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.