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.

MY PROM DATE WAS A FELON, featured play in this month's Brooklyn Publishers' Newsletter!

Greetings, loyal readers of my blog!

I wanted to let you all know that my play, My Prom Date Was a Felon, is the featured play in Brooklyn Publishers' October newsletter.  If you click HERE, it will take you directly to the newsletter where you can read a new essay I wrote about the play called How This Playwright Finally Went to the Prom (all about how I can live vicariously through my characters), and, until OCTOBER 9TH, you can download a FREE perusal e-script of the play!

As many of you regular readers already know, this is a play that I am very proud of, and I am so excited that this newsletter is giving people a chance to learn more about it and to even read it for free!

I would be remiss if I did not mention that this newsletter also has information and synopses of many other great plays for schools and community theaters, including plays by some of my playwriting pals.  In fact, I'd recommend signing up for the newsletter so you can always see the great stuff that's coming out from the many talented folks at Brooklyn Publishers (who published my very first play and got me started in this business!)

All righty.  I guess that's it.  Again, you can follow the link above, or, hey, I'll make it simple, and say that you can just click HERE!

"BREAKING BAD" Finale and Greek Tragedy: A thank you to Vince Gilligan

BELOW IS MY PERSONAL ANALYSIS TO BREAKING BAD'S SEASON FINALE.  IT CONTAINS CRUCIAL PLOT POINTS (SPOILERS).  IF YOU HAVEN'T SEEN THE FINAL EPISODE YET, DO NOT READ THIS POST.  I DON'T WANT TO RUIN SOMETHING I CONSIDER TO BE ONE OF THE MOST BRILLIANT PIECES OF TELEVISION DENOUEMENT I'VE EVER SEEN.  (BY THE WAY, I POSTED THIS ON IMDB THIS MORNING, BUT WANTED TO SHARE IT HERE, TOO.)

YOU'VE BEEN WARNED. 

ENJOY.

I suppose the mark of any great work of art is that it is divisive, though I must confess I was surprised to see so many people dissatisfied with "Felina". I personally believe it to be a most stunning and fitting denouement to a series that truly deserves comparisons to a Greek Tragedy.

Part of the issue that seems to be sticking in a lot viewers' respective craws is that the series finale was "predictable". "Lydia and the ricin", "Walt going after Jack and the gang", are two big points people are making as arguments. But I ask these people: the foreshadowing with the gun made it clear long ago that Walt was going after somebody, and really, by this point, who else would he be going after with that kind of firepower? And Lydia and her tea has also been foreshadowed abundantly. Now, I think most fans must confess that Vince and all of the other writers on "Breaking Bad" are pretty clever, right? So isn't it logical to assume that perhaps they wanted us (the viewers) to know, or at least strongly anticipate these two plot points?

Here's the deal: "Breaking Bad" has been about a man backing himself into corners and finding a way out for five seasons. The writers have provided more amazing solutions than I could have ever dreamed of. However, the reason "Ozymandias" was so satisfying, at least to me, was to finally see the tragic hero with no other corners, no other solutions. He had to run.

After "Ozymandias", in true Greek Tragedy fashion, there was nothing left but denouement and catharsis. And "Felina" provided this. Big time.

In a sense, because "Breaking Bad" has such a loyal, rabid following (I am part of that--- in fact, this is the first time I have ever posted on a message board)--- this final season and all of its secrecy has led to a kind of achieved mythology of its own. We have been guessing about this last episode ("Will Jesse die?", "Will Jesse Kill Walt", and a million other things), and, of course, we all perhaps believed that this was going to be one more corner and one more clever solution we didn't see coming.

But that's not the point to tragedy. In Ancient Greece, the audience knew how the story ended, but they still went there for the catharsis, to see things tie up. To finish the journey.

And, besides, I don't think people are giving Mr. Gilligan and co. enough credit. There were still surprises, even if, as some people claim, they called how Walt was going to use Gretchen and Elliot (which I personally didn't). I was surprised when Walt admitted that he liked it, that he did it for himself (a tragic hero admitting his tragic flaw). But I think, perhaps the greatest surprise for me was that this finale didn't involve Heisenberg tying up loose ends and taking care of business. It amazed me that Walt came back as Walt. And, no, I don't think that makes Walt any more sympathetic, but merely reminds you of his humanity. He did not come back to be the kingpin, or the badass... he came back to end things on his terms.

And, to die, of course.

This episode, while riveting, was not designed to be "shocking" in the way others have been. Haven't we had enough "shocking" from this show? What is so brilliant about "Felina" is that it is about the inevitability of a person's actions, and following that inevitability. Mr. Gilligan gave us a series where the questions were answered... he didn't skimp, he didn't cheat. He delivered a Greek Tragedy, and a final image so haunting of our morally bankrupt tragic hero dying in the arms of his "Felina" so to speak. In the embrace of the only place he ever felt significant.

So, from me, Mr. Gilligan, I simply say thank you.

TIPS FOR ACTORS ON PREPARING A MONOLOGUE

Greetings, ladies and gentlemen, and welcome to theater is a sport. 

I don't know about you, but I love performing monologues (I also like writing them very much, but today's post is about acting).  They're juicy, aren't they?  Not only that, it gives an actor the opportunity to have the undivided attention of an audience for a little while, and to challenge themselves to be as engaging as possible for two, ten, or even twenty or more minutes. 

And, of course, monologues are often used in acting classes and for audition purposes.  I remember nervously learning my monologues when I was auditioning for acting schools, working them until they felt like they were a part of me. 

Below are a few guidelines for student and community theatre actors about preparing a monologue, whether it is for an audition or a performance, a stand alone piece, or part of play. 

MAKE SURE YOU KNOW THE PLAY
If you have taken a monologue from a play for an audition or acting class purposes, make sure you have read the ENTIRE play before performing the monologue.  This is vital in understanding where the character is, what there goals are, what they have done so far to achieve them, what obstacles are in their way... all these great questions you need to know the answer to in order to create a compelling performance. 

DEVELOP YOUR CHARACTER
Again, if you are doing a monologue for an audition or for an acting class, you need to develop a character just as you would for an entire play.  You need to develop an appropriate voice, walk, physicality, motivation... in short, all the stuff you would for a standard play. 

WHO IS YOUR CHARACTER TALKING TO?
Obviously, this is important.  Is your character talking to an unseen character?  Are they breaking the fourth wall and talking directly to the audience?  Are they talking to an unseen video camera for a documentary?  Are they talking to themselves, thinking and feeling out loud?  You need to know who you're talking to in order to sharpen your character's intentions. 

WHERE IS YOUR CHARACTER?
Obviously, this is very important as well.  People behave differently when in a library than when in a grocery store.  Or in a bedroom or in a Laundromat, etc., etc. 

WHAT DOES YOUR CHARACTER WANT?
This is a question that an actor should be aware of always, monologue or not, because a character is a collection of wants, and the actions they perform to achieve what they want.   In a monologue when it is just you speaking, it is so important to be precise in what your character wants.  Otherwise, why bother even have a monologue?  Your character needs to earn their speeches, remember.

BE CONFIDENT IN YOUR MEMORIZATION
You may not believe what I'm about to tell you.  In fact, you might be thinking, "Bobby, you're crazy."  But I have found, in my experience, that memorizing a monologue is actually quite a bit easier than memorizing little tiny lines that pop in here and there throughout a play.  Having said this, it is important to be confident in your knowledge of the piece.  The last thing you want when trying to engage an audience, teacher, or casting director, is to be thinking..."Oh, no, what's my next line".  You want to know your monologue cold, so that you can stay in the moment as much as possible.  I have always found it helpful to test my memorization by writing out the monologue... more than once.  And, of course, you should be running through it a great deal... a very great deal.  Over and over and over.

And most importantly...

YOU ARE NOT ALONE WHEN YOU ARE PERFORMING A MONOLOGUE!
Just because you are acting by yourself, it doesn't mean that you are not connected to others... your AUDIENCE is your scene partner.  You can play off of their energy as you would another actor onstage.

I hope you have found these tips somewhat helpful.  I know, from my experience, that they have always helped me. 

Until next time, please remember... Theater is a Sport.  Sometimes even a solo sport.

To learn more about my work, please click HERE, or HERE, or HERE, or HERE.

FEEDBACK: Praise and Criticism

Hello everyone and welcome to Theater is a Sport. 

Here is one e-mail I received this last Friday (note:  I did not change a word):

"Hi I think this is how I reach Bobby Keniston?  I am the Director of Theatre at St. Paul's School and am interested in producing The Re-programming of Jeremy.  I would like for you to guide me through the process of achieving the rights?

Would also love for the playwright to possibly come in to discuss the process of writing this fine piece.

David"

This obviously made me feel good.  Especially the part about "the process of writing this fine piece."  The play he is talking about, The Re-Programming of Jeremy, is an unpublished piece I am very fond of, and I'm very happy this nice gentlemen David liked it and wants to produce it.

Here is another e-mail I received on Friday, this one by a seventh-grade actress (I also did not change a word, though removed her last name):

"I recently purchased the end of the movie to preform in a forensics competition and received it in the mail today. I am a little confused by the ending, all if that leading up to one line changing his decision. It diminishes then piece and takes away drama from it. My friend and I are disappointed to preform it and wish it had ended another way. Could you explain what you were thinking?

Taylor  (a seventh grade actress)"

Obviously, this second note stung a little.  As a writer, you want to please people who read your scripts (particularly a young person).  It's not easy to read about two young actors being "disappointed to perform" something you've written. 

Now, I responded to David, thanking him very much for his kind words.

And I responded to Taylor as well... THANKING her as well.  I thanked her for reading my script and taking the time to write to me, and then, to the best of my ability, answered the questions she asked me.  I have no idea if I'll hear back from Taylor, or if my answers are going to help her see the play in a different way and like it better, but, I feel I owe it to a reader to write back if at all possible.  I'm fairly certain that Taylor, being in seventh grade, perhaps didn't realize that she was a little direct with her criticism.  To be truthful, I was sort of delighted by her message, considering she how young she is, and how her criticism of my play was well thought out, and obviously she had read the piece in its entirety and thought about it.  Good for her!  It's cool to think about a 7th grade actress taking it as seriously as she obviously does, and I do hope my response was met in that same serious spirit. 

I so rarely receive correspondence about my work, that getting two messages on the same day was very exciting, the good and the not-so-good. 

So... what's the lesson?

Well, to start with, always be appreciative of the feedback of your work, so long as it is clear that the person has truly read or watched your work and thought about it.  Had I received a letter just saying that End of the Movie is stupid and that I'm obviously a bad writer, I wouldn't have even considered a moment in writing back.  But this letter I received was thought out.  My response to her was in no way defensive, but, rather, appreciative of her thoughts, and, attempting to give my thought process in why I made the choices I made in writing the piece.  And, of course, I have had SO much positive feedback for End of the Movie, that I feel very good about the piece.  It was almost somewhat refreshing to read a differing opinion. 

So, appreciate the feedback you receive, good or thoughtfully critical.  After all, it's still a person who is taking the time to read (or view) something you have created. 

And that, ladies and gentlemen, is all we can really ask for.

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

BREAK A LEG!: A look at this Theater Superstition

Note:  I am in no way affiliated with HBO or "Game of Thrones".... a wonderful student named Claire Hamlin sent this along to me!

Greetings, ladies and gentlemen!  Let's talk superstition, shall we?

There are MANY superstitions involved with the theater, but today I'm going to talk about what I believe to be the most common--- saying "break a leg" as opposed to "good luck".  As most people who have been in  a play know, it is supposedly bad luck to say "good luck" to a performer.  Instead, the term you use is "Break a leg."  (Mel Brooks has an entire song dedicated to this superstition in his musical, The Producers).

Indeed, in my experience with theater, I know people who are truly HORRIFIED if someone tells them good luck.  I have never been the type to be overly superstitious (not really--- I have my own superstitions and rituals I like to perform for myself, but I don't freak out over too many of the traditional superstitions).  Nonetheless, I do not ever tell my fellow cast members "good luck"--- I obey the terms as set down by history.

The questions then becomes this:  where did "break a leg" come from?

Interestingly enough, I have found several explanations for this expression, and the actual answer is not truly known.  Like all things that have a certain mythology around them, the true origin will most likely remain obscure. 

But here are some thoughts:

1.  In Ancient Greece, it is said that, instead of applauding, audience members would stomp their feet.  The more they enjoyed a performance, the harder they stomped.  Thus, if they stomped hard enough, they would break a leg.  So, really, perhaps what we're telling actors is to do a good enough job to hurt someone who paid money to see the show.

1A.  This one is close to the Ancient Greece explanation:  in Elizabethan times, they say audiences, instead of applauding, they would stomp their chair legs... if they liked the show a lot , they might break the chair leg. 

2.  In Ancient Rome, during the gladiator days, they supposedly had a term that the audience would shout out to a gladiator they liked, wishing them to merely be crippled as opposed to being killed.

3.  Some say it has to do with bowing.  Bowing, traditionally, consisted of putting one leg behind the other and giving a little kneel, thereby, "breaking the line in the leg".  Hence, breaking a leg. 

4. The answer I always heard growing up was something completely different, but, for the life of me, I can't find any written documentation of it.  It was told to me by an elder actor, and, I have since told it to many people.  But, in doing my research for this post, I could not find it written anywhere.  Nonetheless, I will tell you, because I am quite fond of this explanation:
I was told that the expression came from raked stages, where upstage really went up, like a little hill.  Thus, if you were standing right on the steepest area of the stage as it moved up, you would have to "brake" your leg to keep from losing your balance ("brake" in this case being like a car "brake" as opposed to a "break").  Over the years, I was told, the expression, which started as "brake a leg", became "break a leg". 

In any case, the expression did not become popular until the 1920s, and was never mentioned in print until the 1940s.  In this regard, it is still rather a young superstition. 

However young it may be, it is highly respected, and I would say to all you laypeople who have loved ones about to perform in a show:  never say good luck.  Break a leg, break a leg, break a leg.  It might seem silly, but theater is a world of pretend, and in this world of pretend, superstition can become very, very real. 

Until next time, thanks for reading this post.  To all my performer friends out there:  break a leg, and remember--- theater is a sport.  So try to avoid any real injury.