Bridge Over Troubled Waters

Two Incredibly Blessed 60 Year Olds with Almost 39 Years Of Marriage Behind Them

2009-08-06T15:42:00.006-05:00

Jim and Teresa posing in the "Typical Tourist, Hold the Camera Yourself Posture" in front of the home where Erin lived twelve years ago on St. James Place, London.

WAR HORSE IS ASTONISHING!

2009-08-06T14:59:00.008-05:00

New London Theatre on Drury Lane

The National Theatre's production of WAR HORSE, based upon a novel and is currently being performed at the New London Theatre on Drury Lane is visually mesmerizing! Teresa and I fell in love with the horses, the story, the aesthetics of the puppetry construction and the muscular beauty of the puppeteers. We were totally taken with the production except for the voice work of the principal male actor.

The play tells the story of how a horse who is purchased by a family at an auction. The young son and mother become emotionally connected to the horse, only to have the father sell the horse to the military during war to provide for his family.

I definitely suggest that you google this production and view the pictures online. The absolute beauty of the life size horse puppets are absolutely gorgeous. Three to four actors manipulate the horse puppets in full view of the audience, but because they are so specific and so beautiful to watch, they easily begin to blend into the story, without drawing unnecessary attention.

The story is naturally poignant but all of the actors portray the emotions honestly and genuinely, without in any way becoming "little house on the prairie" like.

The directorial vision of the production is masterful! At times, particularly when the actors mounted the horses, I felt as if I was viewing a movie. The war scenes look huge, although no more than 20 actors are onstage at any given time. The epic proportions of the story and the struggles to survive are emotionally profound. And all along, you are seeing through the horses while the puppeteers are creating their detailed movements.

Teresa and I both struggled enormously with the principal male actor's voice. He is a graduate of the Central School of Speech and Drama, and for my purposes, should not have been so controlled with the back of his throat. It seems that they made a deliberte effort at placing his voice there, but many words were missed for this American audience member. And the actor playing the role originated the role while he was a student at the Central school.

The production first opened in late 2007, won Olivier Awards in 2008, but as of yet, has not reached New York. I find that interesting because the production is so "theatre-esque".

BILLY ELLIOT THE MUSICAL

2009-08-06T14:38:00.005-05:00

Victoria Palace Garden Theatre

Although I was in New York in June and could have seen BILLY ELIOT THE MUSICAL there I deliberately chose to see the production in its place of origin, London. We saw BILLY ELLIOT on my 60th birthday, which again was very deliberate. We had a wonderful time sitting opposite a couple with two daughters from Washington D.C.

Teresa and I are huge fans of the movie version of BILLY ELLIOT. From the program, Elton John also discussed how the film version impacted him so deeply. However, one shouldn't compare the two, or your disappointment might be supremely keen. That may have been what happened to us.

The young actor portraying Billy Elliot danced exquisitely, particularly in his "mad" dance after his father finds him in the ballet studio. Because his solo ends Act I, Act II became somewhat of a struggle to remain interesting.

The musical is a great deal more "camp" than emotional realism. I thought the production and the directing played much too much into the sympathies of an admired audience.

The choreography did not seem original, and they appeared to utilize beginning ballet and tap, although the performers were genuinely competent in what they were given. Half the cast were between the ages of 12 to 14, and it is completely understandable that they continue to train. You could certainly tell that they were having fun with the production, and even more fun with the over extended curtain call. I won't say what they all do at the final curtain call.

What I liked the most about this production was the fact that Billy's dilemma of wanting to dance and the coal mining strike paralleled so beautifully together on stage. The director had a wonderful "mix" of the young dancers moving in and around the coal miners who were intermingled opposite the British policemen. The visual contrast was truly a stamp of what is great about live theatre.

Overall, I felt patronized by the performers and the director. I wanted more of the emotional explosiveness I experienced in the movie. We simply did not experience those deeper feelings during the viewing of London's stage version of BILLY ELLIOT although I am really glad to have seen the production.

London and My Heart Strings

2009-07-27T16:14:00.006-05:00

Incredible architecture everywhere we looked!

Tower of London and Tower Bridge

Lion in Traflagar Square

Celebrating Jim's 60th Birthday prior to seeing BILLY ELLIOT

Jim in London Eye Observation Wheel

Teresa in London Eye

Covent Garden Square

Gates to Buckingham Palace

Such richness of architecture and design!

London Bridge

Westminister Abbey

The Houses of Parliament

Regent's Park

I have to admit it -- Emotionally I was touched a number of times in London seeing the sites including Big Ben and the Houses of Parliament, Westminster Abbey, Buckingham Palace, Trafalgar Square, Fleet Street, 10 Downing Street and so many, many more. It was indeed awe inspiring to be in this beautiful city!

One of the unique "treats" of London is Westminster Abbey. We spent an entire afternoon in the abbey sorting through all of the incredible monuments to the Lord and others. The afternoon was capped by hearing the Abbey choir and organist rehearsing together: WOW! Again, heart strings plucked numerous times! I am so grateful to have the privilege to be in a place I have studied for so many years. I am exquisitely blessed indeed.

For the Love Of Ireland

2009-07-21T09:50:00.007-05:00

Down Patrick Head

Jim and Teresa on the Grassy Cliff overlooking the Stags of Broadhaven

Stags of Broadhaven

Each morning we awoke to this incredible view of Down Patrick Head.

Seashore adjacent to Down Patrick Head

View of the Catherdral in Ballina, overlooking the River Moy during the Salmon Festival.

One example of the many stained glass windows we were privileged to view and interpret while we prayed inside the churches.

County Mayo countryside we viewed as we prayed in over 20 churches in 10 days.

The Adoration Service was held in Eyre Square by one of the Irish priests, accompanied by numerous musicians.

Galway's Festival of Faith in and around the pedestrian only streets of Galway

The view outside our bed and breakfast in Ballycastle, County Mayo, Ireland, overlooked the Atlantic Ocean and Down Patrick Head. The beauty clearly rang out that God Is Alive and Loving On His People.

Memorable experiences in Ireland included lunch with Father Mark Diamond, a retired parish priest and his loving sister Joan. They were so inspiring and their love for the Lord is so alive and vital in their lives, despite declining health. Father Mark spoke Gaelic and Greek in his conversations and his prayers. Both of them are in their 80's but are funny, insightful and charming.

Other inspiring times in and around County Mayo, included three separate visits with Father Muredoch Tuffy, a young, intelligent and gentle Director of the Newman Center in Ballina. His great love of the Irish people, particularly the unfortunate, was so welcome and engaging. His energy and enthusiasm for his teaching was personally inspiring for me. Father Tuffy also is a parish priest besides his duties at the Catherdral. He truly loves what he does.

We were masterfully entertained in Father Francis Judge's parish home during our stay in County Mayo. Father Judge cooked an excellent dinner for all 12 in attendance. Fathers Tuffy and Judge had visited us in Waco in May, and it was a delight to re-connect with them as brothers in Christ.

Another memorable time in Ireland was having the privilege to pray for parishioners in Galway at two different churches. Despite our being strangers, many people opened their hearts to us as we prayed in a conversational manner for their many economic, spiritual, emotional and physical needs. We experienced a sweetness of God's favor while we were praying.

We also were privileged to meet numerous people in County Mayo who pray fervently for the churches in Ireland. Compassionate hearts included ministers from the Church of Ireland, parish priests, hermits (the Catholic Church's term for an intercessor), business owners, and retired professionals who have chosen to move to County Mayo and commit themselves to their individuals churches and pray for God's heart where they are "planted". It was a privilege to walk alongside them for a brief time.

Seeing Down Patrick Head and the Stags of Broadhaven was also inspiring. As Down Patrick Head drew me back again each morning from where we were staying, I was reminded how God chooses to do that to each of us. "His eyes are intently centered on us." WOW!

Because we have demonstrated to the many people in Ireland that we care for them and are not attempting to "convert" them to our brand of Christianity, the transparency and openness to us gets stronger and stronger each time we speak to each other. I am reminded of the simple truth that we are all on a journey and our paths will cross but they will also diverge, but respecting and showing compassion for all is so very imperative as we live our lives together.

By Auto, Plane, Taxi, Train, Ferry and Bus

2009-07-13T06:03:00.008-05:00

A serene Dublin, Ireland park across the street from our hotel seen after our train and ferry adventure. We relished in the serenity after having an ATM machine eat my bank card, which severely shook my emotions.

A historic bridge in Wales seen outside of the train.

Remains of a castle outside of Holyhead in Wales viewed on the train.

A view outside our train window from London to Holyhead

Over ten original Dutch Master paintings are displayed in the Amsterdam airport, and patrons are allowed to photograph, although they were encased in protective screens.

The Dutch language utilized in advertising in the Amsterdam airport named Schiphol.

The Irish Ferry ULYSSES, an 11 story "cruise ship" took us from Holyhead, England to Dublin, Ireland back and forth on July 10 and July 24

I feel so incredibly blessed in our travels and experiences as we begin the third phase of the summer sabbatical. We journeyed from Waco to DFW Airport and flew to Amsterdam, the Netherlands, on July 9. From Amsterdam, we flew to London Heathrow and caught a taxi to our hotel. The taxi cost us $88 American dollars....argh! Everything is so expensive in London! We had dinner at Garfunkel's Restaurant, as a tribute to our blog title BRIDGE OVER TROUBLED WATER by Simon and Garfunkel. The next day, July 11, we caught the train from London's Euston Station and traveled through Wales and the lake country to Holyhead, England. The train moved very fast. A home in the country took on a new perspective traveling through the English countryside. From Holyhead, we caught a luxury ferry (really a cruise ship) which had 11 levels, a casino, movie theatre, gift shop and lounging areas for the three hour ferry ride across the English Channel to Dublin, Ireland. We spent the night in Dublin, Ireland and then on July 12 we met our Antioch Community Church Irish Team members at the airport. From there, we drove from Dublin, on the eastern coast of Ireland, to Galway City, Ireland, on the western coast of Ireland. We stayed in Galway for three days participating in the Festival of Faith with our Catholic brothers and sisters. We were also blessed to pray for Irish parishioners in two churches. After three days on the western coast of Ireland, we drove to Ballycastle, where we stayed for ten days. We were housed in a beautiful bed and breakfast owned by dear friends. Their home overlooks Down Patrick Head, an absolutely stunning view of the sea side and the famous place where Saint Patrick was known to have walked. We dined, conversed, prayed and laughed with many wonderful Irish friends who are walking on a journey with the Lord. These friends included members of the Church of Ireland, the Catholic church including four priests, families and prayer warriors who love Ireland and who believe that God wants to do a significant work of spiritual revival throughout Ireland, but in particular County Mayo. After ten days we made a midnight journey back to Dublin, where Teresa and I caught the ferry and train for five additional days in London. One very clear and resounding message in all of these travels is that we have been "blessed at knowing how insignificant we are as human beings, but how wonderfully kind and loving our heavenly Father is each moment we breathe. HIS Significance Counters Our Insignifance! " I believe that traveling abroad certainly captures a larger world view of spiritual, emotional, physical and mental life but it also reminds us all that we are a mere pebble on this very large and grand planet called earth. Despite that perspective, I do believe that God feels significantly about each person individually. I believe that this idea re-captures the importance of seeing each of my students as individuals, uniquely made whether intelligent, talented, or not. They deserve my affirmation to learn of their own personal significance while in my class. I am challenged to do a much better job during 2009-2010 academic year.

Lynn Nottage's RUINED: 2009 Pultizer Prize Winner

2009-06-15T09:12:00.005-05:00

Lynn Nottage (second from left) participated in a talk back after the Sunday afternoon matinee performance with cast and musicians from RUINED.

One of the women of the Congo whose story the play is based

RUINED is the story of soldier's abuse of women of the Congo -- A gut wrenching production!

What an amazing performance at Manhattan Theatre Club!

I had to hold back my "sobbing"-- certainly this is theatre with a pulpit!

I was totally taken with the production of RUINED. The text is amazing and immensely powerful. It is a definite "must read" whether you ever have the cast or not.

The actors were cast perfectly in their roles. Each cast member commanded the dialect in a very easy to understand manner.

The costume, lighting and scenery designs were also magnificient and the directing was superb. I will definitely remember many of the individual performances from this production, although no one was a "big name."

The emotions were so powerful and wrenching. President O'Bama needs to come back to New York and see this production very soon.

I could not have asked for a more superb ending to seven New York shows in five days.

I'll be talking about this production for many weeks to come.

OUR HOUSE by Theresa Rebeck at Playwright's Horizon

2009-06-15T07:44:00.002-05:00

I am directing OMNIUM GATHERUM by Theresa Rebeck and Alexandra Gersten-Vassilaros next fall so I was delighted to know that her new play had just opened at Playwright's Horizon. I saw this production on Saturday, June 13. OUR HOUSE deals with the interesting mix of "news" as we know it and "reality" television. The script has some surprising turns and twists, which kept the audience intrigued throughout. Theresa Rebeck's timely statements about the television industry also gave me caution.

Central Park and Times Square

2009-06-14T11:01:00.006-05:00

Upper West Side of Central Park, Around 72nd Street

Shepherd's Field in Central Park

The City Which Never Sleeps

The Wild Crowd at Times Square on Bubble Blowing Day

A View of Times Square Atop the new TKTS bleacher facing toward 42nd Street

"Let the Sunshine In": The Tribal Ritual Which is HAIR

2009-06-14T10:47:00.004-05:00

I can't really say that I was totally taken into the frenzy, because this production has lived in my head since 1967. I'm glad that I had the occasion to re-live my "HAIR" euphoria, but the production didn't always proceed from the 60's, in my opinion. Will Swenson as Berger was a true free spirit on stage and was most enjoyable to watch. Gavin Creel as Claude also played a believeable perplexed young man. I enjoyed watching Gavin and Will work along side each other, many times with a very metrosexual bent.

The young cast sang, danced, moved, grovelled and humped all the way through the performance, indeed enjoying themselves in front of such an appreciative audience. I just tended to sing the songs in my head, remembering the original production, not this one so much.

I will say that I sang the finale with joy and tears watching older people join younger people on the stage. Since I am old "Jesus Freak" I always sang "Let the Sunshine In" representing Jesus as the Sunshine and there was joy indeed coming from my heart on Saturday afternoon, June 13.

EXIT THE KING with Geoffrey Rush

2009-06-14T10:17:00.003-05:00

It was a true honor to be in the presence of such a finely tuned actor as Geoffrey Rush who portrayed the role of King Berenger in Eugene Ionesco's EXIT THE KING. Rush won the 2009 Tony for best actor. and from my observation, I'm sure he won "hands down", even though the ensemble work between Nathan LaRne and Bill Irwin would certainly have been given an ensemble award, if such an award existed with the Tony's. Rush moved and flexed his body, on the stage floor, all over his throne and with varied walks and rhythms with his cape as if he were in his twenties. He was a true athlete physically and emotionally and to me is an example of what all actors ought to be doing with their bodies. Rush had such a powerful forward motion even though his character dies at the end. The play's basic plot is his struggle with the announcement from Queen Marguerite that he is dying in an hour and thirty-three minutes. Rush was truly generous with a summer audience, even coming out into the aisles during one of his long speeches, giving and taking as if we were all an audience of one. Indeed, he was powerful!

I was also captured by Andrea Martin's portrayal of Juliette, the chamber maid. Again, her timing and her strong muscularity of physical choices "swept" me away. Susan Sarandon as Queen Marguerite was okay. I didn't realize that she has not been on the Broadway stage since 1972, so I always appreciate actors switching mediums and working with a live audience. (And this production was physically demanding.) I also appreciate that Sarandon's biography stressed first that she was a mother, and then actor and activist. I believe she has established her priorities and I'm sure her children are deeply grateful.

GOD OF CARNAGE, 2009 Tony for Best Play

2009-06-14T08:04:00.003-05:00

I "SROed" (standing room only) Thursday evening, June 11, at the Jacobs Theatre to see the 2009 Tony award winning best play GOD OF CARNAGE. The show was 90 minutes in length, so the standing room only was not difficult, and actually in the Jacob Theatre, it was a great view of a new play. The four person cast included Marcia Gay Harden (Best Actress, Tony 2009), Jeff Daniels, James Galdolfini and Hope Davis. The casting was superb and I certainly enjoyed seeing three well known actors but I was more taken emotionally by REASONS TO BE PRETTY than I was with GOD OF CARNAGE. As an acting instructor, I was concerned with the vocal strain, particularly in Marcia Gay Harden's performance. I felt that the directing was much more actor controlled and thus there were patterns of movement which became habitual, which is often the case with an interior set and the use of a couch. I also felt that the actors too often pushed emotions from their waists instead of from their entire body and they tended to use too many fist gestures, as if that might have been a metaphor. Honestly, I think it was the actors falling into patterns, which ought to be corrected by the stage manager. I expected more from these veterans.

Neil LaBute's New Play REASONS TO BE PRETTY

2009-06-14T07:52:00.002-05:00

I saw Neil LaBute's new comedy REASONS TO BE PRETTY on Wednesday evening, June 10. Although the production is closing June 14 (today), it is a well acted and fiercely driven comedy about miscommunications in relationship. After Act One was completed, I thought to myself that Act Two would not explode or move forward, which is a typical problem for the second act. But boy, was I delightfully wrong. The entire production moved aggressively with strong and emotionally deep moments, specifically between the two principal roles, Steph and Greg. I was not so taken with Greg in the first act, but these young actors, dove into the emotional frenzy of this LaBute writing, and delivered with strong and honest portrayals. Although the writing is intense contemporary language, the scenes are somewhat my students can sink their "teeth" into with well written emotional drives. The cast is young and there were no name starts, which I also enjoyed. Since that production, I have purchased the script, and will definitely use it in my acting classes. I am always looking for new scripts.

Phase Two: New York and WAITING FOR GODOT

2009-06-13T08:43:00.003-05:00

I arrived in New York and decided to "rush" down to Times Square and pick up a "rush" ticket. (Bad joke, huh?!) I happened on to WAITING FOR GODOT on a Wednesday afternoon, June 10. Nathan Lane, Bill Irwin, John Goodman and John Glover gave exquisite life and energy to a well worn play by Samuel Beckett. I was smitten with the realization that a full house was listening and enjoying Samuel Beckett's masterpiece, young and old alike. Watching Nathan Lane and Bill Irwin work together was inspiring. Not only were they totally connected to the text, they were totally connected to each other, equally giving and taking, comically and dramatically. They worked the text so that it sounded as if it had been written in 2009. They approached each other physically in the most astounding and varied manners, seeming to keep opposite body rhythms and rarely falling into cliches. Irwin and Lane are both exceptional comics, but both had dramatic turns, many very quick from a comic moment, only to wrench the audience, emotionally and spiritually. The entire production gave me "pause" -- What am I waiting for? Who am I waiting for? What do I do when I am waiting for what I'm waiting for? It was absolutely divine to be in the presence of such experienced actors as Nathan Lane, Bill Irwin, John Goodman and John Glover. I was honored to be a part of this experience. It was amazing that such a play at such a time in our history is so well favored. I believe Samuel Beckett would have been "delighted" with the production.

The End of Phase One: 4200 Miles Later

2009-06-13T08:33:00.002-05:00

Welcomed Back to Texas with an Incredible SunsetAfter 4200 miles on the road and four audio books, we arrived back to Waco Monday evening, June 8. This phase of our trip has shown me the incredible blessings of God's creation, family and experiencing the present. Yes, these are simple perspectives, but they are most definitely worthy of consideration over and over again.
I feel incredibly BLESSED! Thank you God! Thank you Teresa, Erin, Josh, Andrea, Lewis, Judy, Vivian, Mary and J.E. for enriching my life these last several days.

BENGAL TIGER AT THE BAGHDAD ZOO by Rajiv Joseph

2009-06-05T11:23:00.004-05:00

I saw BENGAL TIGER AT THE BAGHDAD ZOO, a new play by Rajiv Joseph, on June 4 at the Kirk Douglas Theatre in Culver City. The play has received significant attention including "Outstanding New American Play" as part of a new initiative from the National Endowment for the Arts.

The play is a somewhat lyrical, darkly humorous playing revolving around the Iraqi war, greed and cross cultural communication. It is directed by Moises Kaufmann, who is the co-founder of Tectonic Theater Project. Moises Kaufmann directed Doug Wright's I AM MY OWN WIFE, winner of the Tony for best play and the Pultizer Prize. Moises Kaufmann just completed a run of 33 VARIATIONS with Jane Fonda and 33 VARIATIONS has been Tony nominated.

Moises Kaufmann's direction is fascinating. I enjoyed his vibrant use of the actor's body to transcend time and place and he certainly magnifies visual compositions which reinforce the playwright's intent beautifully. Mr. Joseph states "that the play revolves around the act of translation: An individual standing between two others [alive and dead] and trying to facilitate communication and some sense of understanding." The production seems to encourage us all to search for significance without violence.

I was particularly taken by Arian Moayed's performance as Musa, the Iraqi translator. I seemed to want to watch his every move, emotional nuance and stamina. I was also impressed with Hrach Titizian as Uday, the dead son of Saddam Hussein. His muscular physical control and his stunning voice work kept me deeply intrigued.

The scenic designer, Derek McLane, also designed 33 VARIATIONS and I AM MY OWN WIFE and the recent revival of THE PAJAMA GAME (2006). The openness and flow of the play's world was simple but beautiful, particularly with the topiary garden.

From a acting teacher/director perspective, even experienced stage actors need to continue working on the vocal muscle. So much of the time, since this piece is so intense, the intensity went into the actor's throat and upper pitches, something I talk about all the time in my work with inexperienced actors.

Stop the war! -- I cry out for peace, spiritually, personally and politically!

El Matador Beach in Malibu

2009-06-05T11:15:00.003-05:00

Caveman Jim

The Eye of God

Gorgeous Teresa Enjoying the Beach

Dinner with Josh and Andrea and Venice Pier

2009-06-03T21:55:00.002-05:00

Josh, Andrea and Teresa at Venice Pier

Our two favorite Venice residents, Josh and Andrea, at C @ O Trattoria Restaurante!

Josh's Birthday Gift to Us: Venice Beach Eco Friendly Cottage

2009-06-03T17:18:00.005-05:00

Grand Blvd. Venice Beach Cottage one block from Josh's house.

The bedroom of our Venice Beach cottage.

The bathroom lavatory with reclaimed and organic products.

The view from the kitchen overlooking the living area with french doors leading to a small deck.

San Francisco Folly

2009-06-03T17:07:00.007-05:00

An exquisite drift wood sculpture of a horse. One in a series of sculptures.

On the right, meeting Jennifer and Elizabeth Black at Skates in Berkeley.

On the far upper right, our wonderful host and hostess, my brother and sister-in-law Lewis and Judy.

A Beautiful Day in San Francisco

2009-06-01T23:25:00.001-05:00

Teresa and I Love San Francisco

2009-06-01T00:43:00.002-05:00

The Sausalito View of San Francisco Cityscape and San Francisco Bay

The Salt Lakes

2009-05-31T23:08:00.002-05:00

The amazing lakes of salt in Utah!

Traveling by Auto: What Was I Thinking?

2009-05-31T20:00:00.003-05:00

A nine hour drive from Waco, Texas to Stratford, Texas was completed on May 27. On May
29 we drove 14 hours, spending the night in Rock Springs, Wyoming. On May 30, we drove another 14 hours stopping in Sacramento, California for the night. We arrived in San Francisco in time for lunch with my brother and sister-in-law on May 31.

What was I thinking? Am I crazy? I'm no 21 year old hippie who can sleep in the car and drive all night anymore?

And then, we come upon such beauty as the Utah Rockies shown above. WOW!!

Snow Kissed Mountain Ranges in Late May

2009-05-31T19:57:00.002-05:00

Snow still exists in Colorado, you hot sweating Texans! This one is for you Eddie.

The Significance of a Texas Rabbit (Is it a Cottontail or a Jack?)

2009-05-31T19:32:00.004-05:00

How might I better learn from the seeming insignificant and ordinary Texas rabbit (shown to the right)? Or how might I become a better man of God or a more dynamic teacher by appreciating the "ordinary" in our lives?

My male psyche has wanted to subtly "brag" about my summer sabbatical activities, but after I let others know what I am privileged to be doing, I find myself anticipating what is ahead, instead of relishing the present.

How do these two elements of finding significance in the ordinary and enjoying what is in the present, have to do with personal growth? How do these elements relate to my spiritual journey? How do these elements color the manner in which I work with theatre students? How do these relate to desiring inspiration without discipline in my life?

As we began our summer activities by driving through West Texas on Wednesday, May 27, my initial thoughts projected to future visits to San Francisco and Los Angeles, instead of absorbing what was to be experienced from the more bland and flat Texas panhandle. On Thursday, May 28, I saw the above rabbit in Stratford, Texas and as I enjoyed watching him watch me, I found contentment from this more ordinary and common wildlife. I didn't need to see the more exotic seals in San Francisco Bay or the dolphins at Venice Beach. I could enjoy God's smile through a small rabbit in the panhandle of Texas.

Lord, help me to thrive in the present. Help me to glean what is presented to me in the now.

Approach to Working Alongside the Actor as Artist, Part 4

2009-05-23T19:59:00.005-05:00

The third aspect of actor training is one rarely viewed as an area of training, but one which is intrinsic to an actor's success. Even before I studied at the University of Connecticut under three teachers from the London Academy of Music and Dramatic Arts, I could see the true power of one's love and devotion to dramatic literature. In my professional past, I experienced directors who could beautifully landscape a play onstage conceptually, but had no theatre training except that they loved the literature and were devoted to the playwright's vision. British actors and directors also have a rich heritage with the spoken word; something American actors have not fully developed. I see the advantage of students learning to love dramatic literature. The enthusiasm and vitality of devotion to text can bring a true depth to the actor's professional life, from my perspective.

Because each actor comes into their training with certain areas of strength and certain areas of deficiencies, a holistic method of training should include a physical method of training the body and voice, an affirming emotional environment where risks in their work can be taken and a rich and vibrant interior life can be built plus a constant challenging system to spark an actor's desire to dig deeply into all genres of dramatic literature. The training process should have all instructors encouraging the other areas of enrichment.

Although I have taught on the undergraduate college level for 33 years, I remain enthused with how to make the process exciting for the actor but at the same time exciting for me as a late career acting instructor. The three approaches encompass a fundamental foundation to actor training.

Approach to Working Alongside the Actor as Artist, Part 3

2009-05-23T15:27:00.006-05:00

The second approach to actor training is the "outie" approach. Our Department of Theatre at McLennan Community College requires a student to enroll and complete three courses in acting, four courses in ballet, four courses in theatre dance, one course in stage movement and one course in voice for the actor. Theatre majors are also expected to audition for up to five productions per year plus work on a technical crew for those productions. Theatre majors should also enroll and complete two courses in stagecraft, one course in principles of theatrical make-up and one course in costuming. These courses are a portion of the externalization aspect of actor training.

The externalization technique also includes centeredness, techniques of ballet, jazz, tap, modern and historical styles. Stage combat, dance choreogorahy and differing dialects in production are other aspects of the externalization or "outie" method. There is a strong belief in the dual training of emotional aliveness festooned in an exhaustive physical regiment for the voice and body which should sharpen an actor's discipline and determination. Vocal training is required of our students as well, urging all students to train with a private voice instructor and to become proficient in the Lessac method. These aspects include the fundamental approach to the externalization technique which might be explained as "doing not thinking".

End of Part 3

Approach to Working Alongside the Actor as Artist, Part 2

2009-05-23T14:08:00.004-05:00

The first aspect of actor training includes internalization, but from the perspective of Eric Morris' "no acting please." Many vulnerable actors come into their professional training with ineffectual self images and are merely in theatre because they need companionship and/or affirmation. Thus, the "innie" method is to train the actor in relaxation and readiness of action, learning to trust the instincts which lead to action, discovering the difference between I (what I believe others expect of myself) and the Me (how I view myself through my dreams, goals and inner instincts) and learning how to "stand on one's own resources" professionally without someone else either affirming or criticizing them. I believe it is important for a young actor to know that his charisma or stage presence is both a gift and a positive approach to living inside the body they have. I also believe it is important for a student to also learn how to choose dramatic literature which best fits his/her emotional and physical palette. These are a portion of internalization training.

End of Part 2

Approach to Working Alongside the Actor as Artist, Part 1

2009-05-23T13:26:00.001-05:00

As a freshman undergraduate student in 1967, a true tree hugger, I began my training as an actor with how I felt, what inner motivations I experienced and what psychological perspectives I could garner from studying the character I was attempting to portray. Although I enrolled and completed one course in ballet, one course in fencing and one course in voice and articulation, these courses did not appear to be a unified training approach. It was not until 1981 while studying at the University of Illinois and the Directing Colloquium for the Theatre Today, that I began to observe some of the disadvantages and abuses of only teaching the internationalization technique to American actors. After that profound experience of studying under Vinette Carroll, Ed Sherin, Clifford Williams and Gerald Freeman, I began to experience multiple changes in my methods of mentoring young actors with internalization approaches mixed with a consistently physical approach to the voice and the body. In 1985 I studied at the University of Connecticut under three instructors from the London Academy of Music and Dramatic Arts and in this summer training I experienced a re-awakening of the love of dramatic literture and the legitimacy of its importance to an actor.

A lifelong journey of working alongside young actors has led me to believe a unified training should include internal awareness, physical technique in body and voice and a rich devotion to dramatic literature. From my perspective, 18 to 21 year old actors tend to come into their professional training similar to belly buttons: either they are an "innie", one who first ponders how a character feels or an "outie", one who gets the walk and gestures first. The third observation young actors tend to bring into their initial years of training is one who is either deeply devoted to reading dramatic literature and possesses a rich and vivid intrinsic imagination or one who avoids reading. What appears to be evolving is an attempt to integrate these three important and vital aspects of an actor's training while at the same time realizing young actors come into training with unique learning challenges each year.

End of Part 1

Summer Sabbatical

2009-05-20T11:01:00.001-05:00

McLennan Community College has awarded me a professional development leave grant, which I've chosen to accept for the summer months. Teresa and I leave for California on May 27 and will return June 8. We will be in San Francisco and Los Angeles. I will then leave for New York June 10-16. The third leg of our summer sabbatical will be July 9-31, first flying to Amsterdam, the Netherlands, and then to London. We will catch the train and the ferry and end up in Dublin, Ireland, where we will meet our friends from Antioch Community Church. We will serve with our friends in Galway and in County Mayo until July 27. From July 27 to July 31 we will be in London, England, flying back to the states through Amsterdam on our return trip. The goal of the summer sabbatical is to examine the theatre industry through stage performances, observing rehearsals and interviewing colleagues and former students who are working professionally. I plan to communicate my findings in my acting classes throughout 2009-2010. I will also continue to write concrete poems which I began in 2003 concerning various facets of actor training. I will also "blog" some personal discoveries through the summer. I welcome your comments as I post throughout the summer. Blessings to you!