A Life in the Arts

Guest Blogger – Raeleen McMillion

We are very excited to share the thoughts and stories of our guest blogger, Raeleen McMillion, on the HonesThespian blog this week! In this post, Raeleen discusses how a life in the arts has a ripple effect on generations of society.

I have spent my entire professional career working in/on/around/with theatre. And just like a lot of theatre folk, it began when I was very young. My father wrote a poem for me when I was three years old— it had lots of big words in it like “Czechoslovakia” and “cyclops” and “effervescent”—and my parents got me to memorize it and then would trot me out for visitors who listened to my recitation and who, I assume, applauded politely. Oh! The seduction of applause! Right? And the teaching started early, too: my younger sister was easily convinced that playing the role of my student was fun! An audience of one is still an audience, after all. And the really miraculous, marvelous, wonderful thing is that it all just fit together! It still does. I know that I am a better artist because I am a teacher; I know that I am a better teacher because I am an artist.

So, sometimes when I take the time to ruminate on my good fortune at never having to search for a career path (like when I sit down to write a blog spot offering for a lovely young artist like Matt), I am in awe of my good fortune, and grateful for my smart choices. Because I have met some of the most unbelievable humans who have big hearts and generous spirits, and who focus on contributing something positive to the world we live in. But I guess I can assume that if you are reading this, you are already an appreciator of theatre, and need no convincing on that point!

I used to hear theatre professionals say to young people, “If you can do anything else, do it. Theatre is rough!” That comment makes me cringe a little. I think most of us would agree theatre can be rough on us, but holy cats! Why would anyone want to discourage anyone from dedicating their professional life to the arts?

And boy-oh-boy do we need theatre! We need to share stories, and share experiences, and lift each other up, and decry the evil-doers. We need to give people a reason to laugh and a reason to act; we need to help them imagine better ways to be in the world. We need to nurture empathy, and provide a salve for pain. We need to encourage listening. We need to provoke thinking and indulge feeling. And when we gather in a theatre, we can share these things we need by looking around the room to see others with these needs. We need the connection—we crave it! And like a pebble dropped into a pond, the ripples extend beyond that moment. And if you can be part of something so much bigger than yourself, then that, my friends, is a noble calling.

And, yeah, theatre can be rough. I mean, who else has to keep applying for the same job every 6-8 weeks, ferpete’ssake? Money can be tight, that’s no secret, and there are bad experiences out there. Honestly, I think we (theatre folk) sometimes like to dress up bragging so it sounds like complaining. “My work is SO challenging” = “look at me, I am surviving and thriving where other people have crashed & burned”. And yet, I must admit there are mean critics, long stretches without a show, ruthless climbers willing to step on your head, some bad plays, and some really bad directors. Long hours, low pay, challenging schedules, difficult relationships…So, ok, it’s rough sometimes. I still believe theatre is a noble calling. I really do, and if you’re headed in that direction, I really hope that you do, too.

And here are some thoughts to help you help yourself get through the rough spots.

1. Find three people who you respect as artists AND human beings. Go to them for support and seek out their critique. They must be honest with you or it’s no help. You should seek out their counsel and be prepared to listen to it. Note: Have these chats after your show closes.

2. Getting unsolicited critique? If not, you will. Just about everyone will have an opinion about your work. It’s the nature of the beast! Many of them won’t have any idea what the heck they’re talking about, but they will feel entitled to tell you how well you are doing or not doing, your job. I recommend smiling & nodding while making a mental shopping list for the ingredients to make a good lasagna. Some people who do understand your art and craft may also offer you “free advice”. Sort through it. Discuss the comments with your three dedicated feedback friends so they can help you sort through it. Or do the lasagna thing.

2.5 If your family & close friends don’t understand their roles in your theatrical life, you may have to teach them: their job is to support you. It seems to me you have a couple of choices—either re-direct: Auntie Mabel, please tell me how to make that pumpkin bread that’s so delicious! or straight-up ask them to stop giving you unsolicited feedback: Sorry, Ma, but I can’t handle criticism about my work from you. It’s too difficult for me to process. You might also offer them examples of responses that would help you feel better about your difficult choice to be an artist: You are a great brother, so you can just tell me I’m amazing and leave it at that, ok?

3. Take really, really good care of yourself. Treasure the artist heart in you. Take a walk in the rain; visit a museum; buy a coloring book and crayons—the big pack with the sharpener in the back! Sing to your cat, dance, bake, sew, play board games, work a jigsaw puzzle! Daydream. Read. Write. Create.

So, go ahead—take the plunge! Dedicate yourself to working in/on/around/with theatre; it’s one thing you’ll never get too old for, and one thing that the world will always need—in my not-so-humble opinion. And please bring bold & brave choices to your work. Every time. Yes, it makes you vulnerable, but that’s usually where the good stuff is. Not everyone will understand it or appreciate it, but there are some of us who will be very grateful. There will also be a lot of people who will benefit from the art you put into the world, even though they may not have a clue. Do it anyway; just because you can.

Thanks for reading this. Keep making bold & brave choices! Keep making the world a better place!

 

Raeleen McMillion graduated with an MFA from Ohio University’s Professional Actor Training Program and then moved to Milwaukee—it’s a happy, long story—where she has been doing all sorts of theatre-related work for a long time now. She helped start a theatre company called Renaissance Theaterworks that focuses on improving and promoting gender equity in professional theatre, and she also got to be a member of the original faculty with First Stage Theatre Academy. She directs once in a while, continues to act occasionally, is a dialect coach frequently, and teaches full-time at UW-Milwaukee’s Peck School of the Arts.

What’s Raeleen up to during the 2017-2018 season?
Dialect/Vocal Coach: DEATHTRAP, FRANKIE & JOHNNY IN THE CLAIRE DE LUNE, & DOUBT at Milwaukee Chamber Theatre; RUSSIAN TRANSPORT & TOP GIRLS at Renaissance Theatreworks; MAJOR BARBARA, 12 OPHELIAS, & 9 to 5 at UW-Milwaukee. Director: BOOK OF DAYS at UWM. Actor: MIRACLE ON SOUTH DIVISION STREET at Milwaukee Chamber Theatre.

 

What’s at your station?

Dressing rooms are those magical places where we transform into character, use our Neti Pot, and sometimes catch a few winks of sleep between performances. Each actor has their own unique way of setting up their dressing room station. HonesThespian Expert Panelist, Bridgette Karl, reveals her dressing room necessities in this week’s post.

Bridgette Karl’s Dressing Room Checklist:
• Cards from my friends. Whether they are birthday, just because or see you soon cards, they always hold a deep meaning to me.
• A water bottle, sometimes a mason jar filled with water or a mug with tea.
• A picture or two (family and friends).
• All my makeup. My mom made me a cloth makeup brush holder that rolls up all my brushes. It’s made out of this tacky, leftover flowery-patterned cotton material. It’s so tacky, I LOVE IT.
• Music. I generally have some tunes playing at my station before I perform. Music feeds the soul!
• I was on a contract one time, staying with a host family, and the mother gave me this incredible robe from Vietnam…it makes me feel like Marty from Grease. I wear it backstage all the time!

What does your dressing room station look like? Comment below.

Next week, our first-ever guest blogger, Raeleen McMillion, will write and start a conversation about how a life in the arts has a ripple effect on generations of society. Be sure to follow the HonesThespian so that you never miss a post from one of our guest bloggers.

Don’t forget to enter our “Me Time, Showtime!” Giveaway by February 3, 2018.

Company Spotlight: TampaRep

Regional Theatre Company Spotlight

HonesThespian’s first spotlight company is Tampa Repertory Theatre. TampaRep presents classics, known and unknown, with a special emphasis on American plays of the 20th and 21st centuries. They create productions that are innovative, provocative, and classic. TampaRep is an incorporated professional, nonprofit 501(c)(3) theatre company serving the Tampa area since 2011. I recently attended Gnit, TampaRep’s second production of their seventh season.

As noted in the program, Gnit is a “loving but aggressive adaptation of Peer Gynt.” The production featured strong character work which included impressive physical choices for the plethora of characters that the six cast members portrayed. I found the play to be extremely relevant in our current, impatient “now” culture that social media has created. There are countless poignant moments in the production, but one specific phrase that stood out was, “We’re all the wrong thing. But here we are, together.” The play captures the frustration and anxiety that accompanies questioning our authentic self and the meaning of life.

I caught up with three members of the Gnit cast after the performance. Jon VanMiddlesworth, Lauren Buglioli, Jonelle Meyer and I chatted about TampaRep and the regional theatre industry as the lobby buzzed with enthusiastic patrons.

Why is a vibrant regional theatre scene important?
Jon: The idea is to bring the current plays that you would see off-Broadway or around the world, maybe in London, to a more localized audience. It inspires the talent in the area.

Lauren: I lived in New York and loved the experience that I had there. I kind of lost the plot in the bigger cities. For me, it was a happy accident to find the theatre community here [Tampa, FL] and it’s changed my life. It’s recognizing that there’s fantastic work all over the country and it’s not about location. It’s about the work and about being fulfilled and doing what works for you versus what you’re fed as this “ideal dream.”

 

What makes TampaRep special?
Jon: TampaRep presents plays that inspire people. They seem to choose really smart plays that challenge the intellect of the community. There is a very specific mode here and it seems to be focused on more the written word, which is the basis for the spoken word, which is the basis of all theatre.

Jonelle: He [Director, C. David Frankel] really let me play, he let me try things, he didn’t let me feel like I couldn’t explore these characters. I play eleven people in Gnit and I want everybody to have a specific voice, specific mannerisms, specific walk. It was nice to really be able to play and get to use my strengths. Something that he really drove into us was making sure you maintain the realness of those characters because the truth is what makes them funny and what makes them interesting. It is a play and you should be allowed to play and that keeps it fun for you.

 

What advice would you give to emerging actors as they enter the industry?
Jon: Breathe, listen and remember that it is a very sacred space.

Jonelle: Keep trying if you love it and if you love it enough, that means you’re probably good at it so, you’re not going to fail. Find what’s right for you. Work can be limited so, you have to know your type. You have to know your strengths. Go see a lot of stuff. Go see the things in the area that you plan on being in. Learn what the styles of the company are. What’s the thing that they do the most? I mostly do comedy and look for the companies that are going to do a farce or fit my type.

 

Why is it important to present plays like GNIT around the country?
Jon: I always think of it as a meditative space for the audience. It takes their mind on a journey and a smart writer knows how to do that, and Will Eno is a ridiculously smart writer.

 

Visit http://www.tamparep.org to learn more about TampaRep and their production of Gnit.

Personal Practice

What is your Personal Practice?

Jerzy Grotowski, a theatre director and theorist, encouraged the development of an actor’s personal practice. He believed that a creative act only flourished if nourished by the living organism. In his statement of Theatre Laboratory principles Grotowski said, “We are obliged to take daily care of our bodies, so we are always ready for our tasks. We must not go short of sleep for the sake of private enjoyment. We must not come unable to concentrate. The rule here is not just one’s compulsory presence in the place of work, but physical readiness to create.” This week, our Expert Panel reveals their personal practices as they strive to maintain a healthy and focused mind, body and voice. Feel free to “steal like an artist” from our Expert Panel as you develop your own personal practices.

 

Josh Hayes:
The number one thing that I need to make it through a show week is communication with my family. They are my driving force that keeps me motivated and ready for anything! For my body and mind, I have to work out at a gym at least 3 times a week or I just don’t feel like myself. I’ve been a member of Planet Fitness for a little over a year now, and I am in love with their judgement free moto. There is literally a gym everywhere in the states. Working out gives me stamina and strength to make it through an 8-show week!

For my soul, I like to do a spa at home aka “spoil myself until I feel special” day. I will start out with deep conditioning my hair and putting on a charcoal and sugar face mask. Then I get myself a nice glass of Moscato and sit on my couch while all my favorite songs are playing in the background on my “Joshy Time” playlist. I have a really awesome foot soaker that has a massaging and bubbling feature that is to die for! I do this “Joshy Time” ritual once a week and it always makes me feel special and ready to get back on stage. Sidenote, when I’m not in the mood for wine, I like to have a hot cup of throat coat tea!

 

Lindsay Nantz:
My personal practices include making a cup of tea (before and after a show), steaming, and doing a short warm up while steaming. It depends on the show, but I’ve definitely meditated during a stressful tech process. I also copy Sierra Boggess in that I have a bag of positive words I pick from every day to give me a focus word.

 

Bridgette Karl:
A couple of my personal practices are probably my morning cup of coffee and working out. I am a huge fan of my “me” time in the morning, it’s my favorite time of day. The coffee warms up my soul and the conversation that coincides warms up my brain and starts my day on the right foot. After that, I generally consult my calendar/to-do list, organize my day and get crackin’! (OH! If I wake up and my voice feels a little gravelly or off, I will steam and sing a light airy song to warm up my voice. My go-to is literally anything on the Cinderella cast album – I WILL be Lord Pinkleton in a MisCast production somewhere, someday! lol).

Working out is also a really important part of my everyday life. But I do think there is a misconception with working out and body image. I don’t work out because I have to, or because I want to stay fit (I mean those come with it, sure) but, I work out because I want to! I consider it an activity, it should be fun. Cynthia Erivo, during The Color Purple, really inspired me when she said something along the lines of how she will wake up and warm her body up before she warms her voice up. She said if her body isn’t warm, how is her voice or her head supposed to be, it’s all connected (That’s all paraphrased, but you get it). I’m also a huge fan of endorphins. Elle Woods said it best, “Exercise gives you endorphins, endorphins make you happy and happy people just don’t kill their husbands!”

I am so much happier and less stressed on the days I can get to the gym OR my breath and mind are so much more in line on the days I can do yoga – in my room or at a studio. And, in general, I surround myself with REALLY GREAT friends. That is a huge part of my personal practice for life as well as my career. You tend to start acting like the people around you when you spend so much time with them (whether you like it or not) so, I try to choose genuine, motivated, positive people to surround myself and associate with!

 

Matthew McGee:
I’m always on the go and work a few jobs so, I try to find little mini-vacations throughout the week. It’s often along the lines of, “oh look, I have the morning off” or “my lunch break is 12-3 and that means I can have a nap.” I don’t smoke or drink and I take medication for acid reflux. This means I do what I can to keep my voice healthy. It’s a must!! I like to go to bed early and get up early. I listen to books on tape through my headphones or in the car on my commute. My favorite times of the day are the moments spent with my dog. I make as much time for him as possible. I often bring him with me to rehearsals or on gigs. I walk him right as we get up in the morning, then I like to read the news on Twitter, check my social media accounts (another must!) and have my coffee.

January 2018 News

Hello HonesThespians,

I hope that you have enjoyed reading our recent posts about choosing audition material and the average weekly earnings of a regional theatre actor from last year. If you loved hearing our tips and insights, consider following the HonesThespian by entering your email in the box at the bottom right corner of this page. A post detailing various theatre odds and ends will be published monthly. These posts will also include information on where you can see our Expert Panel performing around the country.

 

Podcast Spotlight
I am listening to several podcasts at the moment and wanted to highlight an excellent series of episodes from the Stage Hackers podcast. I caught two episodes on a flight to Chicago and highly recommend that you download them or subscribe to Stage Hackers asap! Episode 25 features a round table discussion on Austin Kleon’s book, “Steal Like An Artist.”

Check out Episode 25 of the Stage Hackers podcast by clicking the link below.
http://www.stagehackers.com/show-notes/steal-like-an-artist-by-austin-kleon-part-1-round-table-025

 

Expert Panel Performances
Spending some time in Florida soon? Check out where members of our Expert Panel are performing this month.

Catch Lindsay Nantz in The Marvelous Wonderettes, January 3-February 4, at Alhambra Theatre & Dining in Jacksonville, FL. http://www.alhambrajax.com

Don’t miss Matthew McGee in Shakespeare in Love, January 12-March 28, at Asolo Repertory Theatre in Sarasota, FL. http://www.asolorep.org

 

Theatre for Change Alert
A Necessary Conversation: 47 Reasons to Live & 11:11
January 20th in the Straz Center’s TECO Theater
These original plays look at bullying, gun-violence and its aftermath. The evening production features a talk-back with local organizations and expert speakers.
More Info: https://life-amplified.ticketleap.com/anecessaryconversation012018/details

 

The next Expert Panel post will be published on January 16th.

Have a great week,
Matthew Belopavlovich
HonesThespian Editor

Honest + Thespian = HonesThespian 
/ä-nəst/  /thes-pē-ən/

Bonus Post – Weekly Earnings

What can I expect to make?

Our Expert Panel worked in nine states around the country over the past two years. The figures in this post are averages of what our panelists made from professional contracts on a weekly basis. Several of their contracts also included housing and/or EMC points.

Non-Equity
Low: $217
High: $420

Equity
Low: $512
High: $748

What does Equity mean?
Actors’ Equity Association is the U.S. labor union that represents more than 50,000 Actors and Stage Managers. Equity seeks to foster the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, working conditions and providing a wide range of benefits, including health and pension plans.

Choosing Audition Songs

How do you choose your audition songs?

Lindsay Nantz:
I pick audition songs through several different sources. Some selections come from my voice teacher, who makes sure I have all the categories covered so I’m prepped for anything in the audition room. Other songs I hear friends or fellow auditionees sing and decide, “I should sing it too.” Many of my songs come from callback material that I receive after submitting to a theatre company. Usually they provide me with the sheet music…and it just so happens to be the perfect cut, so it works out marvelously.

Once I decide I need a song in my life, my first source is ALWAYS posting on Facebook. If you have a lot of friends in the industry, usually someone is going to have the music already and will send it to you. (Free Sheet Music, Yes Please!) However, if that doesn’t work, I always buy my music on MusicNotes.com.

 

Matthew McGee:
I work with Alison Burns and Lulu Picart on a lot of my material (www.findyourlightcoaching.org). I tend to pick standards that I can personalize, show range and tell a story with. I rarely, if ever, sing anything that one would consider contemporary. As I’ve gotten older, I’ve been frequently asked to prepare material from a specific show as opposed to pulling out 16 bars. I still have an old rep book with copies of my best audition songs. Many of the tunes I have gotten from original scores, friends’ rep books, and cabarets. I have also used musicnotes.com and am happy with the results.

 

Bridgette Karl:
I’m going to start this by saying, I live in New York, but I moved here from Minneapolis, Minnesota. In Minnesota, there are only a few auditions a year so when it comes to auditioning, I was able to look at the audition requirements in advance and had a month to prepare. Sometimes I would learn a brand-new song that was geared toward that audition. An example of that would be…say it was Little Mermaid, I would find a Disney-ish song that had the same sound, mood, range and flavor as Ariel. I would aim to display more than just the sound of my singing voice and the notes I can hit – that is important, yes – but I want to make sure the energy I bring into the room, my acting and the lyrics of the song match that of Ariel. So when I sing my song, they say, “OH! She would be a great Ariel, I hear it and see it.”

In New York, the process of choosing a song for an audition is different. In NYC you could have four auditions per week, and they would be anything from Hedwig and the Angry Inch to Sound of Music to Waitress (all super different shows, obvi). Therefore, I have an audition book where I have 10-12 songs or cuts of songs that I can sing on the drop of a hat. I pick these songs by looking at the roles that I really want to play and then, find another song that sounds similar/matches the vibe of that role. So, sometimes I’ll hear a song and I’ll think OMG that sounds like “insert musical here,” and I will throw that in my book for when that audition rolls around. Honestly, the songs I have in my book are songs that I just LOVE to sing, and I have one or two in each genre. I will have 2 golden age, 2-3 contemporary musical theater, 2-3 radio or pop/rock songs, a 60’s era song, etc…basically, I have my bases covered so I’m prepared for any audition! OH, and I don’t care if I sing the same song as someone else or if it’s overdone. I’m going to sing and act it better. #SelfConfidenceForTheWin

When acquiring sheet music for a song, I…
a) Ask my friends if they have the sheet music (because sharing is caring).
b) Type in Google search, “She used to be mine Waitress sheet music pdf free” (or a variation of that).
c) Visit Music Notes…because sometimes the convenience factor is worth the $5.50. I have actually filmed an audition using the accompaniment that the website provides to help you learn the song. It’s not ideal, but it worked! #bookedit.
d) Visit the LIBRARY! You can order full scores to your library for FREE. It’s brilliant. I have sat on the public library’s website with my cup of coffee, searched shows, and asked to have it sent and put on hold at my local library! I think the most I’ve checked out at one time was eight scores. #ItsFree

 

Josh Hayes:
When I’m picking my audition song, I like to stay within the style of the show, but try and find something different that no other male or female will be singing at the audition. I have a “book” of songs that I have learned over the years and refer to them as my “go to’s.” I use these songs when I need to go into an audition and book the gig! I like to Google a lot. For example, I will type, “current songs to sing for men” in the keyword section and lots of blogs and websites will pop up.

The fun part is doing the research. When I say research, I mean discovering what best works for you and your instrument (voice) and what best shows you off as a performer. I buy my sheet music from various sites, but my favorite is musicnotes.com. A word of advice, check with your friends and see what music they have before buying anything. They might have what you’re looking for and you can just make them a baked treat for the price of the sheet music!

From the Editor

Hello HonesThespian Readers,

The idea to create this blog came after having wonderful, honest chats with regional theatre actors and company reps during ten-minute rehearsal breaks and between job fair hiring hours at the Southeastern Theatre Conference. I wanted to create a space where these conversations could be shared with a wider audience. There are several fantastic blogs out there that focus on Broadway performers or “making it on Broadway.” My hope is that this blog becomes a resource for theatre students and working regional professionals alike. I have assembled a panel of four experts that will weigh-in on a variety of topics ranging from average regional theatre weekly pay to life hacks for surviving cast housing and what’s on their warm-up playlist. The Expert Panel will also answer questions submitted through the form on the “Contact Us” page. Members of the HonesThespian blog will avoid criticisms of specific theatre companies or contracts and instead, provide you with tips, tricks, and opinions that will help you make those difficult contracts an enjoyable experience for all involved. We hope you are informed and entertained after reading each bi-weekly blog post.

Enjoy,
Matthew Belopavlovich

About Me:
Matthew Belopavlovich was born and raised in Madison, Wisconsin and holds a BFA in Acting from the University of Wisconsin-Milwaukee. His career highlights include performance work with Orlando Repertory Theatre, Walt Disney World, Broadway Dinner Theatre in the Dells, Skylight Music Theatre, and Prairie Fire Children’s Theatre. Belopavlovich has worked as a theatre educator at Florida Studio Theatre, French Woods Festival of the Arts, Hartford University School and with Milwaukee Public Theatre. He toured for two years as a clown and pre-show host on the blue unit of Ringling Bros. and Barnum & Bailey. His original work was featured at the New York Clown Theatre Festival and has received the Jeff Norton Dream Grant. He is currently a member of the Patel Conservatory theatre faculty. Belopavlovich recently directed Smokey Joe’s Cafe and wrote A Doo Wop Christmas for the Show Palace Dinner Theatre.

Coming Soon

Our inaugural panel post will be published during the first week of the new year.