Thursday, April 28, 2011

Theatre's survivors need life support

From creche facilities to supple hours to national average pay, there's far more producers could provide to help jobbing thesps

The old maxim that you shouldn't become an actor, or undeniably work in the theatre industry, if you can think of anything else you'd rather do rings particularly true as government cuts and the economic meltdown squeeze theatre land ever tighter. Yet acting has never been something you do to make money: it's a profession driven by love, passion and commitment, where – so it's argued – the highs of making excellent work cancel out the nadirs of unemployment and penury.

For the majority of performers, "resting" is a general situation. A recent survey among Equity members showed that almost half of the people in the UK performance industry had earned less than £6,000 from the profession in the previous year and only 6% earned more than £30,000 from acting.

As a result, actors learn to live cheaply and be ingenious, through temping, teaching, running children's parties, writing – a whole array of jobs based on the easy common denominator that they have sympathetic bosses, offer short-term contracts and can be dropped the moment an agent rings with good news. Add to this the scene of unpaid project work in the evenings and at weekends and the general picture is one of small money, enormously complicated diaries and huge amounts of commitment.

Everyone in the industry understands that work is hard to come by, and as unemployment grows it is also increasingly hard to find a suitably paid and flexible day job. In a world where the director or theatre says "jump" and the actor how high, we must be vigilant to protect each other. Small changes could make a world of difference. It's frighteningly common practice, for example, to be called for an audition or job interview only days – if not the day – before it takes place. Often, this leaves far too small notice to legally take time off work – let alone rearrange meetings, sort out childcare or prepare properly. Every day you sneak away from the office or call in sick results in a lessening chance of holding on to your paid employment – something the majority can ill afford to lose.

View this site: Behavior in Organizations (9th Edition) by Greenberg and Baron

Thursday, April 21, 2011

Imaginary characters, fame, celebrity and clowns are all part of Girl Got Lost Productions’ mounting of Cowboy Mouth

If you’re seeing a piece of theatre where two characters exist only in the intellect of the third, does that make it a one-man show? And, is the best all-around advice for director’s venture into the realm of hyper-reality this: add clowns? To find the answers to these and other ontological questions, I turned to director Chelsea McIsaac, of Girl Got Lost Productions, as she put the final, strange touches on Cowboy Mouth, now underway at Espace 4001.

Sam Shepard’s 1971 play—co-written with his girlfriend, seminal rock-poet Patti Smith—is an angry rant about rock stars, movie stars, and the religion we’ve made of renown and celebrity.

Written in the fury of a few days when Sheppard had left his wife O-Lan Jones and shacked up with Smith, the rambling story of Cavale, Slim and Lobster Man features Aaron Turner, Owen Clark (both appeared in the Persephone production of Henry V last November), and well-known cabaret and clown actor Kathy Daehler.

McIsaac began working in the business, though from the other side of the desk, at an untimely age. Every Montreal actor is aware of McIsaac’s day job as an agent, working beside her mother Susan Glenn at Glenn Talent Management. Nearly 20 years ago, McIsaac was casting parts for a play at the Saidye Bronfman when she saw an actor interpretation lines from a Shepard play.

In theatre auditions you see a lot of monologues, says McIsaac. And back then, an actress performed a piece from Cowboy Mouth and it actually struck me. I went and found the play—this is when I was 18—and said to myself that if I ever directed, this is the one I’m going to do.

McIsaac cut her teeth directing Amiel Gladstone’s Hippies and Bolsheviks in 2009, getting honest reviews in her first outing. Ready at last to revisit Cowboy Mouth, she says, What it meant to me at 18 isn’t what it means to me currently. It can be seen as an actually angry story, but if I was going to direct the play now I had to reinvent it.

View this site: Behavior in Organizations (9th Edition) by Greenberg and Baron

Thursday, April 14, 2011

Auditions loom as entries flood in for Fenland Has Talent competition

AUDITIONS will be held for the Fenland Has Talent competition as entries persist to flood in.

Only 12 acts can appear at the showy final at the Braza on June 9 but about 20 entries have previously been made. Singers, musicians, dancing duos and a beatboxer have already entered to showcase their talent.

But there’s still time to sign up and be crowned Fenland’s most talented act in the competition organised by the Cambs Times/Wisbech Standard in involvement with Fenland Arts.

Katherine Knightingale, arts officer at Fenland Arts, said: “We’re completely delighted with the response so far - but we want more acts to sign up.

There are so many talented people out there who haven’t and I’d love them to demonstrate their talent to people across the district.

It doesn’t matter what age you are – or what your talent is. We want you to demonstrate it off.

We’re yet to have a comedian; circus act or band sign up and I know there are loads athwart Fenland who are fantastic.

It’s an immense competition with great prizes so I’m urging people to sign up and not miss this chance.

The selected acts will appear in the competition’s finishing in front of a panel of judges.

View this site: Behavior in Organizations (9th Edition) by Greenberg and Baron

Tuesday, April 12, 2011

'Awakening' show tackles teen issues

Elizabeth Judd didn’t expect to receive a domestic abuse confession while greeting fans after a demonstrate, but that’s the power of “Spring Awakening.”

A youthful girl approached Judd — who plays the female lead of Wendla — after a show to share her experience with violence. While Judd’s character does not get abuse, her castmate does within the musical.

She said seeing her go through it on stage made her think not so alone going through it in real life,” Judd said. “That’s definitely been the most moving part.

The Tony Award-winning play, obtainable by the Center for the Performing Arts, will debut at 7:30 p.m. in Eisenhower Auditorium. The musical is presently on its second national tour, which began in October 2010, kicking off in Macomb, Ill.

The show, set in Germany in the late 1800s, focuses on teenagers stressed to find the answers to life and who they are. The coming-of-age story though set in an older time period, features pop-rock music, entire with neon lights and hand-held microphones.

The demonstrate, covering topics from abortion and suicide to domestic abuse, approaches life as a teen from the musical perception, as all internal monologues are portrayed through song.

For cast member and Penn State student Jim Hogan, the show is perfect for college campuses, as it addresses the issues this exacting age group feels.

The message of the show is timeless and universal, Hogan said. It doesn’t substance if you’re a teenager or adult, if it’s 1891 or 2011 — the story is gorgeous.

View this site: Behavior in Organizations (10th Edition) Jerald Greenberg

Tuesday, April 5, 2011

Given chances, Pritchard holds out for right 1

NEW YORK — Ever since Lauren Pritchard was a teenager, she dreamed of becoming a singer-songwriter - a goal she pursued with approximately singular determination, even passing up a coveted opportunity to achieve it.

At 18, she appears on Broadway in the Tony Award-winning "Spring Awakening," but left for a musical career.

She landed a development deal with a major record label, but deserted it because she felt that she wouldn't be allowed to create songs the way she wanted to do them.

Pritchard then auditioned for a TV pilot, but after catching producers' attention, decided not to pursue the role. Instead, she set out for London to record the album that she had wanted to make for years.

The TV pilot turned out to be Fox network's "Glee," and the role was Rachel Berry, which has made Lea Michele a singing and acting feeling.

But Pritchard, who is presently on tour, has no regrets about "Glee," or any of her other career choices, because she feels she took the right path.

View this site: Behavior in Organizations (10th Edition) Jerald Greenberg

Friday, April 1, 2011

Liam Hemsworth and Josh Hutcherson Closer to 'The Hunger Games'

While Hemsworth is allegedly the front-runner to play Gale Hawthorne, Hutcherson is allegedly the leading candidate for the role of Peeta Mellark.

After joining audition for "The Hunger Games", Liam Hemsworth and Josh Hutcherson have supposedly become the front-runners to take male roles for the forthcoming film. Deadline reported that Hemsworth tops the list of candidates to play Gale Hawthorne, while Hutcherson is the lead contender to take the position of Peeta Mellark.

Hawthorne is describing as the hunting partner of Jennifer Lawrence's Katniss Everdeen. Meanwhile, Mellark is the one who accompanies her as the district's entry into the Hunger Games competition.

Beside Hemsworth, David Henrie, Robbie Amell, and Drew Roy have also joined the audition to take the position of Hawthorne. Meanwhile, Hunter Parrish, Evan Peters, Alexander Ludwig, and Lukas Till are other actors who have tested for the role of Mellark.

As a younger brother of "Thor" star Chris Hemsworth, Liam has made look in Hollywood film through his role as Will Blakelee in 2010's "The Last Song". The film led him to win 2010 Young Hollywood Awards for juvenile Hollywood Breakthrough of the Year.

View this site: Behavior in Organizations (9th Edition) by Greenberg and Baron