Category Archives: Acting

“Special Skills”

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So, most actor’s resumes will include a section at the bottom labeled “special skills” – which are often unique abilities that don’t fit anywhere else in the resume, but might impact casting considerations.  Sometimes they are practical skills that might be a part of a particular role (like juggling or playing an instrument), but sometimes they are more like great conversation starters (fire-baton twirling).  Playbill.com put up an article that asked 60 actors what their “special skills” are.

I only list playing musical instruments and singing as mine.  I can do several dialects, but I’d hate to be asked to prove it on the spot…

Opening Angel Street

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This week is the show week for our Theatre 151 production of Angel Street by Patrick Hamilton.  Last night’s opening was a wonderful performance, and was followed by a delicious tea and biscuits reception.

Angel Street is the first Theatre 151 production to flex the expectations of a performance in a small venue – usually the stage is set up as a traditional proscenium set-up, but for this show it was arranged as an ‘alley’ set-up, with the stage in the center of the room and a bank of seats on either side.  This made for an even more intimate presentation – which heightened the sense of suspense in the play; a Victorian thriller.  The impending return of a suspicious character is all the more intense when the furthest seat from the stage is hardly more than 10 feet away…

Congratulations to student director Ginny Holladay, the cast and crew of the show!

 

Mayfair Affair — Production Pictures

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Hey , check out our production pictures from the Mayfair Affair.  If you would like to purchase prints or downloads from this production CLICK HERE.



Pining forSam Ingersoll

Saaaaaaaammmmmmm Innngersollllll !!

Who else is here?

No she can't stay here.

Nooooooooooo !!!

I thought I heard someone else here?

Artist-in-Residence… at a cathedral?

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Award-winning actress and solo performer Anna Deavere Smith has taken on the task of being the first Artist-in-Residence at San Francisco’s Grace Cathedral.  Smith is known for creating powerful solo performances through doing extensive interviews in research, then assemble a performance of direct quotations from those interviews, taking on the character of the interviewees.

What a great opportunity for the church at large to look at another way that artists can interact with the life of a congregation.

NY Times Article

 

 

 

 

 

 

 

Expect the unexpected @ SETC

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“Expect the unexpected,” is what I learned at SETC Atlanta.


I decided to go this year just to experience SETC for the first time. It was a hard decision to make, because I am a junior and it seemed unwise for me to not do job contact or an audition of any kind. But God gave me peace about just going and seeing what it was like, taking workshops, and meeting theatre people from all over the country. When I got to Atlanta and to the hotel, the only thing I could say was, “man, thank God I didn’t try to do more.”

It was quite a sight. There were hundreds of people everywhere of every type bustling about with excited facial expressions, suitcases, and a contagious energy. I felt rather small, honestly. Coupled with that, however, was feeling incredibly blessed to be among a big group of people passionate about the same thing — theatre.
So, I mentioned “expect the unexpected” at SETC. What’s that about? Well, (this is where I would recommend a little more preparedness) I was wandering through the university/theatre school booths downstairs when I came to the Stella Adler Studio of Acting table. I got talking with the marketing associate, Ryan, and he gave me an application for their summer 2011 acting conservatory. I hadn’t auditioned for them or didn’t really have any ambition to go to NY this summer, but completely ecstatic, I did it anyway. I ran back to the table after filling it out, gave him my headshot and resume (I JUST printed it off. Again, God was gracious in this instance, so just in case — PREPARE [unlike me :)]) and he promised to call me with an interview time later.
Throughout the weekend, I kept running into him randomly. Our conversations usually went something like this:

“Hey Ryan!”

“Hey, um, Stephanie? Right?”

“Yeah, that’s right.”

“Good to see ya!”

And then one day, I began,

“So, have you decided on interview times yet?”

He responded, “Yes, sorry I’ve been meaning to get back to you. We’ll sign you up for the first slot, Saturday at 6pm.”

Saturday at 6pm. Yeah, I was nervous. But so excited! I really didn’t know where this was all going. I knew that it was pretty unlikely I would get in, but I went along with it, and the next step was Saturday at 6.

The interview went pretty well. It wasn’t outstanding. In fact, I kind of felt like I was putting them to sleep 🙂 But after a long, stressful weekend for everyone, it was understandable.
In conclusion, a week later, I got a call from Ryan with an acceptance into their summer program. I couldn’t believe it! God definitely used this to teach me to expect the unexpected and be prepared for the unexpected. So, even if you’re going to SETC to experience it for the first time, don’t hesitate to come over prepared and with an open heart to meet lots of people. Trust God, and you never know what He will do.

SB

My SETC Experience

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This year was my second year to attend SETC, and it was different for me in more ways than one. The biggest being that I passed State Screenings in December and was able to audition for about 80 different artistic directors from many theatres around the country while at SETC. Last year I didn’t pass State Screenings but I was still able to do Job Contact at the conference, which was very beneficial for me. It was good to be able to take in the craziness of the conference and get myself mentally ready for this year. Coming into this year’s conference I felt a lot more prepared and knew what was expected of me. I was really thankful that two of my best friends, Scott and Marie, were also passed on to SETC auditions and it was great to be able to bounce ideas off of them and journey through the overwhelming (but rewarding) process together.
I was thankful to audition on Thursday, the second day of the conference. My audition wasn’t until 3pm, so I had the entire day to focus, go over my monologue, and relax. The way the auditions went were that the auditionees went into a large ballroom 40 at a time and waited in chairs on the side of the room while one person went on the stage to do their monologue and/or song in front of many tables of artistic directors. I won’t lie, it was quite intimidating. The level of talent and dedication around me wasinspiring, and I felt like a “little fish in a big pond.” I feel confident that I gave my very best efforts that day, and the fruits of my labor paid off in 4 callbacks, which I went to later that night. I met some truly wonderful people and learned about several great internships that theatres around the country offer. The knowledge I gained from those callbacks is invaluable, and even if I don’t hear back from the ones that interested me most, I’ve made connections that I wouldn’t have made any other way!

DD

Better Prepared the Second Time Around

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This was the second year I was able to attend SETC and participate in the Professional Auditions. Because I can’t do anything easily, I also decided to indulge my masochistic side and participate in the Graduate School auditions in lieu of my upcoming graduation from Belhaven. Thankfully, I was scheduled to do my Professional Audition the day before the Grad Auditions (how some people did them both on the same day, I don’t know). All in all, this year was vastly different from last year. Because I was able to participate in the professional auditions the year before, I knew what was to be expected and was therefore able to prepare a little bit better (knowing to project more, picking a better audition piece, mentally preparing for any callbacks etc.) I was, however, surprised by the difference between the professional auditions and the grad school auditions. The grad auditions were set in a lot smaller setting, a little bit more relaxed–overall not as “intense” as the professional auditions, you were allowed two and a half minutes to perform two pieces (a classical and contemporary), the stage was smaller, and there were definitely fewer auditioners and auditionees. After all the auditioning was done, I had been given four callbacks from the Professional Auditions, and nine from the Grad School auditions. Thanks to last year’s experience and knowing what to expect, I feel I was able to enjoy the callback/interview experience a lot more. As of now, I’ve applied for  the University of Arkansas’ MFA acting program and should hear back from them next week, as well as several internships in Sacramento, CA (with the B Street Theatre Co.) and Norfolk, VA (with the Virginia Stage Co.)