While the staging looks minimal, I suspect that the lighting and other designers will have made the entire theatre into a magical candyland before the night is out. I’d especially love to see how they shrink Mike Teevee on the stage. Click past the cut for a preview.

With luck I’ll get to it before it closes August 17th. If you check it out, please let me know! Here’s a preview piece from the Tribune:

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Image details: Cast Members From "Rent" Perform At Broadway For Life served by picapp.com

The question becomes, then, why does it have such appeal outside New York? If it’s too unrealistic to people who live there now, what is it that makes it appeal so much to people like my daughters (who in fact introduced me to the songs and story, and who have seen it on Broadway)?

I suppose part of it, at least, is that it’s not an original story – the theme was borrowed directly from La Boheme, and that’s not to impugn the immense talent of Jonathan Larson at all. As Robinson notes in his article, RENT captures the flavor and spirit of New York in a way that makes it, now that the wheel of time has moved on, almost a historical narrative, as accurate as any text by Herodotus. As a cultural memento of the way a microcosm of culture reacted to crisis…it is a monument as well as a work of art.

So I bid it farewell as it leaves Broadway, knowing that while I’ll never see it there, my children have, and so we, too, are a part of that cultural icon.

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However, a little research reveals a CNN interview which may explain why. Carlin never wanted to do the traditional “[insert name of comic] on Broadway!” schtick. Like many of his acts, he wanted a bigger picture to be there. “That’s not really a Broadway show. That’s kind of using Broadway as a prop. I want to do a six-month run and do a two-act show that has a theme to it, and I’ll do it.” One has to wonder if somewhere there are notes in his handwriting for just that kind of show, tying in the Seven Words with the Blue food and wrapping it all up in some succinct little epithet he delivers as he strolls off the stage.

I doubt he’d have regretted a minute of it, though. “Broadway isn’t a very big career move, you know. … There’s no money in it and it doesn’t mean anything to your career. It’s just a nice little jewel in the crown.” Perhaps those are the words of advice he would have given Katie Holmes on her debut, too.

Like everyone else, I have my own favorite Carlinism: “Imagine how dumb your average person is. Now, realize that at least half the rest of the people are even dumber.”

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Writer’s groups are a dime a dozen these days and very few distinguish themselves.  Inkslingers, based out of Madison, WI, is one of the very few who do and manage to have their work produced.  I have been lucky enough to act for them on and off throughout the past three years at their staged readings.  However this year, I was asked to direct two of their short plays to be produced in a small theater in Madison.  The kicker with Inkslingers is that the playwrights are the producers of the show.  So the pressure was on.

Four directors had about four weeks to find actors and direct a show of twelve short plays.  The diversity of voices in the works had us scrambling for actresses over 50 and other types of actors you normally don’t have to worry about in mainstream theater.  However, the quality of the work written gave the directors in particular a myriad of was to go with their production.  The writer’s were faced with finally letting go of their work and allowing someone else to bring their voice to fruition.  Which I have to say they all handled very gracefully (more so than I would have).  The actors were given an opportunity to do original work, written and produced in their home town.

My actors met for once a week, due to schedules and not having a whole cast until a week before the show.  We did two plays one by Jan Levine Thal “Identity” and one by George Farah “Tech Support”.  Luckily, I had actors that could do both so I didn’t have to worry about separate casts.  I also had the fortune to work with actors ranging in age from late 30’s to mid 70’s.  One of the writers was at first skeptical of casting decision but once that writer came to rehearsal, all fears were allayed.  The other writer was did not come to rehearsal but was very open to suggestions about wording and other ideas on the play in general.  There were four performances and I am happy to say they were sold out each time.

Madison is fortunate to have a glut of artists that live in town and show their work here.  I am pleased that I have had the opportunity to work with one of the gems in this artistic community and bring quality writing and acting to life.

--
Dana Pellebon is also known as “Ms. Behavin’” with Foxy Veronica’s Peach Pies Caburlesque Show

and also blogs about her son, Cobain, at www.loveformyson.blogspot.com

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© 2008 Michael J. Wallach – Used by Permission of the Author

It used to be simple. You met an agency that you liked and you were presented with an agency contract that you could comfortably sign.  But, it doesn’t work like that anymore. What do I mean by that?  In the old days (not more than approximately five years ago) there was basically just one contract that an actor was given to sign. You were presented with a SAG Franchised Theatrical Motion Pictures and Television Contract. No problem. Signing it was easy because there were safeguards built into the agreement which guarded the actor from giving away important rights. But, it’s not quite like that anymore. Approximately 50++% of all talent agencies are no longer SAG franchised. In fact, as a personal manager of twenty years, I was comfortable allowing my client to sign such a SAG franchised contract without scrutinizing it because I knew that SAG had guidelines built into the contract that would protect my client.

What’s changed?  Most agencies are no longer franchised by the Guild and therefore are not bound to sign a potential client to a SAG Franchised Theatrical Motion Pictures and Television contract. So, what kind of contract does a non-franchised talent agent sign an actor to these days?  The answer is an agreement called a General Services Agreement. Is there a difference in the two contracts?  Absolutely.

Let’s talk about the basic differences. These differences can change your entire relationship with your agency. For example, it can keep you stuck in an agreement that you have learned was a mistake to enter into in the first place.  It can cost you more than ten percent…

So, before being specific about the different agency agreements, let me say that in spite of the agreement you sign, you can still turn a General Services Agreement into a positive move for your career!  (I’ll explain later in the article.)

OK, let’s examine the safeguards that a SAG agreement afforded you. First off, SAG didn’t allow an actor to sign an initial agency contract for more than one year.  This meant, of course, that the agreement’s term was relatively short and an actor knew that if it didn’t work out, after the year was up, he or she could move on to another agency.
But, with a General Services Agreement, an agency can sign you for up to seven years. (Yes, seven years because the state of California controls a general contract and the state rule is that a personal services agreement is enforceable for up to seven years.  It’s the same as signing a personal services contract to perform as a series regular on a series where the producer/network can sign you for up to seven years!)

What else does a SAG franchised agreement protect you with? It protects your right to get out of the agency contract if it’s not working and you’re not satisfied.  Specifically, you can get out of the agreement if you haven’t worked 15 days in the first 151 days.  How is this different than with a General Services Agreement?  Since such an agreement is only regulated by state law, you can only get out if you haven’t worked one day in the last four months!

Another important distinction between the two contracts that you may be presented with involves the type of representation that the agency will have over you. Simply put, when you sign a SAG franchised agreement, the only kind of representation is for theatrical motion pictures and television (and sometimes commercials). However, if you sign a General Services Agreement, you will likely be represented as not only an actor but also as a director, producer, writer, choreographer, and many more capacities!  So, you will not only be paying a commission as an actor but also for other fields should you happen to produce or write something that gets sold. In other words, was it your intention to give an agency a commission for something other than as an actor?

And another distinction is that the SAG franchised agreement limits the commission one pays to ten percent.  A General Services Agreement (controlled by the state of California) does not limit your commission to ten percent!

There is a positive way to approach the above situation. Let’s discuss. What is one to do when presented with a General Services Agreement?  Do you sign it out of desperation? Or, do you try to negotiate the terms with the agency trying to sign you?  The answer is the latter.  When an agency wants to sign you, the playing field has leveled out. While it may seem that they have all the cards, the fact is that you are wanted and needed by the agency that wants to sign you. So, discuss the terms. What do I specifically mean by that?  For example, tell the agency that you only want to sign for one year; that you want the same out clauses that a SAG agreement gives you; that you only want to be represented as an actor; and that the commission should not exceed ten percent.
Remember, the agency wants you – probably as much or more than you want the agency – so negotiate!

Michael J. Wallach, a manager and attorney for more than twenty years has written a book entitled “How To Get Arrested®”: A Motivational Story For Actors Breaking Into Hollywood. It answers many questions and does it in story form as opposed to it being written in text book style. Wallach also created and teaches a course for UCLA Extension called “This Business of Acting” which was offered in the Winter Quarter ’08.

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All About Numbers

As the video on their site will tell you, in the past 9 years Artistic Fraud has called for:

• 81 school desks
•  32 flourescent semaphore flags
• 790 maps
• 36 vibraphone keys
• 2400 square feet of polyester wedding dress lining
• Over 300 performers.

You can see a short film about the relatively small production Fear of Flight on YouTube now, and hear the ensemble as they blend and create their vocal stagescapes (score by Jonathan Monroe). It’s fascinating how the score backs up the dramatic collaboration of the characters on the stage…

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Even though it’s technically still the 19th here at Fame or Famine Central, I’m starting the Blog Off now because in England the clock just ticked over to the 20th, the day we are going for one blog post per hour. We have a few different bloggers set to guest post here, including a wonderful in-depth article about the Screen Actors Guild.

But let’s start with something completely different: a backstage tour of the London production of Spamalot! Nina Söderquist takes you on a tour similar to the one that Lin-Manuel Miranda.

Nina is the Swedish singing waitress who plays the Lady of the Lake in the London production (yes, ironic, that). Here’s a hilarious excerpt from a BBC tv show about her:

Blog-off posts: one down, twenty four to go (three, sire) twenty three to go!

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A Collaborative Approach

“The power of theatre and dance as a catalyst for positive action and change is what drives Soul Speed’s performances. We work collaboratively, drawing inspiration from who we are and where we live,” says Ardre Foote, the director. ” Our performances are kaupapa (vision) driven with an indigenous contemporary approach.”

It sounds like quite a vision: the instruments alone include Taonga Puoro (traditional Maori instruments), cello, flamenco guitar, percussion, and vocals. Their dance is equally eclectic, and it’s all tied together into some of the most amazing theatre effects I’ve seen. Take a look for yourself.

If you are interested in more, they can be reached through Director Ardre Foote at ardre.antonio @ xtra.co.nz

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Two Actors, One Script

The concept is as simple as it is radical: one actor ( in this case John Leary) is one character and the one who has actually seen the Obie-award-winning script. The other actor is the “guest” – drawn from Sydney’s dramatic community, people like Wayne Blair, Patrick Brammall, and Brendan Cowell. They have never seen the script, but the story still gets told – probably why the play did so well in London and NYC runs.

Read more about it here, and especially pay attention to this one part: because the play is different with every new guest, “An Oak Tree could just be the kind of show that attracts audiences who want to come more than once – that would be fantastic.” Now there’s a way to up the box office receipts…

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Here are the quotes, and who said them:

1. “She’s a pro and I’d say to be herself,” John Lithgow, her co-star in All My Sons
2. “She’s going to be wonderful.” That would be John Lithgow again.
3. “We haven’t worked together yet but it’s going to be great.” Once again, Mr. Lithgow, beginning to sound a little rationalizing, in my opinion.
4. [She] “will be so happy. There is nothing like it. It’s the Olympics. It’s the college of theater,” Brooke Shields, who did not say, as a writer friend of mine suggested, “C’mon! All the other girls are doing it!”
5. “Get a lot of sleep and stay healthy. It takes so much energy to be on stage 7 days a week so she needs a good night’s sleep everyday,” said Kristin Chenoweth, who gets my vote for the hardest working woman in show business and knows whereof she speaks.
6. “I’m sure she will do just fine.” also Kristin Chenoweth, and of them all, I think that her saying this would be the most comfort to Katie Holmes as she starts her journey on Broadway.

L. Ron Hubbard could not be reached for comment, as he’s not alive, and I really don’t have much to say except “Good luck!” to the mother, wife, actress, and soon-to-be Broadway star…

image courtesy of Newscom

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