Goodbye Heidi, Hello Dillman!

By FeliceSkye Hutchinson

We wrapped The Heidi Chronicles directed by Steven Mazzola in mid-October and now here we are one day away from opening the final production of our season, the world premiere of The Brian Dillman Conspiracy. Or - Brian Dillman Must Die: Die, Brian Dillman, Die! I can’t believe it!
I had a lot of fun working on Heidi - my production duty for this show was costumes which is right up my alley. Luckily I like vintage and had a few things in my own closet because the show calls for clothes from 1965-1989. The show was also an awesome challenge on the acting side as I played five very different characters ranging from a very butch lesbian to a very pretentious news anchor. The real challenge turned out to be costume changes – during one performance I was getting ready for the wedding scene, equipped with dress, shoes and wig I was darting through the greenroom when luckily was reminded by my ensemble mate Jashima that we weren’t on that scene! Thanks goodness I had time to change! I totally had a blast on this show and working with Steven Mazzola was a pleasure.

And now – as I mentioned – we are one night away from opening night of our final show The Brian Dillman Conspiracy, a new play written by Chris Stezin and Directed by Richard Washer. We had a staged reading at the Arts Club of Washington in October and got a great response from the audience.

It’s been such a wild and interesting process working on a new play – dialogue being tweaked, added and cut one rehearsal to the next by the playwright and dramaturg so we can be sure that the story is clear and compelling. It reminds me a little of an independent film I worked on where we were getting new scenes daily. The character I played actually got written in, which was very cool – and I think it made me better prepared for this process.

This play is full of dark humor and has more than its fair share of dudes in fedoras, Zippo lighters and psychedelic toads. It’s sure to leave you in stitches. I know I’ve gotten a couple during the rehearsals. We open tomorrow and I’m ready to end the year with a comedic bang! Then it is off to the real world for this ART graduate. Finishing the full Conservatory program will be bittersweet. I’ve learned and experienced so much. I’ll be leaving the nest fully prepared and more confident than ever. I’m so excited—I can’t wait! Of course like so many of the other alumni I’ve met during my training – I’ll be back.

Another Rockin' Business of Acting Class!

I just finished teaching my business of acting class for the semester and it was a blast as always teaching my student actors all of the ins and outs of the biz - agents, taxes, contracts, marketing, networking, media and market research and so much more. In my class each actor develops a business plan based on their own dreams, research into what they want to do and ultimately on their own reality or given circumstances.

At the first meeting where we focus on the development of a business plan – I see the look of sudden awareness – that this dream they have had for so long is a business like any other and they are in charge – and I am delighted!

And at the final meeting – individual appointments where I review each person’s business plan with them - I was once again delighted that each of them had a solid plan.

We have given them the craft, the process, plenty of practice and also the practical business savvy to know how to get there. It made my day to hear each of my students tell me that they feel prepared to go out there and take the world by storm! I heard from each of them “I came in with a dream and now I have both the skills and the know-how to go out and do it.”

This is only partly the reason that we have a 100% placement rate here at the Conservatory (number of graduates who get their first acting job within six months of graduation.) The other reason is that the business class doesn’t end on the last day of class – our graduates have a home they can - and do - come back to for business support anytime. It is true that we train our actors - and then we nurture them – forever.

Performance Anxiety? Yoga may be the Solution!
If you are the kind of actor who feels mentally charged by performance anxiety but suffers from chronic headaches when going through back-to-back auditions, or if, conversely, you “shut down” during audition experiences, not allowing the auditors to see your best work, listen up! There is a chance you can retrain your stress response system and return to acting with renewed energy and a positive perspective through the practice of yoga.

As an actor, I have fallen prey to my own performance anxiety many times, usually by experiencing a constricted throat and intense lower back pain before auditions. As a student and teacher of yoga, I have discovered that these physical sensations needn’t interfere with my ability to perform. A regular yoga practice of at least two sessions a week, can help an actor learn to respond to stress in such a way that allows him or her to give a solid, interesting, and energetic performance. There are other benefits of regular yoga practice that can help an actor as well including a stronger, more flexible body; greater physical balance; increased ability to focus and concentrate; and a healthier immune system.

According to recent scientific studies cited in the October 2009 issue of Yoga Journal, a yoga student can train his nervous system to respond to stressful situations with a “challenge response” which allows us to meet a stressful moment with exactly what is needed: “first, the ability to see a situation clearly, and second, the skills to respond without becoming overwhelmed.” The theory is that yoga offers a unique opportunity for students to practice facing stress – on the mat.

By exploring challenging, sometimes uncomfortable postures, such as arm balances, head stands, and back bends, a yoga student learns to observe her response to stress. By doing so on the mat, a student can, through time and practice, learn to remain present to the physical sensations of stress and anxiety in daily activity (like auditioning and performing) without becoming overwhelmed by them.

My colleague and fellow blogger Nan Ficca agrees, “Mentally, I just have a better day when I get a yoga practice in. I find I can draw on the amazing focus and being in the moment that I experience in yoga just when I think that one of my many project deadlines is coming at me too fast and I’m not going to make it!”

Friday Make-up Seminar

This Friday I hosted a Make-up Design for the actor seminar at The Conservatory, and I wanted to share some of the pictures we took. The one above is 1st semester student Meghan Jaegar, wearing a lot of age make-up. The one below is of a laceration we created on current 1st semester student Carol Springs' arm. Be forewarned, it's not for the faint of heart...




Make-up is extremely important to aiding an actor in Creating Character and realistic effects on the stage and screen, and it is important to understand the effects of highlight and shadow to create age and to manipulate the face and body so that the audience thinks they are seeing a different face than the one being presented.

We went over all of the basics, and then we played with special effects. Vampire bites, broken noses, and lacerations were the order of the day as we prepared ourselves for the upcoming season of ghouls (Halloween). Hope you enjoy the pictures!

Homecoming 2009!

Last Friday night, The Conservatory celebrated our first in what we hope will be many annual Homecoming Night's! Now, you may be thinking to yourself: "How can a school without a football team have a homecoming?", well, we've got our ways...

The evening started with a great meet and greet where our current students and alumni mixed it up, sharing war-stories from the front-line of their rigorous Conservatory training, sharing stories about their rehearsal projects, and networking for projects current and future that each could be involved in.

And then the real fun started. You see, unlike all those boring high-school and college homecomings where Homecoming was just a popularity contest, at The Conservatory, you have to earn it. Our 9 competitors fought it out through three rounds of Theater games, from Trivia ("Who wants to be Homecoming Royalty"), through Pictionary ("Theatrical Design"), and Charades ("Mime!"). In the end, broken and exhausted, Andre McCarther and Sarah Pullen, both only in their first semester, were crowned King and Queen of the Conservatory.

Congratulations to them both, and thanks everyone for a rousing good time at the ol' NCDA. We hope to see you all at our next party! Opening night of "The Heidi Chronicles" on Friday, October 2.

Auditioning and Acting – Similar, NOT the Same

Some novice actors believe that what they really need is to learn to audition and that will make them an actor. Yikes!

The first problem with that notion is that acting and auditioning are very different things. Choices an actor makes in preparing a monologue for an audition are rarely if ever the same choices she would make if actually rehearsing for a full production of that same play. Why? The given circumstances are completely different. In an audition the actor stands alone, on a bare stage or rehearsal studio talking to thin air. In the play there will be other characters, and other production elements that will necessarily change those choices. So, a coach can help you prep a monologue to perfection - but he or she can't come to rehearsal with you if you get the part. You'll be on your own in the moment with other actors and an artistic team who expect you to be able to engage in the process.

Preparing a monologue for an audition - typically material of two minutes max - is relatively easy (if you know how). Preparing to play this same character for an entire production is not at all easy. It takes analysis, process and practice - especially if the actor actually wants to enjoy the process. If you can audition well enough to get the part but don't have the skills to actually engage in the process it will be a nightmarish process at best, and at worst, you'll get fired.

And remember for most auditions the monologue only gets you a callback - not the part.

Acting is a profession like any other and you should give yourself the space to learn - it will make you a more competitive actor!

Thanks To The Conservatory Faculty!

Recently Conservatory faculty members gathered off-campus for a half day retreat meeting hosted at the home of vice president Nan Ficca. Based on the success of the 2008 retreat (which was implemented as a part of the larger faculty development plan) the retreat was repeated this summer and once again gave faculty and the administrative team an opportunity to review curriculum, student progress, faculty development and much more.

In a post Retreat admin meeting our Education Director Hope Lambert put it in a nutshell: “The retreat pulls together all of the faculty meetings and development seminars we lead and take part in over the course of the year and gives us the chance to assess where we are and where we want to go next with our programs. And though it is a meeting it’s always relaxing and fun as well as informative. Again this year there was lots of learning and lots of sharing.”

The faculty retreat is a fun day too – starting with doubles tennis or a dip in the pool (or both) and following the meeting, the traditional cook-out with burgers, dogs and all the fixin’s.

I’m so very proud of this faculty and thankful also that they give so much extra time to help make sure we are doing the best job of preparing the next generation of performers. Many thanks colleagues! And don’t forget our new faculty alma mater: “We are faculty! I got all my teachers and me!” to the tune of We Are Family. Thanks guys – I look forward to Retreat 2010!

Familial and Familiar Faces

So the NCDA crew involved in the Fringe Festival wrapped that up last week. It was a great time, and we had great audiences that stuck right with the show despite some pretty steamy conditions in the non-climate controlled space. Thanks again to everyone who came out to see it!

It's hard to describe how much fun it is to work with people that you are such good friends with, who you know will work hard to make a show great, and share in the joy of a job well done. I'm so glad I got the chance to do a show with so many fellow members of the family.

And, luckily for me, I get to go right back into a show with a fellow alum, and at a place I just worked! Back in May, I did a cool adaptation of Medea at Venus Theatre up in Laurel, Md., and the director asked me a couple weeks ago if I could step in and fill a role in her next show. I had a blast doing their last show, so I was already inclined to say yes, but knowing that my friend and fellow grad Chris was already cast in the show made it a no-brainer. Not to mention that a few of the folks involved in the Medea production were also in this one as well.

Doug talked a while back about creating families, and I've certainly done that at NCDA, and now up at Venus. And it's fun to bring Chris into the fold as well. I've already been giving him the scoop on the extracurricular stuff like places to eat around the theatre space and things like that. It'll be great to share more NCDA stories with this group, and clue Chris in on some other things I know about how things work where we are now. My only regret is I've got to miss a week of rehearsal because I'd already planned a trip out of town, ironically enough, to visit family - blood relatives in this case.

Putting Headshots in Focus

Frequently, when prospective students visits the Conservatory to learn more about our programs and the training they need to have a competitive career in the industry, they are ALSO in the process of getting their first headshot and ask me for the name of reputable photographers. And my response is always – “Hold your horses!”

Before spending the money and time to have your headshots done, you need to know your marketing objective – what you need the photo to be and to do. At the Conservatory, I teach the Business of Acting class, and we devote four hours just to the headshot and resume - along with the rest of the 40-hour class about marketing in general, industry standards and marketing objectives.

A big part of developing your marketing plan is: figuring out the image that will suit you best:
your type. An elusive subject that becomes clearer as you train and develop as an actor. It's very difficult to accurately pin down your type until you begin to explore the craft.

Lots of folks have a picture of themselves to hand out at auditions. Pros have a carefully crafted marketing piece that is well thought out and represents them perfectly.

I also do answer that initial question - my recommendations for photographers are: Clinton Brandhagen and Joe Henson.

NCDA in the Fringe!

The reviews are in! This year, the Conservatory's alumni committee is producing a show in Washington's Capital Fringe Festival. The show features seven alumni from the school as well as an alum director, and long-time readers of our blog may remember the post we originally put up back in March from opening night of the show. There are a lot of considerations that go into producing a Fringe show, and you've really got to be prepared going in. Our show, Late Bloomers and Glory Days, just got its first review, and you can head on over to DC Theater Scene and read it.

Fringe is an interesting beast for a lot of reasons, and showcases one of the things we teach here at the Conservatory: Theatre, and acting specifically, is about problem-solving. Our Fringe venue is very different looking even from the drawings we got beforehand, but especially different from the space where we already mounted Late Bloomers this spring. Between re-blocking entrances and exits, and dealing with the 95-degree heat inside the building, there were a lot of problems that we needed to solve on opening night. But we're all professionals, and once we fixed the issues confronting us during our three-hour tech rehearsal (normally we would budget a week at least), we were able to put something pretty special together.

So come out and see us, support the graduates of NCDA. We've got shows on July 19, 22, 24 and 26, and you can buy tickets online HERE!

End of Echoes into Wonder

ART student Felice Moody checks in to talk about what her crew has been up to. 

So, we just closed “Echoes of Troy” two weeks ago. Boy, was that fun. We had all kind of folks viewing the play: from alumni to board members, to casting directors, friends, family and strangers. We all got a tremendous amount of feedback from everyone and we all grew a little in our craft during this show.

Over the last couple of weeks we had advanced classes in stage combat with Sara Melinda, and on-camera techniques with Stan Kang. It was great having Sara teach us how to kick butt without actually kicking butt. And Stan's got a lot of experience - he's worked on industrials and films I've actually seen and totally knows what to expect in that setting, so he had great insights.

I certainly learned a lot from both classes. I feel so much more prepared. That’s why I love The Conservatory.

We just started rehearsals for David Lindsay-Abaire’s Wonder of the World directed by Shirley Serotsky. This play is HILARIOUS and we are in for some very fun times ahead. Talk to you soon!

Returning to Glory Days

You may remember a few months ago when I talked about the show Late Bloomers and Glory Days that NCDA alumni put on for a weekend. As I mentioned then, we were prepping it for the Fringe Festival, and that time is here!

It’s not just falling back into the routine from the first time, though, as we’ve had to make some adjustments. Conflicts required us to recruit a couple of additional actors to be understudies, and, obviously, we aren’t working in the same space, so that certainly adds new wrinkles. But they’re all good. The new actors make choices that give the show a little different flavor, and the new space – well, Fringe spaces are always kind of an adventure!

We’ve had our tech rehearsal in the space (you only get one – they’re rotating lots of shows through there) and now we’re just gearing up that final push before we open on July 11. For me, one of the most fun things has been gathering photos of the cast from way back when (since the show is about a reunion) for publicity. As you can see from my example, the years certainly do change you. Though, somehow, I actually feel it’s a change for the better in my case.

It has been a lot of fun for all of us that were there the first time to be back together again, and the new actors are old friends, so that just adds to the good times. I think the fact that we’re enjoying ourselves comes through pretty clear in the show, so I hope you’ll have a chance to check it out. You can get tickets and see more about the show here.

The Third Semester Experience

Current student Liz Dutton took some time out from class to tell us a little bit about how things are going now that she's gotten into the groove of school.

So – it’s only been 10 months since you started your training and now you’re already about midway through your third semester - whatcha think about that?

You know the old saying "The more you know, the less you understand?" Even though I am technically in third semester, I feel like I’m constantly peeling back new layers of information that make me realize how far I’ve come along in just 10 months and yet how far I still have to go. It’s a strange feeling to have – on one hand, there’s a great sense of pride in your accomplishments thus far, and on the other hand, it’s a bit scary to think about all the work that’s ahead of you. I’m always amazed at the great performances our faculty and alumni give outside of class (I seem to read a new theater review with someone’s name affiliated with NCDA each week in the Post…’Hey, I know them!’) and it keeps me motivated towards trying to get as much out of this place as possible!

In third semester you jump right into a rehearsal project - tell us about that.

After doing the Greek project (Antigone), I was a little apprehensive about jumping straight into another rehearsal project. However, the Commedia project was so completely different (both content and style) from the Greek project, that I really enjoyed working through the whole process again. In another time in my life, I would have been thrown off by switching gears so quickly, but I find now that the more I’m exposed to different ideas and concepts, the more I learn.

There are seven of you in your ensemble - you couldn't be more different as people and yet - like most ensembles at the school - you are quite a close knit group - tell me about the third semester tribe.

It’s interesting you asked that question because I’ve been thinking a lot about our group dynamic lately; mostly because I find how individuals interact in a group setting extremely fascinating. The group is so diverse, in terms of age, nationality, background, etc. I think, though, that we’ve morphed from seven distinct individuals onstage into one ensemble. You can actually feel the difference now when one person is out; the chemistry of the group somehow gets off-balance. Each person brings a completely unique perspective to the ensemble. It can get frustrating at times, I’ll be honest; but at the end of the day, I can’t wait to come to class the next day and work with everyone again. (Except for Tré – he’s bad news…just kidding!)

So you just finished the Commedia rehearsal project – how did that go?

I couldn’t adequately describe this project to anyone outside NCDA. I tried, but my description just sounded lame. It was really hard and exhausting and yet so fun at the same time. It’s like when I used to play soccer; you work very hard but it’s also exhilarating when you’re in the midst of the game. The hardest part for me was actually getting to the specificity that this type of comedy requires. It’s extremely visual, and most of the time I thought my movements were as clear as day, but then they didn’t read at all, or weren’t specific enough. You had to go way over the top!

Was the viewing night different from your Greek or Discovery projects? Miss it? Glad it’s over? Or are you too busy now to think about it?

The viewing for the Commedia project was great because there was a lot of energy in the room (more people packed in a smaller viewing space), so that helped our overall energy on stage. I do miss working on this type of play, exhausting as it was, but I'm finding the Audition and Voice & Movement II classes really compelling now, so I'm just looking ahead, with not much time to pine for the past!

Those who can’t do …

Some of you reading this have both performed and taught actors. And I’m wondering if you have ever thought about which is more enjoyable to you. Acting or teaching?
For me, it is hard to say, because the two have been so intertwined in my experience. And that journey started right here.
When I graduated from the Conservatory in 1994, my class was told we should resist the pull to bigger markets and stay put. So, I did what any 23-year-old, freshly trained actress hungry for her first acting gig would do – I ignored the advice of those wiser than me and I moved to NYC anyway. I didn’t do a single show in three months there, but it wasn’t a total disaster. I fell in love with the city and vowed to return one day (which I did, but that is for another blog post).
When I returned to DC, I admit, I was demoralized. BUT, I got a stage management job for a kids’ talent show from a young, dynamic teaching artist named Tom Mallan, who was teaching improv classes at Cardozo Senior High in the District.
As I worked with Tom, his connection with and ability to inspire the students, and his spontaneity impressed me. He was and still is a very gifted teacher. I began working more extensively with Tom at Washington Shakespeare Company (WSC), and I discovered I loved teaching drama to kids.
Little did I know that this gig would flourish into an acting and teaching artist career. Because of my connection to Tom and the outreach program at WSC, I was cast in my first big role in a professional theatre. And later I was invited to join the acting company at WSC. My disenchantment from my New York experience soon shifted to passion and commitment, and I decided to stay put and build a career in the DC metro area.
Since that first stage managing gig, I have taught at many organizations, including the National Portrait Gallery, the Kennedy Center Theatre for Young Audiences, and Woolly Mammoth. I also helped found the Educational Theatre Company. However, I’ve also managed to carve out a steady career as a local actress, working with the Kennedy Center Theatre for Young Audiences, Arena Stage, Signature Theatre and many others.
I’m not fond of that old adage “Those who can’t do … teach,” because clearly in my case it’s proved inaccurate. I’ve been lucky enough to do both. Teaching has helped me be a better actor and acting has given me the opportunity to teach what I love.

Because You Never Know...

One of the first professional credits on my resume is "Chicken #2” – part of a dual role I played (I was also "Dad") in Chicken of the Family for Charter Theatre’s New Plays for Young Audiences Series. (I'm the bald one in the middle - that's not the egg - in the kinda creepy photo on your left). You might think that playing a chicken was a potentially humiliating experience I'd like to forget. Well, it did involve singing and dancing, but I at least I didn't have to do the "chicken dance." THAT would have been humiliating. Man, I hate that song.

Wait, where was I? Oh, right - that was actually a really fun role in children's show, so not humiliating at all. And I’m glad I didn’t forget about it because, as it happens, I went to an audition recently where the side I was given actually said that I should be prepared to "sing like a man-sized chicken." And I thought to myself, "I've DONE that!" So, I confidently belted, or rather "bawked" a few notes and kept right on going.

The point is, I rose to the chicken challenge. You never know when some skill or past experience might come in handy. So, don't be too quick to dismiss some special unique knowledge or stupid human trick you've got hidden up your sleeve. It might be the critical difference between getting the gig, or laying an egg. (Yeah, like you didn't see that coming.)

Dude - I Hired My Mentor

When I graduated from the Conservatory, I was exactly like the emerging artists that we have been graduating since 1975 - I had a solid business plan and knew what I wanted to happen and what I needed to do. This week, I have occasion to reflect on my career because I hired my mentor - the first professional theatre producer who hired me after I graduated. His name is Ira Domser and if you don't know him, boy, do I hope you get to meet and work with him some day.

I graduated from the Conservatory third-year advanced program in May of 1991 and immediately attended the auditions recommended in my business of acting class looking for work. At my first audition I was hired for a full season at Theatre on the Hill in Maryland.

I must have made a good impression, because I went back to Theatre on the Hill for the next seven years. Over those years, my mentor Ira taught me and gave me the resources and freedom to create a theatre for young audiences, an intern program (which gave new emerging artists a chance to learn and grow) and a late night cabaret. And always Ira was there – supportive, excited and helping me grow as an artist.

Last month, I traveled back to Westminster to meet with Ira and finalize the details for the work I'm hiring him to do – props for I Hate Hamlet at Totem Pole Playhouse. It's both so very awesome and so strange to be hiring the man who for all intents and purposes gave me my start when I was just out of my training. I read Doug's post on Creating Families and he's absolutely right - we do create families everywhere we go. I not only hired my mentor, I hired one of my dearest friends in the world.

I always wanted to be an artistic director of a fabulous theatre company I believed in - just like my mentor. And I reached that goal this year when I took over as artistic director at Totem Pole.
I got where I am by being nurtured and given so many opportunities by Ira, and now I have the same opportunity to help a new generation of artists including alumni of my own alma mater - the Conservatory.

And on top of all that I get to spend a couple really cool, fun, creative weeks with Ira at the Playhouse making a play again! This is going to be an incredible summer. I Hate Hamlet also features Conservatory alum Matthew Eisenberg ('05 - pictured here with me) in the lead role. Hope to see you at the show!

Putting it Together: Echoes of Troy

As the paint dries on the set and the actors finalize their choices we are well on our way to opening night for the first show of the 2009 Actors Repertory Theatre season – Echoes of Troy. It’s been a challenge taking this 2,500-year-old script and putting it into play in a way that flows and remains tense and interesting throughout 90 minutes, and we’re getting closer and closer to having a show that is a real treat to see.

The actors have done such terrific work that the show is starting to show true signs of developing into that ever-elusive living piece of art we call theatre. Each actor has several moments in the play that resonate strikingly. Now, they are working on being specific, staying active, and delving even deeper into their characterizations to find the inner life of the roles. We’re 48 hours from final dress rehearsal, and open on this Friday, June 12 at 8 p.m.. I really think it’s going to be special, and it will be fantastic for these actors to experience their first professional opening in ART. I was happy to read Felice’s blog about her experience in this rehearsal process and even happier to know that she is loving it! And thanks for the kinds words Felice – oh go on! No – I mean it – go on…

In these final hours of rehearsal, we’re going to refine and get ourselves in a place where we feel comfortable that the audience will laugh when we want them to laugh, cheer when we want them to cheer, and cry when we want them to cry. The story is complex and twists its way through the myth of Agamemnon in the same way the fog twists around the sitting stones lining the stage.
We are so excited to bring this show to life, and we hope you’ll come and join us during the run! Echoes of Troy runs June 12 – 21. For a complete schedule visit our web site!

ART = Fun Times

Third-year Conservatory student and Actors Repertory Theatre 2009 member Felice Moody takes a break from preparing for the company’s first show to share some thoughts.

We just finished up our third week of rehearsals in ART and I’ve been having a great time. It took me a couple of days to get back into the groove of things because the “undergraduate” program ended for me in December. I totally love my ensemble-mates: Danny, Dena, Jeff, Jashima, Patricia and Robert. We’re doing some great things together and I know we are gonna have a blast. The staff and faculty as always have been great so I’m looking forward to things to come.

The thing that I love about The Conservatory is the instructors are all working in the business. Nan is stage managing just as she does so well. Doug is the ideal director because he has a tremendous amount of experience as an actor and director. He pushes us and gives us great advice. He looks at things from an actor’s standpoint and that of a director. Our ensemble had a few rough patches at the start, but I think we’ve worked through that. Doug says this is going to be an awesome show and I know I can speak for everyone when I say I was relieved to hear that, because we are most critical of ourselves.

Right now we’re in rehearsals for Echoes of Troy. This is our “transition play,” easing us into the more rigorous advanced program, which means it’s all about learning and all about the real world at the same time. Nan and Doug are like a mama bird gently pushing her young off the nest, assuring them she’s given them all they need, they just have to use it. I’m grateful for this transition. I need that reassuring push. Of course, the truth about ART is that it’s all “the real world,” but still a excellent learning opportunity to ask questions, work some things out and get support and resources. I made it my personal goal to focus on ART solely to get all that I can from it, and once I graduate in December, I will have strengthened wings and will be ready to fly high.

Acting Leads You to Crazy Places

“Go speed reader, go!” was just one of the headlines of my recent fling with 15 minutes of fame, and the funny thing is, it wasn’t for acting.

I recently made a brief appearance on Capitol Hill as a reader for the 950-page climate change bill that the Energy and Commerce Committee was debating. I was hired because I read fast, really fast, in fact, you can check out a clip of me reading on the Rachael Maddow show last Friday night if you want to catch a glimpse of what I mean.

It was really fun being semi-famous (at least amongst my friends and colleagues) for about a week and a half, and having people on the Web insult me for no reason, including a couple of my favorites, that I’m a “Muslim Terrorist”, and that I “sit in my parents’ basement practicing speed reading on Harry Potter.” On the brighter side, I was called an “amphetamine tongued warlock” and “an auctioneer on steroids” by national television and news outlets, and I couldn’t have done it without my NCDA training in voice.

It’s funny how living the life of an actor can make other opportunities play out in other parts of your life. So far, my acting career has taken me across the country, granted me untold hours of fun doing what I love to do professionally, given me the experience of sitting in Congress to watch how a bill is marked up, taught me how to juggle, how to do some acrobatics and gymnastics, given me an outlet for my comic songs, introduced me to the great cities of Philadelphia and Los Angeles, given me a host of lifelong friends all across the country, plentiful teaching opportunities and made me a director and artistic director. And now - a speed reader!

Crazy.

Creating Families

The life of an actor is hard. It’s hard for many reasons: the audition process is brutal, the craft itself is extremely challenging and many skirt the poverty line while waiting for their next job, which can get old pretty fast. Of course, the profession is rewarding, and the opening night applause is almost narcotically addictive. But in recently closing Heidi, the play I was in for eight weeks at Imagination Stage, I was reminded of yet another reason why this life is so difficult - I have to say goodbye to my new family.

It is incredible how close you get to the people you share the stage with, and how easy it is to become a best friend with everyone backstage. It’s no wonder that the theater community is so small, that people on the outside look at it like a high-school clique. We genuinely love one another. And actors are peerless; it doesn’t matter if you are 75 or 17. We all become brothers and sisters through the process, and we are family forever when the process ends.

I still keep in regular contact with people that I worked with for one or two months six years ago. We call one another, we check up on each others’ lives, We see each other’s shows, and it’s special. Wherever I go, I make new family members.

In Heidi, I worked with seven actors, five of whom I have never worked with before, and was blessed with three terrific backstage technicians, two of whom are just beginning their own theatrical journeys. I have shared advice and received it, told stories and listened to them, and gotten to know, in incredible detail, the people who I have walked the boards with all this time. Some of them I didn’t think would become my friends, some I had weird first impressions of, but every single member of our company has become so dear to me that I truly loathed the moment I had to say goodbye to seeing them every day.

I am grateful to them for making this process one of the best I’ve ever been a part of. I am grateful that they were as generous with their time, advice, and compassion as I could have hoped cast members would be and I hope that we all get to work together on a project in the future. But if we don’t, I’ll be checking their Facebook pages, reading their blogs, inviting them to parties and shows and calling each and every one of them to talk about life and art. Because that’s what family does, and in theatre, we create families wherever we go.

You Need An Objective Eye

Earlier I answered a question I am asked consistently and I’m excited to have that opportunity again.

Recently, a prospective student came to the school to learn more about it. The young woman was very prepared, with a whole list of questions. ( I LOVE that!) One question was whether students at the Conservatory were required or encouraged to rehearse alone with each other outside of class. She seemed so eager that I thought she might not like my answer, but I can’t tell people what I think they want to hear, I tell them the reality. So I told her: No. In fact, absolutely not! She didn’t respond, so I was determined to make sure she understood why I was - and could be - so emphatic about it.

I explained that actors in the first-year program do not rehearse outside of class without a teacher present because they will inevitably give each other notes (that is, for those who may not know, they’ll make suggestions about what the other actor should do at a certain point). And actors do not ever, rather should not ever, give each other notes.

Actors giving other actors notes just isn’t done. Not because of some lofty actor rule but for very practical reasons – you need an objective eye. The objective eye is the teacher or director watching the scene who can see what is unclear or not working . An actor who is IN the scene can’t possibly know that. Too often, when an actor in a scene gives another actor a note, it’s because they are seeking a response from their scene partner that clicks with something they want to do. But they can’t know if that choice works for the audience, or for the other actors.

I was excited when she immediately expressed relief! Apparently, she had just finished a class where this exact scenario had played out and she wasn’t very happy about it.

Acting is a collaborative process but collaborative does not mean suggesting what each other should do. Every play, every film, every piece of entertainment, has a director – an objective eye – the person charged with seeing what the audience will see and making sure the story is clear.

There is plenty for an actor to do outside of class – study the text, the literal action, the given circumstance, etc., and certainly it’s always useful to get together to run lines. But actors should really never rehearse – you need an objective eye!

If I had a dime for every time I’ve answered this question I’d be a millionaire! Do you have another question I’ve probably answered a million times? Let me know – I’m happy to help!

Hip Hip… Hoowrong!

One of the things I like about life is how frequently I’m wrong. Maybe it’s due to my generally pessimistic outlook, and the fact that things usually work out better than I assume. Maybe it’s nature’s way of saying I should never assume things. Or maybe it’s that I have horrible judgment.

Well, whatever it is, it’s happened again. I went to an audition, and I landed the part. So, cool, yes? Well, I wasn’t sure. See, I almost immediately started having second thoughts: The theatre is a long haul away. The part is so small for that kind of time commitment. I have no connection to any of these people. What did I get myself into? Am I going to regret this?

In a word, no. In a few additional words, I’m a doofus.

The experience has been great. It’s a brand new play, and the director has shown a deft hand at letting us explore – including dedicating big blocks of rehearsal to letting us make discoveries to inform the characters we play – while at the same time crafting her vision of the work. The part is smaller, but it’s far from being a background role. It’s a nice journey through the show, and has some great moments. I was a fool to think in the small community of D.C. theatre that I had no connection – and Facebook quickly dispelled that notion. Hell, I even found out someone at my day job knows the director. Not to mention that the cast has been a blast to work with.

And, sure the drive is long, but now I’ve learned all kinds of alternate ways to get out of D.C. during rush hour! (None of them are faster, naturally, but a change of scenery is always nice.)

Of course, a few of them were the result of wrong turns. See? It never stops.

A Blank Canvas

Smoke billows upstage and pools along the theater floor, as the dimly lit stage begins to glow an eerie blue and we hear soft chanting in a whisper that sounds like it’s coming from behind an upstage veil. As the sense of mystery begins to grow, along comes our guide, our chorus leader, to pull us into the story… at least that’s how I see it in my mind.

As we prepare at The Conservatory to go “into the breach” once more, I am reminded how exciting it is to be part of a play, and in this circumstance, I am in the unique situation of being the director, and it is the images that I see in my mind that I will be charged with bringing to life on the to the stage. Currently, our black box theater, and our actors are serving as a blank canvas for our opening play of the ART season, Echoes of Troy, which draws from several Greek myths to create a drama based on the stories of those who played a major role in shaping the Trojan war.

As an actor, I love the sense of wonder and excitement thinking about how I will approach a new role, and the week leading up to a first rehearsal is a stimulating experience where I finalize my work on character and determine the choices that will guide me through the early part of the rehearsal process. As the director for this project, now it’s my job to help shape the choices that our terrific actors will bring to the rehearsal process, and make the images I see for the scenes match the work of the actors.

I am thrilled for the opportunity and can’t wait to get started. Starting on May 11, we have 92 rehearsal hours to bring the show to life. I’ll be updating weekly on our progress, so check back regularly to find out how it’s going!

My First Year as Artistic Director - The Ride Begins!

Guest blogger and Conservatory President Ray Ficca sent this along on May 4th - as he set off for Totem Pole Playhouse.

What a whirlwind weekend! Today I came to Pennsylvania to begin my first year as artistic director at Totem Pole Playhouse in Fayetteville, Pa. Totem Pole Playhouse has been graced by many great actors, designers, and technicians since opening in 1950, including: Jean Stapleton, John Ritter, Harry Groener (one of my favorite actors), Sada Thompson, and Sandy Dennis. I have also been lucky enough to work here as an actor over the last five years . I have taken the reins from my dear friends Carl Schurr and Wil Love. Thankfully, they still are lending their talents to the playhouse - both acting and directing in the upcoming season. It's absolutely humbling and also very exciting every time I walk into the theatre. Many members of the staff with whom I've worked over the last five years will be returning as well. These folks are both great friends, and some of the most talented folks I have ever worked with professionally.

Saturday morning, Nan - my wife and fellow Conservatory staffer - and I traveled to PA to prep for the more than 30 artists who will arrive at the Playhouse over the next couple of weeks for the 59th season. Our charge this weekend was to check in on the skeleton crew that has been at the theatre for the last few weeks getting the place ready for the tech crew and first actors who will begin to arrive in the coming days.

Our first stop was the office, where they’d been busy answering phones and selling tickets. Seeing that the ladies there had things well in hand, we moved on to the houses where actors and technicians stay for the summer, to make sure they were ready for the onslaught of folks who will be arriving in the coming days. We couldn’t have been more impressed! The houses were in fine shape thanks to the crew: fresh paint, beds made, cable connected.

After making sure the tech and actor crew were taken care of we set off to find the house where I would be living this summer. I think we pulled into about nine driveways in the state park before we found our house - generously rented to us by a long time playhouse supporter. (These houses have names (like the Cottage, the Tavern, the Annex – not numbers – and sometimes it’s not easy to see the name and without sequential numbers – you can’t just count…) Nan cracked that we were annoying the neighbors by pulling into their driveways and staring into their houses...wondering. We found it finally after a friend Sue Powell saw us at a loss and drove us to the right house. This house is amazing – were it not for the fact that we have so much cool work coming up putting up six plays this summer, I’d feel like I'm on vacation!

After making sure all of the houses were ready to be occupied by artists and technicians - who are coming from places like California, Indiana, Rhode Island, Kentucky, and New York – our little crew had some supper and time to relax before calling it a night.

As exciting as it is to be starting my first season at the Playhouse as Artistic Director – I’m also sad to be separated from my Conservatory family in DC. It’s not complete separation – Nan and I are in constant contact and I’ll be back each week to work with staff on the progress of the summer semester, the ART season, working with the Advisory Board and seeing final student projects – but still. I’ll miss seeing student progress every day. But I know that Nan, Hope and Doug have everything well in hand. And when I do return to school after being at the Playhouse - one of the oldest and most professional summer stock companies in our great country – I am always delighted to find that the same professionalism and collaborative artistic process are in play at the Conservatory that I am used to at the Playhouse and the many professional theatres where I have worked over the last 18 years - since I myself graduated from the Conservatory’s third year program in 1991. I feel proud to have been able to help create that positive, professional atmosphere at my alma mater. Rock-On artists of the future in training! I’m here for you! Reach me at RFicca@aol.com.

I’ll be blogging this summer about the Playhouse and the work I’m doing here. If you are near Caledonia State Park and looking for some great entertainment come on by! Check out our performance schedule at www.totempoleplayhouse.org and let me know if you are coming I’d love to meet you before the show!

I know Nan is planning a school field trip to see our production of I Hate Hamlet starring (me) and Alum Matt Eisenberg ('05) on July 12th - 3 pm (including back stage tour and lunch in the pavillion on the west lawn) - hope to see lots of you here (there were 30 of us on this feild trip last year. love it!) Contact Nan NFicca@TheConservatory.org to get in on the fun.

How and why oh why does an actor become an artistic director?

How and why oh why does an actor become an artistic director?

When I decided I wanted to be an actor I never thought I would become an artistic director. Actually, I never thought I would become a director either, but at least that’s a career most actors dabble in at least once in their lives. When I began my training at the National Conservatory of Dramatic Arts, I had big ambitions that didn’t involve standing on the producer’s side of the aisle, trying to both write and find excellent material, balance a budget and fill seats. Fast forward seven years to 2008 and I am artistic director for the New Plays for Young Audiences series at Charter Theater. I just wanted to be on Broadway.

Looking back I can now see how I got to where I am – and I couldn’t be happier. This blog is a reflection on how a career evolves. After completing the advanced acting program at the Conservatory I attended the United Professional Theatre auditions in Memphis and left a month later for a national tour of Tom Sawyer the Musical with American Family Theatre. I had the very good fortune of working with some extremely talented artists, and we traveled to 28 states (I got to see almost our whole great country!) and performed for four months for audiences ranging from one hundred to four thousand screaming and excitable children, and somewhere along the way, I began to develop an extreme attachment to theater for young audiences (TYA.) While my sights were set on the great White Way – I was beginning to get really interested and excited about theatre for kids. After working for American Family Theatre I began an 8 month stint at Wayside Theater in Middletown VA, where I performed in four plays for young audiences (fourteen in total) and began to study the TYA style and what opportunities would be available in that market once I returned to home to Washington, DC.

What I learned from my research was that DC, a metro area that serves almost 1 million families, had only two truly professional theaters that served children; Imagination Stage, in Bethesda MD, which is one of the finest theaters in the country, and Adventure Theater in Glen Echo Park MD. My research showed me that there was room in the DC market for more theatre for young audiences and I wanted to help bring more of that to the city! So, with the help of my best friend and mentor Nan Ficca, I decided to dive into creating a theater that would combine all of the things I loved about bringing the experience of live theatre to a new generation of young people. Charter Theatre – a company dedicated to the development of new works for the stage was looking for someone who could help them start up a TYA program, so, along with Nan I did. Suddenly – I was the artistic director of Charter Theatre’s New Plays for Young Audiences Series. We’re now coming to the end of our third season, and I’ve budgeted, planned, written, performed and/or directed 7 shows, and I know now that theatre for youth is passion that will continue to be a focal point of my career as an artist.

I also realized that it was my training at the Conservatory truly prepared me to be able to jump into the role of Artistic Director of a theatre company. In addition to the regular class schedule in acting, I had seminars in directing, producing, lighting design, and more and as a member of the advanced program ensemble I was engaged in all aspects of putting a project together including marketing, front of house and box office, props, sets, lights, props, costumes – literally everything – so I had not only an understanding – but actual practical experience in each of these areas. The boss should fully understand and be able to do everything he or she expects their staff to do – and I did. And in most cases it is I and Nan with the help of Conservatory alumni and students filling all of these functions for our fledgling company. And that is the really cool part – I DO know how to do all of these things. And even cooler is that taking on this project has created an opportunity for other conservatory students and alum to get involved and continue to learn to be producers and explore the many, many exciting aspects of putting it all together for an audience.

To sum up – I never imagined I’d be an artistic director – and here I am and I couldn’t be happier. In future blogs – I’ll be talking more about Theatre for Young Audiences –it’s not only super fun and fulfilling but also vital to the future of young people who are in schools where the first budget cut that happens in hard financial times is arts instruction. I look forward to your questions and input let’s talk TYA!

If you are interested in TYA – please come see our current production of Princess Peanut’s Rainy Day which runs Saturday and Sunday at 1:00 through May 24^th. All the detail stuff you can find at our web site: here. And let us know what you think about the show – AND what any young people you bring to the show think – input from the audience is always welcome. You can check out our OurKids.com review from opening weekend here.

And if you are interested in seeing the things I’ve been able to do as a part of this endeavor, I’ve linked to some of my reviews below.
Doug directed “Princess Peanuts Rainy Day” (even though the review says someone else did).

Doug wrote and performed in “The Prince and Troubadour”

Doug directed “The Chicken of the Family”

You Oughta Be In Pictures!

I meet with about 10 prospective students a week here at the Conservatory who are visiting to learn more about training to be a professional actor - people with a dream. For many, what they really want is to be a star - in the movies and on the red carpet! Don't we all! And I frequently get these questions: "Why should I spend so much time training - I know of an on-camera class that is only a few weeks long?" and "Why should I spend time training for theatre if what I really want is to do film?"

I'm so excited that the Conservatory's new blog has given me a reason to finally sit down and answer this question in writing so it will be codified for all time!

It's an important question - especially to those people who are looking for sound advice about how to get started on a path toward their dream. And the answer is pretty simple. Acting is acting no matter what your chosen media: stage, film, television, voice work, the list goes on. Each of these jobs takes the same amount and type of preparation, character development and practice. The differences between working on stage versus non-live media are technical and they can be learned in a short amount of time IF – you first know how to act. If you learn the technical aspects of working on camera but haven’t learned to act - the camera will know.

Training for and working on the stage makes you a better film actor because working on the stage is more demanding. There is no cut, no take two, when the audience is there. Actors on the stage know how to maintain character for an entire play, and how to think on their feet and deal with missed cues, botched lines, technical snafus and stay in character all the while. I have been involved in more than a handful of stage productions where I've been in the house and watched brilliant actors save the show when something has gone wrong. And the best part is seeing that the audience is absorbed - completely unaware that Jane just dropped a line -which Joe then rescued so the audience wouldn't miss important information. This is a form of improvisation, a learned skill highly valued by film directors, and it takes practice.

This is the reason folks who cast for non-live media LOVE to cast actors who have theatre training and theatre credits - they know that those people know how to do their JOB.

It’s one of the best jobs in the world but at the end of the day acting is a business like any other, and time is money. When casting I'm looking for an artist/employee who knows how to do her job, can do it efficiently in the amount of time allotted and who can solve problems on the spot. This is true in every business - and just as true in the entertainment industry. In film - although we can do another take - every additional take costs money. I need an actor who can do it in one.

If you really want to do film – train on the stage and do theatre! Break legs all!

You Ought to be in Pictures
Music by Dana Suesse Lyrics by Edward Heyman
You oughta be in pictures, You're wonderful to see, You oughta be in pictures, Oh what a hit you would be! Your voice would thrill a nation, Your face would be adored.

The Artist's Project 2009 - Awe Inspiring!

This weekend concludes the 2009 Artist's Project at the Conservatory and what an action packed project it has been this year! For those who don't know - The Artist's Project - now in its ninth year - is when Conservatory students, alumni and faculty come together to self produce and the Conservatory provides the space, equipment, marketing and box office assistance they need to realize their dreams. As we all know - one of the biggest barriers to artists being able to produce their own work is affordable space.

This year's project included Love and Whiskey - a new play written and produced by Conservatory guest faculty member Allyson Currin; Late Bloomers and Glory Days also by Currin and produced by the Conservatory Alumni Committee, featuring Conservatory alumni. Next up was Conservatory Cabaret - now in its fifth year - a cross between Saturday Night Live and vaudeville featuring students, alumni and faculty. This year there were over 20 acts and very entertaining hosting by emcees Doug Wilder (one of our faculty bloggers) and George Michael Harris III (affectionately known around the school as Three) who pulled the whole evening of entertainment together - especially Doug, who directed. This past weekend - for one night only - alumna Leigh Anna Fry and board member Renee Gentry brought us Dear Mr. President... an original work featuring alumni in stand-up routines that was a like a hybrid of The Daily Show and letters to Santa.

We wrap up the 2009 Artist's Project this weekend with a production of The Houseguests produced by Alumni Roger Payano. At first tech last night the production was definitely on it's way to a great opening night! This is also Roger directorial debut - he produced the show so that he could begin building his directing resume. Go Rog!

Nearing the end of 14 weeks of non-stop production here at the Conservatory (think very positive, and excited exhaustion...) I have to say that I am personally in awe of the many students, alumni and faculty who took advantage of the opportunity that the Artist's Project provides to produce, write, act, direct and share some amazing work with the public. Our curriculum here at the Conservatory is designed to produce not just actors who audition and wait for the phone to ring, but artists who have a fully developed aesthetic and the knowledge, skills and ambition to make great art. This year's Artists's Project reinforced for me what is possible.

There's still time to catch The Houseguests this weekend - April 10, 11 & 12 at 7:30 PM. To reserve your seat contact me at NFicca@TheConservatory.org.

Did you see any of the performances in this year's Artist's Project? If so, I'd love to know what you thought - post your comments here. Or even questions if you are thinking of producing next year.

The Thin Line Between Truth and Fiction

A couple of brief items that I thought were amusing and worth sharing:

A few nights ago, I had what might be a rite of passage of sorts for actors - my first "actor's nightmare," dreaming I was on stage with absolutely no idea why I was there. It may very well be that the cold meds I was on played a part in this, since I generally don't have such unpleasant unconscious thoughts. In any case, what made it almost entertaining was that the setting for this unfolding catastrophe was NCDA, so I was surrounded by familiar faces.

Of course, that also only added to the drama trauma, since it's so much harder to disappoint the people you care about. So, I'm on stage, surrounded by my cohorts. Some of whom, I seem to recall, were equally clueless. Interestingly, I don't recall being stricken with absolute panic. I remember thinking things were going slowly, but also being very alert about what was happening and trying to listen and respond semi-appropriately until I could "escape."

But apparently I wasn't good enough. My co-bloggers soon appeared to bail us out - one of them actually taking away the script that had somehow appeared on stage (even in my unconscious I know that's a no-no during a show!). Even though Doug and Nan didn't look thrilled to be there, I was relieved to be rescued. I think the dream fast-forwarded to some kind of post-show discussion of what happened, at which time, mercifully, I woke up.

On a slightly different note, "Oh, No, Performers Coming Into Audience" from The Onion gave us all a laugh the other day. And then, days later, I find I'm cast in a play that has some crowd interaction in it. (But not to this absurd extent.) Just another example of art imitating life imitating art, I guess.

A Week in the Life

I was one of those fortunate to be part of the Late Bloomers and Glory Days show Doug mentioned in Opening Night. Pictured here is a shot from the final scene of the show. If you didn't make it last weekend, be sure to catch us at the Fringe Festival in July. We don’t know exactly where or when yet, but check back for those updates!

So, anyway, we closed and struck Late Bloomers Sunday, with those of us who didn’t need to rush off lingering at the Mexican restaurant upstairs from the school to share nachos, recap the show and chill. On Tuesday, I auditioned for another show up in Maryland - touching base with Nan on some business issues that might come into play if I got cast. I was lucky enough to get a part - narrowly edging out a fellow Conservatory alum. Later this week, I'm going back to the school to help prep for our annual cabaret coming up this Saturday night, where lots of alumni, students, faculty and friends gather for a show of skits, songs and other general silliness. It's always a great show and a fun party, and it’s open to the public - check out the Conservatory website for details and to reserve a slot. And be quick if you want to join in the fun, it fills up in a hurry.

So in the middle of all this, it occurred to me that this week is a good glimpse of what life is like after NCDA: Many of us eagerly look for chances to work with each other. And we seek out all kinds of other opportunities to work, knowing we have the support of the school, and each other. And we also make time to play together. All in all, it's a pretty great system, don't you think?

Opening Night

Last night was the opening night of Late Bloomers and Glory Days by Allyson Currin, produced by the Conservatory’s Alumni Committee. The opening was a tremendous success and is the culmination of three months of pre-production work undertaken by the committee from casting to marketing. I know I speak for everyone on the committee when I say how fulfilling if was when those stage lights went up.

And it just got better from there – the stellar work of the cast of Conservatory graduates Karl Bittner (‘07), Leigh Anna Fry (‘06), Lisa Margarita (‘08), Samantha Merrick (‘04), and Dane Petersen (‘07), as well as NCDA graduates Ric Blackwell (‘08) and Michael Harris (‘08).– under the direction of Jessica North Macie (ART ’05) as they transitioned between their thirty-two year old characters at a fifteen-year high school reunion seamlessly to their seventeen year old former selves for the flashback monologues that playwright Currin added to give the audience insight into their past were remarkable. A challenging acting experience to be sure, and this cast knocked it out of the park.

Late Bloomers and Glory Days will also be featured in this summer’s Capital Fringe Festival in July hopefully with this cast intact. We will be blogging about the Fringe experience as the festival draws near so be sure to check back in.

None of this could have been possible without the excellent efforts of the Conservatory staff and the alumni committee. The Conservatory provides free space for rehearsal and performance to its graduates as a part of its Actors Producing Project, a three month period in the spring where the school’s theatre is made available to alumni to produce work. And it is thanks to the Conservatory’s business class offered in fourth semester, as well as the professional theater training offered in the advanced program (ART), that we have the knowledge and experience to take a show from pre-production to a solid opening night.

Now we’re looking forward to a great weekend of shows. If you get the opportunity, come on out and see us this Saturday March 21st at 8:00 and this Sunday the 22nd at 3:00. Whether you were a Late Bloomer or you remember high school as the Glory Days, there is plenty to laugh about this weekend at the Conservatory.

Welcome!

Hey! Welcome to our blog!

The National Conservatory of Dramatic Arts is Washington DC’s only accredited, professional actor training studio. We train actors and then we provide the network and resources they need after graduation to make their career go. That, in a nutshell, is who we are.

We are also a hotbed of great theatre and performance. We have student showcases and alumni projects where you – the general theatre-loving public – can visit the conservatory to see shows either for free (all student showcases) or a suggested donation (self-financed events produced by alumni) and see our actors in action on stage – and some wildly terrific story telling.

In our blog, we’ll share thoughts on our process, what you can expect from the shows or student showcases and more. Learn more about what is going on here at the school, about our students, faculty and alumni and about the projects they are working on around town. And those are numerous – 95 percent of our grads get work within six months of their graduation.*

We’ll also share a variety of insights on acting, the business and industry and much more. But most important, this blog is a way for you to ask questions of our stellar faculty (all working actors, directors, casting directors, etc.) or suggest a topic you'd like us to talk about. And, the blog will always alert you to cool events coming up at the Conservatory so be sure to check back and see what’s going on.