.  Something like this is bound to happen:  you have planned to rehearse Jimbo's big scene, and, at the last minute, you get a call from Jimbo that he's not going to be there.  You have to quickly find a way to make rehearsal valuable for you and for those cast members called.  Take five minutes and figure out what other scene you can work on with the people who are there, with the least amount of fuss.

TIP #10  YOU'RE GOING TO GET STRESSED OUT AND OVERWHELMED
"Heavy is the head that wears the crown" and all that.  It's going to happen.  It just is.  Welcome it, feel it, and keep moving.  Remember you do this because you love it.  And, if you find you don't actually love it, don't do it again.

I hope you find these thoughts valuable.  I would love to hear thoughts from others as well, in the comments below.  I'll take all the help I can get!

Until next time...

Theatre Educators--- Help Create Actors, Not Parrots!

Greetings, and welcome to Theater is a Sport.  My name is Bobby Keniston, and I am an actor, director, playwright, and theater educator.   I feel lucky to be all of these things.

There are a great many misconceptions when it comes to the idea of theater education, particularly at a high school level. While many people would recognize that it is not a visual arts teacher's job to tell a child, "This is how you draw a sun, and this is the only way to draw a sun," these same people may expect that when directing students in a play, or teaching a high school acting class, that you tell the students how to act. "Read the lines this way, with a big smile on your face, then when he yells at you, act sad by sticking your lower lip out and lowering your head. Listen to how I say the line and then do it like that." This is simply not true. Or, at least, I believe it goes against every little thing theater education should be about.

As a director, I try to NEVER give line readings (having people imitate how I would say a line). To me, that is akin to a visual arts teacher saying, "You can only draw that this way." The only time I will do this, the only, only time, is if I have a really little kid who cannot think critically about what they are doing, and, only then will I do that in a production that people are paying money to see. I don't even like to do it then. Even when directing "Annie, Jr." and "Anne of Green Gables" at the Center Theatre, I didn't do this unless absolutely necessary, and never with anyone over the age of five. Why, Bobby, you may ask.  The answer is simple.  I feel my primary role as an educator is to create actors and not parrots. It is my job to teach young people about MAKING CHOICES. That is perhaps the number one job of an actor--- it is what they bring to the table as an artist.

I do my best to give all cast members or students tools toward building a character, understanding a script, and discussing with them how they help to tell the overall story. From time to time, I will have a students ask me in a rehearsal or class, "How should I say that line?" I always answer that question with another question: "Where is your character at?" or "What are they thinking?" or, most often, "What does your character want?  What is their objective for speaking this line?"

In this way, I am helping to create actors, and actors who can analyze a script critically.  If I tell them exactly how to do something, I cease being an educator or a director, and I become a pirate trying to train his parrots.

A director's job is to put everything together to create an experience that is magical coming from the work of many, and not just myself. 

My job with high school students or even younger actors is to facilitate them finding the answers for themselves, guiding them to create something which comes from their unique perspective, and discussing changes if I don't agree with their interpretations, or don't believe it fits within the world of the play.  This is an important job. 

You see, this is what happens in real life, in the real world of theatre. Actors make choices. They are not told exactly how to say a line. And I will not condescend to my students by expecting less of them than I would of adult actors.

 

If  a student registers for my class, or signs up for my plays, regardless of talent, I do my best to bring the best out of them.  This, of course, has varying results.  But by doing so, I am providing a richer experience for this student, and giving them a richer education. 

 

I do not, at the high school level, believe in asking the weaker singers to only mouth the words, or the weaker actors to stand in the background like props or furniture.  If I do this, then I fail as a teacher and as a director.  When it comes to theatre education, it is just as much about the journey as the final result. 

 

So I want my final result to be spectacular?  Of course I do.  Is that always going to happen.  Of course it isn't. 

 

But what can always happen, if I do my job, is that students can learn to think differently, use their minds more creatively and critically.  And that is what makes a win in my humble opinion. 

I do not create parrots. I assist young people in realizing they are actors.

 

Thanks for reading theater is a sport.  See you next time. 

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.

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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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.

We Got the Beats: the importance of a stage director finding the beats of a play

Hello and welcome to Theater is a Sport.  My name is Bobby Keniston, and I will be your host at this blog.  I am a theater teacher, a playwright, an actor, and a director, and I hope to share with you some things I have learned over the years.  No big whoop. 

Today, I wanted to talk to all the community theatre and school theatre directors out there about the importance of doing your director's homework.  Some preparation even before you begin will make your rehearsal process more efficient, and, therefore, will make your production run without so many bumps along the way. 

After I have read the play a number of times, I personally work on finding the "beats" in a play.  A beat, when speaking theatrically, is related to the timing and, more imporantly, the movement in a play.  A beat alters the way the protagonist, or, really, any other character pursues their goals, and, in some cases, how they behave.  I think it is smart to think of a beat as a transition--- in fact, it is any change in a script, and there are many. 

Why is it important to find beats in a play?  Well, for a director, it is essential, because it not only strengthens the director's awareness of the script, but also allows him or her to break the play down into rehearsalable pieces, enabling everyone to see not only the forest, but each individual tree as well. 

I think is important to note that every director is different.  In fact, you could give 10 different directors the same script, and they would probably all determine a different number of beats in a play.  Having said this, I do think they would all be in agreement about the really important beats.   In fact, some directors may even create some beats that they find important for the show, by staging certain business that may not be completely fleshed out in the script.

Here are some tips for determining beats:

1.  Remember, a beat is any kind of significant CHANGE in the direction of the play.  So, when it feels like something has shifted in the scene, you are probably sensing a beat changing.

2.  Whenever a new or returning character enters or exits, that is usually a good indication that a new beat is starting, or an old beat is ending. 

3.  Changes in lighting as indicated in the script is a good indicator that the playwright feels that the beat is changing.

4.  Set changes and costume changes are clues toward determining beats, particularly if they happen within a scene. 

5.  The start of a new scene is always the start of a new beat as well.

6.  A shift in the subject of conversational dialogue is often a clue that a new beat is starting.

7.  Beats can be very long or very short--- again, much depends on an individual director's intrepretation of a script.  Having said this, most scenes, unless very short, often contain more than one beat.

Let's see if we can find the change of a beat in the following short scene:

JOHN:  Good morning, June.
JUNE:  Good morning, John.  It is good to see you.

(suddenly, a strange whirring sound occurs, and THREE ALIENS enter, grab JOHN and drag him away)

JUNE:  John!  No!
(End)

Okay, so that was pretty obvious, right?  Let's look at another example:

(Lights up on JOHN and JUNE in mid-conversation)

JOHN:  I'm not trying to antagonize you.  I love you.
JUNE:  I know you mean well, John...
JOHN:  Wait, no, that's not fair, I do more than just MEAN well...
JUNE:  You know what I mean, John.  (sighs)  Do you remember when it was easy?
JOHN:  What?
JUNE:  This.  All of it.  Getting up in the morning, kissing each other goodbye, talking to each other at dinner... all of it.  Being in love.
JOHN:  We ARE still in love.  Aren't we?
(Pause)
JUNE:  You know I love you, John. 
JOHN:  But what about being in love, what about that? 
JUNE:  (softly)  I don't know.
(Pause)
JOHN:  Well, let me know when you do.  (starts to leave)
JUNE:  Don't walk out on me now, don't...
JOHN:  (spinning back around)  What do you want me to do?  What do you WANT, June?

Okay, so this is a bit more of a complex scene.  Let me know where you think the beats are in the comments below, and we can talk about it.

Thanks for tuning in to theater is a sport.  If you would like learn more about me, you can go to www.brookpub.com, www.histage.com, www.hitplays.com and www.playscripts.com and search for me, Bobby Keniston.  You can even read free samples of my plays on these sites.  You can also find Theater is a Sport on Facebook by going here:  https://www.facebook.com/#!/TheaterIsASport

Until next time, remember that having the beats is important, and alos remember that theater is not only a craft and artform---it is also a sport.

How To Bring Theatre to a Community

My Student, Claire Hamlin, sent this to me.  I like it.  (Note:  Theater is a Sport is in no way affiliated with HBO or Game of Thrones)

Hello ladies and genltemen, and welcome to Theater is a Sport, where I talk about why theater is an important part of our lives and culture, and, of course, why theater is a sport.  My name is Bobby Keniston, and I am an actor, writer, director, and all-around drama-geek, and I have spent most of my life either writing for the stage or acting on one.  This blog is intended to share a little bit of what I've learned along the way.  Now, I want to stress that my advice is no the only advice on the subjects I choose--- it is all just stuff that has worked for me.

Today, I would like to talk about how to bring theatre to a community.  I've talked often about why it is important, so, why not move on to how to go for it... Remember, I am talking about community theater in this post, non-Equity.  I am also talking about a group putting on their very first show, before things move into areas of applying for non-profit status or not, etc.

THINGS YOU WILL NEED:
1.  People who are interested in putting on a show
2.  A script, either original or a published script available for licensing
3.  And extension of number one--- actors, a director, and any other staff that is required.
4.  Some simple marketing
5.  Time
6.  Some money
7.  a location to perform and a location to rehearse
8.  A name for your group (this is somewhat optional, but a very good idea)

THINGS YOU DON'T NEED, NO MATTER WHAT ANYONE TELLS YOU
1.  Fancy lights
2.  Fancy costumes
3.  Expensive sets and props
4.  An actual theater (the building)
5.  A stage

So let's go through some of these points one at a time, shall we?  Let's start with THINGS YOU WILL NEED:

1.  PEOPLE WHO ARE INTERESTED IN PUTTING ON A SHOW
Unless you want to start by putting on a one person show (and, yes, plenty of them exist), and take care of every single detail yourself (which is a lot of work), it is a good idea to have a group of friends and like-minded people to help you put on a show.  Who do you choose to help you in this endeavor?  Well, that's simple:  people who are interested, and, if possible, people who's thoughts on theatre are similar to your own.  People with the same aesthetic sensibilities is a plus, people who are into the same kinds of play, etc.  It is also nice to work with people who have had some experience with theater, either onstage or offstage, in any of the major elements of the craft.  At the same time, it is also a plus to have nice people who may have no experience, but who are eager to learn and grow and just help out all-around.  I can't tell you how valuable someone eager to learn is to a production--- they put their heart into it every time, because everything is new to them.
This group of people is going to end up feeling like an extended family.  You are going to be depending on each other a great deal in this endeavor, leaning on one another, and working hard.  So it is important that you all accept one another and your quirks.
A final note:  it is a good idea to have a group of people who's intention truly is "putting on a show" and not some grander, vaporous goal of single-handedly providing culture to a community.  Remember, the job is to put on a show for the audience, not to feel superior to the audience (or your co-workers).  This is important.

2.  A SCRIPT, EITHER ORIGINAL OR PUBLISHED AND AVAILABLE FOR LICENSING
Script selection is important for the very first show you decide to present to a community.  This group of people you have brought together should all be interested and somewhat excited about whatever script is chosen to produce.  Once you have decided on a script, you need to license it and pay royalties for it.  If it is an original by a local playwright, maybe they'd be interested in waiving any kind of royalties for the joy of having it produced, who knows?  In any case, make sure you work out an arrangement with the playwright of an unpublished script.

3.  AN EXTENSION OF NUMBER ONE:  ACTORS, A DIRECTOR, AND ANY OTHER STAFF THAT IS REQUIRED
Yes, you will need actors and a director, obviously.  If you are starting with your group and want to take care of it all in-house for the first production, that is quite all right.  Otherwise, put in a press release about having auditions, and secure a space to have auditions for actors (Church and Library basements are pretty cheap for this kind of thing, or, if you have connections to a school where you could use a room for free, go for it... in fact, any space you can use for free is a good idea, outside of a residence {only use a residence as a last resort})   So, you've got actors.  The director most likely is the person who wanted to start this whole thing to begin with... not necessarily, of course, but I would assume it is at least someone from this initial group of people.  You also need to determine, based on your location for performance and budget, if you will need lighting people, set construction people, box office people to sell tickets and baked goods, costume people, etc.  If this is a bare bones project, and there's nothing wrong with that at all, most likely everybody involved is going to be helping out with all of these things.  There is a great joy to Theater by Any Means Necessary.

4.  SOME SIMPLE MARKETING
Again, this depends on the venue and the goals you wish to achieve.  If the goal is as simple as making your money back with maybe a little extra to bank for another production down the road, your marketing does not have to be a huge endeavor, but work should be put into it--- posters, of course, press releases, maybe even a simple, cheap ad in the local paper, fliers, Facebook event pages, e-mails to everyone you know, and any opportunity for exposure, pretty much.  If a reporter wants to interview and photograph you as you rehearse, say yes, obviously.  If you have a hometown radio station, even if "Nobody listens to it!", see if you can get an on-air interview.  If it is appropriate in content, advertise through school announcements at the local institutions of learning.  Get everyone who is part of the project involved in speading the word.

5.  TIME
Don't scrimp on this, because it doesn't cost you anything, and it is very important.  Your first venture may not have a lot going for it, but what it does have is time.  Take the time to rehearse, take the time to set things up as they should be.  Don't feel the need to go from auditions to perfomance in two weeks.  It's community theater, remember--- you're not trying to make backers their money back as quickly as possible.  You're trying to help bring some art to the community, so it is important to make sure that it is polished art that people can appeciate.  Don't rush.  Do it right.

6.  SOME MONEY
Yes, you will need some money.  How much depends, yet again, on your location and your goals.  If you are performing in a Church basement or Library community room, the rental is probably rather inexpensive.  If you are trying to rent a big theater with professional quality lights, a huge stage, and 250 seats, your rental fee is going to be very high.  I suggest for the first venture to start small:  Granges, Legion Halls, maybe using a local school stage, are all fine ways to begin introducing your community to your theater group.  They are cheaper (maybe even free upfront for some of them), and that's not a bad thing.  The less overhead the better.  REMEMBER:  expansion comes later, if at all.  It is no less noble to have a play in a drained out swimming pool than it is to have it in a fancy schmancy theater (don't get me wrong--- those are nice too, but no more noble).
Other expenses, again, dependent upon goals:  set pieces, costumes, royalties for the script (probably pretty cheap if you're in a small locale), posters, fliers.  Note:  no one should be getting paid in your first venture.  This is a labor of love, remember.  Also, it is important to get as many things like set pieces, props, costumes, etc., donated if possible.  That's why it is good to have a wide variety of people with a wide variety of skill sets in your group.
Don't be afraid to make it cheap (more on that later).  Be rich with time and precision, but it's okay to be cheap with other things.

7.  LOCATIONS TO PERFORM AND REHEARSE
As I have suggested, it can humble locations, and there is nothing wrong with that.   I personally think it is exciting to perform theater in locations that you wouldn't necessarily first think of to perform theater.  Maybe put it on in a public park, or in an vast parking lot, who knows?  Point is, you do need a place.  For rehearsals, again, I would recommend reaching out local schools, Churches, and other kind organizations with many rooms that might be able to let you use a space for little or no money. 

8.  A NAME FOR YOUR GROUP
Yeah, maybe this isn't required, but it is good to brand yourselves right from the start. 

Okay.  On to things you don't need:

FANCY LIGHTS, COSTUMES, EXPENSIVE PROPS AND SETS, AN ACTUAL THEATER, OR A STAGE

Here's the thing:  audiences like to use their imaginations.  Shakespeare knew it, just look at the first speech in Henry V if you don't believe me.  The most important thing about your first production is to put on a solid show with honest, relatable performances by people who obviously care about it.  Get your audiences used to that right from the beginning so they always appreciate it... because, honestly, that's what matters.  Flashy razzle dazzle is nice and enertaining, but it doesn't hit the heart the way honest theatre does.  The flashiness if for expansion, and to heighten the honesty and vision, not to substitute it.  And you go do it without.

Thanks for tuning into Theater is a Sport.  Hope you found this all a bit intersting. 
If you want to learn more about my plays, check out www.brookpub.com, www.histage.com, www.playscripts.com and www.hitplays.com, and search for me, Bobby Keniston.  Read some samples.  Have fun. 

See you tomorrow, and remember--- theater is a sport, and honesty is better than razzle dazzle money any day when it comes to putting on a show for your community.