A great deal has been made recently* (including by me) about the use of out of town artistic talent at theatres here in the DC area. At this year's Helen Hayes Awards, for the first time, I knew or knew of about half of the nominees, which given that I have been working in this town for over ten years, seemed a little strange. The number of out of town nominees who were not in the "Non- Resident" category was staggering.
I understand that at the end of the day, theatres have to put asses in seats. No one wants to play to an empty house, and I want my checks to clear. Theatres in town, especially the larger ones, bank on having names on the marquee that will accomplish that goal. Certainly you will get a lot of people coming to see Stacey Keach as Lear, especially with Robert Falls as director. Even non- theatre people have heard those names, and are impressed enough to risk their hard earned money against the chance of seeing something phenomenal.
But given the number of incredibly gifted designers based in this area, it is shocking how many artists from out of town are brought in to design at theaters here each season. Designers are not marquee players. No one, other than my dad, is coming to see a show because I designed it. And here's a little secret, no one, outside of other designers, are coming to see a show because it was designed by Ming Cho Lee, or Walt Spangler, or Howell Binkley. This is not to say the work of these artists is not of great quality, but there are designers living and working in this town to rival the work of these (and many others) coming in from outside the DC area. And if we are not selling tickets based on our name, what sense does it make to bring in someone from out of town that you have to pay travel expenses, housing, and per diem for, just because they are well known within a very small sphere?
As a final note, I would like to say that while it is true that actors and directors ARE marquee players, it is important to remember that it is theatres who made them so. Artists like Stacey Keach and Robert Falls and the rest of the long list of talent who grace our stages have intelligence and talent and dedication, but they also had theatre who invested in them, promoted them and MADE them stars. The same is true on a smaller scale here in DC. Rick Foucheux, Holly Twyford, Sarah Marshall and others are household names in Washington because not only are they gifted and smart and hard working, but because local theatres have invested time and attention to promoting them as such. Need stars on your marquee? Then make your local talent household names.
*And by recently I mean since I started working in DC.
Tuesday, July 02, 2013
My expanded thoughts on the recent HHA Summit
Last week, at someone's personal request, I attended the Helen Hayes Award summit hosted by TheatreWashington. It was a fascinating gathering with a lot of interesting ideas exchanged. It was also fascinating because of who attended, and who didn't. I don't know the actual reason for the meeting, only the rumors I have heard, which I won't repeat here, but there did seem a segment of the DC theatre community that was conspicuously not represented.
First let me say that I thought TW made a smart move in bringing in a professional facilitator to lead the discussion. Some form of open mike forum could easily have become unruly at best, an absolute bloodbath at worst. And I thought the format helped set the correct tone. Beginning the discussion with thoughts about what the HHA does successfully allowed us to think about changes we wanted to see as additions to, not subtractions from, the awards as they stand now. Mostly.
There were a lot of interesting thoughts expressed throughout the evening, but there were two in particular that I wanted to respond to.
The first is the non-resident categories. This was said a number of times throughout the evening, but I wanted to give my 2 cents*: Dump them. I understand that at one time they were necessary to help get national exposure for the HHA, but that time is past. Actors, directors and designers are listing their nominations in programs across the country. The awards are reported in all of the major trade rags. If TW and the HHA are truly about the Washington, DC theatre community, then who really cares who did the best job in the touring company of "Spamalot" at the National. It seems that half the time the winner is not even present to accept their award because they are playing another city, which would seem to reinforce the point. Get rid of the non-resident categories, which would make room for expansion of other categories (suggestions for which I will not be making at this time).
Another suggestion made, that ended up getting a great deal of applause, was that eligibility for the HHA be restricted to shows that employed more than 50% DC based talent. I responded to this idea in a most inarticulate fashion, mostly because I have an almost phobic aversion to speaking in public**. What I wish I had said was this: I understand the impetus for this idea. When Stephen Epp was giving his acceptance speech for Outstanding Lead Actor In A Resident Production at this year's awards ceremony, and was going on and on about all of the cities they had played the show before DC, and all the places they had been afterwards, you could feel the whole room go cold. I half expected him to get booed off stage. I was angered by it. But I think trying to limit eligibility for the HHA on those grounds presents two distinct problems.
One, I don't know how you police that. What criteria are you using? Is the scene shop staff included in those numbers? How about the marketing department? And who has the time to look into all of that?
But more importantly I think the message it sends is that the only way DC based artists can be recognized for excellence is if we stack the deck in our favor. The first year I was nominated, among the other nominees was Walt Spangler. I can't speak for anyone else, but I was thrilled to be listed in that company, and I would put my work up against any out of town artist who is named in the same category as I am.
Still, I stand by what I did say at the HHA Summit, and that was the problem is not with the HHAs, but with the theatres doing the hiring. There is an insanely deep and gifted talent pool to draw from in this community, so why are so many artists being brought in from out of town***? And while I don't think the HHAs should be policing that, I would love to see TW lead that discussion. Some sort of summit to bring together artists and the ADs and Casting Directors from area theaters to discuss the issue. Because I do have some understanding of the reasons theaters think they have to do this, and I think it would be helpful for the rest of the community to hear those explanations, and for the theatres to hear artists' responses to those issues.
I applaud TW for taking this step to include so much of the DC theatre community, and I hope it will lead to more productive dialogue, and a greater awareness of how really outstanding theatre in Washington, DC really is.
*Like anyone really cares about my 2 cents. But this is my blog so if you are reading it, maybe you do.
**There is a reason I work on the side of the footlights that I do.
***There will be another post dedicated to this very question.
First let me say that I thought TW made a smart move in bringing in a professional facilitator to lead the discussion. Some form of open mike forum could easily have become unruly at best, an absolute bloodbath at worst. And I thought the format helped set the correct tone. Beginning the discussion with thoughts about what the HHA does successfully allowed us to think about changes we wanted to see as additions to, not subtractions from, the awards as they stand now. Mostly.
There were a lot of interesting thoughts expressed throughout the evening, but there were two in particular that I wanted to respond to.
The first is the non-resident categories. This was said a number of times throughout the evening, but I wanted to give my 2 cents*: Dump them. I understand that at one time they were necessary to help get national exposure for the HHA, but that time is past. Actors, directors and designers are listing their nominations in programs across the country. The awards are reported in all of the major trade rags. If TW and the HHA are truly about the Washington, DC theatre community, then who really cares who did the best job in the touring company of "Spamalot" at the National. It seems that half the time the winner is not even present to accept their award because they are playing another city, which would seem to reinforce the point. Get rid of the non-resident categories, which would make room for expansion of other categories (suggestions for which I will not be making at this time).
Another suggestion made, that ended up getting a great deal of applause, was that eligibility for the HHA be restricted to shows that employed more than 50% DC based talent. I responded to this idea in a most inarticulate fashion, mostly because I have an almost phobic aversion to speaking in public**. What I wish I had said was this: I understand the impetus for this idea. When Stephen Epp was giving his acceptance speech for Outstanding Lead Actor In A Resident Production at this year's awards ceremony, and was going on and on about all of the cities they had played the show before DC, and all the places they had been afterwards, you could feel the whole room go cold. I half expected him to get booed off stage. I was angered by it. But I think trying to limit eligibility for the HHA on those grounds presents two distinct problems.
One, I don't know how you police that. What criteria are you using? Is the scene shop staff included in those numbers? How about the marketing department? And who has the time to look into all of that?
But more importantly I think the message it sends is that the only way DC based artists can be recognized for excellence is if we stack the deck in our favor. The first year I was nominated, among the other nominees was Walt Spangler. I can't speak for anyone else, but I was thrilled to be listed in that company, and I would put my work up against any out of town artist who is named in the same category as I am.
Still, I stand by what I did say at the HHA Summit, and that was the problem is not with the HHAs, but with the theatres doing the hiring. There is an insanely deep and gifted talent pool to draw from in this community, so why are so many artists being brought in from out of town***? And while I don't think the HHAs should be policing that, I would love to see TW lead that discussion. Some sort of summit to bring together artists and the ADs and Casting Directors from area theaters to discuss the issue. Because I do have some understanding of the reasons theaters think they have to do this, and I think it would be helpful for the rest of the community to hear those explanations, and for the theatres to hear artists' responses to those issues.
I applaud TW for taking this step to include so much of the DC theatre community, and I hope it will lead to more productive dialogue, and a greater awareness of how really outstanding theatre in Washington, DC really is.
*Like anyone really cares about my 2 cents. But this is my blog so if you are reading it, maybe you do.
**There is a reason I work on the side of the footlights that I do.
***There will be another post dedicated to this very question.
Sunday, August 12, 2012
Life Goals And Other Random Musings
My apartment is a cave. Whether this is a good thing or a bad thing tends to shift from moment to moment. It's mostly ok except when I am working on a number of projects at once, especially scene design*, and the work spreads out everywhere.
What would help to even that out would be to have studio space that was somewhere else. I have been looking into that possibility, but I am somewhat nervous about having enough work to pay for that. I could certainly make enough money if I worked more over hire, but that would eat up the time I could be working in the studio.
The other aspect of the cave that is somewhat troublesome is how unwelcoming it might seem to someone else. I like to cook for people, but I am too self- conscious about the toilet you have to jiggle in just the right way to make it work, etc, to invite someone to dinner. I could move, but I love the neighborhood I live in and could never afford to live here if I were not paying the below market rent my father is charging me. I don't drive, so living out in the boonies to get the sort of rent I could currently afford is not really an option.
The conclusion would seem to be that I need to make more money. Over the past few years, the amount of design work I have had has been on a steady decline. Interestingly, I am in general making more per show as time goes by, so other than this calendar year my income from designing has held fairly steady**.
I have no hard explanations for why the decline in design gigs has happened, but I have some theories.
First, I joined the Union. While this was a logical step for me to take, it made me more expensive for some employers. I know of one theatre in particular that fell under the Bay Area contract and the minimum put me out of their price range. It was not that I did not know this was going to happen when I joined but it did have an effect.
Another contributing factor has been people with whom I had long standing relationships moved from their positions. This has been especially true for theatres out of town.
The economy went down the toilet. Theatres cut back on their programming, or worse yet closed their doors. They also got more conservative in their choices, not just in terms of material but also in terms of who they hired. They became less willing to work with new people.
There is more high quality competition in town than there really was even three years ago.
A couple of years ago I drew a line for myself that I would not work for less than a certain dollar amount. There have been one or two exceptions because it was a project I really wanted to work on, but in general that minimum has meant there are some theatres are not going to hire me.
So what do I do about this trend of decline? I am not entirely sure. I have never been very good at promoting myself. I think maybe I am getting better at it, and hopefully having an agent now will help to get me out of this slump.
On a more cheerful note, I am starting to get really excited about the 2012/ 13 season. I suppose the newest update is I am designing scenery and lighting for American Utopias at Woolly Mammoth Theatre Company in March. It will be challenging because the schedule for load- in and tech is very tight, but from the conversations we have had so far I think the show will be awesome.
There are thoughts about family life, dating, starting a Not For Profit and beginning to think about the time when I might retire, but they will have to wait for another post.
Peace in yer crease.
* There is a huge amount of space required in Scene Design, especially when you start working on the scale model. Even though I draft on the computer, I still begin the design process with pencil and paper and lots of visual research to look at all at once.
** Though the dollar amount of my income has been fairly consistent over the past several years, it has in no way kept pace with inflation. So I am actually making less than I was three years ago.
What would help to even that out would be to have studio space that was somewhere else. I have been looking into that possibility, but I am somewhat nervous about having enough work to pay for that. I could certainly make enough money if I worked more over hire, but that would eat up the time I could be working in the studio.
The other aspect of the cave that is somewhat troublesome is how unwelcoming it might seem to someone else. I like to cook for people, but I am too self- conscious about the toilet you have to jiggle in just the right way to make it work, etc, to invite someone to dinner. I could move, but I love the neighborhood I live in and could never afford to live here if I were not paying the below market rent my father is charging me. I don't drive, so living out in the boonies to get the sort of rent I could currently afford is not really an option.
The conclusion would seem to be that I need to make more money. Over the past few years, the amount of design work I have had has been on a steady decline. Interestingly, I am in general making more per show as time goes by, so other than this calendar year my income from designing has held fairly steady**.
I have no hard explanations for why the decline in design gigs has happened, but I have some theories.
First, I joined the Union. While this was a logical step for me to take, it made me more expensive for some employers. I know of one theatre in particular that fell under the Bay Area contract and the minimum put me out of their price range. It was not that I did not know this was going to happen when I joined but it did have an effect.
Another contributing factor has been people with whom I had long standing relationships moved from their positions. This has been especially true for theatres out of town.
The economy went down the toilet. Theatres cut back on their programming, or worse yet closed their doors. They also got more conservative in their choices, not just in terms of material but also in terms of who they hired. They became less willing to work with new people.
There is more high quality competition in town than there really was even three years ago.
A couple of years ago I drew a line for myself that I would not work for less than a certain dollar amount. There have been one or two exceptions because it was a project I really wanted to work on, but in general that minimum has meant there are some theatres are not going to hire me.
So what do I do about this trend of decline? I am not entirely sure. I have never been very good at promoting myself. I think maybe I am getting better at it, and hopefully having an agent now will help to get me out of this slump.
On a more cheerful note, I am starting to get really excited about the 2012/ 13 season. I suppose the newest update is I am designing scenery and lighting for American Utopias at Woolly Mammoth Theatre Company in March. It will be challenging because the schedule for load- in and tech is very tight, but from the conversations we have had so far I think the show will be awesome.
There are thoughts about family life, dating, starting a Not For Profit and beginning to think about the time when I might retire, but they will have to wait for another post.
Peace in yer crease.
* There is a huge amount of space required in Scene Design, especially when you start working on the scale model. Even though I draft on the computer, I still begin the design process with pencil and paper and lots of visual research to look at all at once.
** Though the dollar amount of my income has been fairly consistent over the past several years, it has in no way kept pace with inflation. So I am actually making less than I was three years ago.
Friday, August 03, 2012
David Bowie Thoughts
Ch Ch Ch Ch Changes...
Sorry, very bad joke. Between Twitter, FB and a few other odds and ends, my literary creativity seems to be sapped at the moment. Or maybe I just need a nap.
The recent changes I was referring to:
Design work has begun to trickle in. Given how slow 2012 has been up to this point, this is wonderful news. I am designing lighting for a production of The Rocky Horror Show in October. I lit a production of that show in October of 1992, so this feels like an anniversary show. I am not sure I am ready to be having 20th anniversary events in my career, but whatever. It's a fun show and I am psyched about the other members of the design team and the director.
I am also re- designing scenery for Black Nativity which goes up at the end of November.
There are other possibilities on the horizon, but I am not ready to talk about them just yet.
The other career oriented change is I now have an agent. Something I am still getting used to saying.
More soon.
Peace.
Sorry, very bad joke. Between Twitter, FB and a few other odds and ends, my literary creativity seems to be sapped at the moment. Or maybe I just need a nap.
The recent changes I was referring to:
Design work has begun to trickle in. Given how slow 2012 has been up to this point, this is wonderful news. I am designing lighting for a production of The Rocky Horror Show in October. I lit a production of that show in October of 1992, so this feels like an anniversary show. I am not sure I am ready to be having 20th anniversary events in my career, but whatever. It's a fun show and I am psyched about the other members of the design team and the director.
I am also re- designing scenery for Black Nativity which goes up at the end of November.
There are other possibilities on the horizon, but I am not ready to talk about them just yet.
The other career oriented change is I now have an agent. Something I am still getting used to saying.
More soon.
Peace.
Monday, July 30, 2012
Where The Hell Have Ya'll Been?
Annnnd..... we're back.
Have not posted here on the ol blog in quite some time. There have been a number of reasons for that. Here are some of them, in no particular order:
I joined Facebook and for some time that was adequate for expressing my feelings in short bursts.
I felt like I was perhaps being too open on this thing (although an argument could be made I have been doing the same on FB), especially considering the less than anonymous nature of this thing.
Most people I knew in the blogosphere had slowed down or stopped their blogging altogether, and I felt like people had stopped reading.
So why am I starting back up now?
I am not really sure. There has been a lot swirling around in my mind and FB is not always the best place to write about it. I guess I am hoping my lengthy hiatus here will provide me with a renewed sense of anonymity.
So what's been going on? A lot and not a damned thing, all at once.
I am still based in DC, still doing the freelance design thing, although I am doing as much scenery and projections work as lighting these days. I added the Scene Design category to my USA card. There has been a sharp drop off in design work over the past year or so, but it seems that is beginning to turn around. I have been filling in the gaps with over- hire work as an electrician or carpenter at various theaters around town.
I am still single.
I know, we are all shocked.
More soon.
Saturday, December 20, 2008
Happy Holidays!
Merry Christmas! Happy Hanukkah! Happy Kwanzaa!
My wish for you all is that you are able to hold the peace and joy of the holiday season in your hearts all year long.
Wednesday, June 25, 2008
Can We Get A Reality Check On Aisle 7 Please?
I was on my way to a meeting this evening when I passed an upscale furnishings store. As part of their window display they had a coffee table book entitled Luxury Private Islands.
Luxury Private Islands
We will pause while you consider this.
Really? Isn't the word "Luxury" terribly redundant? Not to mention insulting to those of us without private islands.
Is there anyone, anywhere, who has actually said, "Yes I have a private island but it is a real dump."?
And if there is, do they understand they will be among the first whose heads wind up in the basket?
Good Grief!
Saturday, May 03, 2008
For Those Of You Who Monitor This For News Of My Health
I made it back from New Orleans mostly intact (my liver might disagree).
Lots of fun. Lots of relaxation. Lots of avoiding the confusion that my life has become.
Sadly, I must once again face that confusion.
Yeah.
Wednesday, April 16, 2008
Does Anyone Know?
When it comes to male/ female interactions, do we ever really get out of middle school?
Yes folks, we are back to the cryptic posts.
Sorry about that.
Tuesday, April 08, 2008
A Quick Shout Out...
... to the MSGAP.
On Sunday I was in desperate need of female- behavior- reading help, and who better to aid me than the Multi- State, Girlie- Advising Posse. So I turned on my Clueless Symbol and pointed it at the nearest cloud. My much esteemed Posse did not fail me.
Each one talked me through the finer points of what I was witnessing, and provided sage advice on how to proceed.
So thank you all, ladies. I don't know how I would make it through life without you, but I am comforted by the knowledge I won't have to.
So keep watching the clouds for the Clueless Symbol. Odds are pretty good it will be on again soon.
Tuesday, March 04, 2008
And This Has What To Do With Art?
The day started favorably. I got into the studio, taped out a clean ground plan onto the drafting table, taped down a piece of tracing paper, and started the beginnings of a doodle. Then the Production Manager dropped by with a contract for me to sign.
I read the contract, cause you know, I do that.
I then spent the next three hours rewriting and adding language to said contract, turning it from a page and a half document into one over seven pages long. Cause you know, I do that.
Why does anyone really think I would sign a document that says you can fire me at any time without cause, but the only way I can get out of the contract is for you to fail to pay me? On opening night. On the date the contract ends anyway.
Why does anyone think I would sign a document that says I can't sue you if through your own negligence, you drop something heavy on me?
I really need a manager!
Wednesday, February 27, 2008
Yesterday's Quote of the Day
From Hell's heart I stab at thee.
For Hate's sake I spit my last breath at thee.
So I was a little grumpy yesterday.
Monday, January 21, 2008
Saturday, January 19, 2008
Thursday, January 10, 2008
The Day I Knew Would Come...
... has arrived.
I am now out of bookshelf space in my apartment.
Time to move.
Thursday, January 03, 2008
Happy New Year
A New Year.
Really, how the eff did it get to be 2008. Just yesterday it was March.
Unlike last year, where I missed the turning of the new year because I was reading a book, I actually managed to make plans and go out. Indeed I went to two parties and had a wonderfully festive time at both. I even got kissed at midnight.
The down side of New Years Day, other than the hangover, is it is a week before my birthday. So that whole what have I done in the last year/ what am I going to do in the future year just feels so much more intense.
The past year was mostly up, with a bit of down.
The Ups:
Two fantastic design gigs with the most creatively inspiring director I have ever had the privilege of working with.
I got to assist on a show at Roundabout Theatre in NY.
I managed to patch up a friendship that had gone south.
I got to work with a director who wants to hire me for much better money at another theatre.
I had work for the whole year.
Also for a brief time I was involved in a relationship, which was lovely while it lasted.
The Downs:
My brief relationship ended.
My uncle passed away after a short illness, and I did not have a chance to see him before he died.
The year ahead looks far more uncertain. I don't have a lot of design work lined up at the moment, although there are some rumors on the wind.
I am planning to take the Scene Design Exam in the Spring.
I have decided to swear off women for the year. I love the women in my life dearly, but women are insane. And all of the MSGAP who I have said this to agree.
I hope everyone's New Year is safe, happy and prosperous.
Sunday, December 30, 2007
If You Are Planning To Buy A Car...
...please consider buying a Ford.
I stopped driving several years ago, so I cannot comment on the quality of Ford's automobiles. However, their commitment to fair treatment of homosexuals and trans-genders is certainly something worth supporting.
Interestingly enough I was alerted to this by an email from the American Family Association, an organization that seems, at least as far as I can tell from it's emails, to spend most of it's energy and resources promoting blind hatred and bigotry disguised as religion. They refer to the "Homosexual Agenda" and ask their members to encourage companies that have non-discrimination policies and provide benefits to same sex partners to "remain neutral".
The rest of their emails tend to be about boycotting stores that use the words "Happy Holidays" instead of "Merry Christmas". One wonders in a nation with somewhere between 700,000 and 2,000,000 people homeless (36% of whom are families with children), 36.5 million people living in poverty (including 12.8 million children) and 47 million people without health insurance (including 8.7 million children), what Jesus would have to say to those bastards who won't say "Merry Christmas".
Friday, December 28, 2007
Sunday, December 23, 2007
The Holidays
The period from Thanksgiving to New Year's is my favorite time of the year. It always reminds me of good food, fine wine and the company of people whom I love. Even if I don't get to partake in all of that every year, I still love the season and all it means.
And the best part of the whole package is Christmas. I was discussing this recently with a friend of mine who noted how strange it was that an atheist (ie me) should love Christmas so much. I tried to quote to her the passage from the Bible that to me sums up the idea behind Christmas* but I mangled it. Here it is:
And there were in the same country shepherds abiding in the field, keeping watch over their flock by night.
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone around them: and they were afraid.
And the Angel said unto them, "Fear not, for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger."
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying,
"Glory to God in the highest, and on earth peace, good will toward men."
While I don't believe in the divinity of Jesus, I do think he had a lot of great ideas about what it means to be a part of the human race. And I don't think it at all hypocritical to celebrate that idea; peace on earth, good will toward men. Would we did not have to confine that notion to one day.
So I hope my non- Christian friends will forgive me when I wish you all a Merry Christmas. I hope you all can take from it the same meaning I do.
And wishes for you all to have a Happy New Year.
* So did Charles Schultz.
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