From Peter: Scott held the dressing room station next to mine for nine beautiful and exhausting months on Disney Cruise Line. He has a smile to brighten the room, one of the best listening ears I’ve ever encountered, and a new angle to attack any problem. To this day, I am still impressed by Scott’s positivity, practicality, and ingenuity when it came to this career. 

In a world where most young artists convince themselves it’s “New York, LA, or Bust”, Scott has made his home in the Bay Area nearly all of his professional career. And it’s been an illustrious career at that. Whether getting his Equity card performing alongside James Monroe Iglehart in Big River, countless Silicon Valley industrials and commercials, or a twelve-year stint at San Francisco’s iconic Beach Blanket Babylon, Scott is daily proof you don’t have to be in the biggest markets to realize your dreams. 

We talked to Scott in the early part of this year before Coronavirus shut down the business. To aid the feature he had already completed, he graciously answered our Corona Coping questions as well. And, just as we expected, Scott is managing his business, attitude, and innovation way better than the average bear. If you’re interested in life outside of big markets, how to pursue goals outside of the theatre, or a good long breath of optimism and creativity: Scott’s your guy.

Scott- I met you as you played (were friends with?) the boy who never grew up. For our readers that never saw you fly (or wear tights!), can you introduce yourself?

My name is Scott Reardon, and I am born and raised in the San Francisco/Bay Area.  In the summer after 8th grade, a friend coeerced me into auditioning for a children’s production of Grease because they were in desparate need of boys.  I was always someone who enjoyed singing and was an extremely imaginative player, but I had never participated in any formal arts endeavor.  I ended up being cast as Teen Angel and Doody.  Needless to say, it was a blast and it was the beginning of my love/passion for all things entertainmnet.  My first job was actually for Nickelodeon/Paramount at their theme park, Great America.  I worked as a performer bringing the show “Slime Time” to a live audience and also bringing a Blue’s Clues experience/meet-and-greet to guests as Blue’s Friend Scott.  Along the road, I earned my Bachelor’s in Drama, Master’s in Education, Teaching Credential, and have performed across the country at regional theatres including: Tony Award Winning Utah Shakespeare Festival, Tony Award Winning TheatreWorks of Silicon Valley, Disney Cruise Line, Musical Theatre West, PCPA Theatrefest, Oregon Cabaret Theatre, Utah Festival Opera and Musical Theatre, San Francisco Symphony, and 12 years with Steve Silver’s Beach Blanket Babylon.  I have also appeared in spots for Visa, Samsung, Garmin, Dell, HP, LG, Logitech, United Airlines, LinkedIn, Oracle, etc.

What led you to UC Irvine? How did going to school there impact your career?

My college choice expreience was interesting.  I was a good student in High School with a 3.92 GPA and tons of extra-curriculars.  I shot for the moon when applying to about 12 different universities, knowing some were out of my reach be it financially or academically.  My acceptance/choice list narrowed down to three Univeristy of California schools, UC Berkely, UC Santa Barbara, UC Irvine.  Though UC Berkeley offered prestige, I knew I needed to move away from home (Bay Area) to have my own expriences and develop as an adult.  I visited UC Santa Barbara, and it just wasn’t a fit for me.  You had to participate in general classes for the first year and then audition for their Drama program in year 2.  Well, me being an extreme pragmatist, I didn’t want to hedge any bets.  What if I didn’t get in during year 2?  I would have just wasted so much time and energy.  Then I visited UC Irvine, and I kid you not, it was as if the heavens opened during my campus visit.  It was a campus that was beautiful, bustling, and there were so many offerings at the School of the Arts; you just had to take advantage.  I consistently says that attending UC Irvine was one of the best decisions of my life, and I believe it led me to where I am today.  UC Irvine required all drama majors to participate and take classes in every aspect of production.  You were not allowed to just “be a performer.”  I took lighting design, costume design, set design, shop construction, running crew (tech), and performed in my years there.  Their goal was to instill a love of theatre and a respect for everyone who has a hand in creating the finished product.  My education set me up for success around the country, where humble gratitude, understanding, and respect take you so much farther than platitudes of grandeur and ego.

You’ve worked in the LA market since graduating, but what led you to make your home base back in the Bay Area?

I moved to Los Angeles right after college.  I always had a feeling NYC wasn’t the right fit for me.  Don’t get me wrong, I love NYC, I just couldn’t live the hustle lifestyle day in and day out.  To this day I always say I will go to NYC if something takes me there.  Los Angeles was the mecca for entertainment.  I began extra work for TV Shows and Movies, and I used this as a crash course in understanding the Film/Television industry.  Though you can take classes/workshops, I truly feel there is no better education for on-camera work than actually being on-camera and in the environment.  I would always be aware of what was happening around me and the terms that were being used (two-shot, master, apple, martini, etc.).  I would study/examine Matthew Perry, Sarah Paulson, James Woods, and Kirsten Dunst, as I was standing feet from them while the cameras were rolling.  In the end, however, I was called away from Los Angeles for theatre opportunities time and time again.  I think out of the 9 years my belongings lived in Los Angeles, I was only physically present there for 2 years.  During my visit to family and friends in the Bay Area after a regional theatre contract, my UC Irvine pal told me they were having auditons while I was in town for a show she had been doing for several years and that I needed to go.  The show was Beach Blanket Babylon, a musical review that opened in 1974, and holds the world record for the longest running musical-review in the world.  I auditioned, got a swing/understudy contract, and decided to take it.  This led me to move back to the Bay Area for a beautiful, secure, and life-changing 12 year run with the show.

By the time this blog runs, you’ll have just closed Beach Blanket Babylon. Can you talk about the unique experience of being a part of such a historic and long running show?

I owe so much to my experience with Beach Blanket Babylon.  It opened in 1974 and we closed the show, after 45 years, on Decemeber 31, 2019.  My 12 years there were exciting, enfuriating, hilarious, exhausting, and I wouldn’t change a minute of it.  Though performers would come and go, many were there longer than I (some performers and technicians over 30 years).  The whole company was a family.  Through our 7-9 show weekly schedule, we witnessed births, deaths, marriages, divorces, and we were all there for each other.  Those personal relationships are the testament to my experience and joy we were able to bring over 6.5 million people.  In 90 minutes, our goal was to bring a smile and laughter to the 400 seat audience, offering them a zany and crazy escape from the world outside.  A beautiful thing about being a part of a long running show, especially how Beach Blanket Babylon operated, was it allowed me to have a life outside of the theatre.  I was not trapped inside a theatre all the time since we were a 90 minute show that performed only in the evenings.  I was able to pursue other passions, work, and understand myself outside of the theatre bubble.  The security of having a steady paycheck for 12 years as an actor also didn’t hurt.  I was able to take amazing trips and eventually buy a condo to truly set some roots.  We were also given some amazing opportunites: sing the national anthem at the SF Giants World Series Celebration, open for Jason Mraz and Bruno Mars at a private event, and provide a custom show for former Secretary of State George Schultz’s 90th birthdya party surrounded by hundreds of the nations most influential politicians and business leaders.  Beach Blanket Babylon was an institution, not just a show, and I am so sad the San Francisco landscape will now be without it.

Was there ever a moment where you felt like giving up on the career? If so, what did you do to get through that time?

I would love to know an actor who has not had those feelings of defeat and wanting to leave it all behind.  I have absolutely had those feelings, and I didn’t find them to stop even when I had security in performing.  There is always the thought of what is next, what do I have to do to keep working?  I found that when theatre encompassed my whole life, those feelings were stronger than ever.  When I stepped back and understood that I must be able to live life outside of the theatre, I was able to find the joy, passion, and love for performing I was losing.  This allowed my theatre to be so much more joyous and rewarding for me.  Another aspect that helped me get through these times is not caring.  I don’t mean this how it may sound.  Being involved in a lot of on-camera auditions, I began to go in with the acceptance of what I can bring to the audition/performance in that day and moment.  There are so many other decision makers behind the scenes.  You may do an absolutely incredible job, be the most talented, and yet you are 2 inches shorter than they need, or you remind the casting director of their ex-husband.  What I am trying to say is so much is out of our control as actors, and you have to learn to give that feeling/need of control up.  Trust that you are there because you have the talent, and if you don’t get this one, another one will come along.  Once I was able to have these feelings of acceptance, I actually found myself being more successful in bookings and opportunities.

What are the biggest benefits to an actor’s life in a small(er) market?

I love being a part of a market outside of NYC and LA.  I think it is extremely beneficial, and it is amazing to be in the hub of technology and witness the advancements that are occuring.  On a selfish note, it is easier to make yourself known and create relationships with casting directors, producers, directors, etc.  A smaller market also creates a smaller pool vying for jobs.  Don’t get me wrong, there are still 50 brown-hair, brown-eyed, all-american looking guys that are sent in to audition for the same spot, but there is a much different feel.  The SF market also forces you to have a life outside of performing because there can be extreme dry spells in the commercial/industrial offerings, or the regional theatres are only offering 2-3 Equity contracts per show, and you won’t be receiving one of them.  I, however, find that as a positive.  As I mentioned before, that sense brings more joy to the work when I do it, rather than feeling it is my only source of income/work.

What’s the most exciting work going on in the Bay Area?

Silicon Valley is by far the most exciting work in terms of on-camera.  Seeing where technology is going and creating commercials/industrials for new products and companies is incredible.  I recently did a shoot for early stages of Artificial Intelligence (AI) design to work in customer service related areas (Airport Check-In, Hotel Concierge).  These Silicon Valley companies, who are always moving the ball forward, are inventive and creative, and it is great to be a part of that community.  In terms of theatre, the Bay has been making a resurgance in its presence.  Several theatrical companies provide New Work Festivals in which they take a hands-on approach to fostering and developing new theatrical offerings.  The Tony Award Winning TheatreWorks of Silicon Valley produces a New Works Festival each year and chooses one work to receive a full-fledged production within their next season.  Several shows have had their world-premiere/pre-broadway tryouts in the Bay Area including Ain’t Too Proud, Memphis, and Wicked.  

Where are you on your mountain?

I am definitely not at the peak, and I don’t think I will ever reach that peak.  I think I will always look up to see that peak rising higher into the sky, pushing myself to reach and pursue more, not settle.  I am also one to walk through an open door that is providing me an opportunity for growth and success.  Walking through these open doors, or different trails up my mountain, has led me to my Mater’s in Education, working as an Educational Specialist for elementary students with disabilities, and again working behind the scenes as the production stage manager for several Bay Area Regional Theatres.  I am also performing several concert shows around the Bay in a cabaret style, focusing on music from movies, broadway, etc.  Though I anticipate returning to the stage in a book show sooner rather than later, I am taking some time to explore my other paths.

RAPID FIRE:

Favorite Broadway show: Gypsy – My favorite overture of all time!

TV show you binge: Everything (I’m addicted!!!)

Podcasts you love: Not huge into podcasts, but I want to get into them…I will take suggestions!

Religious, Spiritual, or nah?: Non-Practicing Catholic (Love, Respect, Empathy, and Understanding go a long way)

Former side hustles: Owned my own Dog Walking business, “Scottie’s Dogs.” Personal Assistant to Agent and Reality TV show Producers.

Show that gave you your Equity card:  Big River at TheatreWorks of Silicon Valley.  I was Tom Sawyer and James Monroe Iglehart was Jim.

Secret to auditioning for commercials: Walk in and be you.  Give what you can give that day and know that is enough.

Any bad audition stories?:  Tons…like the time I had to restart my audition song 3 times because I was singing off-key (though I don’t think it was being played in the written key).  I got frustrated and on try three, I just kept singing until the end.  Pretty horrific.

Skill you think more actors should have: Business management.  We are our own business.  Do not rely on an agent, manager, etc.  Understand what to do to make you a success!

Ever tempted to move somewhere else?:  All the time!  California is expensive!  I am not opposed either, but a job would have to take me away.

Favorite audition song: “Larger Than Life” from My Favorite Year

Job you didn’t expect to book:  Disney Cruise Line.  I always dreamt of working for Disney and palying Peter Pan, but I thought my time had passed.  I had grown up, but Disney thought “Nah!  He still looks young!”  Truly grateful for that dream come true! (Tip: Wash your face and moisturize)

Biggest beef with the business: The cruelty that some believe goes with power/position.  You can still be kind and supportive even when saying no.

Social media handles?: IG: ScottMReardon

Anything you’d like to promote?:  Just living life!  Keep an eye out, you never know if you may see me on your screen!

CORONA COPING:

What were you looking forward to that you lost because of COVID-19?

I was in the midst of rehearsals as the Production Stage Manager of 9 to 5 when we had to cease rehearsals when the Bay Area Counties banded together to order a shelter-in-place.  As the weeks have progressed, my summer contracts have been cancelled and so have my cabaret concerts that were scheduled for around the Bay Area.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

I am extremely lucky that I am still employed through my school district, teaching my Resource students through Distance Learning is something that has truly helped me through this whole ordeal.  Though it has been an extreme uphill climb trying to acclimate to teaching in this new style that no one was prepared for, it has provided me a sense of purpose and duty.  I am able to get up each morning knowing I have a task in front of me, a child who needs help, and something to accomplish that, thankfully, still provides me a paycheck in these trying times.  Another aspect to Distance Learning that has allowed me to find joy is translating my passion and abilities of on-camera to the classroom.  I film lessons, provide Zoom meetings, use my green screen, and anything else to help entice, intrigue, and make this whole process a little more exciting for me and the students.  (I attached a picture of my “new normal” dining room setup)

What do you think has an opportunity to change as a result of this time to reset?

I think this time will be extremely valuable for reflection and a way for everyone to make sure they are where, and who, they want to be.  I hope we are all able to see how fortunate we have been with the options in our everyday life.  Now that we are out of our “norm,” I hope we can identify some of the simple things we have begun to take for granted, and when we are able to partake in those activities, no matter how trite, we relish in our ability to actually do them once more.  I also want everyone to understand the importance of the human connection.  It is extremely impressive, through our technological advancements, that we are able to see and hear people from thousands of miles away, but nothing can compare to the face-to-face interactions we have on an everyday basis.

Quarantine Quickly:

Favorite snack: Is Alcohol a snack?

Home workout routine (you know, if you're into that):  Oh yeah, I need to get on that!

What are you watching:  Where to start…Binging like a champ!

What you are reading:  “Hatchet” as I lead a Virtual Book Club for my students

Yes or no… Out of pajamas before noon?:  Business on Top, Pajamas on the Bottom!

Photo Credits:

Pic 1: Headshot by Allison Bluestein @ www.alyblueheadshots.com

Pic 2: King Louis in Beach Blanket Babylon - Photo Cred: Rick Markovich

Pic 3: Slime Time: The Live Show (my first job)

Pic 4: NYC Trip

Pic 5: Me and the Big Cheese

Pic 6: “New Normal” dining room setup!

Side Note From Kat: Brett's reputation, as an agent and a person, runs far ahead of him. As a performer, he worked consistently. As a student, he received his Master of Music Degree, with an advanced certificate in Vocal Pedagogy, from NYU Steinhardt. Now, he's worked at Carlton, Goddard, and Freer ("CGF Talent" on the resumé) for the past seven years, climbing his way to agent five years ago. 

Brett's thrown a lot at the wall and, somehow, found a way to make all of it stick. Naturally, he was a dream interview for what we stand for here at The Obvious Path. Pre-Coronavirus, we set up an in-person interview at his apartment and arranged to have it supervised by the Associate Director of Public Relations at the Public Theatre. (Okay... that's his wife, Laura. How COOL though, right??)

And... we left giddy. Every person who implored us to meet them couldn’t have done them justice. What was supposed to be a 20-30 minute interview turned into a three-hour lesson in life, attitude, marriage, the business, and laughs. He and Laura are authentically human, constantly striving to be better, and completely devoid of the arrogance that normally accompanies those of their immense success. 

Don't worry, we didn't transcribe all three hours. We did, however, go off script a lot. And it's worth every word. Brett generously navigates us through life decisions, pursuing happiness, actor/client communication, and how life has changed during this pandemic. 

We started this blog because we wanted to highlight those in our business that are sincerely good people. And we've gotten to meet a lot of wonderful folks. Brett? He's one of the best.

Brett, we’re really thrilled that you agreed to do this. You sandwiched a successful acting career between receiving your BFA in Musical Theatre Performance from Western Michigan University and a Master of Music Degree from New York University's Steinhardt School with an Advanced Certification in Vocal Pedagogy. What was your life before agenting? 

Sure! In high school I was really big into three things: hockey, choir, and musicals. Sadly, I was only good at two of the three of these. I’ll let you guess which two. Choir and musicals dominated my every thought, every spare moment I had, and any money I earned, borrowed, or found in the couch cushions. When the college conversation came along it was: “are you going to a music theatre program, a theatre program, or, you know, a regular job?” as we called it in my family.

Eventually, my Mom knew how much I loved singing and music so she offered to meet me in the middle and encouraged a degree in both education and music--that way I could teach choir or things in that realm. If I went that route, she would pay for it. So, I said sure! You know, I’m fortunate, because I’m terrible at math, but I’m a bit geeky when it comes to the voice and I was able to read and write music despite it being very mathematical. It’s just a different part of my brain so it seemed like a good fit. 

I went to Alma College which is super small -- it has like 1,400 people. You could literally run across the full campus in 2-3 minutes. (laughs) What I loved about it was that I made the most unbelievable friends and their choir was amazing. What I didn’t love about it was that there were no elements of musical theatre whatsoever, it was strictly choir. Two years in, I said to my mom that I was unhappy and just couldn’t do it any longer. I then applied to a few big schools: Boston Conservatory, University of Michigan, Michigan State, and Western Michigan University. I got into several of them, but wasn’t really good at the competitive element and these schools really required that. We’ll circle back to that later.

I chose to go to Western Michigan and get my BFA in Music Performance and I loved it. BUT I came out of Western Michigan and knew nothing about the business, moved to the city, you know, and got my teeth kicked in for about a year and a half. (laughs) 

Did you have representation?

I was lucky enough to get an agent out of my showcase and that was life changing. The person who signed me is still an agent today and I love them with my whole heart. All of my success as an actor started with that office and was because of them. I worked regionally a bunch, had some close calls on Broadway, and was introduced to the world of soap operas.  As a weird side note, I paid my way through Western Michigan as a basic paramedic. My brother worked for a company at the time as one and recommended that I get the basic certification to help financially. So I did, and it did!

I say that because I ended up going in for As The World Turns as a paramedic that said one line, “Okay let’s go.” They needed to have a “real” parametric say that line, I guess?  Regardless, I ended up landing the gig. (laughs) I then went over to their sister show, Guiding Light, and became a regular fixture there. This all started as a co-star, which I think was called a “u/5” at the time. It was always me as the paramedic and then an extra wheeling in the patient. It was super helpful, because I already knew the jargon. And I wouldn’t call myself a “advisor” on the show, but sometimes the writers would write vital signs that were just totally crazy. I would be like, “If we say these lines, it means the person is dead. Do we want that?” (laughs) Eventually, Guiding Light made that paramedic always be me. Recurring on Guiding Light was amazing. Someone is hurt every week, so I always had a lot of work to do. (laughs). I did that for just over 2 years.

This all took place around the time I met my future wife-to-be, Laura. Guiding Light was eventually canceled and then As the World Turns was right behind it. When that happened, I officially returned to the auditioning world but couldn’t shake this feeling of discontent.  I had the realization, with the help of Laura, that I needed a change. I just couldn’t get excited about working again and frankly, I didn’t feel ‘good at this’ anymore. Soap acting, to me, was not acting, it was indicating and I forgot how to tell a story, find honesty in my work, and be effective in the audition room. My auditions became worse and I started to really doubt myself. The theatrical world had become so unfamiliar to me. I had gone to a different place mentally and couldn't really get to the other side.

I decided to go and find it! I decided to officially go back to school and get my Masters. I applied to several schools (again) and chose NYU-Steinhardt. When registering for classes, they asked if I would like to get an advanced certificate studying Vocal Pedagogy (which is understanding and acknowledgement of how the voice works). I said yes immediately. It’s very science-y. I’m obsessed with Vocal Pedagogy. I love it. (laughs) When I’ve had too many drinks with my Vocal Pedagogy friends, this is all we want to talk about. No one wants to hang out with us. (laughs) That’s how much I love it. 

Fast forward two years, I finished up and came out of school and felt like I was ready to be an actor again. I signed with a different agent, got a job right away, and was immediately unhappy again. Laura, who mind you, has supported me through, like, ten jobs said in her loving and sweet way, “Babe, you’re not happy. Do something that makes you happy. ” She had just started her full-time job at The Public, we were engaged, things were moving, and I then decided I knew where the other side was. It was no longer on that side of the table.

Obviously, not the “obvious path” towards agenting. (laughs) What pushed you towards agenting? How was that transition?

I applied to tons of jobs and no one would give me an interview for a free position. I was the weird 30-year-old man competing with casting assistants who were like 10! It was tough! Then one day, I saw a very witty internship ad on Playbill and applied. It made me chuckle. Joel Carlton (Co-founder and Partner of CGF Talent) called me in and I immediately recognized him. He had actually tried to sign me as an actor when I showcased out of Western years before when he was with another office. It was one of those crazy small world moments. We chatted, laughed, and had a great report together. At the end of the interview, Joel told me he had just filled the position right before my meeting, but wanted to be respectful and still honor our time together. I thought that was really kind of him, but was cranky that I wasn’t going to get the job.  We shook hands, and I remember he held my hand for an extra beat and there was this kind of funny look on his face. I said thank you again and left to go and meet Laura in the park because we were going to a show or something. Fifteen minutes later, my phone rang and it was him. He said, “If we were to not offer this other person the job, would you start on Tuesday?” I talked to Laura, with him waiting for me on the phone, and said yes. I took the job as an unpaid intern and the rest is history. I’ve been there for nearly seven years now. I’ve been an agent for the past 5 -- first starting as an intern, then assistant, then junior agent, and now franchised agent.  

I think that is actually one of my fondest memories. Working with Joel, Michael, and Christopher has been one of the best things to ever happen to me. There isn’t a day that goes by that I’m not appreciative to them nor a day that goes by that I don’t appreciate what Joel did for me personally. He recently passed after a long and valiant fight with cancer. I miss him every day.

Did you know you were going to be happy agenting?

Not until it was an official thing. I knew I loved actors and their intense, emotional, brilliant, hilarious, elliequent, and frustrating energy. No matter what I did, it needed to involve them. So being their advocate made sense. Working with them as a partner made sense. I mean, nobody knows actors better than other actors. Nobody understands or has more empathy for the ridiculousness that’s asked of them every single day. It’s absurd! The amount of times I’ve had to call an actor at 4pm with an appointment time for the following morning that has 16 pages of sides is significant. But it’s those conversations and that kind of trust that makes a strong relationship. Truly, most days of the week I come home in awe of what they are able to accomplish and achieve in the business and audition room. Feeling like we are partners in it together has always been my approach. If everyone does their work, then it can be a really great relationship together. It’s really important to trust one another. That trust is and should exist throughout our industry. Personally, my relationship with casting directors is another thing I hold sacred. There just needs to be trust and collaboration there too. It’s the only way to navigate the audition process where all parties benefit and the right people get the job.  Honestly, casting directors jobs are unbelievably difficult. I don’t know how they do it and don’t think I could.

You beat us to our next question, which we didn’t plan, but you knew it wasn’t casting?

Oh I knew and know it’s not for me. In my opinion, they are the unsung heroes of the creative process. Their work is unbelievably hard. Casting houses serve two masters: the producers and teams who are casting the show, and the agent who wants it to be their clients who populate it. That is a gatekeeper role that I want nothing to do with. (laughs) I’m certain you can hear it in my tone, but I have nothing but respect and admiration for them. They do not get enough accolades for their work, but it’s definitely something I recognize when I’m seeing shows, watching TV or movies, and reading casting releases. I know that profession is not for me, but the exchanges I have with them everyday are really important and is where that trust I talked about before comes into play. At CGF we break up our accounts by casting houses and that has allowed me to build some strong relationships with those who I work with daily. Tara’s entire office; Stephen at Carnahan’s; Jordan, Heidi, and Kate at The Public; and Bonnie, Steven, and Zoe at Finnigan/Jacobs, to just name a few. I need to talk to these people every day about clients, projects, and logistical nonsense. Why not have that exchange be pleasant and beneficial to all parties? Casting needs to set up a session and I likely have people that fit what they’re looking for. Our communication and trust is how people get appointments and how casting gets a great group of actors in front of their team. There are times to push, there are times to listen, and there are times to get out of the way. The trust with your casting colleagues is how you navigate the process.

What do you think about sunk costs? Now, it’s obvious that your career now is so informed by what you studied and your life experience as an actor. But did you ever feel like you had leveraged your entire scholastic career pursuing something that isn’t exactly what you studied? 

Somewhat. It was hard getting a Masters in Music and a degree in vocal pedagogy and then going into a career that technically has nothing to do with either of those on face value. The job description does not list anything that I just spent a quarter of a million dollars on and that’s hard  (laughs). But what I ultimately see and what I take comfort in now is: it’s all related. 

But, to answer your question directly -- absolutely there were times. Why did I pay for this? Was this a waste of money and time? Those were things I thought about, but I’m teased in the office, because anytime a client has a vocal issue I will, like, perk up and everyone in the office just transfers me the call. (laughs) I love that. I can use that education to help our clients at CGF.  Another thing I’m so proud of is my relationship with voice teachers in NYC and how I’m able to connect our clients to the voice teachers that suit them based on my understanding of what they need. They really intersect beautifully. 

And that, I think, that’s the goal of most people. Finding a career and seeing if there is a way to intersect with whatever your passion or hobby they love doing. Even if it’s only occasionally. I mean, it’s called a job so no matter what it is there are gonna be days it really feels like one. Some of my closest friends and colleagues in the industry didn’t know what they wanted to do. They may have started out as actors, but have since become stage managers, or music directors, or company managers, or agents/managers. I think they trusted their gut and trusted what was given to them by the universe and continued to search from there. Who’s to say they are even done searching? 

Well, since we’ve wasted so much time on unscripted questions! Oh my god, we’re taking so much of your time! We’re getting back on track, I promise.

What’s been the biggest surprise of your career? 

Ironically, that I was good at this. It’s only been 5 years as a franchised agent. The first year was a lot of treading water. It was figuring it out, watching my bosses a lot, and learning contracts and rules. Then, you reach this level where that becomes easy and second nature to you. From there, it’s very important that you take that extra step. 

That extra step being, adding humanity, diligence, and humor. It’s realizing that what we do is ridiculous. We are brokering contracts and making agreements for people to go and play pretend. (laughs) I honestly wouldn’t change it for anything. There are days that I come home and say to Laura, “I feel like I agented today!” An example would be that an actor who I viewed was perfect for a job, wasn’t getting in. After reaching out to casting via a phone call, email, or four follow-ups: they agreed to see them and the actor gets the job! I love when this happens!  Sometimes I’ll get a follow-up email from casting saying, “I’m sorry I was annoyed with you. This person was perfect for the job!” (laughs) I then say, “I’m equally sorry for annoying you.” Those are good days and I think it’s when that extra step really holds true.

CGF has a reputation of developing great communication with exceptional talent. How do you describe a healthy and productive agent/client relationship?

It’s like I mentioned before, it’s a partnership. An actor is not in service of an agent and an agent is not in service of an actor. Everyone needs to pull their weight to have to be a successful relationship. There are a lot of offices out there and a lot of actors out there who don’t view it like that. Ultimately, I think those are usually the more unhappy relationships.

When you’re working with an agent or you’re working with a manager: it’s basically dating! You are choosing to be in this relationship, to confide in them, to trust in them, and to allow them to speak on your behalf professionally. It’s a very real relationship. Everyone needs to communicate and agree that they want the same things and see a way to get there. An agent is going to bring things to you and make decisions with you to build your career. If you don’t agree or have trouble communicating, that might not be the right fit. That’s why I think trusting your gut at your first meeting or initial introduction is so key. If we are going on a first “date” together and talking about you in the business, do you feel heard? Do you agree with what I’m saying? Do you think I see you the way you want to be seen? These are things to think about and ask yourself. First meetings are all about figuring each other out. Obviously it might take a minute to warm up to each other as we pick at our tuna tartare appetizer, but you should feel like you are collaborating with someone, not being dictated to or met with indifference. 

As an agent, I am not the one who has to make the decision, but I want to talk to you about ‘Column A’ and ‘Column B’ and why those things matter to you in making this decision. I realize that at the end of the day, you make the call. And no matter what I think personally, I will be your advocate. We talk about that a lot in our office. Our desire is for everyone in the partnership to be happy and feel heard. There are days we are successful and days that we are not, but that is something we really strive to do. 

Look, all agents are out there trying to find talented actors and get them jobs. We all offer different and unique experiences. There are times we lose clients or potential clients to much larger offices that make promises or incentivize them with opportunities. Whether they are telling the truth or not, some actors will go with them and that’s totally fine, it’s just the way it is. You can’t force someone to date you if they don’t want to. If there is one thing my middle school and high school dating life taught me it’s that. Ok, did I officially go too far on the dating analogy? (Laugh) Each agent and office are going to tell you different things and it’s up to you to decide what makes sense and is the right fit. I can tell you that one of my office's biggest strengths is the access to us. That’s something we can offer and something we really thrive on. You aren’t alone on your career path, and we are there to navigate and weather good times and bad with you.

At the onset of your career, how would you have defined success? Where you are now, has your definition changed?  

I think at the onset of my career and where I began, I viewed success the way a lot of people view it:  Am I known and important? Do people talk about me? Is it good things that they say? Can I brag about myself and my clients? Am I doing things that the industry thinks are impressive? Stuff like that. I think at the onset, you do that as a way to gauge this business and to measure the “agent” things you think you need to be successful at. I think those were traps I fell into. 

Recently, and by recently I mean a few years, I feel like I’ve been focusing on realizing that we are human beings and success should mean you are a well-rounded person, someone who can hear and listen to your needs, take the agent hat off, and be a person with the clients. 

And to think of who you’re choosing to surround yourself with. The best part of this city is there’s not a lack of people and not a lack of opportunities to care for yourself by making those choices. And that’s something Laura and I both strive for at all times is to be real people. There is no reason to be unapproachable, ever. There’s no reason to be false or fake. And you learn these things by failing,  by coming home and realizing, “I wasn’t a great person today” or “I lost my cool” and then saying, “I will strive to be better tomorrow.” And so, that is the new definition of success, but ultimately, when you have those goals in mind, the weight becomes more easily distributed and you do better at your job anyway.

Looking back, what’s one thing you would change?

So, if you’ve ever met me, you might agree that I’m weird with a dash of socially awkward. I have a stream of consciousness thinking process and sometimes that gets the better of me.  Looking back, I think I feared judgement on this and decided a very guarded approach was the “professional” way to go. It was not. I didn't allow myself to meet people who I should be interacting with--whether that was when I was an actor I was interested in working with or a business meal with an artistic director. I shied away from it. In our business, networking is a very important part of it. We’ve been very fortunate in our office that we’ve had very busy award seasons. But those come with a lot of these networking opportunities. They may be superficial and even pointless, but being seen and supporting your clients at these functions is a very important part of my job. I’ve gotten better at it, but it’s still something I need to watch and work on.  

Where are you on your mountain?

I’m just shy of half way, I think. It’s because there have been a lot of things to push me to where I am both upwards and downwards. Life lessons, losses, friendships, mentorships, all of that nonsense adds to the journey. Perspective is an amazing thing to think about because in the day to day, I don’t think about how far you’ve come. You just deal with the challenges and accomplishments as they come to you each day. Thinking about where I was a year ago, where I was two years ago, it was a very different place in all avenues of my life.  As far as using this mountain imagery, there’s a lot that I’ve accomplished and I know that there has been movement, but there’s a lot of movement to go and I don’t even know if I know where that will be. I know there is another phase or ‘thing’ that I have not quite grasped yet. That will be exciting to figure out.  I know I’ve come a long way and I have a long way to go.  And I'm certain someone or something will be throwing rocks at me while I climb.

How has Coronavirus changed your perspective on the business and/or your life? 

Ugh! It’s changed my perspective more than I ever could have possibly imagined. What our industry has gone through over the last 5-6 weeks is truly upsetting and very surprising. From a business standpoint, we are dealing with the immense challenge of not being able to gather together in an industry that requires that from all those who participate in it. Whether you’re seeing a Broadway show, watching a movie, shooting a TV series, or going to a concert, you are surrounded by dozens, hundreds, and thousands of actors, employees, and audience members who are also taking part in that experience. When you remove the ability to gather, you lose the industry on the whole immediately. 

Right now, everyone who celebrates and relies on this artform for income is doing all they can to breathe life back into it. This is a scary, but really inspiring thing. People are fighting for our business fiercely and in a multitude of ways. Casting is leading the charge by moving forward with some projects by way of self-tapes and virtual meetings with creative teams. Other full productions in development are having Zoom rehearsals and work sessions with the full casts to keep things moving forward. The voiceover world is still very much alive and they quickly adapted by sending equipment home with actors so they could continue to work professionally and safely in their own home. That is resilient and gives me hope. 

I personally think we should all embrace the new technology and use it as an opportunity to stay creative and improve while we work towards some semblance of our industry returning. I do think it’s important to mention that things will be different. I hear people throw around the term “normal” a lot and how when things go back to “normal.” It’s very important to realize that when we emerge on the other side of this, and we definitely will, it will be to a new normal with new ideas, protocols, and approaches, but that can still be a future to look forward to. 

RAPID FIRE:

Favorite Broadway show of all time: Take Me Out. Very excited about the revival! It was the first show I ever saw on Broadway.

TV show you binge: Tiger King, West World, The Great British Bake Off. To say we binge these shows is an understatement. 

On your commute, you’re listening to ________: More often than not, Laura! We get to ride the train together for a bit on our commute, so we talk on our way. On my walk to my office, I’m listening to Ben Rector.  He’s incredible  and basically sings about how all people in their mid-30’s are feeling about life on any given day.

Religious, Spiritual, or nah?: Religious, but I think spirituality goes with it. My faith is a part of who I am. My approach is and will always be an inclusive one--when I was younger that was very important to my mother, which greatly shaped my faith. People are people, they are unique and wonderful, they all get the same rights, and should be treated like people. We are all the same. As long as there is an inclusive approach to a faith or denomination, I’m open and in support of it.

Former side hustles: Bartender, catering, waiter, voice teacher, EMT, I even worked at a movie theatre. (Shout out: AMC Elmwood Plaza 8 in Lansing Michigan)

Having produced Steinhardt’s Musical Theatre showcase for several years...Your advice for someone heading into a showcase is _________: It is one audition. It is one showcase. It's an introduction that you are paying your school to give you. It will not matter after this. If it’s helpful, that’s great. If it’s not, that is fine also. If you crack/fall, no one will remember or care. Just treat it as an audition. I always try to focus on the person and find the song or piece that allows them to be them.  Don’t just focus on the newest material or how attractive you can look.  Nobody is better and being you, than you. Focus on that.

In a world where showcases don’t exist, what’s the best way to find an agent?: Referral through a Casting Director. Going back to that trust thing we talked about. If someone comes to me with a thought and I like and trust them, I will absolutely take the meeting.

Call or email?: Both, but it depends on what it’s for. If you email me, and I know you, you will get a response from me. That’s something I always strive to do. If you are calling, what are we talking about? Is it pressing? I mean, I’ll always take a phone call, it’s usually faster that way, but just be ready to chat about what’s on your mind.  If I don’t know you, don’t call...that would be weird. Send a submission to CGF’s submission email, we all check that when things come in.

Question you want to hear when meeting with an actor: I want them to ask, “where do you see me in this business?” We always ask that too, to see if we agree. We need to be on the same page. Another great question is “What about my work resonated with you and made you respond to me?”

Biggest beef with the business: Sometimes the most talented person does not get the job. Sometimes the right person does not get the job. That is frustrating. Things are not always fair.  That’s a hard realization. 

Social media handles?: @cgftalent is our instagram. I do not have a personal one, because I’m 100 years old and my life just isn't that interesting.

Anything you’d like to promote?: I teach a “Business of the Business” call through the Growing Studio a few times a year. I’m happy to recommend that. But honestly, my plug aside, I encourage every actor to be in class. Find a way to be creative. Seminars, accountability groups, coaching, teaching, whatever. I also always challenge those to take class in the areas they need the most improvement in. If you are an amazing singer, take an acting or dance class.  If you are Dame Judi Dench as an actor, maybe take some voice lessons, or movement classes.

Quick note from Kat: Imagine you're in a small cast with SJP and Matthew Broderick. It's the day before the first preview of your first Broadway show, and then... Broadway shuts down.

That's what's going on in the life of our friend, Eric. I've gotten to meet him a few times as the partner one of my clients and great friends. Every time, Eric has struck me as kind, humble, and presumably, extremely talented. In the face of something that would be devastating for most, Eric is remaining grateful and shifting his energy out to others. So get out of your PJ's and grab a slice of pie, Eric has a great perspective for coping with Coronavirus.

What were you looking forward to that you lost because of COVID-19?

I’m in the company of PLAZA SUITE at the Hudson Theatre, and we got news that Broadway was shutting down on the day before our first preview here in New York. The confusion leading up to and around the shutdown was wild, but I’m extraordinarily fortunate in that I got to perform with the show for a month in Boston, and everyone involved is trying to make sure that we do get the chance to perform here when it becomes possible again. I realize that so many people in our profession have lost similar opportunities due to COVID-19 and many productions have had to shut down completely, so I count myself extremely lucky.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

I’m surrounded by really wonderful people in my apartment, which makes things a lot easier. We’re trying to make solid schedules to follow day to day, with things to look forward to like Pie Day Friday and Movie Night Saturday. We’ve also put in plenty of hours on Animal Crossing. Our island’s come a long way.

What do you think has an opportunity to change as a result of this time to reset?

I hope that some of the positives to come out of this are that we see what sort of collective action we’re capable of as a country and as a planet. When it comes to climate change or the already pervasive inequality that’s being exacerbated by the virus fallout, we need to think as big as we can.

On a person to person level, even though we’re self-isolating, I hope we end up feeling more connected to each other than ever, and more galvanized to lift each other up. I think it’s impossible to pretend that this time is anything less than terribly sad, but I hope that’s a reason for people to open up their hearts rather than close them off.

Anything else you’d like our readers to know during this time?

It’s a wildly tough time where we have to take care of ourselves, but if you have the means and capability it’s a great time for us to look out for groups to support, like Feeding America and the National Alliance to End Homelessness.

Otherwise I’ll say: Baking is no joke. It’s super fun and satisfying. I know all your friends on social media are baking, give in to the peer pressure, make a nice pie for yourself.

Quarantine Quickly:

Favorite snack: Increasingly, pie.

Home workout routine (you know, if you’re into that): I try and keep a consistent running schedule.

What are you watching: Sex Education on Netflix is the absolute best.

What you are reading: Mostly short stories! Right now Jhumpa Lahiri.

Yes or no… Out of pajamas before noon?: Yes, yes, yes!! Otherwise I will feel…not good.

Quick note from Peter: Teresa is a member of the 2019/2020 Professional Training Company at Actor’s Theatre of Louisville, an elite year-long program at one of the nation’s finest regional theatres nurturing artists in their artistic growth, facilitating professional connections, and providing performance opportunities in the Mainstage season, as well as the Humana Festival of New American Plays.

Beyond that, Teresa is a gift of a human. Her talent is enormous, her creativity is refreshing, and her humanity is inspiring. As Teresa mourns the loss of the end of her apprenticeship, you’ll find she’s pivoted gracefully into gratitude, perspective, and a goal of connecting with Rihanna. (We’re rooting for you, T!) We’re all searching for meaning and purpose as we deal with the grief of the moments we’re losing. Teresa teaches us how to do that with insightful words, a celebration of life, and some memes that are far too relatable.

What were you looking forward to that you lost because of COVID-19?

Oof. Definitely the experience of attending and performing in the 44th Annual Humana Festival of New American Plays. As a member of the 2019/2020 Professional Training Company, me and my 37 other company members traveled from all over the country (leaving our friends, families, jobs) to spend our year leading up to this one event. To lose out on what that meant for me and my friends was sad.

Overcoming a challenging year within our company, from personal events to the institutional restructuring, the Humana Festival was our celebration of the spirit at Actors Theatre, and a moment where the entire nation’s eyes were on the work of OUR family in Louisville. Having made it through the bulk of our crew work and individual tracks in our disciplines, we were told from staff and apprentices past that the Festival was the thing: the memories made, doorways opened to future work (specifically for actors, a chance to showcase in front of professionals and obtain potential representation/auditions/job offers), parties and openings and art, and drinks at good ol’ BBC with some of the country’s leading theatre-makers. For me personally, no matter what challenges I faced, nothing would compare to the whirlwind of joy that March and April would bring — to celebrate our community, celebrate my company of apprentices and our blood/sweat/and tears (literally), and to celebrate the TRULY incredible stories that were being told by our collaborators (seriously the lineup was insane). I felt so lucky to share the lounge with the artists I looked up to and have only read about and now I was rehearsing RIGHT next to them — I MEAN!!!! It was built up so high for all of us and the whole year people kept saying, “just wait until Humana”, and I felt so honored to be a part of the work that was being done. Also, not going to lie, after spending years in New York as a non-equity actor with no representation, I was also excited to ride the momentum of it all to level up my own artistic career.

It was really devastating for all of us to have it unravel so quickly. For a lot of us, me included, it meant packing up my apartment in 24 hours and getting on an airplane without saying goodbye. Because of what we were hearing about New York and information was all over the place, I was afraid for the health of my family, for the travel bans that might happen, and for contracting the virus. Not having that celebration, that closure, to properly honor the work everyone at Actors Theatre had accomplished was the hardest part. Being together for the past seven months, it was my greatest joy to celebrate my fellow actors and dramaturgs and directors and designers and watch them grow. It was no one’s fault (except MISS RONA), but when I got home and let myself journal and process what had occurred, for me it felt like we were all robbed of our opportunity to be seen and celebrated. I was unable to say goodbye to more than half the people who I met let alone to the work we had all put our hearts and souls into for so long.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

The moment I re-entered living with my parents (Oh! Forgot to mention that we were all on living stipends from the theatre and food stamps being apprentices, so I would say the majority of my company is back in with mom and dad!), I bought a journal. For me, it has been my saving grace. Being able to process my anxiety, the news, the dynamics of (as an adult woman who the last time lived with her parents was HIGH SCHOOL) living with my entire immediate family has been INVALUABLE. I’m really trying to not put pressure on myself to be grinding right now. My tendency when I feel out of control is to try and hyper control (relationships, self-taping, content creating, exercise, etc.) and I feel like as an artist, the days where I sit in my sweatpants on my parent’s front porch watching hours of Love is Blind can be as important for me as working out twice before noon, memorizing 3 Shakespeare monologues in one day, writing a play, and listening to 8 hours of actor podcasts and taking copious notes on how they “made it” (no joke I did this, and I realize now typing this the extent of my neuroses).In conclusion, my journal. Also, FaceTiming my f-ing friends and family!! Oh, and also all of the tweets/memes about talking to inanimate objects during quarantine. I have to laugh. *see below at bottom feature*

What do you think has an opportunity to change as a result of this time to reset?

I think what’s so exciting right now is theatre artists finding new and ways to keep what we do alive. People are down to collaborate and engage. I’ve been in live-stream masterclasses with people like Suzan Lori Parks for playwrighting, Jeremy O’Harris liked one of my tweets (this is stupid but it meant A GREAT DEAL TO ME), and I’ve been tuning into “Instagram lives” of agents and managers and casting directors (shout out to Kat & Peter and their NoMarking Panel!!!) talking about the business. I’m like, WHEN would I ever have thought that I’d be asking SUZAN LORI PARKS a question on ZOOM about my chaotic COVID play????? It feels like to me, artists right now (or at least the artists I’m looking to, though I haven’t been able to reach my queen Rihanna…yet), are hugging and cradling each other through the interwebs — holding each others’ art up via Zoom reading, or self-tape workshop, or even just validating each other in Instagram DMs that they, too, have spent the last three days eating lasagna in their bathtubs. There’s so much access right now and desire to connect that I really hope continues when this is all over. In one of my productivity spirals, I came across a keynote speech by Todd London on HowlRound that he was supposed to deliver for Kansas City Rep’s New Works Festival. In the speech there was a part that literally moved me to tears: “At the same time, I know that the people who make theatre, raised on risk, accustomed to crisis, and trained in improvisation, are also the perfect crew to have around when making a new, healthier, more just and beautiful world. And also plays.”

Artists are scrappy and gritty! Storytelling plays an ENORMOUS part in helping build and question the values of the world we live in. I hope this reset allows for us to continue that work, make it ACCESSIBLE to EVERYONE, and provide entertainment, empathy, and opportunities for dialogue and community. That’s a world and a job I’d sign up to be a part of for sure!!!

Anything else you'd like our readers to know during this time?

Please support your local restaurant workers. It’s so cliche, but as a New York City bartender, I can say most of the people that I have worked with over my years are struggling creatives. Don’t be racist.

Wash your hands.

Watch this little girl: https://www.youtube.com/watch?v=9CDT0cwGKxY

Quarantine Quickly:

Favorite snack:  This is so bizarre, but I’m living with my brother in law (who grew up in Thailand) and I’ve been BINGING his homemade curry.

Home workout routine (you know, if you're into that):  As a high functioning anxious person I am most DEFINITELY into that!!! My local gym’s live streams and Zoom workshops have been SAVING MY LIFE (shout out Krank Brooklyn for driving kettlebells to peoples homes and Lysol-ing them) #shamelessplug

What are you watching: What am I NOT watching. I’ve been simultaneously binging Jack Ryan on Amazon and Succession (holy shit how am I so late to the game on this!!), and absolutely ABUSING my brothers Disney Plus account he so graciously shared with me.

What you are reading: I’ve got In the Pockets of Small Gods by my favorite spoken word poet, Anis Mojgani and I’m a couple chapters into The Water Dancer by Ta-Nehisi Coates. With a play or an acting book in the rotation every now and again.

Yes or no… Out of pajamas before noon?: Absolutely not. Also, bras only permitted temporarily for workout purposes only and then discarded.

Quick Side Note from Kat: I met Andrew last year at his senior showcase here in NYC. He is an ACU alum with a heart of gold. Over the past year, Peter and I have been lucky enough to get to know Andrew over several coffee dates. We've bonded over our love for enneagram 4's, blogs, and creating good work. Andrew is talented, heartfelt, and such a light to be around, as his post will attest. Beaming with joy to introduce you to our friend, Andrew.

What were you looking forward to that you lost because of COVID-19?

I look forward to seeing my people at the William Esper Studio twice a week. There I get to be solely focused on the process of becoming an actor and not focused on what I am selling. It’s also a process that largely feels like it’s taking action on me, on my instrument and my heart, rather than the other way around, which I am craving right now. You get glimpses of not only your own growth but the growth of everyone around you- it fills your cup. It really is sacred time. It’s like going to the theatre twice a week and getting to play every time. I miss it so much.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

Yoga. My boyfriend and my two roommates. Books. The calm app (thank you, Barry’s). VIPKid.

What do you think has an opportunity to change as a result of this time to reset?

This is time where my body tells me what it needs. It’s dabbling into all the survivor modes I’ve learned and awakening trauma parts I’ve held. It is a wonderful and challenging time to point back to who now runs the show and who younger parts of me can trust. This is adult Andrew, I am 24 years old. The year is 2020. This does not mean I don’t ask for help. This just means I am not as helpless as I once was, I am stronger than I thought I could ever be already. This body is good and worthy. It was always enough.

I was also working a ton of hours at my survival jobs before the pandemic struck. I hope to find a way to balance more, so I can run full force towards that which brings me the most joy when we are released from social distancing.

Anything else you'd like our readers to know during this time?

I love Kat and Peter’s perspective on this time. I’d like to add that if many people over-using the word “opportunity” during this time is difficult to hear, you’re not alone.

Yes, time brings possibility. But I’m hesitant to equate developing artistry and following an artistic path to self-optimization, which “opportunity” so often implies. (And simultaneously, I completely struggle with not using this time to self-optimize. So this advice is mostly for me to hear.) This is global, societal trauma (perhaps little “t” trauma, but trauma nonetheless).

It’s understandable if all that happens some days, or as this goes on, some weeks, some periods, etc. is breathe, cry and find your footing beneath you. We don’t have all the answers, and remember that so much of the artistic process is about timing jogs and sprints... and REST. Routine is good. Movement is good. Grace and connecting to your uncompromisable worth are better than any of that. You will always be an artist, you have always been an artist. You will always have your creative spirit. Cancelled auditions, classes, performances, gigs can’t take that away from you. Go on amazon and get a copy of The Artist’s Way. ️

Quarantine Quickly:
Favorite snack: Peanut butter pretzels, carrots and hummus, cookie butter. (Also, my boyfriend bakes and I’m a loyal tester on all baking excursions)

Home workout routine: Built for the Stage (much love, Coach Joe!), YOGA WITH ADRIENE (my roommates and boyfriend and I are doing the 30 day challenge), Some social distance runs, and a handful of Barry’s IG Live classes to keep connected with the Barry’s fam

What are you watching: Just finished the Outsider on HBO, and it’s golden.

What are you reading: This is my favorite question. I am so excited to answer this question. I should answer the question now. Did I tell you I’m excited to answer this question? The new biography on Marlon Brando called The Contender. Trick Mirror by Jia Tolentino. Inspired by Rachel Held Evans. (Searching for Sunday was also a gem.) Know My Name by Chanel Miller. What are YOU reading??

Yes or no... out of pajamas before noon?: I absolutely must be out of pajamas before noon in order to stay sane.

Quick note from Peter: Jenna is a teacher, actor, and Founding Artist at Innovative Voice Studio in NYC. Once you wander into Jenna P’s voice lessons, as I’ve been extremely lucky to do this year, you’ll be struck with three things within minutes:

1. Jenna gets it. She’s a voice teacher actively involved in the auditioning and performing world, ready to work with your vocal issues in a practical, athletic, and invigorating way.

2. She’s, truly, one of those special impassioned teachers that have you feeling invincible. No one leads by example in a more inspiring way.

3. She looks A LOT like Kristen Bell.

COVID-19 has delayed her performances and drastically changed her day-to-day. Yet, to steal her pun, she’s been innovating and, as usual, seems to be one step ahead of the world. We found her piece calming, creative, grounded, and inspiring. You know… exactly how we always find her. Enjoy the wisdom of our friend, Jenna P.

For more on Jenna, check out her amazing blog here.

And Innovative Voice Studio’s website here.

What were you looking forward to that you lost because of COVID-19?

Oh boy. I was really excited to bring my solo show, GET HAPPY!: An Evening Celebrating the World’s Greatest Entertainer, Judy Garland, to NYC this spring! Long story, making it short: I was asked to put together an hour-long Judy tribute for a theatre company’s gala last fall. I had a blast putting it together and it was super well received by the gala attendees, so I thought- why not bring it to NYC? I’ve spent much of my career thus far working in regional theatres across the country, and my friends and colleagues in NYC always ask, “When can I see you in something in the city!?” I was thrilled to have an opportunity to invite my local peeps to come see! Pre-covid, we were in rehearsals, finalizing the set list, hiring the band, tweaking the banter, and finishing arrangements to be ready for our May 6th show at The Green Room 42. Luckily, the show has been rescheduled to September 24th at 7pm, so if you’re reading this, mark your calendar! ☺ 

As a voice teacher, I’ve lost the daily transfer of creative energy that happens in my voice studio. Initially, I had to really mourn the hiatus of that physical energetic transaction as we moved our voice studio online full time. Now, I can say that I wake up every morning excited to discover even more benefits of online teaching (there are many!). Tim and I are having fun getting INNOVATIVE (seewhatIdidthere) with the ways in which we can continue to support our artists from the other side of the screen. So while I’ll miss some of the upcoming in person masterclasses and studio cabarets we had planned this spring, I’m thrilled about our new weekly virtual singing Happy Hour, our online BADassery masterclasses, and all of the other magic up our sleeves that Covid has encouraged us to create. 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

“David after the dentist” (see https://youtu.be/txqiwrbYGrs). His anesthesia induced journey through the five stages of grief really sums up how I’ve felt throughout this. Thank you, David, where ever you are, for this joy producing gift. 

What do you think has an opportunity to change as a result of this time to reset?

OOOOOHHHH!! JUICY QUESTION!!! Wow- there’s so much! After Hurricane Sandy hit NYC, I’ll never forget my friend Hunter saying to me, “Even the city that never sleeps is sometimes forced to take a nap.” Today feels like a similar situation: Our beloved city, our profession, our art form is being asked to take a nap. And we all know that naps are sometimes the reset we need to take us out of the temper tantrum we’re having and bring us back to reality, calm, and focus. I am excited for the new mediums in which we’ll share our art after this (for example all of the videos of regional productions that are now streaming, the virtual choirs, the celebrities singing in their basements (Patti Lupone I love you!!!), the FacebookLives of readings/labs/concerts, etc.). I am excited to re-examine the audition process after this (maybe this signals the end of hundreds of people waiting in crowded lines at 3am for open calls?!). This reset is providing our industry with the opportunity to change- to become even closer as a true community, even more committed to building a more inclusive and collaborative arena, and even more dedicated to the future of our beloved art form. 

Anything else you'd like our readers to know during this time?

My friend asked me how I was the other day, and I said this: I find myself feeling like sandpaper these days. Some days, I am the smooth side. I am going with the flow, I am focused, in the zone, and creating to the best of my ability given the beautiful constraints with which I have to work. I am a joy to accidentally rub up against because I feel shiny and nice to the touch. Other days, like today, I am the scratchy side. The gritty side who's frustrated and angry and just wants to be rubbed against wood incredibly vigorously so that my grit gets worn out faster and doesn't have to continue to march through the life of sometimes being of use (like when one comes across a hard edge) and sometimes being discarded and lost in the back of the utility closet.

My friend replied: After some time, even the scratchy side becomes smooth. Until then, stay scratchy. The scratchy makes the smooth feel even smoother. 

So, however you’re feeling right now, know that both scratchy and smooth moments are necessary and invited to the sandpaper party!

Quarantine Quickly:

Favorite snack: Chocolate chip cookies, hands down.

Home workout routine (you know, if you're into that): Thank you Peloton app for your free 90 days of work outs. Even without owning the bike, the workouts are crushing it. Also to all of my clients and friends teaching zoom classes, I APPRECIATE YOU!

What are you watching: Better Call Saul – if you loved Breaking Bad, highly recommend. 

What you are reading: The Art of Possibility

Yes or no… Out of pajamas before noon?: YES! BE A NEWSIE AND SEIZE THE DAY!

Side note from Kat: Courtney is in the class of 2020 of the Case Western Reserve University/Cleveland Play House MFA Acting program, which was the class below Peter's. With only 8 MFA actors per class, you pray that you connect to a few cohorts in the class below. Courtney, and many others, were more than we ever could have hoped for. We're thankful to have her as one of our lifelong friends.

Onstage, Courtney is just as special. She is talented, hilarious, and has that 'thing' you are drawn to on stage. She's already proven herself on the Cleveland Play House stage and with her selection to the Chautauqua Theatre Company Conservatory of 2019. Now, she's thrust into the unknown as her final CPH show is canceled and her graduate showcase delayed. She generously walks us through her emotions with vulnerability, kindness, and, remarkably, gratitude. For reasons of friendship, spirit, AND enormous talent: We're excited to follow her path. Here is our dear friend, Courtney.

What were you looking forward to that you lost because of COVID-19?

I was really looking forward to playing Emmy in A Dolls House, Part 2 at Cleveland Play House this Spring. We were scheduled to jump into rehearsals this upcoming Tuesday, March 31st. I was THRILLED to have the opportunity to play this role. I think Emmy is endlessly fascinating and I was terrified and excited to walk into that challenge.  This show was cancelled two weeks ago due to Covid-19. A decision I absolutely understand and support wholeheartedly, but of course, is disappointing for all involved. 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

I'm spending time with family whenever possible but also trying to provide childcare to help makes ends meet. When I get waves of inspiration, they turn into long lists of things I want to use this time for. And I end up getting overwhelmed, trying to squeeze many of my life goals into these next few months. I feel like "gosh if we get out of "shelter in place" and I haven't read Shakespeare's ENTIRE cannon...then what WAS I DOING?" "If I don't manage to MASTER guitar, trumpet, tap, ballet, and baton twirling WILL I EVER WORK AGAIN???" All in all though I'm feeling incredibly grateful to have family and friends that care and want me close while we wait this out. I cannot believe the love and support our artist community has been pouring out to one another. It truly makes my heart feel fuzzy and warm and stuff.

What do you think has an opportunity to change as a result of this time to reset?

We are certainly all going to come out of this differently and navigate our paths with a different kind of creativity. Which will be fun & hard & exhausting & exhilarating. I think we are all going to move forward from this time with a greater sense of humanity and humility. Even when looking across the road at other human beings now it feels like "AH! I'm so glad you're here. I'm so glad you're out enjoying walk. I'm savoring this moment of being able to smile and wave at you." I think that's going to happen in our industry. A feeling of humble victory to walk into an audition room and see all of the artists that have come out of this with an even greater sense determination and gratitude to do this kind of work. A respect for the remarkable endurance it took for all of us to "stick with it" through this time. And a humble recognition of the gift it will be to once again perform in a space full of human hearts experiencing story together.

Quarantine Quickly: (bahahaha I love that)!

Favorite snack: red wine

Home workout routine: anything 10 minutes or less on YouTube - (don't want my pajamas to get too sweaty)

Watching Currently: - The Tempest: Donmar Warehouse on Marquee.tv

Reading: "I Will Teach You to be Rich" -personal finance book by Ramit Sethi

Out of pajamas before noon?: I change my underwear regularly

Quick side note from Kat: Ashley is in our "dear friend" category. A person that we've known since college and been in our life ever since. From birthday celebrations to Peter and I's wedding; from Ashley coming to see me in Hong Kong (pictured below!), I have too many wonderful memories for such a small introduction. She is kind, passionate, loyal, hilarious, and a goal achiever. When she sets her mind to something, you can bet that it is going to be accomplished.

We looked up two years ago and found ourselves running down the same path. Ashley is one of the incredible women that keeps Boals, Winnett and Associates one of the loveliest agencies around and a dream chaser that I'm proud to be chasing alongside of. 

What were you looking forward to that you lost because of COVID-19?

- A promotion. This pilot season started out really exciting for us and we had so much momentum. We were looking forward to lots of exciting bookings and that was opening up room for me to move up in my agency, right about now... While I know career growth is still ahead, this has been extremely disappointing and sobering. So much is unknown, especially around timing which we often hold onto for some semblance of control. And this season has opened all of our eyes to the fact that we do not have control over anything. Jesus take the wheel! That was cliche, but I’m pretty basic and I’m okay with it.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

- Rejoicing and giving thanks in the midst of pain and suffering alongside others who are doing the same! Filling myself with more content that fosters faith and hope in my heart than fear and anxiety in my mind.

What do you think has an opportunity to change as a result of this time to reset?

- I think our worldview is changing. It is very interesting to me that this is happening during Lent which a lot of New Yorkers either observe or are aware of. “From dust we came and to dust we will return”. I think we will emerge from this time, a people and a community who are more humble, grateful and more passionate to live out this wonderful, beautiful, creative life we have been given!

Anything else you'd like our readers to know during this time?

- A lot of cliches are coming to mind but one that I have been clinging to is, It is always darkest before the dawn. The light is right around the corner! Hold onto that truth. And maybe together, we can brighten up those dark times too ;) I love mood lighting.

Quarantine Quickly:

Favorite snack: Boom Chica Pop Kettle Corn and/or Fruit Snacks

Home workout routine (you know, if you're into that): Front stoop/rooftop circuits

What are you watching: RomComs most nights, then rotating between: Curb Your Enthusiasm, Homeland, Madam Secretary, Re-watching The Good Wife and episodes of anything a client is in

What you are reading: Adament by Lisa Bevere

Yes or no… Out of pajamas before noon?: Yes! Except for every now and then when I want to stay in my plush, white robe I recently purchased on Amazon to feel like I’m at a Hotel Spa.

Note from Kat: I met Joanna at a Thanksgiving feast this past year in Louisville, KY while she and Peter worked on a production of A Christmas Carol at Actor's Theatre of Louisville. Joanna is one of those special people who you meet and feel like you've been friends for years. 

She's a superhuman and we're lucky to have her in our lives. A few words that come to my mind when thinking of Joanna: kind, humble, hilarious, talented, determined, change maker, and dream chaser. She continues to open my eyes to new things, is a wonderful friend, and is talented to boot. Her story is unique, insightful, and exactly the kind of story we love sharing here at The Obvious Path. 

Full Disclosure: We interviewed Joanna in early February before Coronavirus had made it's way into our lives. She was generous enough to tag on our "Corona Coping" questions, so you can hear how Covid-19 has affected her life. Below you will see her feature as is, along with Corona Coping questions at the end. Both are equally informative, inspiring, and heartfelt. Enjoy!

Joanna! You have such a great story, and we are so happy to get to feature you! Would you mind introducing yourself to our readers?

Thank you so much for having me! I’m Joanna Carpenter, an actor, singer, and aggressive multi-hyphenate. 

Your journey to NY is not the typical ‘majored in MT and showcased in NY’. Can you talk to us about how you found yourself in NYC, the parallel career you developed, and the decision to deeply pursue this career?

My trajectory has definitely been the antithesis of typical. We can get real real here, right? I’ll share the abbreviated version: toward the end of high school, I was groping in the dark on the whole applying for college thing; there was a huge lack of positive support and guidance in my life. I was on the receiving end of some truly fantastic athletic scholarships to schools I was very interested in, but they were always torpedoed by those closest to me...so I just ran out of options. When that happened, I decided to join the military, but that also got shut down by those closest to me right as I was about to sign my papers. I was left with no support, no path to follow, no clue how anything was supposed to work. So I left home, made some bad decisions, then I got my life together after a couple years. I moved to New York with no money or connections but an absolute desire to do what my gut told me to do - be an artist. Regarding my parallel career, I’ve been lucky to have achieved a nice amount of success in the cocktail industry. Like so many of us, when I got to New York I bartended to pay the bills; that led to studying wine and beer, which led to starting my own education service, which led to running the New York market for a craft distillery, which led to building and running my own bar for a year, etc. etc. etc. I’ve had some truly wonderful experiences across the globe, and I have carved out a place for myself that I’m proud of (I was in the New York Times recently, speaking with a writer about industry issues that I’m passionate about). However, in the fall of 2018, I had been sitting with several months of that uncomfortable discontent we experience when we aren’t truly listening to our truth; I was caught up in the bar world and working 90-hour weeks and was deeply unfulfilled in many ways. I went with a couple friends to see Songs for a New World at City Center, and when the lights came up at the end of the show I knew I needed to step back from hospitality and commit myself to the arts in a way I never had -fully and unapologetically. It was the largest of many signs that it was time to really focus on my career. 

What advice would you give actors coming to NY with no rep out of showcase/did not showcase in NY on how to find representation?

It is so, so important to be a good person before anything. Then, you have to prioritize surrounding yourself with other good people, develop faithful relationships, and remember that everyone knows everyone. I personally despise pay-to-play showcases, but I find they’ve been successful for many people who aren’t well-connected or have the street cred of a certain school or program to back up their resume. I lucked out with my representation - my connections to my agents were entirely referral/relationship- based, and the gift of those connections taught me a lot about how important relationships and working with integrity really are. 

From knowing you, I know part of your story is overcoming the feeling of shame at the beginning of your artistic journey. How do you think your unique path has strengthened your artistic voice? What would you say to those of us still struggling with shame in parts of our story?

Oy. Yeah. The shame monster and I are well-acquainted. Part of it stems from growing up being so constantly shamed by those who were supposed to love me unconditionally - that type of damaged upbringing sets the tone for your adulthood, until you choose to do the work to break the patterns. That said - there has been something so empowering and special about making the choice to invest in overcoming my shame about certain experiences. I decided to own the fact that I am not less-than because I didn’t go to college, or because I don’t have a certain pedigree, no matter what anyone else thinks. That emotional labor is intimidating - we all carry shame in some form. So we have to love ourselves enough to invest in the work to be proud of who we are, even if it can feel at times like we are not worthy of success. In the process of overcoming shame, I recommend giving your therapist a raise and choosing to see the benefit in dismantling the urge to punch your own sweet spirit in the proverbial face. 

How did you define success at the beginning of your career, compared to now?

I was such a damn spazz when I got started here that I don’t even know if I could itemize what success looked like. Just booking a show was enough, I think. Nowadays, though.... Success to me now is defined by my ability to imbue everything I do with my integrity, while demanding to bring my positivity and joy to a piece or a room, while also staying strong and grounded in my technique. Overall, I feel successful if I do not apologize for who I am or the space I take up while taking on the epic job that is making people feel and think. I bet Joanna from a decade ago wouldn’t recognize Joanna now. 

Where are you on your mountain?

Such a good question!. I don’t know if I have a specific spot - I think I am constantly on a climb, and I don’t know if I ever actually want to feel like I’m at the top. Because that probably means I’m about to die. 

RAPID FIRE:

Favorite Broadway show: Come From Away

TV show you binge: Schitt’s Creek, The Marvelous Mrs. Maisel

Podcasts you love: The Long & The Short Of It, Pod Save America, The Ensemblist

Religious, Spiritual, or nah?: Very spiritual

Moment that made you fall in love with performing: Realizing I could make people laugh!

Former side hustles: Car sales. Liquor sales. PR. Bartending. Personal Assistant.

Biggest tip for auditioning?: It’s not about you. Be a good person, do good work, and tune out the bullshit.

Any bad audition stories?: I got literally laughed out of my first audition here - if anyone is that curious, they can ask me in person, otherwise I’m saving it for an inevitable appearance on Jimmy Fallon.

You fight?! Where do you train?: I train with a guy named Dylan Hintz, and his company Saga Action Arts. It’s all fight technique for the camera and is one of my favorite parts of life right now.

Job you didn’t expect to book: All of them!

Biggest beef with the business: Racism.

Favorite part about the business: Having the audacity to step onto a stage and tell an audience that they are safe with me and that I am the right person to make them think and feel.

Social media handles?: @thejoannac on Instagram

Anything you’d like to promote?: I rolled out a podcast recently that I’m quite proud of, called “Asking For A Friend”. I cover some pretty great topics (you know, casual stuff like imposter syndrome, self-care, racism...) with some wonderful guests. 

CORONA COPING

What were you looking forward to that you lost because of COVID-19? In a general sense, I was sinking my teeth into some exciting auditions that would hopefully turn into bookings...so, the opportunity to make money. I also had to postpone a table read for a film I’m directing, and put my fight training on hold. 

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through? I really, REALLY believe in being of service. That’s my job as an artist. So everything I do right now is an attempt to be of service in some way - whether it’s through music, or making people laugh with my crazy Minnesota Brenda videos, or reaching out to friends and being fully emotionally present with and for them - I’m constantly asking how I can be of service. 

What do you think has an opportunity to change as a result of this time to reset? We as an industry are going to have to reinvent the wheel. It’s already happening. Look at the work being done by AEA to get new streaming contracts out to theatres. People are teaching hundreds of people at a time via Zoom. Everything from the groundwork of production to the hiring of performers is being rewritten. Some of the changes will be bandaids, while other changes may be more permanent. Jen Waldman said to me recently that it’s time to demand better of producers, directors, casting directors, other creatives - I think now is the time to rewrite the hierarchy for the greater good. 

Anything else you'd like our readers to know during this time? You may have seen photos with the hashtag “Racism Is A Virus” floating around. The Asian community is experiencing violence in ways unheard of since the internment camps. Two children (2 and 6 years old) were STABBED in Texas recently, with the attacker screaming that they were spreading Covid-19, and this is just one of many instances. I’m not someone who is easily taken by surprise or frightened, but there is a different insidiousness to what is happening now. I would ask your readers to do a couple things: 1) reach out to your Asian friends and colleagues. Ask them how they’re doing, be prepared for uncomfortable answers, and ask them what you can do to help. 2) Do. Not. Be. Complacent. I’m disappointed by just how many non-Asian friends and colleagues I’m seeing who are sitting on their hands and not standing up for what is right for the literal safety of all of us. Have the uncomfortable conversations, and stand with us. 

Quarantine Quickly:

Favorite snack: baby carrots and ranch dressing

Home workout routine (you know, if you're into that): I alternate between boxing/kickboxing and core/strength exercises, usually bookended by yoga

What are you watching: SO MANY CAT VIDEOS

What you are reading: “War Queens: Extraordinary Women Who Ruled the Battlefield”.

Yes or no... Out of pajamas before noon?: Yes, even if it’s just to hop into workout clothes. My sanity is being preserved by the routine of coffee/shower/get dressed/be productive. 

Photo Credits:

1) Headshot by Lauren Toub

2) Photo cred: Ruthie Stephens 

3) Photo Cred: Jason Moody 

Quick note from Peter: Sometimes you work at Justin Timberlake’s Memphis Barbeque joint, Southern Hospitality, in New York City. Well, at least Evan and I did. My memories of Evan are her kind spirit, her utter humanity in every interaction, and her grit.

And all those qualities have served her well. A new location for her since our last shift at Southern Hospitality and lots of acting, writing, directing, and producing work to go along with the move. In the face of losing something meaningful in this crisis, she offers her wisdom, insight, and empathy.

What were you looking forward to that you lost because of COVID-19?

I booked my first speaking role in a major motion picture and the film was shut down 3 days before my shoot date. Not sure when it’ll resume filming.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

What’s getting me through is knowing we are all in this together. I touch base with my friends even if it’s just asking “Hi, you good?” I’ve been writing and working on some scripts I’ve had on the back burner.

What do you think has an opportunity to change as a result of this time to reset?

I think there will be a lot of changes once we are all through this. It’s so odd, it feels so significant. I hope that there will be more kindness and patience with others. I’ve read where pollution has decreased, I wonder if it possible to re-evaluate a new strategy for that to continue. There’s got to be some good come out of all of this.

I’ve noticed a lot of posts on social media about how you should be spending your quarantine time and in my opinion that creates a lot of unnecessary pressure. Lots of workout challenges and creative challenges.

Anything else you'd like our readers to know during this time?

What if we just stopped telling people what to do and how to spend their time? Unless of course they feel they should partake in a challenge or need inspiration for things to do. If we could get to a place where we no longer judge ourselves or others on how we spend our time and what we do... and just sit for a minute and be a human without any pressure. Just for a moment. Maybe I’m wishful thinking. I am so thankful for our healthcare workers, delivery drivers, grocery store and pharmacy workers. All of the people that are essential keeping us afloat right now. They are heroes. 

But bottom line. You do you, whatever you feel like you’ve got to do. Day by day. This is all very bizarre and sad and scary but we are in it together. We will get through it. ️

Quarantine Quickly:

Favorite snack: I stocked up on gummy bears.

Home workout routine (you know, if you're into that): I try to do a little yoga or a workout from Beachbody on Demand everyday.

What are you watching: I’ve watched When Harry Met Sally about 4 times so far and The Private Life is Pippa Lee. And lots of Chopped episodes haha.

Quick note from Peter: I recently worked with Johann at Actor’s Theatre of Louisville as he portrayed the humble, earnest, and pure Bob Crachit. It’s a good look on him; he naturally has all of those qualities in spades.

From his perspective on productivity and humanity to his relation and empathy to our healthcare workers, Johann has great thoughts on living in the now and how we move forward. He lifted our spirits today and hope he does the same for you.

What were you looking forward to that you lost because of COVID-19?

I did not have a show coming up before COVID-19 hit, but I was really finding some momentum in the audition room. I was doing a better job of clearing the noise and making brave choices. Recently, I got down to the end for the lead in a musical when I had less than 24 hours to prepare 20 pages of sides. That felt like such a win! After a bunch of co-star auditions, I was looking forward to jumping into On-Camera class with Bob Krakower. I guess I lost some momentum and a learning opportunity, but I have been taking this time to simplify, show gratitude, and remember why this work is so important to me. 

What’s something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

My mom is a hematologist and an oncologist at a hospital outside of New York City, and she just told me that about 50 out of the 90 beds in her hospital are filled with COVID-19 patients. It makes me so proud to see my mom doing such important work in a time of crisis. She is so brave and clearheaded. It astounds me. When I get frustrated at how much of our lives have been put on hold, talking to her makes me remember that there are so many good people in this world fighting to do the right thing for others. And that gives me hope.

What do you think has an opportunity to change as a result of this time to reset?

I think this time is going to help all of us see each other as human beings first and not as product making machines. Some people may exit this industry when they realize that they are in this for the wrong reasons or that there is something else that means more to them. That's not something to look down upon. That is something to celebrate! The artistic organizations that are going to thrive after this is all over will be those that put people before dollars, lead with empathy, and make their own rules. 

Anything else you'd like our readers to know during this time?

I want people to know that you're allowed to do nothing right now. And that you're allowed to feel lost. There is an abundance of content out there right now telling people how to feel and manage their time during this crisis, and it can be so exhausting. There is no right way. Doing your best means something different every day. We are going to be okay. 

Quarantine Quickly:

Favorite snack: Meat sauce in my InstantPot

Home workout routine: Lots of pushups on my yoga mat. 

What are you watching? Two words: TIGER. KING.

What are you reading? On Earth We're Briefly Gorgeous by Ocean Vuong

Yes or no...Out of pajamas before noon: Yes! Doing my best to get up and showered by 10:30

Quick note from Peter: A quick google will tell you that Tor’s been nominated for a grammy and Lisa is a Broadway vet. Those accolades don’t do their personalities justice.

I was lucky enough to have my debut Off-Broadway singing tunes they wrote, listening to Tor play, and Lisa melt the room with her vocals. They’re special talents and even more special people. In the face of this crisis, their humor, insight, and genius remain the same. Enjoy.

What have you lost because of COVID-19?

Well, we wrote 5 television pilots and we were set to go out to Los Angeles to pitch them. Obviously, that’s not happening now. Additionally, our agent was abruptly laid off so we’re now scrambling to find a new agent so we can get the meetings. It’s different in theater, but for TV, you can’t get a meeting with an agent. On the bright side, we were offered a production on a play we wrote for next year. So that’s pretty amazing. With all the rejection, it’s extra special to feel like our work was worth the time.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

We feel very grateful that we have a place in Brooklyn that allows our rather large blended family enough space to breathe. That gratitude is a great antidote to the constant anxiety. It’s also a preventative measure that assures our children’s safety…from us.

What do you think has an opportunity to change as a result of this time to reset?

We're hoping that people will be more kind after all of this and have a greater appreciation for what we have as opposed to what we don’t. Career-wise, we are hoping our particular brand of humor will be more accepted. On a side note, but still important, we hope TV shows will show less penis in the future.

Anything else you'd like our readers to know during this time?

We’re out there. We’re writers. We're available for hire. Our families think we’re talented. Tor’s mom, especially, thinks we’re amazing. But seriously folks…we’ll be here all week and the week after that…and so on…stay safe, everyone,. 

Quarantine Quickly:

Favorite snack: The banana bread our kids make…almost on a daily basis!

Home workout routine (you know, if you're into that): Lisa does literally every single workout you‘ve ever heard of. Tor is getting his ass kicked by Jillian Michaels, using Lisa’s account because he can’t afford it. 

What are you watching: Altered Carbon. We don’t understand what’s going on, but we’re somehow hooked. We do NOT appreciate the gratuitous penis shots though. What’s with everyone showing the penis these days?

What you are reading: The news mostly because we’re trying to stay away from the biased networks. We’re also reading our own work a lot so we can make it even ore awesome! We’re also reading books that we are thinking of adapting to either stage or screen.

Yes or no… Out of pajamas before noon?: NO! Wait. Do workout clothes count?

*Check out Tor and Lisa’s website here: https://www.torandlisa.com/

Quick side note from Peter: A British man stormed into a reading I did, some 8-odd years ago, and won my heart with his acting ability, charisma, and thoughtfulness. Later I asked the person who had cast him in the reading where she met the British fellow, “Oh, he’s not British. He was just doing that for the part.” Chris was that committed and intelligent actor.

Two years ago, we found him on one of our favorite TV shows. And then, luckily enough, I ran into Chris this past year at an audition. He’s still as kind, caring, heartfelt, and wonderful as I remember- just sans the British accent. How cool to hear from an old friend who has a unique experience with a wife in the medical field. We hope you enjoy as much as we did!

From Chris:

“I have really enjoyed the work you all have been doing at the obvious path. It's such a humanizing effort in an often dehumanizing industry.  I am sure you probably have far more big deal artists responding but I would be open to talking about how our modern day plague has effected me. 

I have an interesting one foot in, one foot out thing going on. My wife, Carissa, is a clinical psychologist at New York Presbyterian so she not only has a job but she has been totally and completely slammed with work. She is essentially bearing the communal psychic weight of this catastrophe from the comforts of our home office. Meanwhile... I have been sleeping until noon and learning the guitar. Financially, we will feel a squeeze due to my lost income but we will be fine. 

Before this happened,  my teaching career had really started to take off. Between the dough I was making recurring on "The Marvelous Mrs. Maisel" and new teaching positions I was lucky enough to move full time into teaching acting.  After 7 years at my ridiculous day job, I was able to transition out last August. I was getting to teach the Meisner technique- sharing my love for the craft for semi- regular income and audition and pursue work that I was passionate about.   Covid-19 brought this to a halt. I was in the middle of teaching a conservatory to people from all over the world and it was ravaged. First the Italians left in the middle of the night, then the Irishman, then the Norwegian, and finally Zayle from Pennsylvania had to leave. Then everything closed up shop- no more classes. Anyway, I guess I am on the path to becoming a teaching artist. A crotchety Meisner teacher who gets to do his own work on TV and the stage where possible...or what I like to call a "New York Actor." The virus has certainly put this on hold.  On the bright side- I now know the C, D, and G chords- so that's pretty sweet.”

Quick side note from Kat and Peter: Jace is a buddy of ours from our college days and one of the first people we thought of when Broadway shut down. He’s long deserved a Broadway debut and we got to be with him the night we found out it was finally happening. He took it in stride and, as you’ll see, has faced this with equal amounts of maturity, faith, and hope. Today, we’re going to try and think more like Jace.

What have you lost because of COVID-19?

Like so many other people in our arts communities (not to mention the rest of our country and around the world), I have lost employment due to the closures caused by this pandemic. I was recently cast in the upcoming Broadway production of the musical Sing Street (my debut, yay!), but now our rehearsal process has been cut short and our opening postponed. In fact, the day that Governor Cuomo announced the ban on large gatherings that shut down Broadway was the day we were supposed to have our first day of tech rehearsal in the theatre. So for many of us, the first time setting foot in that place was for a company meeting telling us we probably wouldn’t be back for a while. It was quite an emotionally confusing day.

What is something (a thought, a family member, a hope, a piece of art, a meme, a song, ANYTHING) that is getting you through?

My faith is crucial to me always, and it is all the more so when we’re surrounded by so much uncertainty. I keep trying (and not always succeeding) to return to a place of gratitude for what I’ve been given, and to focus on ways that I could bring help and hope to those who are in more difficult situations than my own. I have hope that we will see this situation turn around in a dramatic way and leave just as suddenly as it came on. My wife, Amanda, has also been a constant encouragement to me and- as anyone who knows her can attest, she’s made our apartment a boredom-free zone!

What do you think has an opportunity to change as a result of this time to reset?

I believe this will be an incredibly unifying time in human history. Shared challenges (and a shared enemy) have always been some of the quickest ways to connect people to one another, and there has not been a challenge to affect all humans the way this has in any of our lifetimes. I also hope that people can see how much our planet appreciates the breather it’s getting right now, and are inspired to make changes to their lifestyles to help keep it that way. 

Anything else you'd like our readers to know during this time?

 If you are having trouble overcoming anxiety right now, have financial needs, or are just feeling really lonely, please reach out to someone! I know I, for one, will be welcoming any outside contact right now and am eager to find ways to help out. We’re literally ALL in this together. 

Quarantine Quickly:

Favorite snack: Cereal, which I’m thrilled is now appropriate at any hour of the day or night

Home workout routine (you know, if you're into that): Been slacking here, if I’m being honest (and it’s ok if you are, too)

What are you watching: Succession, Star Wars, Lego Masters

What you are reading: Mere Christianity by C.S. Lewis, about to start A Good Neighborhood by Therese Anne Fowler

Yes or no… Out of pajamas before noon?: 1000% no.

Quick side note from Kat: I have the pleasure of getting to work with Nathan every day at my job. He is personable, hard working, and is incredible to work with. He graciously reached out after seeing our video, and shared some inspiring words with us. He is a gem of a person, and we are grateful he is sharing some of this experience with us.

‘Hey Kat! I saw your and Peter's video and felt like I should share a bit of my experience during this. Work has slowed for us in the casting field, but it's been such an incredible opportunity to meet actors who we haven't gotten a chance to meet yet through virtual generals! Personally, it's been lonely and uncertain, but the positive feedback we've received from agents, managers, and actors for holding these generals has been super uplifting. So many words of thanks, encouragement, and positivity from faces new and old for the distraction and the opportunity to do some work. In the past three days, we've seen over 10,000 (what!) submissions, directly from actors as well as from reps. It's been overwhelming and exciting to see the subsequent work coming in from actors who we would otherwise not have the opportunity to see. As we work through these many self-tapes, I can't help but feel connected to and grounded by the community, isolated as I am, as I see some of my favorite monologues being performed, songs being sung, instruments being played, and passions being exercised via the often criticized form of self-tape. Not only do I appreciate actors putting in the technical work to put these tapes together, but they are all going the extra mile to showcase themselves and their passion for this lovely industry that we've committed to, for better or for worse. We're facing a daunting and uncertain time, but doing this work is proving to me that, as I've always known, theatre will flourish. Even if all the lights were to go out, if we were to lose the internet, television, phones, or all of our technology, people would still get up on a stage and play. It's how the Greeks did it! Anyway, this has turned into a novel so I'll stop. But thank you for posting that great video. Sending love!’

Are you going to miss your industry showcase?

1. We’re HURTING for you. We understand that many of you make choices of which school you go to, the workload you put in, and the debt you acquire based on the industry showcase waiting for you at the end. If it’s not happening for you, we’re BUMMED for you. You’re allowed the rest of the day to be upset. And then...

We still hear these words ringing in our ears:

Things will not be the same, so don’t approach them the same way.

And what if this is for the best? Showcasing is an interesting element of our business. It’s a lot like the NFL combine. I know… SPORTSBALL, but go with me for a second.

The NFL combine is a complicated event designed to determine the best players in the upcoming draft. Elite college players gather and test their 40-yard dashes, vertical jumps, agility, strength, and other fitness trials. They measure a lot of components that go into playing football, but there’s one thing they never do:

Play a real football game.

Famously, Tom Brady, who is widely considered the greatest football player of all time, was terrible at the NFL combine. He’s not fast, strong, or agile. There were 198 players picked before Tom Brady the year he was drafted. But you know what Tom Brady is really good at? Playing real football games.

In our estimation, showcases work the same way. The people that do the best walk out there confidently, belt a high note, kick their face, and say something funny. Many times, these people are also fantastic and deserving performers. Sometimes, they’re just the people who “showcase well”. The people who look good, delight the crowd, and get off the stage before they get in their own way.

And, to this point, showcases can make or break your career. It’s one of those early investments that can change your trajectory quickly. Certain schools get the most eyeballs at their showcase and the people who are best at “showcasing” win the day.

Not this year. This year is for the Tom Brady’s that never would’ve been found otherwise. 

If you lost your opportunity to showcase, or never had a proper opportunity to showcase, our challenge to you is simple. Do your thing. Figure out the format that showcases you best. Play the real game. 

Don’t put limits on the format. 

SHOW the world what you can do, don’t TELL the world what you would’ve done. 

If it’s world-class, and we know it will be, people will watch. We love watching people DO THEIR DAMN THING.

DO YOUR DAMN THING. Send it to us. We’ll get as many eyeballs as we can on it.

Peter and Kat

We started writing this yesterday, advocating the closure of Broadway and other mass gatherings. My, how the timelines have sped up. From the bottom of our hearts, we support these closures and other efforts to contain the spread of Covid-19.

That doesn’t make it less scary. We’re unsure if auditions will continue, shows will be produced, or jobs we’re lucky enough to have will be there in a month's time. Your big project might get postponed. Your career-defining moment might be missed. We may enter into an even less sure phase of our gig-economy.

At The Obvious Path, we’re dream chasers. We believe in pursuing your dreams with every ounce you can muster. But, in cases like these, we enter into a new phase. We’re reminded of what a privilege it is to chase those pursuits with a relatively clear head. We’re simultaneously reminded, in relation to the health of our loved ones and global good, our pursuits are allowed to take a back seat.

We’re unsure what this virus’ impact will be on us. Obviously, our industry will fast approach dramatic changes. We may have jobs in a few months. We may not. Might this scare in 2020 be an element of the “winding roads” in many of our future features? At this moment, it would appear so.

We know things will look a little different for us right now. We’ll likely stop posting our features for a brief time and focus more on strategies of creation during periods of quarantine, limited opportunities, and economic recession.

Above all, we wish for the reduced spread of this virus and the health of all of you. Secondly, we wish to pursue our dream chasing as soon as possible. And, finally, we wish for creativity as we enter this time of dramatic change.

The words in our ears: Things will not be the same, so don’t approach them the same way. 

There are challenges that are devastating and there are challenges that create opportunity. You will need strength for the Covid-19 challenges that are devastating. For the challenges that aren’t devastating, go create.

In either case, we’ll be here for you. Wishing you all health and safety.

Peter and Kat

From Peter: My last project in graduate school was doing a small reading presentation of a scene from Airness by Chelsea Marcantel. It was the play EVERYONE was doing and had the theatre community buzzing. I remember walking up and down the halls reading this play in the halls where I had read so many plays. But none like this one. I found myself completely swept up in a world, while simultaneously baffled by who would know so much about this incredibly niche, and slightly odd, culture. What I did know: this playwright was different. And I thought she was a badass.

Almost a year to the day later, I found myself rehearsing the world premiere of Chelsea’s play, Tiny Houses, about the niche world of, you guessed it, the folks who live in tiny houses. Chelsea’s ability to tell the stories of niche interests, subcultures, or, as she calls it, small-group primates is unparalleled. She writes plays that are so hyper specific they tap into the universal truths. They are funny, the are thoughtful, and, maybe above all, they are uniquely human.

Beyond that, my suspicions were confirmed. She is, indeed, a badass. Her knowledge is infinite, her humor is contagious, and her heart is pure gold. She has talent, creativity, depth and a journey that’s already in our lore of “greatests”. We look up to her a lot and we’re thankful she donated her time, voice, humor, and wisdom to this little thing. They say never meet your heroes, so… Maybe they’re right. 

Never meet your heroes.*

*Unless one of your heroes is Chelsea Marcantel.

Her agent pitches her as “The Queen of subcultures”. We pitch her as our favorite playwright. Chelsea, introduce yourself! And I think I speak for all of us when I say “geaux” for it!  

I’m rolling my eyes REAL HARD at that “geaux” comment, Peter.  But I guess that’s as good a way as any to bring up the fact that I was born and raised in Louisiana.  I then moved to Chicago, Virginia, and New York, before ending up in Los Angeles (which I LOVE SO MUCH) in 2018.  Along the way I accumulated degrees from LSU and The Juilliard School, myriad awesome friends, a couple of great agents, and a super cool sound designer/composer named Miles, who I married in 2011.

Talk to us about the journey of a young playwright pre-Juilliard. You moved to Chicago for 6 years before teaching college in Virginia. What’s the hardest part of amassing work as an unknown playwright? Is that woman trying to get to Juilliard or did she have other plans?

I’m so glad that I moved to Chicago right after I went to grad school (the first time).  I think if I’d move to New York or Los Angeles right off the bat, I would’ve run home with my tail between my legs.  But the theatre scene in Chicago is so open, so welcoming – if you’re willing to go as hard as you can for no money, you can work all the time and make the best plays and friends anywhere.  When I lived in Chicago, people started doing my plays, almost from the beginning (mostly short plays in festivals, to start). It wasn’t until I’d been working constantly there for a handful of years that I realized that there wasn’t really a path forward for any of my plays – I didn’t have an agent, I wasn’t getting paid, nothing was getting published, nothing was getting a second production anywhere outside Chicago.  I also had to hold down a 9-5 job all the time, which made me feel like I was dedicating the dregs of my time and energy to this thing that was supposed to be my real career. I was really stuck. I knew I needed to make a big move. Juilliard wasn’t even on my radar at that point, but I knew something had to change. Coincidentally, these feelings coincided with my getting engaged, and my then-fiancé getting a job at a regional theatre in Virginia.  I didn’t know how that would impact my career, but I did know I’d have more time to write in Virginia than I did in Chicago, and that seemed like enough of a reason to go for it. It was while we were living there, and I took a breath and a break after years of never stopping long enough to really evaluate my trajectory, that I applied to Juilliard.

Whether you’re writing about air-guitar competitions, tiny house dwellers, magicians, sex workers or the Amish community; you’ve identified yourself as a “small-group primate writer”. How did you find that voice? Did you ever write in voices that didn’t work for you?

I wrote in voices that weren’t mine a lot.  I think that’s the only way to find the authentic voice that DOES feel like you.  I’d read a play by Tom Stoppard or Sarah Ruhl, and fall in love with it, and think, “Okay, that’s exceptional writing.  My writing should sound more like that, and then it will be exceptional.” It’s a recipe for disaster, but I feel like everyone has to try out that weird ventriloquism act for a while in order to uncover the things that can be incorporated into your own voice in a non-creepy way.  From Tom Stoppard, I got permission for explication, to make the audience feel like they’re as smart as the characters. From Sarah Ruhl, I got permission to be unapologetically feminine, and love all my characters beyond reason. I don’t sound like either one of them, but I can see the traces of the impact they and many other writers have had on me.

I didn’t define my voice until I got to Juilliard.  There’s a big push there to be able to succinctly talk about “your stuff,” which is important for all the millions of meetings you’ll have pitching yourself for jobs.  It’s something I hadn’t thought about much – I just wrote about things I found cool or upsetting or fascinating. When I started trying to define “my stuff,” my first guess was that I liked writing about power.  But the more I looked at the line that connected my plays, and the line that connected the process of writing them, I realized that what I’m really drawn to is research, and subsequently writing about groups of Americans who have their own value system that is more important to them than mainstream culture. What happens when a person wants to get into or out of one of those groups, or the value system comes up against something it’s not prepared for?  That’s interesting to me. I get a lot of inspiration from podcasts, articles, documentaries. I get these brain tickles that won’t leave me alone, and I start to do more research, and sometimes a human story emerges that I really want to write, and sometimes I just learn a ton of facts about some weird thing, that I then blast at people at parties.

Did you ever feel like giving up? If so, what got you through that time?

Um, let’s be real.  I feel like giving up ALL THE TIME.  This is not a sane business. This is not a safe business.  I think if I’d had a child by now, I would have given up. I think if I didn’t have the familial safety net that I have (meaning, I’ve never worried I’d be evicted or have to have an operation that I couldn’t pay for), I would have given up by now.  It’s always feast or famine as a playwright – either you take on more work than you can possibly do, to keep the lights on, or you can’t get anyone to pay attention to you at all. The thing that keeps me going is that I have a very deep belief that I’m really good at what I do, and I have something to contribute to the human conversation.  Plus, come on, NOTHING is better than being in a rehearsal room. I get to do that just often enough that it keeps me coming back for more. I also have a family, a husband, friends, mentors, who believe in me. Having that support system is invaluable, but it wouldn’t do any good if I didn’t have a really unshakeable belief in my own abilities. 

You’ve been a member of The Kilroys since 2018, a badass group that develops ‘The List’. ‘The List’, for those that don’t know, includes the results of [an] annual industry survey of excellent new plays by women, trans, and non-binary playwrights. It is a tool for producers committed to ending the systematic underrepresentation of women, trans, and non-binary playwrights in the American theater. Personally or professionally, what’s been the biggest lesson you’ve learned being a part of that community?

Being part of The Kilroys has been a life-changing experience.  It’s an anarchist feminist collective, which means that there is no “leader,” and everything is put through the crucible of group discussion before it’s pushed out into the world.  I’ve learned to be an organizer and an activist, and to do that I have had to confront my own implicit biases and blindspots (a middle-class white southerner), which has been humbling and invigorating.  Doing activism in this way – a way that’s positive, increases community, and gives a signal boost to women, trans, and nonbinary writers – is both a ton of work, and a dream come true. On a purely selfish note, it also gave me a handful of great relationships ready-made when I got to LA, which was exciting and comforting.

You’ve started branching into the world of TV and musical theatre. What changes from medium to medium? What stays the same?

What stays the same is that everybody thinks they know what they want but they don’t.  In all media, producers/directors/execs think they’re looking for something specific, but when they read something really good, they want that good thing.  And everyone defines that “good thing” differently! Upshot: there’s no point in trying to chase the market. You just have to write what you want to write, and then hope you or your agent/manager can get it into the hands of someone who gels with it.  TV used to be a lot more rigid, but now, it’s kind of anything goes, which is great for a playwright. Musicals are fun and tricky. They’re like plays where the monologues are sung. And you work on them for seven years, with other people. Both TV and musicals are A LOT more back-and-forth than I was used to, when I was sitting alone for hours at my computer working on my own.  But I love collaborating, and I love that I stand to make a living wage since I started branching out.  

Truth bomb!  Even Tony Kushner said it years ago – no one makes a living in America as a playwright.  You need to write screenplays, or TV, or act on a commercial level, or teach, or be married to someone with a really good job.  I think this is something that doesn’t get talked about a lot, or like, ever, and I just want to say it whenever I can. The real patrons of the American arts are the parents and spouses and relatives and employers who help out with bills and schedule flexible hours and provide free childcare and do all the things that enable artists to keep working.  Those people never end up with their names on the sides of buildings, they may not even LIKE theatre! So I want to give those folks a shout-out! I see you! THANK YOU, UNSUNG HEROES OF THE AMERICAN THEATRE!

Where are you on your mountain?

The funny thing is, I’m in a great place on the theatre side of the mountain.  It’s just not what I thought it would be from the bottom. I try to constantly remind myself that I currently have most of the things I’ve always wanted – published plays, awards, great relationships with artistic directors, the best agents, and the time and resources to work on what I want to work on, most of the time.  I just thought that, at some point, I’d… have time to take a breath? But the mountain is always a slippery slope and the hustle is real. I spend as much time trying to get jobs as I do writing. And I know I’m in a privileged position, that younger me is screaming, “ARE YOU REALLY COMPLAINING THAT TOO MANY PEOPLE WANT TO MEET WITH YOU??” but I guess I’m worried that this will all end at some point.  A lot of women drop out of playwriting as they get older – either to raise families, or because (as with actresses) youth and novelty are an easier sell than wrinkles and experience. So, I’d say I’m proud of where I am on the mountain, but I don’t feel safe enough to slow down and really enjoy it. Not yet.

RAPID FIRE!

Favorite Broadway show: TOO HARD!  I saw the revival of THE COLOR PURPLE three times and lost my mind every time.  I’m also a huge Sondheim fan and broke my VHS copy of INTO THE WOODS because I watched it too many times.  So I’ll start with those.

TV show that you love: Currently obsessed with SHRILL and THE GOOD PLACE.  Also, I watch all the new docuseries as soon as they drop.

On my commute, I’m listening to _______: Podcasts: The Dream, Oh No! Ross and Carrie, My Favorite Murder, Uncover: Satanic Panic, Radiolab, Confronting OJ Simpson… the list goes on and on… 

Ever host a podcast that revisits special episodes of beloved TV shows from the 1970’s-90’s?: I’m so glad you asked!  Why yes, for the last two years, I’ve hosted a comedy podcast called HUGGING AND LEARNING, which examines classic Very Special Episodes of television through the lens of the Hero’s Journey.  It’s ridiculous. I love it. Andrew Grigg, one of my oldest friends, is my co-host, and my husband is our engineer. We’re 70-something episodes in and it’s a hoot. Available on all podcatchers, and at www.HuggingAndLearning.com. 

Whether on TV or in theatre, I’d like to see more ____________: Complex female protagonists!  Did you see HUSTLERS? More characters like JLo in HUSTLERS.  Maternal AND cruel. Sloppy AND meticulous. Victim AND perpetrator. Compelling AND “unlikeable.”  More characters like that!!

Religious, Spiritual, or nah?: I have a lot of faith in a lot of things.  

Most underrated skill of a playwright: Ferreting out the note behind the note.  It’s a skill you can only learn over time and a lot of brutal notes sessions, rewrites, talkbacks, etc.  The natural mode is defensiveness, and you DO have to guard your work and advocate for it, but there is a certain skill to hearing feedback and figuring out that something like, “I don’t like that she does that thing in scene two” actually means, “you need to set up her motivation better in scene one.”

Best part of being married to a sound designer and composer: In-house podcast engineering!  I kid, I kid. I like that our brains work in different but complementary ways.  I think that helps us solve problems in both the artistic and non-artistic spheres.  Plus, he’s the best sound designer I know. When I get to work with him on a co-project, that’s the absolute best.

Believe in having a “word of the year”?: Yes, I do!  I gave up on New Year’s resolutions a long time ago, but I do like to declare a theme or objective on January 1st.  The theme for 2019 was “Magic.”  The theme for 2020 is “Leap.”

Ever miss a deadline?: Nope.  Art loves order.  I am meticulous about meeting deadlines.  I think that’s why I have so many commissions – producers know that I will deliver a play.  I do try to look at my entire year, and space out deadlines so they don’t all come due at the same time.  I’m a fast writer, and I break my neck to meet deadlines.

Biggest beef with the business: How hard it is to get people to pay you on time, even if you have excellent reps.

Favorite part of the business: The relationships.  My mentor once asked me if I write plays just so I can hang around actors.  The answer is yes, and I also want to hang around directors, designers, dramaturgs, execs, interns, audience members, the people I interview for research, etc.  Last year I got to hang out with the Air Guitar World Champion, a 4th-generation stage magician, and an FBI Supervisory Special Agent.  That’s unassailably cool.

Social media handles:

@AChelseaDay on Twitter (for the 4x a year I tweet)

@HuggingAndLearning on Instagram

www.ChelseaMarcantel.com

Anything you’d like to promote?:  You can buy my plays at www.ChelseaMarcantel.com/buy, and see my upcoming productions all over the country on my website as well.

Subscribe to Hugging and Learning in your podcast feed!

Photo Credits:

• Headshot (credit: Ryan Bourque photography)

• Lucas Papaelias and Marinda Anderson in AIRNESS at the 2017 Humana Festival of New American Plays (photo by Bill Brymer)

• Lexi Lapp and Hollis McCarthy in EVERYTHING IS WONDERFUL at the 2017 Contemporary American Theatre Festival (photo by Seth Freeman Photography)

• Peter Hargrave, Michael Doherty, Kate Eastman, and Nandita Shenoy in the Cleveland Playhouse production of TINY HOUSES (photo credit: Roger Mastroianni)

From Kat: I met Amy back in, you guessed it, my Flat Rock Playhouse days! She was choreographing 'Hairspray' that summer and I was lucky enough to stand in for my understudy role of Penny during the first week of rehearsals. I remember being so nervous in front of THE Amy Jones. Not only was she incredible at her job, she was so fun to work with. All of the actors naturally loved Amy. She humanized the experience (something we LOVE here at The Obvious Path). She showed me nothing but love and support during that rehearsal process and embraced me as an equal.

Amy continued to teach me voice lessons, prep me for auditions, and was a great listening ear during my early days as an actress. Fast forward years later, a year after coming back to the city, we went to see Alice Ripley's one-woman performance, The Pink Unicorn. Who's the director? Amy Jones. Is there anything she CAN'T do?

Amy's story is unique in the fact that she never had a 'master plan' of how her career was going to go. She found the magic of theatre at a young age, and by following that magic, has found success in many facets of the industry. Amy is special, and but you'll discover that in the first few sentences of her feature. It's my pleasure to introduce you to my friend, Amy Jones. 

Amy Jones- Director, Choreographer, and Music Director! My voice teacher from my days as a performer! You are such an inspiration and we are so happy to have you. Can you please introduce yourself to our readers?

Hi there! Well, I was born in Kansas City, but grew up in Oklahoma City. Music was always a huge part of my family; my grandmother and great-grandmother on my dad’s side were both piano teachers (and got college degrees in music, which was pretty rare for women at that time!). My sisters are 10 and 12 years older than I am, and when I would listen to them play, I wanted to be like them so much that I pestered everyone to let me take lessons too. My sisters taught me something to play for their teacher, and she took me on at 5 years old even though she usually didn’t start students until 8 years old. Then I started bugging everyone to let me take ballet too, and so on, and so on ad nauseum ....I have no doubt that I drove my parents insane! Oddly, we really didn’t see any theatre, so everything was sort of separate in my mind until my freshman year in high school. I had a “work” scholarship at a Catholic school in OKC, so I had to dust mop the classrooms and the theatre after school. The theatre was the only place with air-conditioning, which may have had something to do with it(!), but after I finished my work I would lay on the stage to cool off, and I remember feeling a palpable magic there. I had done some small plays in middle school, but Bye Bye Birdie freshman year got me hooked. I switched schools for the rest of high school, and continued to do the shows, dance concerts, and music both in school and extracurricularly. 

You majored in Piano Performance at the University of Oklahoma and were a company member of a professional ballet company as well. When you finished school, what was your dream job setting out in the industry? Did you always have your sights on being on the creative team side vs the acting route? 

I wish I could say that I had a grand master plan, but honestly, I had no idea what I wanted to do. Even though I had done shows, I still thought of everything sort of separately. There were no musical theatre programs then, so the combo of music, dance, and acting as a degree didn’t really exist, or at least not that I knew of.  Even though I was a classical piano major, since I was paying my own way, I just started taking acting and ballet classes because I wanted to. Now that I’m saying this I guess the theme just continued from childhood……I actually started grad school in music, but after teaching some undergrads piano lessons, I realized that was definitely NOT what I wanted to do.

You also went back to grad school and mastered an interdisciplinary program in Dance, Drama, and Music. What were the things that led you to grad school? How did having your Masters impact your career?

So, continuing from the last question, since I knew the faculty from the drama and dance departments as well, they helped me create my own interdisciplinary master's program. I think on some level I realized that I needed more training; I had also become interested in choreography and directing and wanted to learn more about that. Again, it’s kind of embarrassing to admit, but I truly was just kind of going with the flow and continuing to pursue my interests.  I had NO idea how any of it was going to contribute to an actual career and was also being encouraged by my mom and dad to have a “backup” plan, so I took some accounting classes on the side. Oh my god, can you imagine me being an accountant? I mean, I do love math but ugh. But to answer your question, I definitely needed the training that I got in grad school. I had some amazing teachers in all areas and became really intrigued by the idea of applying music theory principles to dramatic form, and THAT is what really led me to what I do now. 

Where did you land your first non-performing industry gig? What was the most important thing you did in your first year starting out? 

My ballet teacher got me a gig choreographing Pump Boys and Dinettes and Nunsense in Arizona one summer while I was still in grad school.  I had been choreographing/directing in grad school as well as performing, so at that point I didn’t really differentiate---I just wanted to work.  Oddly, one of the actors in Nunsense hurt her knee, so I ended up playing Hubert as well…Then, the head of the drama department encouraged me to visit NY. I was completely terrified of it, but I went. I had some friends that had moved up here the previous year, so I stayed with them. It had snowed literally for two months straight and all the cars on the streets were buried in snow. I’d never seen anything like it. I fell in love immediately and moved here 9 months later. I guess the most important thing I did that first year was to get some friends together and do a show. I was in it, directed it, and played piano for a couple of the songs as well. We just did it for fun, but the lighting designer recommended me to a director she knew who needed an MD for his show at Tribeca Lab. Then he got me an audition for a show in which the performers were also the band(yeah, not such a new idea!), and that’s how I got my Equity card. So, I accidentally made connections that led to good things by just doing what I loved with my friends. I do think that I always knew I wanted to be on “the other side” of things, but I was getting work as a performer, so I just went with that. Honestly, that degree in piano was my “in” for so many other opportunities. 

You recently directed The Pink Unicorn by Elise Forier Edie here in NYC starring Tony Award winner, Alice Ripley. What was that collaboration like? 

It was and continues to be one of the most fulfilling, satisfying, and challenging-in-the-best-way collaborations I’ve had to date. I think what I appreciate most about the work with Alice, Elise, and Liz(producing AD of OOTB Theatrics) is a), our complete unabashed commitment to our artistic vision as strong women and b), our faith and acceptance of that quality in each other. Alice is one of the most giving and thoughtful actors I’ve had the pleasure of working with, and I love fostering her creativity and truly bouncing off of each other to come to a better place than either of us could have alone. She is a powerhouse and I love it! More about this in the next question….

What has been the most difficult time in this career for you? Looking back, how has that shaped you to who you are now? 

Strangely, just when everyone is looking to me to mentor/do things like this(!), these recent years have actually been the most difficult in many ways. I’m very lucky to be working a lot regionally and love that work. I’m also very happily married and have been trying to commit to working in NYC more so I can be with my lovenugget more consistently. After making most of my connections/fostering relationships around the country, when I really tried to stay here I felt(and still feel sometimes) like I can’t get arrested in this town. You know? And all of this comes at a time when I feel the absolute STRONGEST about my artistic vision, so it can definitely be frustrating. The connection with the Pink Unicorn came from a regional connection(Charlie Johnson, FRP former apprentice just like you!) and the fact that that then led to working with Alice, Liz and Elise has really given me a boost when I really needed it. Sometimes you need the reassurance from new people that you really respect and admire for their stellar NY careers to remind you what you already knew. Does that even make sense? I hope so….I think the struggle to balance between regional work/new work here has made me realize a couple of things that I’m trying to apply now: I love my regional theatre families and will ALWAYS do that work; I love to teach and will ALWAYS do that work; I am ready and open to seek out new opportunities to tell stories I believe in in the way I want to tell them with people with whom I want to tell them. Good people on the inside. I used to beat myself up for not being more ambitious, but these recent revelations have made me really appreciate what I feel to be the most important part of the work for ME. And that in turn has attracted kindred spirits. 

What’s something you wish you had done or wish you had known earlier?

How to post on Instagram. Just kidding! Sorta…

I wish I had been better when I was younger about fostering relationships through connections. Maybe it was from growing up in Oklahoma, or growing up lower-middle class or something, but I always felt like “networking” meant being a self-serving jerk instead of just looking at it as developing friendships. I think I’m still working on it. I made some big ole, honkin’ mistakes letting my insecurity about being worthy of hanging out with people in the “big leagues” deter me from just getting to know them. I blew some big opportunities. So I guess I would say to anyone starting out to do whatever you can (therapy, reading, work on self) to get fear out of your way so you can be your best self and be truly present even in intimidating situations. 

Where are you on your mountain?

Still pushing up there, and still taking a few scenic detours along the way…I think I’m about 2/3 of the way up? Still have a TON I want to do…

RAPID FIRE!

Favorite Broadway show of all time: Gypsy

TV show that you love: The Watchmen

Favorite music on your commute: Prince---OLD Prince. 

Any other obsessions?: cooking! Come over for dinner!

Favorite part about teaching: figuring out how to make the light bulb go on for the student---also my favorite part about working with actors too

Social media is: annoying but necessary

Religious, Spiritual, or nah?: Philosophy covers it all for me…

Biggest beef with the business: I don’t really have one; I tend to blame myself when I have problems! Can you say “Italian guilt?”

Underrated skill you think more actors should have: confidence/ownership in their uniqueness/weirdness---that’s where the good stuff comes from!

Favorite ‘hat’ you get to wear in this industry?: I really love it when all the cylinders are firing at the same time, i.e., moments when ALL the skills converge to create a moment.

I get inspired when: I see a beautiful story being told in a unique way

Social media handles: Insta: amyejones10, FB: Amy Jones Twitter: don’t even bother…

Anything you’d like to promote?: Well fingers crossed for Pink Unicorn this year! We have two performances in Holmdel, NJ in anticipation of an NYC run to follow…keep your eyes peeled!

Photo Credits:

1. Blog Feature Photo

2. Liz Flemming (Producing Artistic Director OOTB Theatrics, Amy, Alice Ripley) Pink Unicorn party

3. Laura Marie Duncan; “Me and my best person aka husband aka lovenugget” -Amy

From Peter: It’s hard to forget the first time I met Patrick, standing in a cast circle before our first rehearsal of A Christmas Carol at Actor’s Theatre of Louisville. It came time for his introduction and he says, “I’m Patrick Steadman Taylor, I’m playing Young Ebenezer and I’m an actor with Tourette’s Syndrome.” *Cue thunderous applause*. You can tell they really love Patrick at ATL. It’s hard to not be swept up in his aura, his charisma, and his story.  

And, if I’m revealing the part of me that I don’t like, a part of me leapt to a conclusion and thought, “How does that work?” 

Ten minutes into rehearsal, though, you understand why Patrick is so loved. He’s the most positive person you’ll ever meet in your life, he’s beyond committed to the work, and shows up with love in every aspect of his life. He’s also extremely talented. He can switch from hilarious to heartfelt in a way that I can only liken to Mike Birbiglia. He’s a joy to watch and to be in a cast with. 

Now, maybe you’re like me and have never had the opportunity to work with a neurodiverse actor before. Maybe, also like me, a part of you read that Patrick has Tourette’s Syndrome and jumped to some conclusion about what that meant. And here’s the best part about Patrick: 

He runs into that. He gave up two hours of his time to record our following conversation, in which I ask him a lot of invasive, personal, and, likely, very ignorant questions. He answered every one with love, grace, understanding, and an intimate vulnerability. It’s one of my best memories from my time in Louisville. 

I learned a lot about Tourette’s Syndrome from this interview, but I learned a lot more about how much wisdom and humanity one person can have. You’ll see him deftly switch from issues of college decisions, money, dreams, alcohol, body image, inclusion, empathy, and humor. There’s about eight topics we could spend an entire different feature on. So, with that knowledge, I’ll get out of his way. We hope you enjoy learning from Patrick as much as we did.

Patrick! Can you give us the reader’s digest version of your life before we get into the nitty gritty? (do people still say nitty gritty???)

I love “nitty gritty”. But… I’ve never read Reader’s Digest. Is that just a blurb? (laughs) It was always in my mother’s bathroom… but I never read it. 

Anyway, I was born and raised in Miami, Florida. I moved from Miami to right outside Jacksonville in a small farm town called Middleburg, Florida when I was 14 to start high school. Which was HARD. To lose all your friends and, on top of that, I was PEAKING with Tourette’s Syndrome. You’re already the talk of the town because you’re new to the town, but now I’m the new kid who moves and makes noises?! It’s even worse. 

I did 4 years of high school. Then, I found this small intensive, conservatory called Florida School of the Arts in Palatka, Florida. I went there for 3 years, got an Associate in Science, don’t know why it’s called an Associate in Science, but it was with a focus on acting. Then, I transferred to Marshall University. I did SETC, found Marshall, went to Marshall for 3 more years because a lot of my credits didn’t transfer. I was in school for 6 years. Moved to New York. About 4 years into it, my wife, Jordan, got offered the Producing and Casting apprenticeship at Actor’s Theatre. We already knew about this place since college. I moved here with her, deferred my acceptance to the Atlantic Acting School in NY. So that was her year. Then we went back to New York and it was my year to do the Atlantic Acting School. Then, I got this apprenticeship and couldn’t pass it up- so it’s my year again? She’s an angel. 

I’m the youngest of 5. I have a half sister and then the other 3 are my cousins. I was adopted by my aunt and uncle, because my mother was unfit to take care of us since she was addicted to drugs. This is a little more than Reader’s Digest… I just love being super open about it.

No, please. Give us more than Reader’s Digest.

So, both my mother and I were both high on cocaine when I was born. She didn’t know she was pregnant with me… I was almost born in a toilet. I want to write a show about this one day. She thought she had to go to the bathroom. She moved to a waterbed, I was born in a waterbed and then I was airlifted to the hospital where I lived in an incubator for 3 months because I was three months premature. So that probably ties into the fact that I have Tourette’s Syndrome? (laughs) And multiple webbed toes. 

My birth mother died of heart failure when I was 10. I never lived with her. I visited her on the weekends. I call my aunt and my uncle ‘mom’ and ‘dad’ because I lived with them my whole life. My cousins I call my brothers and sisters because I grew up with them. They’re my brothers and sisters. 

I will always wonder if that experience with my mom ties into the fact I have Tourette’s. I’ve been told it’s hereditary. I’ve been told it’s not. I don’t know. I don’t know who my father is, my mother didn’t know. So I don’t know if he had Tourette’s Syndrome? This is no longer Reader’s Digest, this is a magazine… 

You received your BFA from Marshall University. What led you to go to school there? What was the most important part of your time there? 

To be 100% honest, it was a full scholarship. I could not pay for it. My parents could not pay for it. Interesting fact, I was considered a ward of the state of Florida because my mother had passed and my aunt was my legal guardian. So, in essence, the state owned me. So the state had to pay for my first 4 years of college. And we learned this, like, 2 weeks before I started at Florida School for the Arts. So Florida School of the Arts was free. After that, I was auditioning for all these schools after this… and we just didn’t know if we could pay for it.

Marshall was super into the fact that I had Tourette’s Syndrome. They were fascinated by it and offered me a full scholarship 3 days after I auditioned at SETC. I was just, like, “Cool. That’s the one.”

I learned a lot at Marshall. I also met my wife there, so that was the best. But, other than that, I was really self conscious. I lost 40 pounds my senior year of high school, so I was very much the “fat, funny friend”. And I hated that. But I always steered towards the funny parts in college. I would come into auditions with old characters or accent characters. A professor called me into her office and said “You’re really talented, but if you come to one of my auditions with a character monologue, I WILL NOT cast you in my next show. I want you to branch out and realize that you can be a leading man.” So I played three leading men while I was there. That gave me the confidence and reassurance I CAN play a leading man and a character actor. 

You are currently in the Professional Training Company at Actors Theatre of Louisville. How has this experience been so far? What has been the most impactful experience or lesson at the halfway point? 

We would come to ATL all the time in college. I fell in love with it a long time ago. And I auditioned 5 times for this program. I think it’s great. 

When I moved with Jordan, I really got insight of what this program was like. I knew I was going to be exhausted. I knew that I was probably going to crew some shows. And I knew I was going to meet people from all walks of theatre and foster some relationships. And that has all happened. I’m exhausted. I haven’t had more than 2 days off in 5 months. Which is great. I’m so grateful.

Something I didn’t realize would happen, is the amount of personal growth I’ve had and the amount of reflection time I’ve had. And the amount of realizations I’ve had just about my person, my self. 

5 days before I moved here, I was told I had a rare liver condition where it’s best that I don’t drink anymore. So I went from drinking a lot, to be honest, to drinking nothing. And the first month, two months I felt weird. Because I didn’t know what to do with my hands. I felt like I was missing out on social opportunities. That’s another big, huge, conversation about alcohol within the theatre scene. Which I don’t shame anyone for. But I would use it as a crutch. I’ve never felt more energized, which is ironic, because I’m so exhausted. But waking up is so much easier. I’ve noticed that I'm not quite as introverted as I thought I was, because of alcohol. I would never have classified myself as an alcoholic, but I definitely used alcohol as a buffering system to speak with people I was nervous to talk to. Whereas now, I’m just like “I got my soda water with an orange, so… Fuck it.”

I’ve learned what gives me energy, what takes it away. What shows I like to work on. What rehearsal room atmosphere I thrive in. Stuff like that I had no idea about. I’ve just had so much personal growth. 

Something you are intentionally open about is having Tourette's Syndrome (TS). Can you talk to us about performing as a neurodiverse actor and how, or if, that has affected your journey? What do you want others to know about TS or neurodiverse actors?

Okay… that’s a loaded one. But I love all of that and I’d love to chat about all of it.

I do want to talk about being intentionally open. That is something I grew into. Before Jordan did this apprenticeship two years ago, I was not open about it. I was scared as soon as I would tell someone before the audition, they would have some preconceived notion and I wouldn’t get hired. It took many conversations with Jordan and folks at ATL. My initial idea, which was maybe a bad minded thing, was using it as a tool to stand out in this sea of white men. Now, two years later, it’s not about that at all. Now, it’s just about unapologetically owning this thing I have because it’s not going anywhere. And it is very misunderstood.

People hear Tourette’s Syndrome and they think of Deuce Bigalow or True Life: I Have Tourette’s Syndrome. Every type of tic has a name. Coprolalia is the name for involuntary swearing or utterance of obscene words or socially inappropriate and derogatory remarks. (I don’t have that, which I’m thankful for, but if I did- I would learn to live with it.)

But people hear I have Tourette’s- so therefore, I must cuss a lot but I don’t. I do have Echolalia, which is repeating things… If I like the way someone says something, I’ll just repeat it. (laughs) Jordan thought I might get us in trouble when we moved to NYC, because I would repeat something I liked and it might make someone think I was making fun of them. 

To circle back, I decided to claim my TS and advocate for myself as an actor with Tourette’s Syndrome for many reasons. When I perform, it goes away. So a lot of times, I wanted to tell people at an audition. But I’d do my material, not have ticked, and then be like “By the way, I have Tourette’s Syndrome”. I didn’t know how to do it. Now, it’s on my website, it’s on my resume, and I made a personality reel where I address it so people can learn about it. Because it is so misunderstood. 

People think I shake because I have no control of my body. It’s just not the case. The case is my brain sends signals to another part of my brain. So, if you want a sip of coffee, your brain sends that signal and your body reacts. My body sends those things prematurely. It sends all these signals saying “You have to do this. And if you don’t do it, you’re going to feel really, really weird until you do it.” So, I can suppress my tics (he does so for about 20 seconds to show me), but after a certain amount of time- they’re going to explode. I always describe it as going to the bathroom. Like, you can hold it for as long as you want, but eventually, you have to go. If you hold it too long (laughs) you might pay some consequences, right? 

Now, I view it as an unapologetic way of saying “I have Tourette’s Syndrome. There are people in the world that have Tourette’s Syndrome. There are also other people in the world that have other neurological conditions that we should be empathetic and kind towards.” It’s a way to spread awareness so that when people go to the theatre... going to the theatre to see a show is a different experience for me than being on stage. A 5-hour Eugene O’Neill show like Long Day’s Journey Into Night? I could be in that show and not tic at all. If I watch it? It’s extremely uncomfortable. The people around me, more often than not, are just rude about it. I get a lot of people turning back with stares of “what is happening?”. That’s always kind of baffles me, because I’m usually with my wife or a person that knows me and is not concerned at all. Obviously, it’s habitual and something that’s normal to them because they don’t look worried. I understand there’s all kinds of theatre viewers, some want complete silence or complete darkness. I just can’t do that. And as a student of the theatre? Going to the theatre and seeing shows, observing shows is as important as it is to be in the show. I love it. It’s my favorite thing to do. But, more often than not, I just don’t go. Or I go and I leave halfway through, and then I’m depressed. And then, it’s just not worth it, because now I feel like shit about myself. 

I think, subconsciously, that’s another thing. I want people to know “performers can have stuff like this too. Actors have Tourette’s Syndrome and other neurological disorders.” 

And, I don’t know, I also paid for this ticket. I’ve never been so loud they can’t hear what’s happening. I’m white, I have a lot of privileges, but I don’t have financial privilege. So I buy this ticket as a present for myself or as a little master class to see my favorite actor. That’s one of the harder parts about it.

As far as helping or hindering me… I’m still on that path. I don’t think it’s a hindrance. I don’t think it’s set me back. I don’t think it’s propelled me either. I will say, the more I’ve started marketing myself as an actor with Tourette’s Syndrome, the idea of tokenization comes up for me. I don’t want to be tokenized. I don’t think I ever have been. But I don’t want to be cast because I have Tourette’s, I just want people to know I have so I can inform people throughout the process. I will say, if it does hinder my career path, if people don’t want to work with me because of that… I don’t want to work with them. Because, as we’ve said, it doesn’t do anything. It doesn’t affect my acting on stage, so it shouldn’t affect a decision on whether or not to cast me.

You were also a Teaching Artist with the Blue Laces Theatre Company. For our readers, this is a company that devises immersive theater experiences for individuals with developmental differences. What’s the most important part about this work?

I found Blue Laces on Playbill to be a devising member of their theatre company. They devise shows specifically for people who are differently abled and on the spectrum of autism. Anyone can go to their shows, but they are sensory friendly in the way they create sensory experiences that the audience can walk through the experience. The audience can stop, touch, feel, and smell as the experience is happening. The actors know that, so we can elaborate if audience members are lingering at a particular moment. It’s an immersive experience allowing people that might get overstimulated or scared in a proscenium setting into an actual world of a show. 

It was one of the coolest auditions I’ve ever been to. We had to make sensory experiences of our favorite summer feelings and they had all of these props, essential oils, whatever. It was such an inviting room. So, I also taught as well- I’d go to schools with kids of different learning abilities and do a show called “Suds”. It’s all about laundry. They reach in and get a sock, wash it, they feel the softness, the suds, put them in the “dryer”. They had so much fun. It’s such an amazing thing to be a part of people experiencing theatre in that way and not just watching it. 

They do shows. They teach. They’re awesome. Look them up.

You will showcase at the end of your time at ATL. How do you deal with the pressures of showcase and figuring out what the next steps are?

I’d like to say that I’m not nervous or that “it’s going to be fine”. But those feelings do arise. I’d love to walk out of here with representation, but the reality is that I don’t know if that’s going to happen. An advantage of having a lot of friends that have done this program and my wife who has done this program is that I’ve seen how much people grow during this program. I am fully aware that if I leave without representation it is, literally, not the end of the world. I have so much time. I’m only thirty years old, that’s right, I’m thirty. It’d be ideal to get representation, but yeah, I’ve grown so much as an artist, I’ve learned so much about myself, and I’ve grown more confident in my abilities as an artist. I feel confident submitting to things. 

I spent my first years in NYC living in my imposter syndrome. Something I said to someone when I got here was “I left my imposter syndrome at baggage claim.” It was silly, but I’m ready. I’ve been out of the market for 3 years, one spent here at ATL supporting Jordan, one at the Atlantic Acting School in the Professional Evening Conservatory- where I learned a new acting method, which was great, and this year I’m learning so much. That, in and of itself, I’ve had a mini-grad school experience. I’m ready to get back and audition, audition, audition. And just have fun, you know. That’s been another motto for me this year: Have fun.

Where are you on your mountain?

I’ve thought about this. Maybe you can help me with the verbiage. I’m not a hiker. I like to hike, but I don’t do enough to have all the metaphors…

I feel like I bought all my equipment to go on this mountain hike. I started the process and I had a little teeny setback where I had to camp out for the night, get more food, take a break, and reorganize my thoughts. But I’m ready to tear the tent back down, get all my stuff back on my back, and continue back up the mountain.

Maybe halfway? Maybe I’m at the halfway point. I feel more energized. I feel more positive about getting up there. I’m ready to just get back on the trail. 

RAPID FIRE:

Favorite Broadway show: So that’s complicated. Ever or right now? I’ll give you both. Little Shop of Horrors I grew up watching and I didn’t realize it was a Broadway musical until I started doing theatre. That I’ve seen on Broadway? Ivo Van Hove’s The Crucible. I either talk to people who love it or hate it. I loved it. I thought the performances were great. I thought his approach was really cool. It was much more about the men fear mongering and not as much about the relationship with Abigail and John. 

Favorite stage experience outside of Broadway: I probably have a lot, but I saw this show called YOUARENOWHERE at 3-Legged Dog. There was this moment where the background falls and there’s an audience on the other side mirroring you. And you think it’s a mirror, but then you learn it’s actual people. It was just such a fun, cool, show that bent what a theatrical experience could be.

TV show you binge: Oh, Schitt’s Creek. I’ve watched every episode of Schitt’s Creek like 5 times.

Podcasts you love: I got really into Stuff You Should Know to fall asleep because of their monotone voices. But now I get so interested in it, I can’t fall asleep to it anymore. 

Any actors with Tourette’s Syndrome mainstream should know about?: Yes, Gardiner Comfort wrote a one person show called The Elephant in Every Room That I Enter. I think it’s a brilliant title. But it’s about his first time going to a Tourette’s Syndrome support group, which can be a scary thing for us, because tics can be contagious. So I don’t typically like watching things about Tourette’s because I’m scared I’ll get new tics. And getting a new tic is so weird. You start getting the urge, you do it, you hope it doesn’t stick, and finally, you just sort of accept it. And then, I don’t know, (laughs) I name it. It’s here now. But he’s great. He teaches master classes in New York. He came to a show my wife and I put on, we chatted, and it was wonderfully comforting hearing him in the audience. Other artists have it, too. It’s more common than we think. About 1 in 100 people have it. Like, Billie Eilish has a mild version of it. Dan Aykroyd was diagnosed with Tourette’s Syndrome. There’s lots of people that we don’t think about.

Any other obsessions?: I love plants. I have over 40 house plants. I have a lot of pathos. It’s a vining plant and they’re super easy to propagate. (laughs) I sound like such a NERD. From the first one I got in New York 6 years ago, I have, from that plant, maybe 7 around my house that I’ve propagated from that plant. 

Religious, Spiritual, or nah?: Nah. And, I mean, we can talk about that later off the record… But, (smiles) for now- nah.

Best part of being married to someone who’s on the business side of the arts: There’s balance. We both started on the acting side. Can I give you a pro and a con?

The pro is: Balance. I can have conversations with her about acting and she’ll come in with “Well, on the production or as a producer….” And I get to think “Oh, yes. Of course. My actor brain totally forgot about that. Thank you for the reminder.”

A con: I often make her job about me. Like, she knows a lot of people I would like to know. She is a producer, she is in casting. But it’s about her. I guess it’s not a con, I guess it’s a pro. We’re learning how to coexist in two different worlds while supporting each other and weaving our careers together. 

New works or Classics?: New works because they’re fun and experimental and it’s fun to put your own spin on that new thing. To investigate these new ideas. Classical work is something I want to get into, but don’t know a lot about. 

Food that feeds your soul: That feeds my soul??? I love sushi, but I don’t know that it feeds my soul. (laughs) That’s a HEAVY phrase.

Any bad audition stories?: I was freelancing with an agent maybe 3-4 years ago. I got this phone call after rehearsal one day that my agent had a co-star audition for an Amazon Original Series for me the next day at noon. I was SO excited. Every audition I had been on for them had been a commercial audition where you get the sides when you get there and then go. I get to the audition, there are tons of guys that look just like me. The CD asked me how I was, I made a joke, we LAUGHED. I was like “This is going GREAT”. She said “Wonderful. Whenever you’re ready…” I said “I just need the sides and I’m ready.” Her face fell. She had to go get me sides. There’s internal cuts, there’s “Casting” watermarked throughout the pages. This is the biggest audition I’ve ever been on. She leaves me with “That was really great for a cold read… I would call your agent and ask why you didn’t get these sides.” I went home and I CRIED.

I get inspired by: Acts of kindness. I get inspired by helping people. I’ve always been crafty- always wanting to make things with my hands. I was just making soap this afternoon with some of my friends. Just the act of making things with your hands, bonding in that way, getting to know people… All of that makes me want to keep going.

Favorite playwright: I love Branden Jacob-Jenkins. I saw the world premiere of Appropriate here at Actor’s Theatre. And I saw Everyman. I love him.

Stage or Screen: It’s changing! I grew up in theatre. I love it. I have all my training in it. I love the adrenaline it gives me. BUT, I want to do film. I want to learn more about it. I’m finding it fascinating with how little you have to do to convey something. Ideally, I’d love to learn more about tv/film and start doing more of that. 

Biggest beef with the business: I feel like people are getting a lot better about this but… Body images. I think life gave me a big sense of body dysmorphia, but I feel like the industry has contributed to that as well. Not feeling like I look like “that guy” is such a toxic feeling. I compare myself to actors all the time. If you’re a leading man, you have to be ripped and tall. To be a character actor you feel you need to be the exact opposite. Like I said, the industry is getting better about that. But it’s hard to shake those comparisons. Sometimes I look at my belly and just thank it. 

Social media handles?: @ptayloractor on insta and twitter. Website patricktayloractor.com

Anything you’d like to promote?: My wife and I started an event and we do it about once every two months. It started in college as students just practicing monologues. Then, it evolved into “What do you want to work on?” And we would host it in our backyard. It’s called “Hearts on the Wall”- we called it that because we had a graffiti heart spray-painted on a concrete wall in our backyard in college. We were like, “Throw your heart on the wall and see what sticks.” When we moved to New York, it evolved even further. We now have a residency at Dixon Place. It’s just an opportunity for artists of any medium, of any kind, to bring work that is “in progress”. To just experiment. To get initial feedback. To feel the vibe of the audience. There’s no formal talk-back, but people come up to you at the bar, you exchange social media handles and you just get a sense of what sticks ‘on the wall’. We’ve had musicians, playwrights, clowning pieces, poetry, drag queens, sketch comedy groups… Anything. You can learn more about it at jordan-bean.com/hotw

Photo Credits:

1. Feature Photo

2. Patrick and wife, Jordan Bean

3. Patrick with his pup, Chelsea

4. Patrick and Kala Ross in A Christmas Carol at The Actors Theatre of Louisville photo by Jonathan Roberts