10 November, 2016

A Letter to my Beloved Students

Pandora.
Beloved babies, 
You have all been on my mind in the most profound way the last few difficult days. I can only imagine how shocking and frightening it has been for you, seeing your world churn in this way, feeling unsafe, and I am certain, afraid. 

I do not blame you. 

I want you to know that I keep my promises: you shall always have complete safety with, and and ally in, me.

So many of our shared memories have flooded through my mind in the last 72 hours: the now ever-more relevant themes of Electra and her struggles, the house of Oedipus, our ever-more prescient Trojan Women, the Hope remaining in Pandora's jar. Every single one of the plays we made together are ancient, and the ancients have been warning us of life's joys and horrors  for 4000 years.

But above all, I thought of Spoon River. 

People. Just people. Ordinary Americans with a myriad of pasts, needs, goals, myths, and pains--Americans who have just endured the First World War, with differing views, beliefs, politics and outlooks... yet there they all are, sharing the hill.

I am so proud to have been any part of your lives; you know how much you have always meant to and given me, and it is an honor to start to call you friends and not just students. Our paths are intrinsically intertwined and I felt compelled to share this moment with you. You are the future. 
Every night this week, the themes of Fiddler have been chilling in their relevance, but still we serve, and the catharsis of that collective, shared service has been a source of healing for the artists and the audience. That is what theatre has always been there for in society. You are the lucky servants, and we are the creators of the present and future. We have a job to do, we must serve to change the darkness that seems to swallow our world.

For freedom isn’t free, my loves. It blooms by the blood of those who seek it, and those who protect it against forces that would take it away. Artists have just been given the greatest role of all: to fight with our stories, our acceptance, our empathy. To lead with our understanding, our temperance and our tolerance for and of others, but intolerance of hatred and evil. That is NOT political. That is human. And as artists we are tasked by representing that humanity. 
Do not despair, create.
Do not destroy, serve.
Do not raise your fists in anger, reach your palms across the divide in an attempt to understand.
That takes courage, that takes dignity.
Be bigger than your opponents.
Love more than you could ever be hated.

And on the note of love:
I love you.
I love you truly.
I think love is the best super power we have, and I am sending all of mine to you for you each are beautiful beacons of hope; there will never be words for the gifts you have given me, and I hope I have given you a 1/100th in return.
Remember my babies;
The good we do.
How much we create.
The respect we bestow.

How hard we love—no one gets to vote on these.

With every last fiber of my heart,

Al

xx


Song of the Builders by Mary Oliver

On a summer morning
I sat down
On a hillside
To think about God

A worthy pastime.
Near me, I saw
A single cricket;
It was moving the grains of the hillside

This way and that way.
How great was it's energy,
How humble it's effort.
Let us hope

It will always be like this,
Each of us going on
In our own inexplicable ways
Building the universe. 



09 November, 2016

'Resume' by 
Dorothy Parker

Razors pain you;

Rivers are damp;

Acids stain you;

And drugs cause cramp;

Guns aren’t lawful;

Nooses give;

Gas smells awful;

You might as well live.

03 November, 2016

Ask Al: FAQs! - Part 2

1. Do you ever think that you could have done a bit better in any particular role?
It is easy and very tempting to doubt oneself no matter what one does for a living, but I try to adhere to the motto of giving “100% of what I have that day.”

We don’t always have the same amount of energy, emotional wherewithal or inspiration, but as long as you use everything you have in the “tank” available to you in that exact moment, you can’t fault yourself. You know you did your best.

That said, I played Rosalind as my final role in High School at the Interlochen Arts Academy. Now that I know a great deal more about love and loss (and have a kick ass boy haircut!), I would die for another crack at Shakespeare's wordiest and (according to Harold Bloom) most glorious heroine.


2. Which has been your favorite character you have ever preformed?
This is a very difficult question to answer because I view my characters almost like friends who have given me lessons and gifts. I like to believe that something called for us to be brought together—that a force from the Universe guided us to serve one another: the character's story gets told specifically by my mind, heart, body, voice and soul; and I, in turn, get to learn from their narrative, circumstances, and choices.

For example, 
- I learned from Hodel (in the 2008 West End revival of Fiddler on the Roof) how to say goodbye to my deceased father.
- I learned from Julie Jordan (in the 2009 West End revival of Carousel) all about the nature of my mother’s loss—what it means to be incredibly principled about love and to lost not only your husband, but the only love you will ever know.
- I learned from my beloved Sophie DePalma (in the Broadway production of Master Class) about being enough, and overcoming self-doubt.
- I learn daily from Tzeitel (in the current Broadway revival of Fiddler) all about marriage, faith, and family, and my feelings about all of those subjects at this stage of my life.

I always try to look to my characters as teachers.


3. What do you feel has been your biggest achievement in acting?
I think my greatest achievement is continuing to view acting as a service industry—serving the audience, serving truth, and serving my character’s story so that all that bear witness to it may be moved by, hopefully learn from, but ultimately be affected by, them.


4. Any dream roles?
Yelena (her magnetism and ugliness are both things I have a great deal to "say" about)
Rosalind (We're not done with one another)
Eliza Doolittle(nor are Eliza and I)
Mary Queen of Scots (underdog + history + beloved Scotland + poetry = bliss)
Antigone (Everything.)
Helen of Troy (for many of the same reasons I long to play Yelena)
Lady MacBeth (I have a shocking ready-access to this woman)
Hedda Gabler (I can't imagine a woman less like me, thus, a thrilling challenge)
Jenny  (in The Rise and Fall of the City of Mahogany...I love a singing whore...)


5. Do you remember a point when you knew performing would be your career rather than a hobby?
Hm, this is a very interesting way to phrase the question—both words don’t entirely resonate with me. Even though I was never a child professional, I don’t believe I ever viewed any form of artistic expression as a “hobby” or had specific dreams about a “career.” In some way my relationship with the arts always felt lifelong. I still feel that way: that my life is dedicated to a lifelong artistry that includes all the facets of my life.


6. What would your advice be for young actors for breaking into the business?
Know yourself thoroughly.
Then, never betray yourself.

© hula seventy

31 October, 2016

I've Been: Autumn 2016

Family Squad GOALS.
I’ve Been…

- Loving loving loving 'Autumn in New York'

- Singing  at the Mandarin Oriental with the "fam"

- Pranking Kantor
     (Kantor was out sick (?) for the first time, and thus I decided to start a prank: the entire cast wrote "Dear Adam" get-well notes, ranging from the sincere to the deeply inappropriate and his understudy Matt Moisey and I taped them ALL. OVER. HIS. ROOM.) 

Pranking genius.

- At the Mayo Clinic:
     - Getting answers
     - Meeting some of the best doctors on planet earth
     - Getting off the evil evil medications that were ruining my life!
     - Healing healing healing
     - Swimming in mega-steroid withdrawal! (SUUUPER FUN!)
     - Sleeping 9-14 hours a day.


- Introvert-dating to The Strand Bookstore with my beloved introvert gals Nikka and Ashley...

Introverts.
- ...and buying 8 squillion children's books (and a catnip owl for Tati, duh) for our mutual pal Laura Benanti's baby shower:
     - Lyle Lyle Crocodile
     - Eloise
     - The Phantom Tollbooth
     - The Secret Garden
     - A Little Princess 
     - The Chronicles of Narnia
     - Little Women
     - Anne of Green Gables
     - A Wrinkle in Time
     - East of the Sun West of the Moon
     - Frog and Toad

 - Enjoying Lilly playing in our Fiddler orchestra!
     (Can you believe Lilly and I have never, in our entire lives as performers and BFFs, performed together? This was one of the most incredibly special days of my life. Lilly and Al making their performance debut on Broadway. The feeling of having Lilly playing gorgeously, supporting me underneath my feet as I played Tzeitel was a dream beyond imagining.)


- Celebrating the Jewish High Holidays. 
 
- Adult-ing (I bought a shredder! And shredded things!)

- Exploring in NYC (Have you checked out The Oculus?)

- Experiencing major Fiddler understudy love!
(for instance, reveling in the magical day Adam Kantor was out, Jeffrey Schekter was on vacation, And Aaron Young was sick so JACOB GUZMAN HAD TO EMERGENCY GO ON FOR MENDEL!)

Happy Anniversary Hub!
- Celebrating our one-year anniversary at Fiddler on the Roof! Marking all the little "one year agos" as a company:
     - First day of rehearsal
     - T-shirt day
     - Staging Matchmaker
     - Our first Kamzoil date.
Happy Anniversary Fiddler!
- Finishing my book edits
     (Joyfully. It was a pleasure returning to these familiar characters I now see every day once again, and revisiting my new friends. I can't even express how extraordinary the priviledge is to share all these people with you on July 4).  
The cover!

- Dropping my jaw at the book cover! (It is REAL!)


- Coming apart at the seams that the book is available for pre-order on Amazon!

- Standing up for myself!
     (A very opinionated woman who is the hostess at Cosmic Diner on 52/8th avenue asked me "What did you do to your hair?" followed by her rolling her eyes, shaking her head and telling me it looked "terrible.")

- More and more Reading reading reading:
     - The Great Courses: Becoming a Great Essayist
     - Middlesex by Jeffrey Eugenides
     - The Five Keys of Mindful Communication
     - The Great Courses: World Mythology
  
- Auditions auditions auditions
     ...and then?
- Getting a new gig!

#TheCutestPregnantWomanOnBroadway
- Long autumnal walks in the park

- Making new friends!

- #TheCutestPregnantWomanOnBroadway SHENANIGANS

- 6 show weekend

- 5 show weekend

- WATCHING SOME TV
     - Binge-watching Hawaii Five-0 (...aaaaand WEEPING)
     - The Grinder
     - Bones
     - Family Guy
     - Chef's Table: France
     - Bloodline
     - The Roosevelts
   
- Reveling in Tati’s NOT *AT ALL* OVERBLOWN fame:




- Fighting for a #FairWageOnStage!

- Bonding with my lovely older neighbor Christian in apartment 12, as he attempts to give me his very last piece of precious baklava. I refused, but my my was he sweeter than the Aegean treat!


- Attending and singing at the Royal Conservatoire of Scotland's American soiree

- Attending my very first ever BOARD MEETING! For the RCS, a true honoUr.

Friends.

- Collecting for Broadway Cares/Equity Fights Aids

- Coaching incredibly talented students, friends and colleagues

- Watching Astoria (adorably!) trick or treat

- Having an impromptu Halloween Party with beloved pals ElStans, Max and Daniel with drinks, memories, laughter
     and
- the epics carving of pumpkins!

30 October, 2016

'Zilpha Marsh' from The Spoon River Anthology by Edgar Lee Masters

from The Spoon River Anthology by Edgar Lee Masters

AT four o’clock in late October
I sat alone in the country school-house
Back from the road ’mid stricken fields,
And an eddy of wind blew leaves on the pane,
And crooned in the flue of the cannon-stove,
With its open door blurring the shadows
With the spectral glow of a dying fire.
In an idle mood I was running the planchette—
All at once my wrist grew limp,
And my hand moved rapidly over the board,
Till the name of “Charles Guiteau” was spelled,
Who threatened to materialize before me.
I rose and fled from the room bare-headed
Into the dusk, afraid of my gift.
And after that the spirits swarmed—
Chaucer, Cæsar, Poe and Marlowe,
Cleopatra and Mrs. Surrat—
Wherever I went, with messages,—
Mere trifling twaddle, Spoon River agreed.
You talk nonsense to children, don’t you?
And suppose I see what you never saw
And never heard of and have no word for,
I must talk nonsense when you ask me
What it is I see!



24 October, 2016

The Visit

Moscow,
September 1910


That night, she dreamed.

Lying next to a fitful Maxim, she became aware of the unmistakable briny smell of the ocean air. Moments later, she felt Mikhail sit beside her on the floating bed, and then, in an instant, she knew he was there. She felt his gaze on her like the heat of sunlight through their shabby window. She opened her eyes and smiled at him. He smiled back.

“Gorky?” he chuckled.
“Well…” she shrugged.

He looked so well: as vibrant and rosy-cheeked and healthy as he ever had in life. His skin had a lustrous glow, as if a lambent flame deep within him was radiating a brilliant light of serenity, warmth and comfort.

“So,” she asked, smirking a little, “How is it?” she was overwhelmed with joy in seeing him.
“It is everything you hope it is.” He paused and thought for a moment. “That is all I should say…” He inclined his head, smiling, surveying her face, regarding her with love.
“I delivered the document, Mikhail. I succeeded.”
“I know, my love” he nodded.
“The journey was so treacherous. Thank God Dmitri found me in that alleyway, I never would’ve survived.”
“Well,” he glimmered “he had some help…”

And then they sat there a while. She bathed in his light, basked in his luminous presence, while he appraised her with a compassionate distance that simultaneously discomfited and soothed her. He was changed. But the change suited him. The signature resolve, the fight and pluck that so accompanied Mikhail’s every gesture seemed quelled; as if his fight had not been extinguished in death, but won.

She had kept her promise, and here, in her dreams, he was keeping his. How she missed him. Sorrow and yearning began to well up within her, and she turned away for a moment, allowing tears to fall down her neck and onto the pillow. Then, as if he had read her mind, he placed his hand on hers, and she felt a sudden, quiet, serenity. Turning back to face him she recognized there was heat and energy, but no weight or pressure in his touch.

Suddenly she felt herself rising, her vision sharpening, a wakeful consciousness pushing away the foggy mists of sleep. She wanted to sit up, alert, to be with him in waking life. But when she tried to move her she was frozen still, her limbs locked to the mattress. She fought and struggled to rise.

“No, Shura…” he whispered.

But she willed it to be. She pressed on, pushing through delirium with a wild force of love. His hand still on hers, his eyes locked on her struggling frame, he spoke easily, but his voice echoed from a far away place, as if in a tunnel,

“Look for me, Shura…” he counseled.

“Wait! Mikhail!” and she shattered through her paralysis, breaking through the immobilized cloud with a great force and sat up, breathless, at last.

Strikingly sober, she blinked the moisture from her eyes as they swept the room, observing with a great, clean, waking clarity, every corner and shadow as the first light of dawn began to caress the horizon. The hand he had touched was gripped atop the pounding of her heart.
He was gone.

Slowly, deliberately, she placed her hand on the spot where he had been and  and drowned in the ribbons of silence. Nothing remained save the cold of the dawn, the distinct scent of ocean air; and, fixed to the palm of her steady hand, a small collection of salt.

19 October, 2016

Adult-ing: Part 4

oh hey.
16. Every encounter counts.
    ...So always do your very best. Even if you don’t have a lot to give, give what you have and what you can, and do so with an open and glad heart.
    The number of jobs I have been offered because my reputation preceded me, or because I had done great work in previous audition rooms that didn’t require as much to prove in the ultimate room, all connected to original positive encounters. Good work is always your best calling card
    In addition, the number of friendships I enjoy because of meaningful encounters I thought would be casual, are many.
    You might not be the very best 100% you have ever had in The History of Ever, but give all you have that day, and if you genuinely think you are going to be better off at home, there is nothing wrong with staying home and recharging those batteries (believe me, I've done it). Why? Because every encounter counts.


17. Self-advocacy is not always about advocating for yourself to others, but, more often than not, advocating for yourself to your Self.
    When we are crushed into a corner, we are often willing to advocate for our safety, our rights, or for the rights and comforts of people, groups or causes we care about. One is much more likely to advocate for a convicted cybercriminal before we say to ourselves “I need to say No to this. Not because I am incapable, or, an inherently selfish grouchy pants, but because I can’t do this task well, nor will I be good to anyone if I don’t advocate for my health/rest/nutrition/downtime.”
    Why do we do that? Even though we would never actually allow anyone to speak to us the way our inner voice speaks to us multiple times a day, we tolerate it anyway, letting our best-worst-friend Inner Vampire drive the car.
    We also very rarely stick up for ourselves when our inner voice is being a big ol' jerk. The inner voice says things like:
    “You were stood up on that date because your thighs are thick and you can’t hold a conversation. You should spend at least three days fretting that you are un-dateable and un-lovable.”
Then it says
    “Your boss addressed a work issue with unnecessary venom, accompanied by a total character assassination: you totally deserve to be spoken to that way, and not only a bad employee but a bad person.”
Wow. Keep it down inner-jerk-voice!
Your inner self-advocate is also equally capable of saying:
“If I made a mistake, a person has every capacity to calmly express their disappointment or address my error without attacking me personally. If it continues, I have the power to ask it to stop, leave this situation physically, or try to prevent it from hurting me so deeply.”
    Lesson: Sometimes it isn’t about standing up for yourself to your boss or to your mother-in-law or that jerk face at work. And that is challenging.
     But more often than not, it starts deeper: self-advocacy is more often than not about reminding yourself that you are a human being who deserves respect and that that respect had to start by actually respecting yourself. (None of this lip-service self-respect but still keeping Inner Vampire on the payroll! I know that game...) You have to do your personal homework so you get to a place where you know and believe, that you possess worth.

18. Not choosing is also a choice.
Remember that.


19. You don’t have to LIKE everyone and vice versa.
Ronda: scene of cliffs, sangria, and arguments
     Well, what do ya know? High School is never over.
     I recall the very first time this lesson really hit home for me. I was away on a 10-day artist retreat in Spain (I know I know) with my artistic idol leading workshops at a beautiful Spanish mill during the day, while at night we ate and drank (and sometimes sang) our way through glorious Spanish delights, and socialized with the other artistic types. I initially withheld my profession and performance abilities. After all, I was on holiday, and I also thought it might a point of over-fascination for some (long lines of questioning and requests to perform, etc), outright threatening to others. And anyway it didn't really matter to making collages in Spain.
     Here's what I discovered:
  1. I was the youngest person there by about 25 years.
  2. The only single person.
  3. The only person who wasn’t (ostensibly) a Canadian mother (or, tag along husband)
  4. Socially, I had never dealt with ANYTHING like this situation, and I was
  5. ON MY FREAKIN' OWN.
     Some of the Canadians immediately associated me with their children. They responded to my 24-year-self, full of curiosity and youth with delight. Those folks scooped me up and adopted me instantly.
     Then some were suspicious. What was a 24-year-old American actress doing here exactly? What could she possibly want out of this experience other than attention? After the first few days, when those people realized that I was genuine, they relaxed and accepted me too.
     And then there was… well let’s call her Vanessa. Ahhh Vanessa. Vanessa was roughly sixty, a prominent person of British Columbia, mother of a 23-year-old son, and a retired television producer. Quite pretty for any age, Vanessa had lovely skin, a nice figure, and a shock of long, bright white, perfectly manicured hair that was once a shock of red.
     Vanessa was also incredibly intelligent, charming and cultured, but she also behaved as if she had grown used to being the star of every social scene. And I? Well, tiny-fetal-poreless-West-End-actress-living-in-London ME was not what she was expecting. Or hoping for. Or enjoying. Not one bit. Just by showing up, just by existing, I was taking up her oxygen, her role, and all the “star quality” real-estate in this social circle and WHOA BOY: look out. Vanessa wanted, nay, almost required my expulsion. Not physically, but her behavior insinuated that she needed everyone to at least dislike me at least as much as she did, and she needed this deeply in order for her to feel at ease.
      Now that I think about it,  I suppose there is something in the transformation of Vanessa's once-red hair now a shock of white that perfectly captures Vanessa’s (perhaps not entirely perceived?) crisis; a crisis I don’t even dare attempt to understand, for even now, I suppose I am still a relatively young woman. But people--particularly woman--in transition, are beings I have great compassion for. A part of me just wants to go back in time and hug her.
     Even though I didn't actively do anything wrong, I understand that my presence alone must have pushed some of her buttons, and I genuinely felt for her. I have now been on the other side of that situation (in less intense ways), and it smarts! It is genuinely painful and terrifying.
     That said, Vanessa's behavior was mean! Her behavior only slightly more refined than a high school bully (and believe me: I endured my fair few of those), but likely only because she'd had more practice than a teenager. Some days I stood agape at the things that came out of her mouth—the mouth of a grown-assed, adult, human being. Yadda yadda, I'm a big girl, and the details aren’t important but truuuuust me: Vanessa was a super-meany-pants and a bully.
     Crucially: at twenty-four, I suppose I had never even considered that “grown-ups” could behave like this! I guess I thought that there was a sort of magical kingdom or “finish line” grown-up people crossed at 40ish that meant they were "done cooking." This secret School of Adulting BFA (Bachelor of Fine Adulting?) made them infinitely wise, compassionate, tolerant and kind. This Adult Ivy League paradise is where they learned to drive, do taxes, do laundry, take out mortgages, change diapers, bake bread, write poems, join the PTA, and obviously, have all the answers! What a sucker I was (the same sucker that used to think elementary school teachers slept at school...) I didn’t expect Vanessa to pull punches that would make my sophomore-year group of Mean Girls HIGH FIVE her…before stuffing me in a locker.
     Well. I know better now. BWA-HA-HA.
     Having reached my own "adulthood" I now know that every single adult out there is both "winging it" and, truly, doing the very best they can. After all, despite feeling like a total nobody-loser (which, by the way, I promise you all “together” people still feel constantly), in reality I was (I suppose) young, kind of pretty-ish, relatively successful, fairly glamorous (at least to a group of Canadian non-urbanites?), living in London with my cute Australian boyfriend, etc etc— and yeah: sitting here just writing that run-on sentence, my existence sounds annoying even to me...

Spanish pottery neither Vanessa nor I bought.
    Anyway wow: Vanessa did not like me. And you know what? I didn’t much like her. But we were stuck in the middle-of-nowhere-Spain together making art, riding buses, and going on day trips together, and what Vanessa gave me was more valuable than the piles of art and lifelong friendships I came home with. It was this: you don't have to like one another. And more important: you certainly don't have to like one another to still have a good time! (I think Vanessa and I even ended up having a mostly-silent, but not-altogether-unpleasant glass of sangria in Ronda together before agreeing to disagree about Moorish influences on the local architecture and moving right the heck along to go see an ancient bullfighting rink. Or not-buy pottery. Or something.)
     It was evident that I'd done nothing wrong in this scenario, I was merely an unwelcome mirror that Vanessa did not welcome or expect.
     This happens to everyone at some point, on both sides of the coin. What counts is how we choose to respond. I truly had (and still have) compassion for Vanessa, and while I did not love her behavior, I understood and had compassion for where it came from. But crucially? I knew it had nothing whatsoever to do with me.
My heart softened and I was able to un-skewer myself from blame and release my need to be liked by a person who was never going to like me.
At least not right now.
As the kids say: haters gonna hate.

That conflict taught me valuable lessons in:
    Staying true to yourself
    Endowing yourself with the right to exist
    Letting it go
    Making the best of it
    Focusing on the good
and it set me free from
    the social “necessity” to be universally liked and/or approved of.
So, truly: thank you, Vanessa!

And finally,

20. Success isn’t about what you do, it’s about how you FEEL about what you do.
Full Stop.

Adult-ing - Part 1
Adult-ing - Part 2
Adult-ing - Part 3
Adult-ing - Part 5

©hula seventy

11 October, 2016

A second-person letter.

    Bright blue clear morning skies, crisp autumn air and trees not-yet turned, filtering morning light like honey in Madison Square Park. Another audition.  You feel the mild futility of the audition mixed with its ultimate purpose: to get you out into this diamond-cut day. 

    You walk slowly around and around the park, inhaling deeply the smells of this city in the fall
——roasted nuts, burnt sugar, the wafting stenches of downtown, the over-perfumed gales of up. Human musks, tilled soil, cider, exhaust. 

    You sit down upon the bench where you both met after a long silence. Shorter than this one, but still. Long. Hard. This innocent park is a dark corner of your past; it holds your secrets and your shame.
 

    Siting down upon a bench in a dark northwest corner, you close your eyes and feel the heat if his hand in yours, can almost summon his smell. Your hand dreams of his; it reaches out for a phantom, for a lie, for anything at all.
  
     Your body cries a four-in-the-morning cry. That mind, the humor, a sense of complete understanding. You know his breath. You miss him acutely. You grasp your phone to reach out——but pause. Good. You know the expulsion was necessary. Is.  What you shared was real, but unfair. 

     Or was it real? Secret loves can have no cemetery. You bury empty coffins, spread invisible ashes. 

     For a moment you allow that truth to take you over fully, folding in half with feeling. There is no metaphor to describe this pain; it is just longing, just regret. Incredible. Simple. Endurable. Terrible. And distant. Just not today, not in this moment. Now is now, and it takes you by the throat. Right now it is a tingling limb, long removed. The limb with the still-stinging nerves that burn, that punish.

     Then just as quickly it as it came, it ebbs. 

     You stand, exhale, and leave the park, and all it holds, behind you. Where it belongs.   


© Ade Santora

30 September, 2016

'Sorrow Everywhere' by Jack Gilbert

Sorrow everywhere. Slaughter everywhere. If babies
are not starving someplace, they are starving
somewhere else. With flies in their nostrils.
But we enjoy our lives because that's what God wants.
Otherwise the mornings before summer dawn would not
be made so fine. The Bengal tiger would not
be fashioned so miraculously well. The poor women
at the fountain are laughing together between
the suffering they have known and the awfulness
in their future, smiling and laughing while somebody
in the village is very sick. There is laughter
every day in the terrible streets of Calcutta,
and the women laugh in the cages of Bombay.
If we deny our happiness, resist our satisfaction,
we lessen the importance of their deprivation.
We must risk delight. We can do without pleasure,
but not delight. Not enjoyment. We must have
the stubbornness to accept our gladness in the ruthless
furnace of this world. To make injustice the only
measure of our attention is to praise the Devil.
If the locomotive of the Lord runs us down,
we should give thanks that the end had magnitude.
We must admit there will be music despite everything.
We stand at the prow again of a small ship
anchored late at night in the tiny port
looking over to the sleeping island: the waterfront
is three shuttered cafés and one naked light burning.
To hear the faint sound of oars in the silence as a rowboat
comes slowly out and then goes back is truly worth
all the years of sorrow that are to come.

23 September, 2016

Back to School with Tevye's Daughters

As Tevye’s oldest daughter, Tzeitel, I wanted to offer some relevant and toootally up-to-date back-to-school advice, and provide some gifts to our beloved youngest sister, Bielke, played by Haley Feinstein.

On a personal note, I am so proud of Haley for choosing to commit herself fully to her sophomore year of high school. As a huge supporter of education, I recognize that nothing compares to the life experience of a being in a Broadway show, let alone in an original cast. But school, real learning, and having the experience of being a real teenager is more important than anything. She has made a difficult choice to leave an original company and focus on her academic goals, and her self-awareness, intelligence and tenacity are so inspiring for a 15-year-old. 

Happy back to school everyone!

15 September, 2016

Mentorship: Modern-day Alchemy

Introduction

Some mentors are easy to spot: they work for the Y, they have an office, a piece of paper that says they’re “allowed” to be looked up to and followed.

Often, they also have a specific connection to a vocation, like the apprenticeship model of ye olden days.  A young up-and-comer with reasonable potential, a fair amount of chutzpah and a spark of fire in the their belly dutifully reports to the workplace of Ebenezer Scrooge to learn a trade (hopefully with more coal and fewer ghosts…)

In modern times we have less and less of these relationships. The internet has become our universal teacher and connect-er—an “apprentice” can learn almost anything from the world wide web— from make-up tutorials and de-husking corn, from tiling your own bathroom to the intricacies of complex computer fixes. We no longer look to others we know—but to helpful, anonymous strangers.

I’m not complaining. I’ve credited YouTube countless times for assisting me in getting shit done (thank you for helping my mom reverse flush her engine core The Internet!)

But what gets lost is palpable— a relationship cherished and nurtured since Ancient Greek times, ingrained deep in the mire of our culture: true mentorship.

And what, truly, is mentorship? Traditionally it is defined as a relationship in which a more experienced or knowledgeable person helps to guide a less knowledgeable or experienced apprentice (sometimes also called a protégé—or, in contemporary times even referred to wryly as a “mentee”), so that the master’s knowledge and mastery becomes that of the protégé, giving them a launching pad with which to create their own path to individual mastery.

A great mentor knows where to focus attention, how to properly challenge the protégé; providing the most productive and meaningful kind of insight. Great mentors provide immediate and realistic feedback on the protégé’s work, so they can refine their skills in a streamlined and often, transcendent manner.

But those are all big fancy words.

True mentorship is above all, an interconnection based on Ye Olde Human Interaction; a learning partnership between someone with vast experience and someone who wishes to learn on a deeper level. One in which the tribal elder exceeds the practical role of teacher—that is to say, one who passes on factual information—but goes beyond to the highest reaches of human connection.

In essence: the way one can spot a mentorship is that in its presence, both parties are forever transformed.

*

Tyne and I

I first met Tyne Daly in March of 2010, when I was fortunate enough to be cast as Sophie DePalma in Terrence McNally’s Master Class at The Kennedy Center as part of a festival titled “Nights at the Opera”—a trilogy of McNally plays about McNally’s greatest passion. On day one I learned my first lesson from Tyne:

    “Hey kid: breathe. It’s free.”

Not bad advice for anyone, let alone someone who probably hadn't exhaled since 1991. 

I sat in the bowels of The Kennedy Center smack dab in the middle of what I now fondly refer to in public as "a period of extraordinary personal change" but what in private I recall as akin to ripping off my own skin. It was alchemical transformation and adversity, the very best kind of ass-kicking grow-up-or-else kind of moment. 

A gaggle of beautiful actors were all gathered together in our Nation’s capital, who, as it happened, were all also a period of the exact same nightmarish skin-ripping life exercise for all of our company, including Tyne. Marriages were over, pregnancies discovered, apartments lost, loved ones passed on. What an operatic-sized palaver. The details of that are unimportant, suffice it to say everyone was going in through it, looking-up-to-see-the-bottom kind of struggles. Heart-broken, grief-stricken, stupefied, broken-up-with, lost, and God-oh-God: out of town. 

Despite what could have been a group of suffering individuals in their isolated pools of light, we somehow made the collective choice to come together, and feel like shit as a collective, and allow the art to move through us and heal what was left of our hearts. Heck: it beat isolating ourselves in our individual misery-soak hotel rooms. (I mean, it was 2010—we still had to pay extra for WiFi...)

The climate of tenderness that surrounded that process was a kind of an aperture into the deepest recesses of human vulnerability.  It was then I learned my second lesson from Tyne: 

     Q: What does it mean to truly be a leading lady?

    Tyne: “Two things only: a leader, and a lady.”

We were brave because she helped us to be, and because she encouraged us to be and bring our highest selves to the process, it lead to our greatest work, a Broadway transfer, not to mention  lifelong relationships.

But what happened between Tyne and I specifically was magical. We shared something on a deeply spiritual level; had a connection in our eyes that I lack language to express. And as Sophie learned from Callas, so did Al from Tyne, and all the combinations therein.

The day we meet Sophie DePalma in Terrence McNally’s beautiful play, she has a great deal to prove—to the Julliard faculty. To her classmates. To Bellini. To that hateful ex-boyfriend we know nothing (and everything) about. But the day we meet her, all of that is secondary. That day Sophie has everything to prove to herself. And when I first met Sophie, so did I.

Tyne trusted me enough to bestow upon me the honor of truly playing with me.  Playing in the fencing-master-tossing-a-rapier-at-the-student-who-has-some-potential sense of the word.  She picked up her blade and challenged me with a valiant, open heart and a wry smile. To this day, it was the best match of my life.

She treated me like an equal (on and off stage), and I endeavored to deserve that honor. Her “game” improved mine, and what we created together is, without exception, my greatest, and most precious creation. We played the kind of “Deep Chess” Lawrence Ferlinghetti talks about in his poem of the same name:

“For you must play deep chess
Like the one deep game sparky won from fisher
And if your unstudied opening is not too brilliant
You must play to win
Not draw...”
Her Callas was towering, tender, monstrous, human, vulnerable, honest, and ultimately, incandescent. 
 As long as I live, I shall never forget it.


*

Mentorship: Modern-day Alchemy

It is known fact that when we admire people, we become more impressionable to everything they say and do.  We pay a fervent attention, a deeper kind of regard, and because our souls are engaged, it allows for a more powerful kind of learning.

After the run of (the aptly titled) Master Class in Washington, I was at a loss for what to do with my life, more specifically, where to live next. I had spent the last decade or so in the United Kingdom, and did not have a base in any American city…

…So what did Tyne suggest? Why, moving in with her of course. What followed was (yes, as you probably imagine) a series of Auntie Mame-like tales of absolute joy, friendship and epic learning—a back-and-forth dynamic that fueled, and perhaps healed, us both. An electric spark that only burned brighter as I gazed deeply into her mirror.

Lessons like going for walks:

    “How about we walk from the top of Central Park to the bottom? All we need is the right shoes and the right ATTITUDE. Which, come to think of it, is all we ever need…!

Lessons like, believing in your own longevity:

    “Long after the world has forgotten so many, I am going to come see you play Cleopatra. Just keep going kid.”

Lessons like:

    - day trips
    - poetry recitations
    - how to make the perfect ginger beer
    - Countless trips to concerts and the theatre (naturally)
    - Poker night
    - An actual 'Twelfth Night' ritual (where we invite everyone over, and we eat and drink the very last bits and bobs from every tupperware and wine bottle til nothing is left) 
    - The listening of radio plays
    - Writing
    - Discussions of theatrical greats of yore
    - The moving of my 110-year-old Chickering piano to her New York apartment, where it currently still lives.
    - Tarot card readings

And, when my heart broke recently in the presence of another theatrical experience, she offered the following:

    “You are gonna be heartbroken, beaten to death, crushed to a pulp, disappointed and obliterated. But other than that? You’re gonna be okay.”

*

Life is ephemeral. So is the theatre. We cannot hold it in our hands. We all love that which vanishes. The play must end. The company shall disband, life will march on.

And just like the ephemeral theatre, thus is life: our time here on earth for learning and growth is finite. Nowadays we often think it is admirable to “become ourselves” all on our own, to DIY the apprenticeship phase of development and emerge fully formed as if artistry and mastery hatch out of an egg with no visible signs of effort or training.

I encourage you to humble yourself to the apprenticeship process, for without role models, teachers, parental figures and mentors, we can waste valuable time attempting to gain knowledge from un-serviceable sources.

Further, be courageous enough to ask for mentorship. There is always a quivering ego involved in asking for help from those we admire, but trust that those with lessons to offer more often than not, truly wish to have the opportunity give back in a meaningful way, they are merely waiting to be invited to do so. Have faith that the process will be mutually beneficial, and remember: no matter what there is nothing to be lost by complimenting a master, and asking for their guidance. 

Above all, while we must always strive to grow beyond those who came before us, we must revere and learn from those that broke the ground originally, and endeavor to honor their legacy; then continue it in our own vision.

*

A Moment


Hours before our first preview on Broadway, Tyne asked me to come down to her dressing room to run our lines together in an "Italianne”— a run of the lines at increased speed. Italiannes are like calisthenic warm-ups for your brain, and with so much talking and nerves high, they are a great tool in moments such as these.

We settled down, placed our bags, zipped our cardigans, and sat down in her room—not yet moved into, not yet her own.

And then, without ceremony, we began.

There was no music. There was no one else. It was just us and the words.

Throughout this experience, I had accustomed myself to criticism—I needed Tyne’s feedback to be a realistic appraisal of who I was as a human being and actor; through that kind of evaluation, we all develop a confidence that is much more tangible.

One might  think that in that dressing room—flourescently lit and unceremoniously dressed—that  this little exercise of the run would be dry, hollow.  But the words were so powerful, and our feelings for those words, and above all, for each other, so unutterably potent, we both directly went ”there."

Tears fell.
Hands were grasped.
It was our own little theatre, our own magic, right there in that sterile little room.

It is in this sacred moment that I realize I have chosen, and been chosen by, the perfect mentor according to my dreams and Life’s mission—the future artist I aspire, endeavor, and dream to become.  The mentor you choose must be allied in the same way.

    "... I want you to imagine you are Amina. This is opera Sophie. You're alone on a great stage. Make us feel what you feel. Show us that truth..."

That's it.
We finished.
There was a silence and in it, we both looked away.

Then she leaned in, held my hand and uttered,

     "I love this. And you."


©clinton brandhagen




13 September, 2016

Ask Al: FAQs! - Part 1

Dearest Readers,

As time goes on I have noted and collected many a FAQ from friends, students, fans and the generally curious. I thought it might call for a new little series of Ask Al called LIGHTNING ROUND! 

[*KAPOW!*]  

Enjoy, and as ever, if you have questions, please feel free to reach out in the comments section or via email!

* * *


1. How long have you been a performer? From where did you get started?
The first performance I ever participated in was a ballet recital. I was a butterfly.
The first play I ever did was in 3rd grade— I played Miss Hannigan in a school production of Annie. You heard me. And yes. There’s a video.


2. Leading male roles you've been dying to play:

Captain Hook. [*achem*]— hand down.


3. Is there anything you strive to actively improve upon as an artist?
I am always striving to be more truthful, and to gain human experiences that can help me serve different kinds of people and characters. I actively search for understanding of people who see and experience the world differently from me in order to expand my capacity to reflect life more realistically and passionately.


4. Have you ever had a character or play (scene) that gave you difficulty? How did you approach it?
I found it very difficult to get inside the head and heart of Julie Jordan (in the last West End revival, and Los Angeles productions) of Carousel. I think, if I’m honest, I judged her with my 21st century sensibilities about what women “should” and “shouldn’t” endure in a relationship and thus kept myself from being open, from having truly exposed and generous empathy. From that place, one cannot connect, and it took me opening my mind before the enormous gifts of what we had in common flooded my heart.

When I got a grip, I realized we had much more in common than we didn't. The only way forward was to throw away my judgments and search for the things that we shared; to view Julie as a teacher.

I learned from Julie all about the nature of my mother’s loss (of my father in 2001 after 30 years together)— what it means to be incredibly principled about love and to lost not only your husband, but the only love you will ever know.

Ultimately, Julie Jordan gave me the greatest gift of all time. It has been a blessing to revisit her a few times, and continue learning.


5. Something about you that surprises people:
I am an introvert.
I am an introvert in the classic sense in that I "recharge my batteries" in solitude rather than in the presence of others. I prefer long days alone, quiet time, and one-on-one conversations to group dynamics, and above all: I require lots and lots of time alone to process life so to better be ready to face the our extrovert-biased world in all my developed going-out-in-public shininess! My out-going self is not an "act" or a lie, it is an element of my personality I often enjoy, it just is slightly against my inner nature.

My introvert claim surprises many people because I have highly developed extrovert behavior: I am friendly, outgoing, warm, good at parties, etc., but it doesn't mean that that behavior is not energetically 'expensive."

There is nothing wrong with Introversion. It is also not the same thing as shyness or aloofness. It is merely as simple as where one derives their energy.

A classic Extroverted (by necessity) Introvert:
"Many introverts realize that they must become experts in personal appearances and self promotion in social settings.  Many of us realize that simply being ourselves won’t cut it all the time. We can’t remain quiet, reserved or autonomous.  We must function by igniting connections with people.  And in order to do that we need to exude the energy and charisma of extroverts.

So while it can indeed be practically helpful to channel our “extroverted selves” in our work lives, friendship circles and family lives every now and then, many of us introverts fail to set healthy boundaries.  If we have not developed enough self-awareness, our extroverted selves can wreak havoc in our inner and outer lives." —
Top tip: if someone claims to be an introvert and you do not perceive them that way, don't say "No you're noooot." It isn't very polite to insinuate that someone doesn't know themselves. Instead, I encourage you to get curious! Perhaps ask something along the lines of "How fascinating! I perceive you as quite extroverted, do tell me more..." Just a little feedback from someone who gets that comment a lot. ;)


6. Can you offer any specific “tip” to being an actress?
Always, always, tell the truth.