Behind the Scenes: Half Hour Call

Join me backstage, and follow me as I get ready to play Julie.

This is the half hour call at The Savoy Theatre, enjoy!

Domestic Happening, Episode 9: Star Trek

It went like this:

**STAR TREK SPOILERS**

D: Wanna go to bed?
A: Sure. Wanna watch something in bed?
D: Sure. What?
A: Lost?
D: The Pilot of Lost?!
A: No. Star Trek?
D: Really?!! Excellent! Which one?
A: 6?

[Horrified pause]

D: What...?
A: ...six...?
D: Um, Al.... which Star Trek did we watch yesterday?
A: 2?
D: And... what about 3 4 and 5? You wanna just miss those out?
A: But you said 6 was your favourite. [D throws a stern look A's way] ...didn't you?

[thought gathering. there has clearly been a communication breakdown here. "This is MY fault" thinks Damian, I will try again to share the importance of the sequential order thing...he speaks again, VERY. SLOWLY...]

D: ...At the end of the movie when MISTER SPOCK DIES...AND HE TOUCHES McCOY and SAYS "REMEMBER..." ... um.... you don't... ya know?... wanna.... know what happens there....?
A: [Searching for the right answer] ...not particularly.....?
D: [Sigh] Okay, Al. What is the title of Star Trek 3 [Gets Star Trek 3]?
A: "The Search for Spock"!
D: Yes. [Patiently reads the back of the DVD jacket] "IN the wake of Spock's ultimate act of sacrifice, the crew of the USS Enterprise returns to Earth from the newly formed Genesis planet. Upon arrival, the crew learns that life back home will not be easier: Scotty get reassigned, Doctor Bones McCoy appears to be going insane, and the Enterprise is to be decommissioned. It is only when Kirk is to be confronted by Spock's father that he learns his old friend may have another chance at life. If the crew can survive the Klingon interference, and return to the Genesis planet..." I mean, my GOD Al! How can you NOT want to see what happens next?
A: [Thoughtful pause] But... you said 6 was your favourite...?
D: [Hangs head in shame] You cut me deep Al.... you cut me deep...

Fin.

It takes three

What a week.

It took...

A cut pas de deux
a carnival boy crisis
The threat of a show cancel
The great Adam Cooper
The Rodgers & Hammerstein Estate
and THREE Julie Jordans

...to get through this hell of a week, but if you could have been there on Saturday night, feeling the thrill of togetherness, experiencing the rush of an entire company plunging the period, the full stop on to the end of this violent sentence of a week; well... you would know what it feels like to overcome tremendous adversity and emerge victorious. And victory it was.

Saturday was the best show we have ever done. We burst, we radiated, we trembled with the energy--like the pile of ash that remains from a fallen phoenix. Or a collective creature raging against the dying of the light. This one is for us, we thought. This one is for principle, for nothing other than the fight. We are fighting against our fire going out, "spark by irreplaceable spark." We will not let the heroes within us expire. But Saturday? We were magnificent. Because we are magnificent, and can not be spoiled.

The crowd gave full throttle cheers from the first moment, and were wiping tears off of their chins by the end. The audience was on their feet in a way they have not been since Press Night. And we, more than we ever had, had earned it.

Sometimes in this world, we get burgled. We lay our souls open and bare, like a trusting person would a front door, and people take advantage of our openness, of our extraordinary courage to be so, and burgle us. And who knows why? Jealousy, greed, shattering envy, fear, arrogance, carelessness. The list is infinite. But the terrible transparency of truth reveals these dark forces to be brittle and stooping and banal.

What I do know is this: we could not have reached this serenity without all the violence we have known. But then again, isn't that true of everything?

Coops...

...as Carnival Boy.

Adam Cooper Comes to Rescue of Carousel
Date: 14 May 2009

The audience at last night's performance of Carousel at the Savoy Theatre got a special treat when renowned dancer Adam Cooper (choreographer of the show) stepped in at the very last minute to perform in place of the injured Tom Dwyer, who plays the Carnival Boy. Dwyer's usual understudy, Leon Webster, was also off injured, and the second understudy James O'Connell was too ill to perform.

Cooper, who is currently choreographing a production of the opera Roberto Devereux at Holland Park, only agreed at the last minute to go on, with producers facing the prospect of having to cancel the show if he couldn't do it. After 30 minutes of frantic rehearsal, he went on to perform the famed 15-minute pas de deux segment with dancer Lindsey Wise, and a bouquet from co-star Leslie Garrett at the curtain call.

But Cooper, famed for his performance in Matthew Bourne's seminal 1994 all-male version of Swan Lake and appearance in 1999 film Billy Elliot – is unlikely to be called on again. Leon Webster has today been given the “all clear” by doctors and will resume in the role this evening.

All I can say is this: sitting in the wings with the entire company, stage management team, crew and theatre staff, we experienced a communion of sorts. There, bonded together in the presence of such astonishing greatness, we simultaneously glinted for a moment, and bathed in a feeling of unity that I have only ever experienced in the theatre. Tonight was what being in the theatre is all about. It was beautiful and a shattering honour.

What a day.

Ask Al: Valuable Lesons

Dear Al,

Since making your West End debut you have worked with many theatre greats.

What was the most valuable lesson you learned and from whom?

X

* * *

Great question. I don’t really believe you can learn “life experience” type lessons from anyone but yourself. However, there have been a few things I have picked up along the way from incredible people that I have found endlessly helpful.


1) Ladies. Always. Curtsy. (Sir T Nunn)

When we were first staging the curtain calls for WiW, I came out and automatically curtsy-ed (years of ballet, thankyouverymuch), and he called out from the stalls, a hearty and congratulatory "GOOD GIRL!" before giving me the little tidbit above after we were done. I'll never forget it.


2) Being gracious to everyone you work with is the most important thing about being an actor-- showing appreciation, respect, and courtesy; and above all, using good manners. Courtesy costs nothing. (A Andrews)

And believe me when I tell you that he is indeed a man who lives his life by this principle. A kinder, more gracious man in this business you would be hard pressed to find. His generosity knows no bounds, and extends from the leading lady right down to the cleaners. Everyone matters, everyone is a part of the experience, and everyone benefits from his attentions and attitude.


3) Leaving the stage door after a show is “Act 3” of your job. (R Henshall)

She's right. If you are going to be a performer, you have to accept that being gracious to those who take the time to thank you for your performance, to get your autograph, perhaps a photo; that those people are what keep you where you are, and they deserve a piece of your attention. If you don't feel like it, too bad. It is as much a part of your job as Act 1 and Act 2. It is Act 3. She's a smart woman.


4) You only have 100% of what you have today. Don’t beat yourself up , use what you have to be 100% truthful TODAY.

Oh my goodness this is the best piece of acting advice I have ever been given.
Within the given circumstances of the piece, and within the limitations of your character's breakdown, use what 100% of what you as an actor possess TODAY and your work will be constantly truthful. Feeling vulnerable today? Then, within reason, so is your character. Are you feeling strong today? Then so is your character.

To use Fiddler as an example: there were days when I was feeling very tenderhearted or exhausted, so I utilised all I had available to me that day and Hodel was therefore more broken up and outwardly moved by the events of her life that day. There were days when I was feeling strong, and thus, Hodel was better able to keep her emotions under control. See? Both situations were truthful to the way Al the actress was feeling in that moment. This prevents so much pressure to hit your "best ever 100%." Give all you have today, and that is all you can give.


5. IT'S ALL ALLOWED. (Adrian Howells)

This pearl comes from a teacher/director/performance artist/all around incredible human being whose sole philosophy in working with people, is keeping their "love tanks" full. He believe you get the best out of people when they feel great about themselves, and what they are doing. Questions, mistakes, experiments, failures, celebrations, successes; ALL of it, IS ALLOWED. And this permission, this exquisite freedom paves the way for a truly safe and beautiful creative environment indeed. There is nothing that you can do that will be wrong or incorrect, it is all a part of the process of creation, part of the journey, of the experience. It's all allowed.

6. "When you come across an onstage experience as incredible as the one we share everyday, hold on to it. Remember it. Cherish it. It doesn't happen very often. And it's GOLD-DUST GIRL." (H Goodman)

This man keeps his cards close to his chest. And not only was this one of the greatest compliments of my life from one of the most reserved (offstage!) actors I've ever worked with, but incredible advice. Those glowing moments keep us afloat when we feel defeated, deflated, uninspired, misunderstood. When we lose sight of why we do what we do. Why we love it. That moment I shared with Henry was magical, inspiring, and good every day, and he was right, when I lose track of my inner fire I remember it, and I feel heartened.

And the best part of all this advice? It's not just true of the theatre...

Skippy Vs. Jif: A Tawdry Tale

America has had it's debates over the years, it's share of very public divides.

Do we or do we not secede from the Union?
Do we or do we not get involved in WW2?
Chocolate or Vanilla?
Pepsi or Coke?
Rachel or Monica?

But. I present you now with a controversy of cosmic import. I lay before you one of the most hotly debated issues in America:

Jif or Skippy?

I know, I know. One sounds like a bathroom "cream cleaner", the other like a benevolent fictional marsupial, but it is not the end of the dilemmas. Crucially, and perhaps even more importantly,

Smooth or Crunchy?

That's right. This is about peanut butter.
(Discuss...)


Now there is Reduced Fat Jif, Skippy Super chunky, Natural Skippy (with "no need to stir" which is a categorical LIE let me tell you)... the choices may never end. Will the debate only be made more heated and vehement? Will Skippy and Jif continue to divide our nation, continue to rip apart families by now offering MORE choices?! MORE opportunities for us to deviate from the simplest of all foods?!

Has there ever been an issue more contentious? Has there ever been a food so fiercely disputed? ... What was that?! ... I'm sorry, did you just say YOU DON'T KNOW?! Well, LISTEN! This is controversial food talk people, dust off your Debate Team jackets and break open your accordian files, spruce up your hand-me-down briefcases filled with sources and o-rings and note-cards and get ready to kick some peanut buttery ass because this is serious stuff. Don't take this lightly. That's right. Take it like a man...

Some of you out there might think that the two brands both have their virtues. That they are both synthetic vats of trans-fats and hydrogenated oils. That they are, frankly, extremely similar in most ways. And you might be correct.

But. Skippy vs. Jif is a true dilemma, people! Families have been torn apart, friendships ended, and states gone to battle over this crucial issue (in fact, speculation that the civil war was on the verge of re-ignition in the late 1970's due to a peanut butter misunderstanding between visiting relatives in Georgia is still yet to be determined).

So. Let's make a list shall we?

Skippy's virtues:
- Creamier texture,
- Great spread-a-bility (even in "Crunchy" PB)
- Melts to almost liquid on toast (which is dreeeeeeamy), thus "mixable" with jams/jellys
- Very light and (i.e., not too "heavy" in the savoury sense)
- Whimsical blue lid

Jif's virtues:
- Terriffic peanut(-ier) taste
- Great "biting" texture perfect for "off-the-spoon" consumption
- Sliiiiiightly sweeter (especially their Reduced Fat Jif, which has extra sweeteners in it)
- More and larger peanut pieces (in "Crunchy" PB)
- Whimsical red lid

Tawdry Points...

Jif takes the time to print a label that blantently plays upon one's ignorance. A few years ago the label listed this: "Made with no partially hydrogenated oils!" Intrigued, since Jif is a lowest-common-denominator PB that has always contained three lousy ingredients: refines salt, refined sugar and hydrogenated fat, one thinks to themselves, "How exciting! Jif got rid of the rapeseed oil! It will be less rancid and toxic and solid—both in the can and in my blood stream! Hurrah!"

Then one picks up the product and reads the label and it says, “Contains less than 2 percent fully hydrogenated oils (rapeseed).” Unbelievable. They’re bragging that they don’t have partially hydrogenated fats, because they have fully hydrogenated fats! I guess they’re hoping the "choosy moms" who buy the peanut butter are dumb enough not to investigate.

So. Jif. Liars.... Whatever.

But. BUT... no one, NO ONE I TELL YOU, can deny the fact that as far as stories go, Skippy's conception wins it with a tale of (ongoing!) seven-decade-long lawsuits, a comic strip, and an insane asylum. I mean.... please. That is amazing...

Via Wikipedia:

“Skippy” was first used as a trademark for peanut butter by the Rosefield Packing Co., Ltd., of Alameda, California, in 1933. Percy Crosby, creator of the “Skippy” comic strip, had the trademark invalidated in 1934, but Rosefield persisted after Crosby was committed to an insane asylum, and its successor companies, most recently Unilever, have been granted rights to the trademark over the objection of Crosby’s heirs. There has been much litigation on this point over the decades, some of which remains in progress.

Oh. WOW.
and, from the Associated Press:

Monday, April 5, 2004; 4:59 PM

ANNANDALE, Va. - For nearly 40 years Joan Crosby Tibbetts has waged a one-woman campaign against the makers of Skippy peanut butter, claiming the name was stolen from her father’s popular Depression-era comic strip. The U.S. Supreme Court ultimately refused to hear her suit against Skippy’s manufacturer, a division of the multinational conglomerate Unilever. But Tibbetts, 71, said she’ll continue her battle in the court of public opinion.

“This case involves a very important principle … ‘Thou shalt not steal,’” Tibbetts said Monday. “If this case is allowed to disappear and they succeed in shutting me up, who has won? These big corporations that believe they can just wear others down.”

Tibbetts’ crusade began in 1965 when the state of New York tasked her with administering her father Percy Crosby’s estate. She had not seen her father since 1939, when Crosby’s wife divorced him and took the children. Crosby died in December 1964, after spending the last 18 years of his life in a mental hospital, his cartoon character by then largely forgotten…

Her research led her to the conclusion that the trademark for Skippy peanut butter had been improperly obtained by the Rosefield Packing Co. She has waged her campaign ever since, a few episodes of success interspersed with endless legal wrangling and frustration.

She acknowledges crusade’s toll - financially, emotionally and physically. She also has been subject to nasty e-mail comments, including one writer who hoped she drowns in a giant vat of peanut butter.

So, there you have it people, what shall it be? The Red Lid, or The Blue? I will admit here and now, that I am a connoisseur, an aesthete, if you will, of both brands, grabbing "American" peanut butter where I can and when with glee in my heart and a spring in my step (not entirely unlike a certain superheroic kangaroo...)

Now.
Some might say that the crunchy/smooth debate is a matter of not only preference, but a matter of the specific use of PB. For me, I am of the latter party. Celery? It has to be crunchy. Sandwich? Creamy (with raspberry jam). Cookies? Creamy. Off the spoon? Crunchy in summer, creamy in winter. But all of that, it must be understood, is just me. This is something that must be decided within yourself, it is like choosing a religion, it has to be a spiritual calling of sorts... and I understand that some people are die-hard creamy/crunchy fans too-the-DEATH... and while naturally I respect your (possibly radical) adherence to your party of choice, I reserve the right to play, (as they say), for both teams... (hm...)

What does this say about The Silber? Perhaps simply, that she loves her peanut butter, and appreciates it in all it's forms and brands-- like fine cheeses or wines, The Silber appreciates the subtle complexities each brand and style of peanut butter can offer. She makes a judgment about the moment at hand, then utlises an appropraite sampling catered to that moment. She is not a creature of indecision or maliable loyalties, The Silber is a gastronome in the world of the pulverised peanut... an epicure... a specialist... a buff...

One might wonder why in this time of credit crunching, real-estate collapsing, apocalyptic economic crisis, swine flu, global warming and all around pessimism, just why one should take the time to ponder the intricacies of such a subject.

I riposte with this: isn't it refreshing to dwell on the infintesimal details of peanut butter selection rather than dwelling on all the doom and gloom?

Answer: Yes.

So. Just so I don’t leave you without a peanut-y taste in your mouth, here is a (sliiiiightly sexist) Skippy peanut butter television commercial from the 1950’s. Don't let it stick to the roof of your mouth.

Enjoy.



Oh! And! Have you been here? (My friend had this to say: "I had their daily special, The Johnny Appleseed: bagel, freshly-chopped apple, peanut butter, and optional cream cheese. A bagel so life-enhancing it fueled a whole day’s working around Manhattan – but that is NOTHING to the glory of Bea’s of Bloomsbury’s new peanut butter brownie: chocolate brownie simply oozing with peanut butter AND peanuts! Genius!")

Ask Al: A Second Opinion

Here are a few second opinions on the "Acting Vs. Musical Theatre," and other general training questions. I thought it would be interesting to glean some insight from those who experienced it from the other side. A few reliable resources are listed below.

Michael Jibson (Guilford School of Acting):

Interesting... There are some better colleges than others for Musical Theatre courses - Guildford - Mountview - Arts Ed. But I think ultimately, if you are in plays and films, you are an actor. If you are in Musicals you are still and actor. You would still approach a song in the same way as a piece of text - prose or verse.

There are some really good drama schools out there, and they will all give you the best opportunities - with the best agents going along to performances and showcases. If you want to be in musicals you audition for them. If you don't want to be in them, you don't audition for them.

I think what ever course you do, Acting or Musical Theatre, you are still an actor. If you wanted to be a singer, you would go and do an Opera course.

Conclusion: Whatever course you do, you make it work for you as an actor. Just make sure you take the course you will be happy on.

Rosanna Hyland (LaSalle College of the Arts):

I acquired a BA (Hons) Musical Theatre at LaSalle College of the Arts in Singapore. I went there because the choices in my home country of Australia were limited and I heard LaSalle had a reputable faculty.

So here's my two cents:

Find a course with a selective yearly intake. We had twelve people in my class, you can imagine the kind of personal attention and intensive training we got from that! Consequently, the course tailored to our own needs (ie. more dance classes because we were crap dancers, accent workshops because we sucked at accents, etc.)

If you're specifically interested in pursuing musical theatre, I would recommend a course that encourages students to actually study music! (I am shocked that most MT students in the UK graduate without being able to read music. They struggle to prepare for auditions and rehearsals as a result.) You don't need to be a maestro but it's comforting to know you can thump out your melody on a keyboard if you need to. Musical directors love you when you can sight read and learn your part independently. (That being said, music theory is naturally something one can always study on their own).

Go to some open days. Have a look at the students. And ask questions:

- Are they performing to a professional standard?
- Compare the MT students with the Acting students. Will the MT course give you intensive enough training to hold up in a straight or classical play?
- What is the student-teacher relationship like?
- Is the curriculum up-to-date?
- Are the students encouraged to 'find themselves', to experiment without fear of failure, to question their teachers, to be independent learners?
- Or are they expected to fall in line and nail that triple pirouette?

At an open day you can ask ANYTHING, you're not a student there yet so no one is going to penalize you for asking confronting questions!

What I'm trying to say is, find a course that is less worried about it's own reputation and standards, than more focused on giving it's students what they need. My class was such a motley crew of dancers, singers and actors, we were all so different from each other, and it was great to see twelve students emerge as individual, confident performers with different strengths.

Whatever the course, you don't want it to be about conformity and obedience. They are good if you want to be a lean mean dancing machine in the chorus, but if you're want to be a creative and unique performer (ie. "leading lady material") I'd say you need a course that encourages one to wipe off the makeup and explore yourself in a greater depth.

That said, I believe in a simple equation when it comes to education: INPUT = OUTPUT. That is to say, how much you learn and develop depends largely on how much you commit and devote yourself to the course. For that reason I tend to think a person can make the most of any course they take!

Damian Humbley (West Australian Academy of Performing Arts):

In my opinion, the training question is only relevant, insofar as, you should do it. If you want to work as anything in this world you have to train and learn the skills required. I've worked with people who've trained, and people who haven't, and I've always had better professional relationships with the former.

Training teaches you a language, which makes the creative process of any piece far more efficient and enjoyable.

In regards to what sort of training:

Al writes that acting drives everything, and while I agree, I'll be more specific and state that storytelling drives everything. Understanding what skills the story needs, to be told, is what takes training. While singing is a technical skill, there is nothing so moving as hearing a proficient tenor sing the final moments of Puccini's Nessun Dorma. Watching a dancer perform unimaginable feats with the human body to express a spellbound Odette in Tchaikovsky's Swan Lake is equally as affecting as an actor delivering an inspirational speech from Shakespeare's Henry V.

My point is - What do you need to learn, to do what you want to do creatively? Because, that's why we enter the arts - to be creative. AND to earn money doing it. But in that order. If your goal is to earn money, then I suggest IT, or Accountancy (something to do with numbers). People who are trying to find the 'right' form of study as a step in plotting out a successful career, are already off to a disappointing start. The piece of paper is worth very little, sometimes it gets you in the door, but it's for absolutely nothing if you don't have the skills.

Find a course that you connect with. One that offers classes you want to take. Lesson you want to learn. It sounds obvious, I know, but we can get lost with the planning. If I study this, people will see me as this, and therefor, I'll get this... It's all a lie. Learn, Understand, and be Good at what you do. That is where true greatness lies.

* * *

Interesting, huh? Thanks to Michael, Rosie and Damian, and hopefully this will spark some more discussion. All the best to you all, and I hope this proves stimulating if not helpful.

I've been:

busy attempting to catch up with friends who I never get to see or talk with

trying to find a sliver of time to write here.

wallowing in exhaustion

loving daffodils in vases, fresh coffee and morning light in my kitchen

struggling to keep up

dreaming of northern michigan, british columbia, russia, los angeles...

operating under a psuedonym ("Daisy")

baking "Daisy & Portia's Chocolate Coconut Cupcakes" with Rosie (Portia)

ignoring the cleaning duties

singing out loud in un-theatrical places

contemplating my favourite three sisters

eating peanut butter straight out of the jar with a tiny baby spoon

making very. small. collages.

talking to strangers on public transportation (again)

anticipating pink heady blooms

reading and watching

painting

wishing for lots of magic dresses

feeling a little inadequate

waiting for a comedy

working my way through my Old Classic spring clothes (with tremendous joy)

listening for the tinkly music of the ice cream truck, hoping for the ice cream man to come through our neighborhood.

thankful for the sun...


...What have you been up to?

Ask Al: A Life in the Theatre

Hi Al,

Secondly, if you hadn’t have become an actress would you have still tried to forge a career in any other side of the theatre, such as backstage or casting director etc?

Many Thanks,

Laura

* * *

The short answer is Yes. I say this all the time but I shall repeat it here because it is a perfect example of how I feel. I love the theatre, and acting is my contribution to the theatre.

If I had no talent for acting or singing, I would utilize my organizational side and delve in to the world of stage management. Or, I would try my visually artistic hand at design. I still intend, when I am brave and experienced enough, to direct. I have, and will continue to, teach.

I am often asked about pursuing an acting career in film and television, and though I would love to experience the thrill of a completely different medium, I explain that it is not acting that I love, but specifically, the theatre.

25 Things

Apparently this is the biggest case of narcissism in Internet history. 5 million notes have appeared on facebook in the past week. 5 MILLION facts.

* * *

1. I am addicted to badcrimedrama. The worse it is, the better.

2. This addiction to badcrimedrama has, in many ways, made me particularly suspicious and careful. Definitely paranoid. I sometimes think about things like "my finger prints are all OVER that..." or, "why would anyone throw their napkin in the bin when it is in plain sight? That NEEDS to be incinerated...." It's probably not healthy.

3. I have flat feet.

4. What About Bob? is my undisputed favourite film of all time. In a top ten list of favourite films, Bob would take up the top three slots. I could watch it on repeat, I could probably quote the entire thing from beginning to end (with intonations and pauses, inflections, music cues and everything). The last time I watched it? Yesterday in my dressing room between shows. Oh! And when I was young, I put a microphone up to the television and recorded it on audiotape so I could listen to it at summer camp and in the car. THAT my friends, is love. Every single time I watch (or, uh, hear) this film I get something new from it. Bob is not only humourous, Bob is strangely moving and enlightened. And well! I could probably write an entire post about Bob and indeed, just might...

5. I love owls. (Also, a friend of mine has a child who thought my name was "Owl" instead of "Al" and it stuck.)

6. I love Halloween. And Autumn. Both of these things combine two of my favourite things: a sort of dark and sinister aesthetic, and the melancholy nature of the fall season. I have a dark side I guess, and it revels in that time of year.

7. My favourite food in all the world is watermelon. But it HAS to be good. There is just no point in eating it if it is mushy or sour or mealy. But good watermelon? I could eat it all day every day. For every meal. Forever.

8. I'm fascinated by redheads. And redheaded culture. I like that redheaded-ness is a genetic mutation. I love how weird it is that redheads need more anesthesia than everyone else. My first proper boyfriend was a redhead ("with hair the color of a ripe orange peel"). I know three left handed redheads (one of whom was that first boyfriend). Redheaded-ness is not only a hair colour, it is a STATE OF MIND...

9. I have a very mysterious connection to the letter "J." Excluding a few key people, the majority of the major players in my life along the way have had J names, or had some connection to the letter J themselves. Examples...
Childhood best friend: Jessica.
Childhood boyfriend: James.
First proper boyfriend: Jeremey.
Brother: Jordan.
Love of my youth: Justin.
Kindred Spirit: Josh
Other major friends: another Jeremy, another Justin and another Jessica.
The one that got away: Jim.
I had a pre-teen crush on another Josh, taken over (in various ways) from a Jill a Jyoti and a Justine. I've been taught very important things by two Jeans, two Judys and a Julia, sung for Jeff, and of course, played Julie Jordan opposite Jeremiah James.

When pointing this phenomenon out to childhood friend Justin Boday, he nodded his head suspiciouly and then pointed to my parents quizzically. What about your Parents Mike and Cathy? Their names don't start with J, his expression read. I thought for a moment and replied: "Jom" and "Jad." Aaaand it stuck.

There are over 20 other Js which shall remain nameless, but they are OUT THERE (and I am certain they know who they are)...

10. I am really.... REALLY good at pinball. Don't challenge me to duel....REALLY GOOD...

11. I know that in admitting this next piece of trivia I will, without question, move down a few pegs in people's estimation: I know it is absolute garbage, but I secretly love Ghost Whisperer and cry at every.single.episode. It is bad. It is bad bad television and I love it. I. love. it. Iloveit. And I am NOT ASHAMED. Yes I am. I am ashamed. But now it is out there and that is that. Am I embarrassed that when we first tech-ed the final scene of Carousel that my reply was "Oh my god that light is so magical and JUST like the one in Ghost Whisperer!" ? --Yes. Yes I am. Am I discomfited that sometimes when (prepare yourself) "G-dub" is on, I turn off my PHONE? Absolutely. Do I care? Not really.

12. I famously get song lyrics mixed up. And allow the confusion to perpetuate within me for decades at a time. Famous (totally sincere) misunderstandings:

Hard Day's Night
"...and I've been working like a log...."

"I Say a Little Prayer For You"
"forever and ever you'll stay in my heart and I will hug you..."

and my favourite lyrical mix-up of all time:

I Will Survive:
"I just walked in to find you here with the fat whore upon your face...."

13. I love red. Anything red. It has always been my colour. I love to wear it, to look at it, if I could, I would bathe in it.

14. I don't think I have ever loved a city more than I loved, and continue to love, Venice.

"Perhaps I am afraid of losing Venice all at once, if I speak of it. Or perhaps, speaking of other cities, I have already lost it, little by little." -- Italo Calvino

15. One time, my friend Kit took me to Bastille Day at the French Embassy in London. Perks included, among other things, a security check at the front gate, shaking hands with the ambassador (his hand was incredibly soft), an Eiffel Tower and Arc de Triumph both made of baguette, and accidentally walking in on the Ambassador's wife in the toilet. Somehow, a hearty "pardon" just didn't cut it. Fantastic.

16. Sometimes, when I don't feel like getting hassled, I pretend to be English just so I can get on with my day without talking about Friends or politics. Sue me.

17. I am really good at making salads. And naming them. If I were to put out a personal ad, I would list salad making as one of my virtues because I am really very talented. Savoury, sweet, pasta, bean, Greek, Italian, Michigan, you NAME it, I can make it and you will love it. I promise. I once made a salad in Sheffield for our New Year celebrations with pomegranate seeds and called it "Persephone's Delight." Good, huh? Or what about "The Traverse City Surprise"?-- my Michigan theme salad made with apple and pear slices, (what I call) "yuppie greens" and dried Michigan cherries?

18. There was a period of my life when I thought I was going to be a meteorologist. I really love everything to do with weather, especially clouds.

19. I mix up words ALL the time. It is an Al-ism. Not important grammatical things like their there and they're, but words with a slightly more complex make-up, insinuating that the psychological blundering is something that lingers deep within my psyche. (I welcome and encourage theories.) One would think that a fairly intelligent girl such as myself would never mix up the words "antidote" and "anecdote," would one? But I do, and many others. And perhaps, if I am honest, I sooooometimes lean in to this little character flaw, and push it a bit, making mistakes I am already aware of, to spread amusement and joy to those around me!

20. My dad invented light beer. Seriously. It's true. Ask my mom. You can call her. I always do when people don't believe me. (And no, we're not filthy stinking rich. Dad sold the patent long before light beer became huge. But it is okay, he was too busy saving people's lives to bother with brewery and such...)

21. I once strolled through Borough Market during The Great Depression of '06, saw a giant rat eating a bit of what I hope was sausage, and thought to myself, “My life is over.” It wasn’t. (Obviously).

22. I love a good footnote.*

23. I am obsessed with All. Things. Russian.

24. For reasons unknown, I pretty much exclusively wear solid colours and simple patterns (if patterns are present at all). By simple I mean, clean, not-at-all-busy polka dots or stripes... and that is pretty much it. Any adventures I take in to the world of pattern are always precarious, and if I really think about it, I believe only one dress I own contains a pattern I would classify as "busy." I have no idea where this comes from. I wonder if branching out is necessary... or if I should just accept that I like what I like..?

25. My parents and I never discussed the fact that Santa Claus was not real. Mom and I still talk about Santa as if he is coming to dinner like Elijah. (Or, say, an actual house guest). It is just a sort of blasee thing, you know, Santa will be coming, naturally. We sort of knowingly talked around the subject during my teens, but still have never really discussed it. I like that. We are a magical family.

* who doesn't?

A Murderous Hiatus

Are there any words sadder than these:

"Jessica Fletcher will be taking a break from crime solving for now, but she will be back in a few weeks."

This seemingly innocuous phrase graced it's way in to my living room this afternoon after I had settled down post-workout with a salad and found myself perusing the TV guide, selecting "Murder, She Wrote" with glee (I even said the word "jackpot!" OUT LOUD), watching it with tremendous delight and amusement as per usual.

And then-- THEN! To hear these shattering words dispassionately articulated by the soporific voice within the television. To have my heart so unceremoniously cracked without so much as a warning! I didn't see the signs! I had not planned ahead...

Oh! BBC 2!! How can you do this to me?! It is not that you do it, it is that you did it with such callous. With such a heedless, devil-may-care attitude of terrible coldness. Diagnosis Murder has already been eliminated from the BBC1 afternoon lineup... and what. am. I. to do?

May you find greener pastures this summer, Jessica. Perhaps you are dining in Barbados with Mark Sloane.

Ah, how I always longed for a crossover. There they would be, Jessica and Mark, sipping Pina Coladas, remembering their golden days (with a gentle nudge nudge wink wink to both of their involvement in musicals and Disney films), on a jolly holiday to portobello road... How grand it would be until, of course, someone kicked the bucket! And then they would solve the crime together, side by side. With an animated penguin bobbing along beside them...

Well, wherever you are, I hope all remain alive and well... though naturally, this is just too much to hope for...

Ask Al: Musical Theatre or Acting?

Hey Alexandra,

As a wannabe actress/whatever-the-hell-job-i-can-find-related-to-theatre I just wanted to say how much I enjoying reading your blog. I always find your posts insightful as to life in the theatre and if nothing else they can always give me a good giggle and I for one share your love of incredibly bad crime drama!

I just wondered if you would be so kind if I could pick your brain...

Correct me if I'm wrong but the course you trained on at Royal Scottish Academy of Music and Drama was straight acting? Obviously the majority of your professional jobs have been in musical theatre and I wondered how ‘prepared’ your found yourself despite the course not being centered on this. Or if in any ways you felt that this benefited you more, the pros and cons etc. I am still undecided as to whether to audition for acting or musical theatre courses, I would prefer to apply for MT but while my voice and acting are strong, my dance is definitely the weakest area! So I’m unsure how far I would get.

Many thanks,
Laura

* * *

Hi Laura,

Any lover of badcrimedrama is already a friend of mine! How are you dealing with the depart of Grissom? I am, sadly, not coping well...(I have even taken to singing the theme tune "Who Are You?" with a note of derision specifically aimed at Lawrence Fishburn, which I intend to keep up for at least 2 more episodes until I am sufficiently readjusted). Grissom was the quintessence of CSI: Regular. I am lost, NO! THE CITY OF LAS VEGAS is lost, without our bug loving leader...

Now! To the topics at hand.

1. Ah, the classic question, what to study? I cannot tell you how often I get asked this question, so this is a perfect forum for me to extol the virtues of training. I want to start by stating that naturally, you are asking my personal opinion, and that is all that I represent here. I speak for no one but myself, and articulate only my own views and personal experiences.

My thoughts...

a. I believe, with every single fibre of me, that Musical Theatre is a genre of story telling. One. Single. Genre. As important and as legitimate as any other genre. (And believe me, I love it very, very much.) BUT. This being said. It is ONE genre of a very wide and expansive art form indeed, and I have never really understood fully why anyone would study a single genre for 3 or 4 years.

b. I suppose the theory is that you are technically studying three genres at once. That you are working three times as hard. And while I understand that Musical Theatre is a very technically demanding discipline, I deny that a person with a Musical Theatre degree is necessarily better armed for the world of Musical Theatre, let along a varied professional acting career. I would even go so far as to say that in some (certainly not all) instances, a mediocre (or poor) MT program actual does very little justice to truly honing one's abilities further than "polishing", it merely makes you competent, not excellent in three areas. There are, obviously, always exceptions to this, but I personally believe aiming to do one thing with true excellence, rather than many things with mediocrity. True excellence should always be your goal, not only in this highly competitive industry, but in life if you ask me.... and you are... (That is a snippet of a thought for an entirely different essay altogether, but you catch my drift).

c. My next point is this: I want you to think about all of the performing arts. Have you ever seen a dancer perform a technical feat of 20 pirouettes? It's impressive, it is like watching a contortionist or a high jumper at their best. But at The Ballet, you are meant to be telling a story, and I wager you, as an audience member, wouldn't care if the dancer performed only 5 pirouettes if their entire body and soul was laid bare for you to see whilst they danced for you?

Similarly, there is nothing like hearing an opera singer hit the high, big notes at the end of an aria. But if the aria is not sing with intelligence and passion, you are merely observing a technical feat, not an artistic one. A feat that can be measured with numbers, not measured with the heart.

Do you see where I am going with this? I studied straight acting for three years (plus two years multi-faceted training at Interlochen) because I knew that (get your pen ready) ACTING DRIVES EVERYTHING. One more time.... ACTING DRIVES EVERYTHING. If the story isn't being told, and told well, the odd voice crack here and there or 5 pirouettes instead of 20 will simply not matter. Believe me. This is not me giving licence to mediocrity, it is, in fact, the opposite argument. I believe that at the end of one's training, they should be very aware of the strengths they possess that can professionally deliver (on a scale of 1 to 10) between a 8 and 10, not the knowledge that they are "well rounded" and can deliver each discipline in the strong 4 to 7 range. Some people possess natural ability which accounts for a majority of their "delivery," but we're talking about training.

d. Take all three daughters cast in Fiddler on the Roof in London last year-- all of us classically trained (RSAMD and Bristol Old Vic). Lindsay chose us because he wanted to work with "actors," that is from the horse's mouth... not that Lindsay is a horse... he is really very nice and un-horse like.

Or, take my very good friend (since we were 16!) Santino Fontana. An incredible actor who trained classically at The Guthrie Theatre's BFA program in Minneapolis. He is an incredibly gifted musician as well, and he was not only in the original Revival Cast of The Fantasticks, but also in the Roundabout Theatre Company's production of Sunday in the Park with George and is now starring in Billy Elliot. Oh, and I should probably mention that he...you know....whatever... played the title role in Hamlet at The Guthrie Theatre in a highly acclaimed performance, and is the youngest actor is EVER play Hamlet in a professional production... so... that is fine... he is sort of talented....This is what he had to say about his training at The University of Minnesota/Guthrie Theater BFA Actor Training Program:

"I'm proud to say I have a visceral knowledge of the classics, specifically Shakespeare, and my passion for making those stories engaging, creative and dynamic was nurtured here over the last four years. My training has prepared me for a life as not just an actor, but an artist—aware of the world around me and informing how I choose to communicate a story to an audience. Moreover, my training has prepared me for life as a person—fully aware, curious, passionate, articulate, open and, above all, present."

And finally, look at the incredible performance of the beautiful late Natasha Richardson as Sally Bowles. A woman with no Musical Theatre training, using her natural singing voice and dancing in her underwear; giving a soul baring performance of a lifetime, and the woman won and deserved that TONY. I know. I saw it. Her performance was one of the reasons I decided to study acting. (May she rest in peace, she was an inspiration to so many...)

e. Your voice isn't going anywhere. As a friend once said (actually I think it was Santino, oddly enough in response to this very question) "it's not going to fly away like a bird!" If you work on it (and I trained myself all the time in between classes at RSAMD), it will grow and improve like any technical skill. Take extra curricular dance classes if you like. Push yourself outside of school, take it at your own pace. If you are an accomplished singer than you take private singing lessons or work on your own. If your dancing sucks get a private teacher or sign up for beginner tap. Challenge yourself and move at your own pace in those "technical skill" areas. The art is in the expression. That is what I think.

f. When I was offered The Woman in White, I was told that without question the reason I was playing the role was because I was such a strong actress. My voice was "very good", but I was told there were "so many people with good voices." I was informed that I was to play Laura because my acting had "won it." And that cannot be due to natural ability alone. I owe a great deal to RSAMD, thank you thank you.

g. Finally, the technical discipline and thorough understanding of all genres, not simply musical theatre, is integral to a complete understanding of the theatre and it's scope. I spent my entire first year working on Naturalism alone! It took that long for me to fully understand it and I am still constantly reworking my skills.

There you go. That is my advice. If you are serious about being a professional, if pursuing a career is not merely a whim, but a very serious goal, than that is the best advice I can offer you. Study Acting. Study acting and do it at the highest level you can. It is the beating epicentre of it all.

*I just want to add as a footnote, that I have met, worked with, and tremendously respect a great many performers who have trained in Musical Theatre (D being one of many who have thoroughly enjoyed not only their training but a varied and colourful career. There is always room for second opinions! I highly recommend asking for them!)

I really hope you find that helpful and I wish you the best of luck! Let me know how you get on.

All the best,
Al x