Brilliant and Resilient

Contributed by Cyndy Marion 


2012 was a year in theater of being resilient, resourceful and affordable. It was a year of small theaters pulling together more than ever and pooling their resources via co-productions, sharing space, sharing resources, sharing talent and ideas. It was the year of the LITFund—a brilliant idea from The League of Independent Theatres, where Off-Off-Broadway theaters donate a small portion of their ticket sales (5 cents a ticket) in order to generate a theater reserve fund accessible to all member theaters. It was the year that small theaters had to find ways of keeping rehearsals and shows going in spite of the setbacks of Hurricane Sandy and many even rallied to the cause of those in need by hosting fundraisers and events to benefit those who lost their homes. It was that year that the new Signature Theater began offering subsidized $25 tickets allowing many who normally could not afford to attend Off-Broadway productions to do so. I hope that this becomes a trend with other theaters—and that more patrons will step forward and provide the funding needed in order to make this happen.

Theater should not only be about big stars and making money, it should be about creating community—and in order for this to happen, theater needs to be accessible to everyone in the community. Thank you to Signature for leading the charge--hopefully other theaters will follow suit. In times of crisis, Off-Off-Broadway artists rise to the challenge—we are resilient, resourceful and committed to our mission of making theater. We are ready for whatever comes our way and also ready to help those around us.

Powerful Rarely Produced Play

Contributed by Cyndy Marion 


One production stands out for me this year and it was Retro Productions' revival of The Runner Stumbles at the Arclight Theater. Casandera M.J. Lollar delivered an incredibly moving performance as a nun who falls in love with her parish priest (Christopher Patrick Mullen). Retro's production was simple and powerful, inviting us into the dark, ordered world of the Catholic Church where despite the rigid behavior, the desires of the heart and fervors of the flesh still pulse erupting into a crisis with tragic outcomes. This production touched me deeply in a way most theater has not in a long time. I commend Retro's mission of producing rarely produced plays of the past. Plays that still speak to us today and often say more with the unique perspective they offer.

Guest Blogger of the week: Cat Parker

Thank you to Cyndy Marion for blogging last week! We're happy to announce this week's blogger: Cat Parker!

Cat Parker is a freelance director based in NYC, who has worked regionally at Dallas Theater Center, Dorset Theatre Festival, and Oklahoma City Rep. She assisted Jerry Zaks on the Broadway debut of A Bronx Tale, featuring Chazz Palmenteri. In New York, Cat was the Producing Director at T. Schreiber Studio, and has directed at The WorkShop Theater Company, Creative Place NYC, Mid-Town International Theatre Festival, Abingdon Theatre, and UrbanStages. Favorite productions include Picasso at the Lapin Agile (NYIT Award Winner), Laughter on the 23rd Floor, Towards Zero, A Doll’s House, a steampunk-influenced Twelfth Night (NYIT Award Winner) and Rosencrantz & Guildenstern are Dead. New works include the New York premiere of Sister Cities, (NYIT Award Nominee), The English Channel, En Passant, A New Theory of Vision, Riders of the Golden Sphinx, Echoes of Radioland (a theatrical radio show), Lovers of Verona (an original commedia del’arte piece), Lilith, Blind Study, Safekeeping, Switch, Gone Astray, Shadow Pier, Beachwood Drive, The Chekhov Dreams, Native Stone, Underpass, and Rapture. (www.catparker.com)

we like it when artists are busy

Unfortunately, we will not be hearing from Kevin Doyle (Playwright, Director and Artistic Director of Sponsored By Nobody) after all. The unexpected demands of producing and rehearsing a show have kept Kevin super busy this week and he was unable to respond to my questions. Of course, this is one of the challenges of wearing multiple hats--there just it not always enough time in the day to get everything done. But, we try!! So, I leave you all with one final question as we wrap up the week's discussion. DO ARTISTS MAKE BETTER PRODUCERS? I know I have my opinion--but what does everyone else think? Love to hear from you.

Thanks again for having me and many thanks to Michael and Liz for their participation.

En Avant!

Cyndy

How about a Collaborative Approach? Interview with Liz Vacco

Liz Vacco-Performer, Choreographer and Founding Member/Managing Director of Immediate Medium offers her thoughts on self-producing experimental theater. Thank you, Liz!

# 1. What was the first show you produced? What was the most important lesson you learned?

I've been producing work with my company, Immediate Medium, since 2002. But most of what we did for a while were short pieces in group shows or more installation based work. The first full production we put up was in 2007 when we produced a 3 week run of an original piece, Things Are Going to Change, I Can Feel It. We learned a lot during this experience, but I think the most important thing we learned is that for our kind of experimental work it's key that everyone involved is really excited and dedicated to the project. It's crucial that every collaborator has a strong artistic stake in the project; if not, things can get hairy.

# 2. How do you define your role as producer? What do you enjoy most?

For our company, it's about getting the space and the funding to put up the pieces we want to develop together and ultimately show to the public. Therefore, every company member does whatever it takes; sometimes this means sharing responsibilities, delving into an area in which we have no expertise and it definitely means learning as we go. I have enjoyed learning and gaining knowledge about arts administration and producing that I might not have acquired otherwise.

#3. What are some of the benefits to producing your own work?

Complete artistic control! Granted I work with a collaborative, but we came together since we share an aesthetic and a set of values about performance and art as well as a creative drive that we bring to each new piece. It's great to know that we as a group have the ultimate say about what each piece will be.

#4. What are the unique challenges to wearing more than one hat? How do you deal with them?

It's particularly difficult when in production. During our productions, each company member has either been performing, directing or designing as well as helping produce the piece. Sometimes grant deadlines coincide with tech week or the demands of putting up a show combined with rehearsing and preparing to perform simply become overwhelming. You just don't sleep much - and deal.

# 5. Any words of wisdom for artists who want to produce their own work?

Talk to the people who's work you admire; find out how they do it. Or intern with them at first; just being in that environment and talking with fellow artists will teach you a lot of what you need to know to get started.

Liz Vacco is a Brooklyn-based performer and choreographer. For the past ten years, she has been active in the New York theater and dance communities, performing and creating with Les Freres Corbusier, The Collapsable Giraffe, Fovea Floods, Gold No Trade, The White Horse Theater, Sidra Bell NY and at St. Ann's Warehouse, P.S. 122, Lincoln Center's Clark Studio Theater and the Hangar Theater. Liz is a founding member and the Managing Director of the multi-disciplinary performance collaborative, Immediate Medium (www.immediatemedium.org). She has contributed to all IM works since 2002 as a collaborator, choreographer and performer. Additionally, she teaches dance, theater and yoga to young children through the New York City Ballet's Ballet Bridges and Ballet Tales Programs, at Discovery Programs and at Let's Dance Brooklyn. She has choreographed for student productions at the Browning School and the Imagine Project. She also worked for the non-profit organization, The Children's Aid Society, implementing and expanding the after-school theater program at P.S. 5. She received a BA from Yale, where she served as Co-President of Yaledancers. www.lizvacco.com

The panel of the millinarily abundant: Matthew J. Nichols

Contributed by Guest blogger of the week: Cyndy Marion

And now we will hear from Matthew J. Nichols--Actor, Director and Co-Artistic Director of Zootopia Theatre Company (see complete bio below). Thank you for participating Matthew!

1. What was the first show you produced? What was the most important lesson you learned?

The first show I produced with Zootopia Theatre Company was PROFESSIONAL SKEPTICISM, a dark office comedy by James Rasheed. The most important lesson learned was to plan for everything and expect anything. Be organized but flexible. The more prepared we were at the start, the better able we were to roll with the punches. Also, surround yourself with good people and listen to their ideas.

2. How do you define your role as producer? What do you enjoy most?

Usually when I produce I am also fulfilling another artistic role such as acting or directing, but the most important thing to me is the success of the production as a whole. For Zootopia, since our focus is new works, I measure success by asking, are we serving this play with the best premiere possible within our means? My role as a producer is to ensure this success by gathering all the elements needed (the right creative team, casting, funding, performance and rehearsal space, etc.) to pave the way to success.

3. What are some of the benefits to producing your own work?

The biggest benefit, for me, is creative control and the pride of ownership. When I produce my own work, I get to decide where my passions lie, what projects I wish to work on, how I wish to work, and who I want to work with. There is nothing more fulfilling for me than looking back and thinking, I made that happen, with the help of others of course, but it never would have gotten off the ground unless I invested myself in it fully.

4. What are the unique challenges to wearing more than one hat? How do you deal with them?

The challenge to wearing multiple hats is to know when to wear them one at a time. For me, the producer exists outside of the rehearsal room, smoothing out any bumps in the road so that the artists can work without having to think about external forces. If I'm doing my job right, I don't confuse the two because I don't get in my own way.

5. Any words of wisdom for artists who want to produce their own work?

Don't rush into a project before you're ready. Good work takes time. Carefully plan what kind of production you envision, and think about how you wish the audience to experience it on every level, from the moment they first hear about it and decide to attend until the moment they leave the theatre.

Matthew J. Nichols is an actor and director in New York. As Co-Artistic Director of Zootopia Theatre Company, he has produced PROFESSIONAL SKEPTICISM by James Rasheed, STILL THE RIVER RUNS by Barton Bishop, and EMINENE by Barton Bishop for FringeNYC. Zootopia's productions have been nominated for seven NYIT awards, including an Outstanding Direction nomination for Matthew's work on STILL THE RIVER RUNS. Select acting credits include PROFESSIONAL SKEPTICISM,THREEPENNY OPERA (New Rep), A MIDSUMMER NIGHT'S DREAM (Colorado Shakes), and the independent film THE WEEKEND. www.zootopiatheatre.org

Wearing More than One Hat: Artists as Producers: a panel of the millinarily abundant

Contributed by Guest blogger of the week: Cyndy Marion

I am delighted to be your guest blogger for the week. I have decided to explore a topic close to my heart and often on my mind- Wearing More than One Hat: Artists as Producers: I have put together a few questions and assembled a panel of distinguished Off-Off Broadway Artists-Producers. We will be hearing from Matthew J. Nichols (Actor, Director and Co-Artistic Director of Zootopia Theatre Company), Liz Vacco (Performer, Choreographer and Founding Member/Managing Director of Immediate Medium), Kevin Doyle (Playwright, Director, and Artistic Director of Sponsored By Nobody), and I, too, will also weigh in on the subject.

So,...to get the ball rolling--I'lll go first.

# 1. What was the first show you produced? What was the most important lesson you learned?
The first show I produced was Sam Shepard's A Lie of the Mind with White Horse Theater back in 2003. I was brought onboard to direct the company's first production of True West the year before and things just clicked. When one of the founding members left I stepped in as Co-Artistic Director and things just went from there. It was a very ambitious production for a young company with very limited resources. The most important lesson I took away from this experience is never cut corners in the technical department. We did not put the necessary time and care into finding the right tech team for the show. We also did not pay enough attention to the type of equipment we had to work with when booking the theater space. With very limited tech time, these challenges proved costly. On opening night lights were popping on and off all over the place and sound was missing from crucial scene changes. If these technical details are missing it can really have an adverse effect on the show.

# 2. How do you define your role as producer? What do you enjoy most?
In the beginning I shared the producing responsibilities with actor Rod Sweitzer-the other White Horse Co-Artistic Director. As producers we would make the show happen from start to finish. From selecting the script and obtaining the rights to booking the right theater, raising funds (and in the beginning most of the money came from our own pockets), acquiring rehearsal space, selecting the right production team and finally casting the show. At first we would divide these tasks, but eventually I started taking on more of the producing role. I found myself actually enjoying the producing duties. As a director, it just felt like an organic part of the artistic process. From finding the right theater to work with my vision for the show, to selecting the right art to market it-the producing role seemed like a natural extension of my artistic responsibilities.

# 3. What are some of the benefits to producing your own work?
You have complete artistic and managerial control. You can select the material you want to work on, do it on your own terms and with the people you want to work with. It really is the ultimate artistic experience. I always refer to the work I do with White Horse as my "passion projects." It allows me to establish a unified tone for the artistic process and ensure that every decision made serves the best interest of the show. A well-produced play will benefit artistically. I have been involved in too many off-off experiences where the shows and artists suffered because they were poorly produced. Often the artists involved end up taking on many of the managerial responsibilities anyway (without receiving any credit for it) because the real producer falls short of giving the show what it needs. If we want props at the start of rehearsals I make sure that they're there. If I want to delegate a larger portion of the budget to the set I can do that. I also have the ability to set the rehearsal schedule so that it works with my day job. If anything goes wrong in the process I only have myself to blame and I have the power to fix the problem as well.

# 4. What are the unique challenges to wearing more than one hat? How do you deal with them?
Of course the major challenge in wearing more than one hat is finding the time to tackle all production aspects and give them each the attention they need. I find it very helpful to create a production timeline and start preparing about a year before the production date. I try to take care of as many of the producing responsibilities as possible before going into the rehearsal process, so that I can really focus on directing the play and not be overwhelmed worrying about all the managerial tasks that need to get done. Of course unforeseen emergencies do happen and this can be very stressful and distract me from the work. The more flexible I can be in approaching these issues the better and I take great care to bring very efficient and responsible people onboard the production who I know I can fully trust to help get the job done.

# 5. Any words of wisdom for artists who want to produce their own work?
Go for it. Don't wait for someone to hire you to do the work you really want to do. Take the bull by the horns. If your passion for the work is there you will find a way to make it happen. Take your time and do it right. Time will allow you to find the right resources to fit within your budget. Build a support network and do not be afraid to ask for help. Respect the people working with you and give them a rewarding experience. Keep at it. With each project you will learn more and be able to apply your knowledge to the next one.

Guest Blogger of the week: Cyndy Marion

Thanks so much to James Carter for blogging last week! We're happy to announce that this week's blogger is Cyndy Marion!

CYNDY A. MARION is a native New Yorker and the Producing Artistic Director of the White Horse Theater Company. Her directing credits with WHTC include: CLOTHES FOR A SUMMER HOTEL, SMALL CRAFT WARNINGS, IN THE BAR OF A TOKYO HOTEL, BURIED CHILD, THE LATE HENRY MOSS, STATES OF SHOCK, A LIE OF THE MIND, TRUE WEST and a Workshop production of HALF. Other directing credits include: the world premieres of The Book of Lambert and MINA by Obie-winner Leslie Lee (La MaMa E.T.C.), PB&J (NYC International Fringe Festival), La Turista and Red Cross (Michael Chekhov Theatre Co.), Twister with an Octopus and Arthur Murray Taught Me Dancing in a Hurry (The Puerto Rican Traveling Theatre), Fool for Love and Mud (Brooklyn College), Last Train To Nibroc (American Theatre of Actors), 12 Angry Men and Fighting The Gorilla (Riant Theatre), and The Mandala (The White Heron Inc.). She has directed readings of new plays for WHTC, La MaMa E.T.C., New Dramatists, The Players, and PRTT. She has trained with The SITI Company, La MaMa Umbria, Fordham in Italy, T. Schreiber Studio, The Acting Studio Inc., and NYU. Cyndy holds an MFA in Directing from Brooklyn College where she was the 2001 recipient of the Joel Zwick Scholarship in Directing. She is a member of The Players and The Stage Directors and Choreographers Society and was named one of nytheatre.com's "People of The Year for 2007." www.whitehorsetheater.com