Several years ago, I helped the fabulous Sandy O from Creative Juice Group by designing and building these Collapsible Vases for an event! Click here to check out my other post about Creative Juice Group and Sandy’s amazing work!
They were designed to have a person inside dressed as a living flower who would hand out hors d’oeuvres or champagne. This was all Sandy’s idea of course. However, she needed them to be collapsible to fit in her car. So, as you can see from the pictures, the vases were designed in parts that clamped together on the inside using hardware. Sandy, of course, provided the faux stone finish.
In Winter of 2019, I was cast as an understudy for all male roles in a production of “On Golden Pond” for Bristol Riverside Theater. At the time, this was my first job in an Equity theatre. For many actors, getting their Actors Equity Union card can help them gain access to shows and auditions they wouldn’t normally have access to, while also giving them all the protections and benefits that a union has to offer. As an understudy, I was eligible to join the Equity Membership Candidate program where I would get credit for my weeks worked and eventually be eligible for full union membership. During the pandemic, this has changed and becoming a member of AEA has gotten significantly easier, but this was a big deal for me at the time.
The three roles I was cast to understudy were Norman, Charlie, and Bill. The required me to prepare 3 completely different roles. The challenge to playing Norman was that he was nearly twice my age so I had to try to respectfully adopt the mannerisms of an older gentleman while learning his enormous number of lines. Playing Charlie, a much smaller role, required that I learn a New England accent, which took some time, but eventually I mastered it. Lastly, we have the part of Bill, who was probably the closest to my own age and type. Overall, this was a wonderful experience exposing me to the workings of a regional Equity theater.
The theatre is located in Bristol Pennsylvania, which is located along the Delaware river, not far from where George Washington famously crossed the river on Christmas on 1776. Below are a couple pictures of the river flooding the parking lot after a snow melt to show just how close it is to the river!
My old car in the parking lotThe river creeping up the streetMy Bio for “On Golden Pond”
While training, I have been exposed to a variety of acting styles and techniques. There are two, however, that resonated with me as performer and continue to inform my performances. That would be Uta Hagen’s, “Respect for Acting” and Michael Chekhov’s, “To the Actor.“
Uta Hagen’s approach emphasizes realism, psychological depth, and the actor’s connection to the character and circumstances. Hagen’s principles, as outlined in “Respect for Acting” include:
Object Exercises: Actors focus on specific objects to enhance concentration and sensory awareness, grounding their performances in tangible, sensory experiences.
Substitution: Encourages actors to replace personal experiences with those of the character, fostering authenticity and emotional truth in their portrayal.
Personalization: Actors draw on their own emotions and memories to connect with the character’s feelings, creating a genuine and relatable performance.
Units and Objectives: Breaking down scripts into specific beats or units, actors identify their character’s objectives in each moment, promoting a dynamic and purposeful approach to scenes.
Through-line of Actions: Emphasizes the importance of understanding the character’s overarching goals and desires throughout the entire play or scene, maintaining consistency and coherence in the portrayal.
Michael Chekhov, a Russian actor and theater practitioner, outlined his approach to acting in his book “To the Actor.” Chekhov’s principles focus on the psychological and spiritual aspects of the actor’s craft.
Psychological Gesture: Encourages actors to find a physical gesture that embodies the essence of a character, fostering a deeper connection to the character’s emotional core.
Imagination: Emphasizes the use of imagination to evoke authentic emotions and experiences, allowing actors to tap into the rich inner life of their characters.
Sensations: Actors explore the physical sensations associated with emotions, creating a visceral and embodied performance.
Form: Highlights the importance of understanding the overall structure of a play or scene, guiding actors in creating a coherent and impactful performance.
Rhythm: Advocates for the exploration of rhythmic patterns in speech and movement to enhance the expressiveness and dynamic quality of a performance.
While a student at Villanova University, I was asked to create and manage props for the student production of “Hookman” by Lauren Yee. This show required many props that could be borrowed from the Villanova Theatre props storage as well as many rather unique props that had to be made. Below are some of the interesting props I had to fabricate. To grab a copy of this amazing play, click here!
Carboard base in pie trayFake CherriesCherries cut in half, glues and paintedComplete with pre-cut slice for knife insertionBackside to look like a steering wheelPlaster cast of actor’s face pressed into silicone mold.Silicone Mold for “Ripped off face”Face skin ripped offFace skin front and back
For several years, I worked for Creative Juice Group performing fun characters and “living statues.” Below are some fabulous looks courtesy of Sandy O! You can see more of her fabulous work on her website here!
Silver Man at a Trade ShowQueen of Hearts at the Free Library of PhiladelphiaBlues Brothers at Corporate PartySilver ManBen Franklin, George Washington and Betsy Ross in Bronze at the Constitution CenterBen Franklin, George Washington and Betsy Ross in Bronze at the Constitution CenterBetsy Ross and George Washington at a Corporate PartyBen Franklin and George Washington in Gold!Viking at Vikings Exhibit at Franklin InstituteBearded Silver Man!Queen of Hearts at Please Touch MuseumDriving to the Gig!Queen of Hearts at Please Touch Museum
Ok, more like, I’m writing a musical. It’s got a structure with many of the scenes written and placeholders for the music. Unfortunately, there’s no music yet, maybe just a few brainstorms for words, if anything. However, it’s something I will be returning to. One thing that’s helped so much with the planning process of a musical, is a book, The Secret Life of the American Musical by Jack Viertel. The author takes a close look at the structure of dozens of popular musicals and explains how all the different parts work together. I highly recommend this book if you are thinking about writing a musical. You can grab it here!
Around Christmas of 2012 I released a music video for a song that I just loved by Princess Superstar, an NYC based rapper. I had enjoyed her clever wordsmithing in the past and this particular track told a story that I though needed to be told. Armed with a variety of costumes, makeup, and wigs, I went to task. The accompanying image shows the aftermath of all the props and costumes in a pile in front of a green screen! I play all the parts and took nearly 100 hours to edit out the green screen and composite all the layers. Take a look below! Also, below the music video is the making of video.
I Hope I Sell a Lot of Records at Christmastime by Princess Superstar
Here’s a really rough version of a sketch I wrote from my Solo Performance class at Villanova University. It’s a bit different than the typical Solo Performance piece since it’s on video, which is, of course, as a result of the pandemic.
I chose an interview style cutting back and forth between two highly recongnizeable characters, Ariel and Ursula from Disney’s “The Little Mermaid.” This short comedic sketch throws a dose of reality into the interactions between this famous pair. Oh, and I have a beard that I kept the whole time. Check it out below!
I’ve recently fallen in love with the performances of John Reed, one of the last D’Oyly Carte Opera Company’s “patter men.” This particular patter man would go on to be the only one to have been officially recorded performing every surviving Gilbert and Sullivan operetta for the D’Oyly Carte Opera Company. He brought a unique flare and character interpretation to every role he took on. I also learned he was a gay man, living with his partner, who was also his business manager, until the day he passed away in 2010. Here’s a link to his obituary as well as a lovely tribute. I just got his book, a lovely autobiography, dictated to a friend, transcribed and published.
In my work getting my master’s in theatre, I specialized in trying to uncover the LGBTQ experiences of past performers and theatre practitioners. I look forward to researching about John Reed to try to find what particular queer influences he may have had on Gilbert and Sullivan Operetta in the mid 20th century. To get his book, “Nothing Whatever to Grumble At” go here!
