When the Art Chooses You

Contributed by Stephanie Cox-Williams

A lot of people ask if I always wanted to be a SFX artist or more commonly called, a gore designer. Well, no, not really. Or maybe?


Matt Hurley and Melody Bates in R & J & Z - Gore Design by Stephanie Cox-Williams. Photo by Hunter Canning

Going back to lil Stephanie days, each year I would choose 5 to 10 different possible careers. As I got older, I realized (after playing Sally Ride, my first role, in a 5th grade assembly) that if I couldn’t follow all 10 career paths, I could become an actor and just “play one on TV”. Or become a secret agent. I decided on actor.

Many moons later, I made it to New York. By then I had done just about every job in the theater from back and front of house and touched everything except lighting design (and gore design). Still with my dreams of being on Broadway -- or if LA came calling, a major motion picture star -- I needed all the training I could get, so I went to AMDA. I took acting classes, stage combat classes, dance classes, and eventually got my Masters in Educational Theater.

When I first moved to New York, I didn’t know about Off-Broadway, or Off-Off-Broadway. I didn’t know these were options for me to pursue in the arts. All I had done was Community Theater and I still had my eye set on Broadway. However my journey took me down a path that I didn’t even know I wanted to travel.

I remember my first experience with OOB or Independent Theater was through my friend Christopher Yustin who was doing a parody of Scooby Doo, Spooky Dog. After that, he was cast in a show, where he really connected with the company. He said, “these guys are really cool, I want to introduce you after the show.” The show was called Allston and the “guys” were Nosedive Productions.

Raw Feed in 2012. Photo by Isaiah Tanenbaum

Pulp in 2007. Photo by Aaron Epstien

I have “caught the artistic bug” a few times in my life. My first role on stage in high school; the first choreography gig I did; my first directing job; and meeting Nosedive (and subsequently working with them) each was a defining artistic moment for me. And then of course was the time I ended up doing gore design -- pretty much on the fly.

During the first show of The Blood Brothers Present… series, we had a “blood lab” and a lot of friends and designers gave us tips and helped us out. However, with the second show, it was up to each director to come up with their own effects. We were scheduled to try the effects for the first time during our tech night and incorporate them into the tech run. We were working with a lot of great ideas for effects, but they just weren’t working. It was taking a lot of time and everyone was getting frustrated. I walked over to our lighting designer and said, “I think I know how to do this, but I want to run it by you.” Together we came up with a great plan, tested it and it worked. For the rest of the night, anytime an effect was not working or taking a lot of set up (even one of mine), they called on me to solve the problem. I would instinctively MacGuyver it and we moved on. The two lessons I took from this experience was: 1) do not incorporate your effects tech into your regular tech on the same night – make sure to set aside “testing” time and then if time allows, an effects que-to-que with lights and costumes 2) keep it simple. Nowadays, I come in with, two strategies; something slightly complicated and the simple plan. Nine times out of ten, simple works best.

I still love to act, direct, choreograph, write, design props and sets, run sound, you name it. And while it wasn’t what I expected, I could not be more happy with the path my artistic life has taken. And I can’t wait to see where it leads me next. All thanks to independent theatre.

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Stephanie Cox-Williams is a FX/Gore Designer, Actress, Director, Producer and Fight Choreographer for independent theater and film. Some SFX/Gore credits include: Theatre – R+J+Z (OHA/Hard Sparks), The Temple (Tin Drum Productions), Jesus Christ Superstar, Bat Boy (NJIT), Frankenstein Upstairs (Gideon Productions), The Tower, Motherboard and Death Valley (Antimatter Collective), The Blood Brother’s Present…Anthologies (Nosedive Productions); Film –They Will Out Live Us All (AGottaandTwoShearersFilms), Assistant Effects/Make-up - Zombies: A Living History (History Channel). Named "Queen of Gore" by The New York Press (2009) and the “Tom Savini of Off-Off-Broadway” by The New York Times (2011). She has received a BA in Theatre, a Musical Theatre Conservatory degree and a Masters of Art. Named A Person of the Year by nytheatre.com in 2011 and recipient of the Outstanding Innovative Design Award for R+J+Z in 2015 by the IT Awards.

Finding the Right Steps

Contributed by Emily Edwards

Dance always improves a show. It doesn’t matter if it’s a full pas de deux or a simple grapevine of unadulterated glee. The amount of movement however, should always correspond with what the story needs. No more, no less.

I’ve been actively choreographing for the past eight years. With a background in ballet and modern and a fervent love for musicals; I’ve choreographed everything from a textbook production of Thoroughly Modern Millie, to a K-Pop dream sequence featuring comic book characters, to a 1940’s-era fight using a placenta as a weapon against easily horrified Nazis. With each new production, I realize how little I really know.

The first show I ever choreographed was Pippin. Not terribly daunting. Just following in the footsteps of some guy named Fosse. My goal for the show was to prove exactly how talented I was and how I could be just as good as Fosse. Somehow, I don’t think I managed it, but this mindset continued. Every time I was asked to do a new show or number, I was so grateful, then excited, and then needed to prove to everyone beyond a doubt that I was a valuable member of the creative process.

The result of this was a bunch of shows with lots of dancing. LOTS of dancing. So much dynamic movement everywhere, all the time. Then a couple of years ago I got into a heated argument with my musical director in the late hours of a tech rehearsal about whether or not the male lead should be dancing during his big solo. To me, his “big solo” meant that this was his time to shine in movement as well as song, and thereby win the audience’s hearts. The musical director’s counter argument was that he needed to be able to sing the song. Which, I totally get, but why not push it a bit? A comment from the musical director stayed with me: “They never do that on Broadway. They don’t have to sing and dance at the same time.” I disagreed, but let it go. The end result was that I cut out most of his movement and it was fine, except for my feelings being hurt. Nevertheless, I started paying closer attention to the movement in the shows I attended.

Many years have passed. A directing course I took stated that in order to clarify the story, only one person on stage should move at a time. This completely blew my mind! How does that even work?! Once again, I started studying performances and found it to be largely true. Shows with big name choreographers tended to be the shows I was least impressed with because I could tell that they were trying, much like I used to, to prove themselves. The story felt overwhelmed and muddled by the albeit beautiful dancing. I found myself becoming a believer in simplicity.

Emily Edwards (right) into the swing of things on Governors Island.  
Photo: Mike Cho

So I made a shift and started focusing on the story, more than my ego. The end result has been transforming. I don’t have to create the most complicated or difficult moves; I need to create movement that serves the story. I no longer get upset when a director tells me a number needs to be cut or simplified. Often I end up completely agreeing. Just because I can do a certain move, doesn’t mean I should. Oh sure, there’s still room for big production numbers with flips and kick-lines. (Who doesn’t enjoy a good kick-line?) But it doesn’t have to be about me “proving myself” anymore. If I do my job correctly, you should barely even notice I’m there.


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Emily Edwards is a choreographer, director, and performer who has worked in NYC for 13 years now. She loves the Indie theater community and has worked with Vampire Cowboys, Dysfunctional Theatre, DM Theatrics, The Brick, New Georges, The Flea, and Nosedive Productions to name a few. She is also the resident musical choreographer at NJIT/Rutgers. Emily can be found this summer teaching free swing dance lessons on Governors Island as part of the Dysfunctional Collective. http://emilyedwards.net/

Opening Doors

Contributed by Stephanie Willing

As a child I knew I wanted to be an actor, but not in an all-encompassing “This is my dream!” kind of way. I also wanted to be a marine biologist, a writer, an equestrian, a ballerina, and when I was very young, either a unicorn or a dinosaur--whichever happened first.

My early acting career was uneventful but satisfying. When I was handed my first script at Bible camp with highlighted lines, I was ecstatic. Later when I auditioned and won the part of the (I now realize) caricatured Jewish innkeeper’s wife in the Christmas play, I was triumphant. And when I played the Virgin Mary in sixth grade with a pillow tied under my robe with my father’s leather belt, I was happy. I dropped that baby weight with a slip of the belt loops, but I never dropped a line.

And then I stopped acting because I still wanted to be a dancer/writer/martial artist/
equestrian/ecologist. As the eldest of four in a household of specific and limited means, I was told, “Pick one.” I chose dance and stuck with it for the next twelve years, all the way through college, thanks to scholarships. Then, like many artistic and nerdy folks, I went to work for a couple years in a used bookstore, saving money and glorying in the dusty pages of potentiality. One day, while shelving a tray of battered romance novels, I knew in my bones what I had to do. Go to New York and be an actor/dancer/stage combatant!

While still in Texas searching Craigslist for jobs and auditions in NYC (I’d never heard of Actors Access or Backstage), I clicked on a “volunteers needed” ad for something called the IT Awards. I responded, emailed, confirmed. It seemed like a good place to begin my reconnaissance; I figured I could meet people, learn the names of the theater companies, and see what kind of work was being made. I found short-term housing in the Bronx, booked a one-way ticket, and flew to New York City. My first week in town I was an usher at the 2008 New York Innovative Theater Awards.

That was the year that the Vampire Cowboys swept with Fight Girl Battle World. I only saw screenshots of the cast and costumes, but I was in love. I was in awe. I said, “I need to know these people.” Again googling, I found The Saturday Night Saloon and signed up for the Rabid Vamps Fight Studio (the VC’s stage combat and choreography class). Through the Saloon, I met the folks behind Gideon Productions, Nosedive, and The Brick.

My first acting opportunity came through those connections, and I was cast in The Ninja Cherry Orchard with a huge bevy of actors that blew me away. Since then, almost entirely, every part I’ve played or production I’ve choreographed has come through a connection that began in 2008, even down to the man I married.



Stephanie Willing (left) performs with the Vampire Cowboys in the
Opening Number of the 2010 IT Awards

Just like my two years in the bookstore, I had found a group of passionate nerds who always had room for one more, and just like that, Indie Theater became home. I can directly trace my path in NYC theater from that single moment standing at the back of the auditorium at the IT Awards manning the doors. If you were there that night, you probably didn’t see me. You saw your friends, the wonderful people of our community that I had yet to meet. But when I held the door open for you to walk into the auditorium, I was also opening all the doors I’d walk through for the next eight years.
 

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Stephanie Willing is a dancer/actor/choreographer/stage combatant/voiceover artist, so the childhood dream is working out so far, but she’s still working on the marine biologist bit. She received a BA in Dance from Texas Woman’s University and studied Fight Choreography with Qui Nguyen of Vampire Cowboys. She is currently an MFA candidate in Creative Writing for Young People from Lesley University. Upcoming projects include fight directing for Flux Theater Ensemble’s production Rizing, opening May 2016. She will also be performing as Joan of Arc in MTWorks’s production of David Stallings’ Anais Nin Goes to Hell in October 2016.