A Turning Point, A Revamp, A Purpose

DISCLAIMER: This post is not really part of my chronicling of my theatre work since graduation. It is my turning point. As for what I've been doing: Tech is this weekend for the show I am associate designing. I am pumped about that. I just finished working on Ameriville - the group is a touring group (Universes) and they just left. They'll be in NYC at The Public Theatre in January and if you're around you must see them. I'll be making a trip up mid-January. I just got my paycheck for the AD position I am doing at Folger in March. We are having our first read for designers on Monday (the show opens in April). I'm ready to create new work.

NOW For the Disclaimed:

If you've been reading or speaking to me lately you know I've been struggling with purpose, with being relatively successful and not feeling successful. I had chocked it up to still needing to adjust, but a lot of recent events, which I can go into later have led to a reevaluation and now I am lit up. I feel like I am on fire because I am so excited. I have been wrong for the last 22 years and it feels so good to know that. I have a purpose for my life and, therefore, for my work.

So I wrote what I started calling a "manifesto" today because I was overwhelmed. It's long. You don't have to read it. It's summarized in 12 points at the end if you're only interested in that. If you're super religious don't read the God part - it is not meant to offend, but rather to explain part of why I know humanity is so important. I love it. I am tingling.

Creating a World of Simple Superheroes

Manifesto: a public declaration of principles and intentions, and of the theories and directions of a movement.

The World or America as part of The World:

The world is made up of people.

People are the most important thing. What connection is more fulfilling or true or alive?

We are currently severely alienated and disconnected from each other as humans.

We live behind walls, work, crossed arms, screens, and headphones.

Technology is becoming the primary mode of connection. How do we feel more connected to someone we just sent an abbreviated text to than the people in the room around us? We allow that to happen.

We are sometimes unsure if we even really know those closest to us

Those that do feel connected to those closest to them often don’t consider acquaintances or people they may never meet.

Events (and the people they affect) that are not in our near vicinity do not matter.

We value material things, power, employment, status, art, and work over people.

Our society, our government, our religions foster fear.

The statistics are astonishing. Divorce, unemployment, homelessness.

Illness has taken over our people. Everyone seems to be on some kind of medication and most of them are treating (or not treating) depression.

Humanity has become lost in a world it created.

“Not my problem.”

The world is made up of good people who are not all the way awake.

These people are so smart and able to change.

We are small. We know it, we can feel it, we can see it. We don’t know what the bigger thing is. We want it to be something we can actually grasp onto without feeling lost in our smallness. Humanity is the huge web that we are small within. Humanity is tangible. You can touch the little strings of the whole and the whole is affected. We are small, but we are powerful.

Because of the basic tenets of humanity this society has created a world that is difficult to live in. So people are ready for change.

Humans

With all our differences, when boiled down to our very cores we are all humans. We are all connected under humanity. We want the same very basic thing: we want to be wanted, needed. We have the same basic emotions. We know what tears feel like when we see them on another person's cheek.

Humans are, at their cores, good.

We are constantly progressing. We are so smart. We are quick. We are driven. We are kind.

Too many humans feel like they are suffering.

Some humans are truly suffering. (Picture of a young girl in Africa with the vulture behind her, tragedy victims, etc.)

We are unaware of our fellow humans, their plights, their humanity.

If we are aware we think we cannot help or choose not to. Everything is too big.

We label people as different from ourselves for a thousand different reasons.

All human negativity is driven by loneliness and/or fear. Insecurity is a form of fear. Our current society is fostering a sort of widespread loneliness that is detrimental to its people.

“If I see a person talking on the phone I want to know what that conversation is.” They are crying because there is no warmth besides the heat created from their phone battery against their wet face.

People are not bad; most of us are just not fully awake and may stay in an early morning haze our entire lives. Early morning hazes can be refreshing. They can also waste the rest of the day if we don’t move into the full heat of the afternoon.

We are a product of our society. Society is our product created over time. It is an endless chicken and egg cycle that we have the ability to change. People are ready for the heat. (I typo-ed this as heart the first time...)

Religion

Some force kicked the world into motion, call it God if you like. I believe in God. I do not believe in a "religion." Religions were created by men because of a fear caused by not knowing what the force, God, was. I cannot believe because why would God divide us into so many different sects that call each other wrong? That damn each other? That damn their own for being the way they were born or for doing things that make them happy and do not harm others?

The world is good. God must be good. This God religions have created is not and so, for me, cannot exist.

People created rules and images they could hold onto in order to not be afraid of what God might be. If there is a God that cares about our actions, we are not alone. If there is a God with rules that lead to some sort of reward then there is purpose in life. I do not blame people for giving themselves this structure to feel safe within and truly do not wish to tear it from them. But this safety people fabricate in religion actually exists in humanity. If we give ourselves to each other, we are not alone. When we are in communion with humanity, we are in communion with the world and the force that created it. Fight for humanity. You will live in salvation rather than wait for it. And what God would not love you for being good to people?

I believe in a force bigger than myself. I believe in a God. I do not believe in a religion. I believe in humanity. And I believe in fighting for them, not damning them. God does not need us, but we sure as hell need each other.

Living for Humanity

We have to engage in the world immediately around us. We have to be aware. We have to care. We have to be critical. We have to improve. We have to love. We have to respond.

We have to find ways to dissolve our fear of openness and vulnerability. We have to embrace kindness, openness, and each other. It is absolutely necessary to tear walls down and take headphones out. It is impossible to foster community with crossed arms. If you are not open and comfortable, no one will feel comfortable being open with you and that connection is what we want. What we need. Be someone people want to be around. That is the beginning of the revolution.

We have to take care of each other. We are completely responsible for each other, for the people we see every day, for the people we will never see.

What would it be like to know someone else (whether they could or not) wanted to fight your fight. A friend, a stranger. I want to fight your fight. We have to invest in each other's happiness.

We must be genuinely curious about the people around us. We must engage wholly with people. We must become aware of ourselves and the situation humanity is in. This awareness then must feed into a fight, a revolution. We must challenge the state we are in.

Who will be there if a disaster strikes at this second? Do you know the people around you? How did you just treat them? Do you know your neighbors, your community, your friends, your family? What suffering human body is draped over the Plexiglass box you live in?

Things that are fulfilling. things we need. things we can provide:

Fostering ensembles/communities
Taking Risks
Exploding with hope
Provoking a discussion
Creating a smile
Warmth
Security
Inspiring change and hope
Simple positivity
Genuine engaged listening
Working together
Touch

The Theatre I Want:


“Why do you do theatre?”
“Because it is important. Because it is powerful”
And now I know how this thing I have always said can be, and is, actually true.

Theatre is a platform with creative juices that make it less dull, less intimidating than a podium with a microphone. It is a forum for change. It can be anything and it has an audience.

But it is not a soapbox. After 22 years a succession of experiences over 6 months with a significant 1 week climax led to my “revelation.” We cannot force these findings on audiences. We must only plant the seed and reinforce with dialogue.

This theatre must be accessible.
This theatre is not art for art’s sake.
This theatre does not have rules about form or structure
This theatre must challenge, move, and respond honestly
This theatre must be followed by talk back sessions
This theatre must be created by a multidisciplinary ensemble

This theatre must:
engage it’s artists in their world and community.
respond to our situation and people with brutal honesty and genuine hope
support community and provide hope
foster human connection
relieve the suffocation
reach people on a visceral level

This theatre should help people:

Wake up
Want to be engaged in their community
Feel responsible for each other
Actively hope for (and with) humanity.

Me

I feel powerful. I am smart. I am driven. I am aware. I am young. I am exploding with hope. I am supposed to do this and I can. I am on fire. I cannot do it myself, but I can fuel it.

Theatre is what I (or we, depending on who you are) do. I should use what I know and love to spread the truth I believe, start the discussions, provoke change, and promote hope. I am young. I am small, but not in an insignificant way. I can shake the web.

Simple Superheroics in 12 Points

1. People are the most important thing.

2. We are each a small part of the whole of humanity.

3. Humanity is tangible. We can affect the whole by touching just one. Humanity ripples because we are all connected.

4. As different as we all think we are from one another, are are all humans and at our cores we want the same basic things and feel the same basic emotions.

5. People are good.

6. All human negativity is either based in loneliness or fear.

7. Our society, and we, as part of it, has somehow driven out human connection and degraded the importance of community, often replacing it with technology.

8. Currently much of our world is therefore fostering loneliness and capitalizing on fear. This has created unhappiness, but also a readiness (if only subconsciously) of people for change.

9. We, as humans who are a piece of the whole of humanity, are responsible for each other.

10. We must take care of each other. To do this we must engage wholly in our immediate world and with the people around us. We must be aware, we must respond, we must discuss, we must challenge, and we must care. We must want to fight each other’s fights.

11.Hope is not passive. We must explode with hope for humanity.

12. As an artist I must use my forum to respond to our situation. I must create work that is critical, challenging, and hopeful in order to provoke discussion and, ultimately, change. The timing is right; people are ready.

This is essential.

ThThank you to my family, Universes, Carmen, Scorched, Spinoza, and good people for incredible inspiration. And Brandon, for the title :)

Ameriville

Ameriville is a touring show that is running for 3 weeks in Maryland. I got the follow spot op job on the show because I had done over hire LX work there.

We went in the first day and were provided with track sheets (there are 2 follow spots). We worked through the show, the SM would call what happened with spots before it happened. Tech was slow. The spots are on the catwalk directly above the center of the house so we cannot have things to entertain us up there with us. The show is 90 minutes without an intermission. There is a talk back after every show. (These are fascinating since the company writes and performs their own work and they have been working together for 14 years.)

Everyone has been really cool about the spots. We were relatively awful at it the first couple of days. No one was angry. The other spot op is typically a sound board op for the theatre and hasn't done lighting work before. The spots at this particular theatre are actually Source 4s in some sort of spot conversion contraption that is really cool. They also have color boomerangs inserted in the gel slot in the front which makes it harder to spot. I'm getting the hang of it and now it's fun.

The company is really awesome. They are all gracious and very talented. I love the talk backs. They are doing the kind of work that I want to be doing later. AND traveling the world with it.

Oh and PS - The theatre in the post below has an ETC Express!!!!!! I. am. so. excited.

And the ME is adding me to his overhire list as well as forwarding my name to the artistic director for future programming and design work.

The Best Thing Ever

Holy. shit.

I just got offered the most incredible opportunity. I am not sure if I can take it yet, but I am so excited about the possibility.

I emailed a designer in the area and told him I was interested in assisting him. He didn't reply for 2 weeks, then he replied and said he had some projects coming up he needed an assistant on and he'd love to sit down and talk portfolios.

I replied honestly saying I was excited, but as a recent graduate my print portfolio is a work in progress, but I'd still love to get his feedback on it. In the meantime he could view my website portfolio.

He didn't reply so I figured he was like "silly kid I need a real assistant."

16 days later he emailed me and offered me an assistant position. He said he was sorry about the delay with his emails - he's planning a wedding. He's designing A Broadway Christmas Carol and won't be there for 6 1/2 hours of tech so he needs an assistant who can cover those hours and be at the rest of tech. He offered money... to do what I really want to do.

I told him I was excited about the opportunity, but I wanted to make sure I was clear on how he uses an assistant before I committed. (I wanted to see if he would have me drafting or updating paperwork, which would be a problem since I no longer have student versions of that software.)

He said he needs someone to write cues (!!!) while he's not there during tech and then lots of other assistant-y type things when he is there (taking notes, tracking the follow spot, etc). He said since I would be writing cues he could make me an associate (!!!) instead of an assistant. (This is nuts, kids.)

I am so pumped about this. So incredibly pumped.

Here's my hesitation: I assumed there would be a programmer (I have no idea what kind of board they have) but I did a little research - aka I texted the people I knew in DC asking if any of them had worked at this particular theatre. V (sound designer) said she hadn't but a friend (a lighting designer, how convenient) had. He said the designers there typically program for themselves.

See, I refuse to take the job if I know I will slow down tech at all when he leaves so I have to be super prepared. And I know I can be prepared by memorizing the paperwork and knowing the plot like the back of my hand. I also know I can pick up on his aesthetic to be consistent and efficient, but if I'm also programming I need to already know the board.

SO I'm waiting to hear what kind of board they have and if this show in particular will have a programmer or not. I asked the designer these questions (and also told him everything sounded great and I was excited to be involved.) I also emailed the ME at the theatre, asking if they employ programmers and sending him my resume (because, hey, if I don't get this job might as well apply for another, also I like programming and could perhaps do it for them in the future).

IN ADDITION I did a little stalking. V gave me the MEs information when I asked her about the theatre so I googled and found him on LinkedIn. I looked at his special skills and he is proficient in ETC Express and Strand520i - both of the boards I know from college. Express is the board I have worked on for every show so far in DC as well. He also has "limited working knowledge" of Eos and Ion - boards I don't know well. I am assuming that since he is the ME of the space he is proficient in its board so it is PROBABLY one of the first two - which I know. SO that'd be great. I am getting to be very excellent at people research.

I want to take it so badly.

So there's that.

I'm also working on Ameriville, which has been really exciting. Post about that later.

Navigating Freedom and Hydroplaning

A big part of graduating is learning how to navigate all of the tricky things that come with being free. It's not just about trying to find theatre work and this the ability to navigate freedom directly relates to your success in finding work, I think. At least that's my excuse for using this blog as an outlet for some of my 20something turmoil.

My thoughts. In two parts.

Part I: The New York Times outrage

I spend a lot of my time with people in their late twenties and thirties. I really know very few people who are my age here. Part of the reason is probably because I'm playing small roles in big theatres so I'm working in a circle of older established people, which is so fortunate for me, but keeps me constantly aware of my age. I am, however, coming to embrace the energetic cute 22 year old stereotype I am assigned, as long as everyone knows that energy is married to utter determination.

Then a friend (who is 29) was talking to me about how the "20somethings" have kind of disappeared. She hasn't met any in the 'business' recently, with me as an exception. She brought up this article in the Times. What I took from the article were two things about the 20-somethings: that we are refusing to grow up/be adults and that we are spending our 20s mindlessly exploring while not being adults.

While I am not completely independent from my parents yet (health insurance and college loans) I am out of their house and I have a day job to support myself while I figure out what I want to do. I don't think I'm refusing to grow up at all. However, I am exploring. Because I am not settling. Settling would be a mistake, for me. I don't think this makes me less of an adult; I think it makes me more of one. I am not scared of freedom in a way that would confine me to making choices that keep me safe. People in their 20s have all their options open to them and it's childish to not take advantage if you want them. Yes, I want to travel. But I'm not begging anyone for money to do it. I'm saving out of every week of work. I'm supporting my mindful explorations. I'm fueling the world around me with my 20something energy that radiates optimism (why is that negative now?) and drive. That doesn't make me a child, that makes me a force.

And if they created a government program to support us and ease the transition into adulthood I think that would just further delay it. Though I'd love a bond to travel. hah.

Here's a response to the Times that I read and stole the Kafka quote from: http://thefastertimes.com/voyeurism/2010/08/25/20-somethings-you-are-free-and-that-is-why-you-are-lost/

Soap box done.

Part 2: Okay so that was kind of irrelevant, but this is actually the point

The point is what all of that got me thinking about: why do I feel like I'm a floundering 20something when I'm actually doing really well in a lot of respects? (I call this relevant because I think a lot of recent grads feel a little lost no matter what they're doing.)

"You are lost and that is because you are free." -Kafka

I dove in. I moved to a new city within a month of graduating with the promise of an unpaid month-long job. And now I'm here. And I'm finding ways to open up so many doors for myself. I've met wonderful people. I've managed to be working in a theatre at least once every week. I'm constantly recalculating. I'm learning how to dig into people. I'm making decisions. I'm changing my mind. I love it. It feels like I have every option in front of me and, though I sometimes feel like I should, I don't have to choose one yet.

But there's a feeling of constant hydroplaning (a freedom from traction). I'm not completely in contact with the ground, which is terrifying and completely exhilarating. It doesn't mean I'm not progressing. It just means I don't feel in control of that progression.

The problem is I haven't found a point of stability yet, a point at which I am confident I will regain contact with the ground. Those points are kind of handed to you within the structure of schooling and the life I've lived up to this point. Now I am jumping from job to job: different positions, different theatres, different people. I'm also still adjusting to a completely new place, I know very few people here well enough to really be comfortable, my day job isn't something I want to do forever, etc etc. So, for me, I need to find a point of stability, one thing I know is consistent, so everything else can continue to be flexible. Because I like to hydroplane.

I don't know if that makes sense. What I mean is, I loved that I was overwhelmed at school and did everything - I jumped from electrician to designer to director to assistant and loved it. BUT I knew that in the morning I had class. For a couple of hours I regained contact because I had something that happened every week that I could expect (and people I knew would be there); it served as an anchor (albeit sometimes an annoying one) for everything else to swirl around. There is nothing in my post-grad life like that yet.

I think that anchor can be anything really. A person, a group of people, a place, an activity - something you know is consistent. Something that makes you feel safe for just a second. That second of safety fuels the ability to not be in contact with the ground the rest of the time.

Because I like hydroplaning. I need to spin and discover and wonder and be free. I'll slam into a choice when it's time.

So... post grad life lesson - find an anchor on a long leash so you can contact the ground once in awhile? Or stay out of the rain.

Sidenote: I think for a lot of other recent grads the problem is the opposite: too many options can freeze people. So instead of hydroplaning they are unmoving on a road soaked with possibilities. The car works. The downpour is purifying. Buckle an anchor into the passenger seat and go.

Update (Follow Spot, Arena, Gala)

So I found out at least one person reads this! Hooray!

So I wanted to update,

but I don't really have much to say...

I am currently working as a follow spot operator on this: http://www.roundhousetheatre.org/newsitem/ameriville-press-release/

Last night I attended the Forum Gala which was very cool. I am officially a company member which I'm stoked about and may have already mentioned.

I'm sending in my contract for the AD position at Folger tomorrow. The first read is Nov 15, rehearsals start in March.

I have a very big theatre gap in my season. I don't have any projects November - February. This makes me nervous, but I'm sure things will happen. I'm not being too passive about it.

I mentioned to the PSM at Roundhouse (where I'm follow spot oping) that I'd like to get involved in their Education Department and she said she's get me the information for the heads of the department and mention me to them.

I am on the overhire list at Arena Stage. The ME called me and asked me to come in so he could show me the space. They have a brand new space (3 actually) that they moved into this summer. So I did. He showed me around the theatres and then we sat in the house as they built Oklahoma (yes...) and he talked to me about the electrics schedule for the next few weeks and said I could come in any day I could get off my day job. He also said I could even just come in the mornings before my day job starts at 1. I'm excited about doing that next week.

Also - I cleaned out my theatre file box today. I have every piece of paper from all of Dr. Beck's classes still. I threw some out. I also found my job recommendation letters from Kate and Dr. Beck which almost made me cry. haha.

So I'm just hanging out.

One Way to Find New People to Work With

Whenever you finish working with someone (it's final preview for Scorched) always find a casual way to ask them if they have any suggestions for other people you should work with.

I was emailing another LD and asked Brian (Scorched LD) if he knew him. He didn't and asked why. I told him I was looking for more people to work with and he started making a few suggestions, telling me that when I email to tell them I had just worked with him and we had a great time. The sound designer for Scorched overheard and started suggesting people too.

People want to work with people that are fun to work with. The only way to know? They've worked with someone you can ask.

Whenever I find people I'd like to work with I always check out their resumes and see who they've worked with.

Three reasons:

1. If they've worked with someone I know I can ask the mutual friend about this new person to see if I really want to work with them AND if I do maybe the person I know will offer to be a reference.

2. I may want to work with some of those people on the resume that I don't know too! If I'm looking at a really well established designer, I want to assist some of the people that have assisted him before I assist the well known designer.

3. It never hurts to be specific. If I've seen something they've done, heard about it, worked at a theatre they worked at, or worked with someone they've worked with, I reference it in my email. It shows that I am not just mass emailing a bunch of designers. Also, as Martha Mountain told me, people always respond to flattery.

Social Networking aka Stalking

In other news, based on my recent outburst of adding a bunch of DC Theatre people as friends in the last few months facebook is making awesome friend suggestions for me. I don't friend them, but I definitely look them up when I see our mutual friends are all established DC people. Sometimes I check out their websites, I just emailed a lighting designer facebook suggested. I didn't tell him how I found out about him, of course. That'll be a story for years from now when we are life long friends laughing over scotch. Anyway, thanks facebook!

Update on Interview

I did not get the lighting design job I interviewed with Active Cultures for. Instead I will be assistant sound designing Photograph 51 at Theater J for Veronika, which is awesome.

Also - I've been in tech for Scorched (I am ALD). It goes into previews tonight and press opening is Saturday. I'll write a post soon about how that was, what I did, etc. It's an unpaid position and I've been commuting 30 minutes to it so that's rough, but I've learned an incredible amount. Details later.

A little bit of details: First, this was a relatively light assistantship. The theatre is medium sized one with a smaller budget. I attended all production meeting that I could, design runs, and techs/previews. I created a detailed scene chart. I helped with hang and focus as an electrician. I did not do anything with paperwork because I no longer have student versions of the programs. I programmed (Theatre II board again! Hooray) during rehearsals where the TD was not available to program. The designer Brian always explained things he was doing that I could learn from like splitting cues into parts, some new effect stuff, the awesomeness of an inhibitive sub, blocking cues, etc. It was also my first time programming I-Cues which was cool. Additionally as an assistant I kept track of the Q List and I-Cue track sheets. That was my primary responsibility during tech. I am currently in charge of reading the performance reports and maintaining the show if anything happens. Overall - really great experience. Brian is awesome to work with and super talented. Too bad he moved to Seattle opening day.

Over hire Galore!

Being on over hire lists is great.

BUT a lot of over hire requires that you don't have a day job. Hangs, Focuses, and even tech rehearsals for the bigger theatres (aka ones that pay) are all during the day.

I was part of a mass email to an over hire list at Arena Stage looking for a Follow Spot Op. I got on their list by emailing the ME my resume. He never replied to say he had received it, just added me to the list. I have not done a call there yet.

I showed interested, the ME called me. It's for Oklahoma - yes, again.

The production has a tech period of about a week (it's an 'indefinite' tech period or something. They haven't decided when they will officially call it previews.) Tech rehearsals are during the day. My employer lets me take off a couple of days a month to do over hire theatre work, but I can't do weeks on end - that's silly.

So when he called me I told him that, even though I was extremely interested, I had a day job and couldn't take off that many successive days in a row. He agreed and said it's pretty much only possible for someone without a day job. Damn, I hear they pay well too.

Anyway, we finish the conversation by him asking me to send him some dates I'm free to come in and check out the space so we can meet. Cool. This was all yesterday.

This morning I got an email from the PSM at Round House Theatre (in Bethesda; there are two) saying she had gotten my email from Round House's ME (Master Electrician). I had worked a call with them in August.

She sent me the calendar for a touring production that was coming that they needed a Follow Spot Op for. I told her I had a day job so I could probably take off for the 3 matinees, but could not take off for the day time rehearsals during tech. She said if I could do the matinees they could accommodate those 2 tech rehearsals. Pay is $10/hr.

Cool.

Don't get Discouraged?

I've been talking about how I received opportunities and it seems like I've received a lot (and I have).

But I want to reiterate.

A lot of emails are never answered.

Getting into Sound Design

Hi Annie!

So as anyone who has been reading knows, I am currently light board oping for Something You Did at Theater J.

Board oping is cool because you get paid AND you meet lots of people. Well you meet them if you try. As a board op it's really easy to be closed off and not meet anyone. I never met most of the cast though I was friendly to them in passing.

BUT i knew the stage manager (that's how I got the job in fact) and he invited me out during meal breaks. Always say yes. And you can write the meal off your taxes! Well, half of it I think. Hooray!

First tech i went to lunch with Eleanor, the director, Roy (the SM) and the sound designer Veronika. I liked Veronika; she was smart and laid back. Additionally, I had heard of her before. She has been nominated for at least one Helen Hayes and is a pretty sought after designer. The people I've met so far speak really highly of her.

So we get into tech and the sound design for that show is brilliant. She's really good.

I went out for drinks with the her and Roy after one of the previews. I do a lot less talking these days and a lot more absorbing.

After one of the previews I mentioned to her that I would love to assist her on a show, but I have NO experience in sound whatsoever. I know nothing about it. She said she'd love for me to assist her and started rattling off all the projects she has coming up I could potentially work on. She mentioned one in particular that she'd like an assistant on because she's composing and designing it. I reiterated that I knew nothing about sound. She said that I was smart (how does she know? I don't know) and eager and that was what mattered. Cool.

I think sound is fascinating. I am not, by any means, trying to become a sound designer. I've always tried to be well-rounded though, and to understand this art from all the aspects I can. Sound and lights are the aspects that aren't tangible. They can make or break a show, but it's not always clear how or why. And sound just kind of blows my mind. I don't understand it. I want to. I think it will make me a better lighting designer and director and everything.

I also think it's important to work with good passionate people. It's like in college when you should take gen-eds based on the professor instead of the subject. Learn things from someone who love it, especially if they're awesome at it too. And it never hurts to network. Or try new things. All good.

Anyway. So she emailed me after opening to say that we should get drinks sometime. I replied to say that I was serious about wanting to assist her and yes, drinks. She said we'd chat about it over drinks.

So we met for drinks. I adore her. We chatted for 3 hours. We talked about the shows - she said I could assist her on whatever I wanted that she was working on. She explained why I might like certain projects (one has a really well known director, another an awesome lighting designer, another is a sound heavy project.)

We talked about a lot of stuff. Lots of DC theatre stuff, people I should meet, etc. She also offered to take me up to meet with SITI Company and see the project they're working on. AND she said I should come with her to the Prague Quadrennial this summer. She'll house me, I just have to get there.

I plan on assisting her on the project in the spring that she's designing and composing (Photograph 51 at Theater J).

So I'm assisting a sound designer

Hooray

Networking/begging in my free time

My day today has been like this:

9-12 Helping with hang and focus at Forum as ALD for Scorched. I will be there for focus and color 8-12 tomorrow. This is in Maryland.

1-5 Day job in Arlington. Virginia.

6-9 Dimmer check and board oping for Something You Did at Theater J. DC.

9ish drinks with the sound designer of Something You Did to talk about me assisting her on an upcoming project.

And when I get home I need to spend 4 hours "working from home" writing articles as part 2 of my day job.

So when i DO have free time I usually do something that doesn't require so much energy. I have a new obsession with Netflix.

And sometimes I look for new projects to get involved in. How?

A really awesome asset for designers/technicians/stage managers/sometimes directors is the yahoo group DC TheaterTech. Companies post

So sometimes I reply to those.

I also play my clicking game a lot. I pick someone I've heard a lot about and look up companies they've worked with or people that have assisted them that I could assist to work my way up to them. Then I send lots of emails.

Emails I sent last night:

I emailed 2 smaller companies in the area looking for lighting designers for spring productions. These jobs were posted on the yahoo group.

I emailed a company that Amanda (who I graduated with) is currently acting with. When I looked at this website they were looking for technicians, but I also sent my design resume.

I emailed the artistic director of one of the companies I sent my resume to, because I know she knows Jeremy and I'm also very interested in working with their company in whatever capacity. I offered to buy her coffee to chat.

I emailed the director of the show I am board opping for and let her know I'd love to assist her on any upcoming projects.

I emailed a girl who has been doing a lot of great work in Children's Theatre. I don't remember how I found out about her, but she is currently working on developing a new piece with young people so I was excited about that. She emailed me back and said she was interested in my work too (I had included a link to my website, but hadn't pushed it) and we should meet up for coffee. Hooray!

For anything that was an application for a particular position (the design jobs) I always attach my resume AND a specifically written cover letter with a link to my portfolio. I never attach images or anything larger than my resume.

For people I want to get involved with (the artistic director email, etc) I never send a resume in order to be clear that I am generally interested in speaking with them over coffee, I'm not just looking for a job. I don't write a cover letter, I just write a concise specific email with a link to my website if they're interested in checking it out.

So I spend a lot of time emailing new people and companies that I'm excited about. My emails are always very specific. I don't reuse cover letters, outside of select paragraphs sometimes.

What an exciting life I lead.

Bu if anything comes from any of it - it will be exciting indeed.

This Week's News

So I have a list of the people in this city I want to assist most. Aaron Posner is at the top of the list (of Directors). Look him up, he's really great.

I met him briefly at New Jerusalem's opening party... where I introduced myself (with prodding from Roy). Introducing yourself may be a better call than having someone else do it sometimes? Maybe? As long as someone you know drops the person a line letting them know you aren't really a crazy stalker.

Anyway, we had a brief conversation about New Jerusalem and about his current (then) project, Vibrator Play at Woolly. I didn't mention anything about wanting to work for or with him.

I looked him up. He was doing the next two shows at Folger Theatre (which by the way pays their ADs - not many places do that).

I sent my resume to Folger, with a short email that stated my interest in the company, their season, and casually mentioned that I had just assisted Jeremy.

They called me in for an interview. I had to bring the boy I nanny because it was during the day. Beth, the Assistant Artistic Producer, talked to me a little bit about my time in DC so far and my resume. I brought my resume even though I had already emailed it to her - good thing. She let the boy I nanny sit on the floor and watch Richard Scary. She was so sweet.

I sent a follow up email thanking her for her time.

I also sent Aaron an email telling him I had interviewed and was very interested in assisting him. He didn't reply.

Don't get discouraged when people don't reply. For all the small successes on this page there were a billion unanswered applications and emails.

Beth sent me a reply a few days later to set up a time for me to interview with Aaron Posner.

I told Jeremy. He said he'd call Aaron as a reference. They're worked together before and are good friends. AKA how networking is awesome.

I met with Aaron on August 10th (sans little boy this time). I really loved chatting with him, but was pretty sure that I wasn't going to get a position because he uses his assistants heavily and I'm young. Some directors treat assistants as more of observers and some use them heavily in the rehearsal room. It mostly depends on the project and the director.

Also - although he had not replied to my email he had noted at the top of his copy of my resume that I had emailed him.

I sent him a follow up email thanking him for his time

I did not hear back.

Monday (September 13 - one month after the interview) the General Manager at Folger offered me a position: Assistant to the Director for Cyrano. I almost died on the phone.

Things Take Time

Bigger theatres rehearse during the day, smaller theatres (where most people have day jobs) rehearse in the evenings. Folger rehearses during the day. That would mean taking an entire month off of nannying. I was scared to ask. That was a ridiculous proposition.

The next day I dropped the bomb in an email so she could process it and told her I'd love to talk to her about it in person the next day when we had already planned a meeting. At then end of our meeting she added "and we'll make April work."

There are so many good people in the world. So many.

Interview Today

I'm finally caught up.

Those are all the big things I did this summer.

So let's talk about this week. What's happening now.

I'm in shows for Something You Did (pushing Go) and tech for Scorched starts in a week and a half (I think).

I get to go home/to Harrisonburg to visit in 2 weeks. I'm excited about that. I happen to have off of the two shows and my day job for a day. It's spectacular.

I'm not desperate for work. I like my day job and I'm getting settled into DC. I don't feel like I need to go around and beg for work. I don't have a full season set up, but I'm still looking. I'm not sure I need a full season my first year.

Today's Interview

Today (literally 2 hours ago) I had an interview for a lighting design position with a small company producing a new play. I was very surprised they called me to interview at all since I'm straight out of college. They liked that I had worked in a space with limited resources (Theatre II) in which I was forced to be inventive. They are a low budget company with an environmental space and limited inventory.

AKA how Theatre II made me more marketable.

We'll see if they call me :-p

References:

I wanted to put someone on my resume as a reference who was local (DC Theatre scene) and not part of my JMU life (aka didn't have a JMU professor email address). I have lots of people that I've worked with so far that can attest to my work ethic, but no one has worked with me a designer.

I then realized Michael Dove came to see bobrauschenbergamerica at JMU so not only could he attest to my work ethic (volunteer marketing, helloo), but he had seen something I designed. Turns out that was a good move, since his girlfriend is on their board.

Pay Back: My first "independent contractor" job

Roy (SM from New Jerusalem) recommended me as a light board op. for the next show he was SMing at Theater J. Delia, the PM, contact me and offered me a programming/board op. job for Something You Did, which is currently running at the J.

I guess they decided to find a job they could pay me to do since I volunteered on New Jerusalem. I should mention that Delia asked me to make an invoice of about $100 in travel expenses for the show and reimbursed me for that. Jeremy also paid for all my meals and drinks when I was his assistant so it's not COMPLETELY unpaid to assist if you're assisting good people.

Programming (hitting the buttons the LD tells you to) on the light board pays $17/hr and Theater J has the same light board as Theatre II did. I was rusty, which was frustrating, but Jason Arnold, the LD, was patient. I am currently running the board for the show (pushing Go..) and being paid $35/performance which isn't bad since the performances are at night so I can still maintain my day job.

There's all kind of pay back you get (from the cosmos or directly from people) for working for free in this business. At least there has been for me because I've been lucky enough to work for good people.

I need to write a post later about how to deal with the taxes part of being an independent contractor.

Forum Theatre: How I Got Involved at a Company

Michael Dove (artistic director Forum Theatre, JMU alum, director of Angels in America: Perestroika) and I set up a meeting to chat about how I could get involved at Forum soon after New Jerusalem (obviously I only italicize sometimes...) opened.

We talked about how I was interested in new work, design, directing, blahty blah blah.

He talked about all the new things Forum is doing this season and the several(!!) ways I could get involved. He wanted me involved in their new work development program, staged reading series, and marketing for the membership program. He also said I should think about which shows I might want to assist on. He invited me to their company meeting that weekend. I was pumped.

I created a flyer marketing the membership program to JMU students (to start off) the next night and started emailing. And not because I wanted to get in with Forum, but because I genuinely think their membership program is a brilliant opportunity for college students.

I met several company members at the meeting and introduced myself.

I went on the company weekend retreat, which was perfect.

And now I'm marketing my little heart out. And I love it. I'm working as a volunteer, which is fine with me because I like the work and I'm new. Everyone keeps telling me to be careful about volunteering and working for free and I am very aware of that advice. I am being careful, but I'm also okay doing it for now.

I got a comp ticket to Vibrator Play from Forum's Managing Director. Volunteering pays off :-p

I am also the assistant lighting designer for their next production: Scorched, which I am so excited about. Brian Engel, the lighting designer, is great and the script is powerful.

Woo. Caught up.

How I Got Electrics Calls

Getting Over hire Electrics work was pretty easy.

I volunteered at the focus for New Jerusalem and met 3 really great electricians. I did basically nothing at the call. I was eager and helped when I could lend a hand, but there wasn't much for me to do. At the end of the call they all sat down with their phones and and computers and gave me the contact information for (I think) 9 of the local Master Electricians.

I emailed each of the Master Electricians with a sentence of interest in their theatre, name dropped the people who gave me their contact information, and attached my resume.

Many replied thanking me for the email, some never replied, some just sent calls my way. I've been offered over 20 electrics calls at Olney, Shakespeare, Signature, Roundhouse, and Theater J. I just heard back from Imagination Stage yesterday. I've worked a call at Roundhouse, one at Olney, and one at Shakespeare. Allison sometimes lets me off from nannying to take a call, which is great and the only way I've been able to do it.

So just ask.

And volunteering isn't always bad. Just don't do it too much.

I volunteered that one call and now I've had a bunch of calls for $15/hr calls as a newbie. I'd say it paid off.

I also watch listservs. There is a yahoo group specifically for people to post technical theatre needs. Calls for overhire, designers, etc all pop up on there. I've replied to a few of those too.

New Jerusalem: How I got my first theatre job.

As I said in "Why DC" APO organized a trip to see both part of Angels in America at Forum Theatre in DC. Michael, the artistic director, had directed Perestroika, but Millenium had been directed by a different director, Jeremy Skidmore. I was particularly struck by the direction of Millenium. I looked Jeremy up, found his website, and then emailed Michael.

I told Michael that I really enjoyed Angels, was pretty sold on DC, and would love to get involved at Forum in any way possible. I also asked if he could put me in contact with Jeremy because I had seen on his website he was doing more work in the area and he may need an assistant or let me observe. This was November 24.

Michael replied on March 11. He said I could send him my information to apply for their internship at Forum if I was interested. If I wasn't interested, but was going to be in DC I should let him know how he could help. And he forwarded my email to Jeremy.

Jeremy sent me an email looking for an AD on a project at Theater J in May. He suggested we meet and "see if we were a good fit."

We had lunch April 6.

He was great.

David Ives is the author of the play and since this was the second production of the play (the first outside NYC) he would be coming to first read and first preview.

I blabbed about my interest in devising.

When lunch was over he told me he had to talk to a few other people and then he'd let me know either way.

I forgot it was an interview, because he said we were meeting to chat and I freaked out because I hadn't really sold myself.

I sent him a thank you email and blathered on about how I was actually qualified for the position.

He did not reply.

On May 1st I didn't know what to do because I had other offers that wanted to know my decision. For some reason I was really set on this unpaid AD position though and I hadn't heard from Jeremy. I emailed him telling him I had another offer, but would rather assist him so did he know when he will have made his decision. He offered it to me 4 hours later.

So ask. Ask. Ask again. But be kind.

The first rehearsal was May 25.

New Jerusalem being my first professional theatre experience was the best thing that could have ever happened. It was a team of extremely talented and gracious people. There was not an ego in the room and everyone involved could have understandably had one the height of the pews onstage. I learned about technical directing things like shaping, but more I learned that it's important to protect the people you work with. At school professors (and so, students) in production meetings would constantly cut at each other, subtly or overtly, and I figured that was just a byproduct of the 'insecurities' of being a theatre person. Not true. People can be good to each other, even in this business, and it's really perfect.

More on New Jerusalem lessons later... I'm half starting a bunch of posts apparently.

Meeting New People Like It's My Job

I'm trying to catch up my entire theatre summer here in chunks of blogs so I've just churning out a lot of them and not really filling them out all the way. Here's the most summarized yet.

So basically: meeting people is our job - in case you didn't know yet.

First I met the entire cast and crew of New Jerusalem. Phenomenal people. Phenomenal connections. I went out with them for drinks or meals whenever they all went out. Never decline social time. It's completely exhausting to always be socializing with people I want to impress, but it's also rewarding. We often met up with other people when we went out. "Going out after work" was how I met the artistic directors of Signature Theatre and Open Circle Theatre, Aaron Posner, and a bunch of other really great people.

The Stage Manager, Roy, who is also JMU alum, is the Executive Director of Artists' Bloc, of which I am now a member. He told me about some performance they were doing in rehearsal, I went, loved their mission, and became a member of the organization. Check them out. I met, and am meeting, people by being part of that organization.

Jeremy (the director I was assisting) had meals with me regularly (well, after we hit about the half way mark in rehearsals) and we talked about the show and about everything else. Whenever we talked about my interests he would suggest people I needed to meet or theatres I'd really like. Mostly, people you meet will have suggestions for other people you should meet. People are eager to help newbies who are eager to learn and hungry for work. Jeremy said it best when he talked about being hungry enough, but not desperate. People know the difference when they talk to you. Desperate is not attractive. Neither are ulterior motives. I genuinely want to learn from all of these people, I don't want to overtake their jobs or use them as a stepping stone. They can tell.

Emily knew a lighting designer in town named Martha Mountain. I emailed her and she met me at the J after a New Jerusalem rehearsal and we went out for coffee. It was lovely. She shared her experiences, we talking about the kind of work we liked to do, and she gave me names and contact information of a bunch of people she thought I should meet. Maybe I'll assist her someday.

I emailed all of Martha's people. I heard back from a company devising a new piece and they invited me to sit in on a rehearsal or two. A large amount of people didn't reply.

Then I started making a list of people I wanted to meet or work with, either based on research or just from hearing about them from other people.

I emailed several people on the list or general theatres on the list. I mentioned I was working with Jeremy and specified a reason I really liked their company and wanted to be involved. I've gotten a few "coffee dates" and interviews from that, but not everyone replied.

Oh and I met David Ives.

My First Month: The Practical Side

Having chosen my first job (see "Senior") and the city I wanted to stay in (see "Why DC") I was set.

Oh wait. I needed a REAL job.

I chose not to live with my parents the summer after graduating. I think this is uncommon, and if I could have lived with my family for a little while I think I would have. There is nothing wrong with this option. My parents just live in a town with absolutely nothing to do. Well, besides eat, which I like. But nothing else.

So I was set on getting out of there. I am lucky to have a family that supported me in that and even helped me pay off my Harrisonburg rent as a moving away gift.

I moved into Ali's (we graduated together) guest room in the basement. I was allergic to her two cats so sometimes I was really miserable, but I cannot put into words how much I appreciate them letting me stay. I suffocated in her house and was grateful for every second of it.

Even living rent free (Thank you thank you thank you) I needed a job. I couldn't stay at the Hoxie House forever and I needed to start saving up money. Besides: theatre people go out for drinks a lot after rehearsals and if you want to network - you better go.

So before I graduated I became part of a site called care.com in which you can search for childcare jobs in a specific area. I've worked with kids all of my life and knew it was an area that paid and could support my theatre habit. I sent out of a bunch of messages. Lots of people replied (triple that number didn't reply) and I ended up with an interview for a nanny position for one boy, 3 years old, for $13/hr.

So I moved to DC a week early to start my life as a nanny.

The assistant director position started a week after that and we rehearsed predominantly in the day time.

The lady I nannied for had accepted me as her nanny anyway and let me have that whole first month off and I came back to be her nanny when the show went into previews.

I am a lucky girl.

Why I Chose DC and how I began to network

I had a lot of preconceived notions about DC that made me never want to live there. We always went there on school trips and only saw the government side or the monuments with a bunch of tourists. I thought it was a stuffy city and it's theatre would be the same. Silly, silly girl. I should also mention that JMU was my last choice for schools and I went because it was in state tuition... I often end up right where I belong I suppose.

I saw Angels in America

APO organized a trip to see both parts of Angels in America at Forum Theatre. The theatre's artistic director is an alumni of our school so we were going to have dinner with him between the two parts. Dinner with Michael was plus one for DC - he sold it like a champ.

The show was beautiful. Everything about it. It was my first taste of DC theatre outside of Shakespeare and I was riveted. Michael had directed Perestroika, but Millenium had been directed by a different director, Jeremy Skidmore. I was struck particularly by Millenium's shape and dynamic, but subtle staging. I looked up Skidmore. (See the New Jerusalem post...)

I met Randy Baker who is an Artistic Director at Rorschach Theatre in DC.

He came to JMU for a reading we did of a few of his shorter plays. I asked Blair if I could direct some of them. We had a few hours to put it together and Randy observed our rehearsals. I didn't do much directing, but tried to help out as I could.

Randy emailed me the day following the readings, complimenting my work (what?!) and said to let him know if I was thinking about DC and if there was anything he could do to jump start my career here. I was blown away and told him I'd love to get involved at Rorschach. I also asked him if he had any suggestions for shows going on in DC that were "must sees." He recommended Full Circle at Woolly Mammoth.

I saw shows at Woolly Mammoth

Full Circle was brilliant. Defy Convention is the company's motto and that's exactly what they did. I was floored. I went back for another production before I graduated. They are still one of my favorite companies in the city.

This is how I chose DC. I have so many more reason why I love it now that I'm here and I'll add those later. I chose it as a stepping ground to NYC. Now I think I'll be here awhile.

Senior Year: "Whatever you choose will be wrong so just choose one" Bill Buck

The options I knew I had after graduating:

-Summer stock

-Graduate school

-A show internship

-A season internship

-A job?!

-Moving home and saving money before moving to a city

-Moving to a city I liked and figuring it out when I got there.

I immediately ruled out grad school because I knew I couldn't do any more school soon after graduating. If I attended grad school it would be later. I didn't rule out any of the other options.

What I did:

First I created a website that I could constantly reference in emails, applications, etc. It has resumes, portfolios with pictures, and an idea of what kind of work I am interested in. I created it with weebly which is free and really easy to use. I didn't pay to make the website. i did however buy my domain name so that it wouldn't have weebly in the website address. www.stephaniepfreed.com.

Then I decided I would be an au pair in London and spend my free time seeing theatre and meeting people.

Then I nixed that idea.

I created an excel document exploring all of my options. Let me clarify for those of you who have never spoken to me - I am incredibly neurotic. I like spreadsheets and lists, tabbies, color coding, and all that jazz. An excel document isn't necessary to apply for jobs. It was for me.

A project Kate had me do as part of an independent study junior year was to explore and keep track of directing options I had after I graduated. (Thank you Kate!) so that document was my base. The fact that I had something to start off of was very helpful so all throughout college always keep your eyes peeled and bookmark things or add them to a document. Don't freak out - I'm not saying you should be searching for jobs starting your junior year. Just keep a casual list of things that interest you.

The excel document ended up having 50 jobs in it. I found jobs in all kinds of ways. I basically sat on the internet and clicked a lot. (It was a great way to avoid doing homework). First I would search for things I was interested in, like "Directing Internship" etc. Then I would just keep clicking. If I really liked a theatre I would click on other theatres their artistic director had worked at and look at their opportunities. I looked up people I liked, thought were talented, respected and clicked on theatres or opportunities from there. Basically. Everything.

I submitted applications for 24 different things. It was like being in college again: cover letters, resumes, references, sometimes recommendations. I submitted applications for a variety of opportunities in a variety of locations because after graduation I just wanted to do theatre and keep learning. I didn't have a specific goal in mind. I didn't want to limit my options. I plan on doing theatre forever. I don't need to achieve my top life goal right after graduation. Take your time.

I applied for several season internships/apprenticeships/fellowships in Education, Artistic areas, Directing, and Electrics/Lighting.

I applied for a few kid's theatre summer camps as a counselor and/or teacher.

I also sent letters of interest to a few theatre companies in DC and NYC that I really liked simply telling them I was graduating and would love to get involved in their work in whatever way.

At the last minute I decided I wanted to apply for Summerstock electrics work, simply to get out of the area.

I submitted applications starting in the fall of my senior year all the way through April - deadlines varied. A lot of them were in January or March.

Waiting... Response?

Some companies never even responded to my application.

Some responded with generic "filled position" messages.

Some let me know I was being too ambitious by offering my lesser positions at their company.

Some interviewed me.

A few offered me a position.

I also spent the time I was applying for jobs networking in DC, which had caught my attention as an interesting theatre scene. (See the Why DC? post that I will write eventually.)

In the end I had a couple of options that I was actually considering.

1. I could be a counselor at a big Children's Theatre in NC.

2. I could pay to be an electrics intern at Williamstown Theatre Festival.

3. I could accept a paid electrics position in New Jersey.

4. I could accept a summer or season long unpaid directing internship in NYC.

5. I could Assistant Direct for Jeremy Skidmore unpaid in DC (How did I get this? See New Jerusalem post I will eventually write).

6. Go to USITT and fight for a summerstock electrics position

I decided that I wanted to live in DC so it made sense for me to just go there right after graduating and start networking so I threw all my paid opportunities to the wind (with gracious emails or phone calls of course) and accepted my assistantship in DC.

I made this decision on May 1st.

Graduated on May 8th