Hey D*ckhead - Be Grateful

I recently got the chance to march with ComedySportz Chicago (CSz) in the Chicago PrideFest 2014 parade.  Having never been on the other side of the parade partition, I was stoked to be a part of a Chicago staple.  I also was stoked to just be part of the CSz inner family for a little while.  Lots of love was shown by all involved.  It got me so gooey on the inside by the experience that I started realizing just how many more people were truly involved in me being there:

• CPF people for organizing the event.
• The businesses who paid/got invited to be in pride
• The media covering the story to make it even bigger and better by having people come out.
• The City of Chicago workers who approved the permits, arranged the emergency personnel to be on standby, provided logistical paths on the busy streets of Chicago for the parade, etc.
• CSz people who organized our contribution donated their time, money, effort, and vehicles for the cause.
• The people who stood by on the parade path and yelled, screamed, and acted nuts in support of Pride.

...and a litany of  others I'm probably not aware of.  I was so grateful I thanked as many of the police officers standing along the parade route for the job they were doing.  It was cool to watch their bored, hardened faces light up at a simple "thank you".  It made me wonder how often they truly hear that in their daily lives.  My guess would be not a whole lot.

Thank Your Everyone In Your Production

Just like my experience above, the same rule applies to your theatre productions.  There is no *ONE* person that makes or breaks a production.  It truly is a team effort.  Thank each and everyone one of the people you encounter along the way.  Even if that person did something relatively trivial like standing around a door to make sure nobody came backstage, thank them anyway.

Producing is a very thankless job when it should be considered just as important as the ultra-talented actor on stage singing her "I Wish" number downstage.  There are people who handle contracts, fundraising, costumes, props, transportation, set design, lighting, sound, musical duties, stage management, audio & video recording/editing, marketing, directing, and multiple other things that aren't outright noticeable when watching the show on stage.  However, without those people, those actors on stage wouldn't be where they are soaking up the limelight.

So, don't be a d*ckhead when you're part of a show.  Thank your cast & crew top to bottom the whole way there.  Support your success by recognizing and appreciating those who helped make it possible.

5 Stupid Excuses To NOT Promote A Show.

How many times have you spent precious months finding a great venue, assembling a competent crew, director, and cast, rehearsing your show, drawing up expensive posters/flyers, blasting announcements on social & traditional media just to play to nearly empty houses each night?  If you're in independent blackbox theatre, this unfortunate scenario plays more often than not.

As we all should know, *promotion* is just as important piece of an overall production as any other.  However, I've commiserated with my fellow producers over many heavy drinks and cheesecakes at the local restaurant as to just how badly people forget this when they're part of a show.

I started asking myself, "What reasons would someone have to *NOT* promote their show?"  I promote absolutely everything I'm a part of.  Perhaps it a lack of shame, pride, or self-respect, but my philosophy is "why be a part of something that showcases my talents just to not let anyone know I'm actually doing so?"

Here are five reasons given to me by multiple sources obtained in a very non-scientific way - crowd-sourcing:

• "The show's not very good."
• "I'm in a bunch of shows at the moment."
• "That's not my job."
• "I've only got a small part in the show."
• "I don't know how."

...and here's my response to each one of them. Let's go!

---

---

The Show's Not Very Good

This by far is the most common reason I've come across (especially amongst actors).  It's difficult to pinpoint just what makes a show "bad".  Perhaps the material isn't that strong or the director's difficult to work with or the actor feels the set is subpar and cheap; there are a million reasons as to why a production may not be very good - so - why add to that?

Here's what I mean.

If you're in a show that isn't very good, there are probably others in the production that may feel the same way.  Sitting on your heels lamenting its inadequacies isn't going to make the production any better.  You not feeling it's a good production isn't going to magically go away especially when *NOBODY* shows up to your show due to your disengagement.

Be a part of the solution.  Go up the chain of command and begin making your concerns known.  Be constructive.  Don't just list out everything wrong with the show and not have solutions for them.  I believe throwing stones at your glass house of a production is only going to send very sharp shards back your way.  Be ready to commit yourself to having a successful production not only for that run but for yourself.  Those in charge should also be ready to welcome anyone willing to help things better for everyone involved.  Make the show better by *being a part of the solution* to make it better. 

At this point, you should have no reason to not promote the show.  If you're spending time, money, and energy to be part of an artistic showcase, give yourself a reason to want to make the experience worthwhile to share with the world.  Otherwise, you should be honest with yourself, quit immediately, and stop wasting everyone's time for something your heart's not into. 

---

I'm In A Bunch Of Shows At The Moment.

 

There are so many things wrong with this excuse so I apologize if I go a bit on a tangential rant as a take another antacid to soothe my Producer's Ulcer.  This excuse is normally followed up by a variation of "I don't want my people to get exhausted by seeing so many of my shows and then end up coming to none of them."  What this really means is:

• "This show is not as important as the other shows I'm in.  It's not worth my time to promote it."
• "I'm over-committed and, thus, me promoting the show is too much to be asked for."
• "I really like to doing dress rehearsals a lot for empty houses.  Promoting the show would negate that part of theatre life I enjoy!"

What producers are looking for here is ownership and equality of promotion, i.e., *promote ALL of them at the same level*.  If you're pushing people to come to one of your many projects, push for them to come all you're involved in.  If you don't promote one, don't promote any.  If you want to target which people come to which shows to alleviate overwhelming them, strive to have generically same number of potential attendees for each production.

---

That's Not My Job.

B*TCH!!! IT IS YOUR JOB!

You are part of a unit.  You can't be JUST the stage manager or JUST the director or JUST an actor.  If you don't do it for the greater good of the production, then do it for yourself - because when you actually engage, you're really always doing it for yourself.

---

I've Only Got A Small Part In The Show. 

The cliche of "There are no small parts, only small actors" rings true when I hear this.  What you're really saying is "Unless I have a significant role to play in the show, the show itself is not good enough  to see on its own merit; so, therefore, I'm not going to waste time on promoting this."

As most actors should know, even if you have a not-so-featured role in a show, you should try to *ROCK* that part to the fullest.  By doing so, sometimes it's the best, most memorable part of a show!  And if you don't promote the show and people don't see it, how can you capitalize off it?!!

Don't miss out on an opportunity to showcase those 3 lines of dialogue.   Feel free to add a disclaimer about your involvement in the show to those friends and family you do invite to the show.  When marketing to a great audience, no need for disclaimers.  Get the butts in the seats so that when you make your cameo entrance, a lot of eyeballs saw that!

---

I Don't Know How

You know how to operate a web browser, phone, Twitter, Facebook, Google+, LinkedIn, bulletin boards, and the local water cooler but cannot fashion a method to tell anyone about your show?!  C'mon...

OK.  Let's say you truly don't know how to promote a show.  Take it upon yourself to ask others how to do so (you're reading this blog, right?) and begin executing your plan of promotion.  If you just give this excuse and have no follow through, it comes off unprofessional and disingenuous to others. Step your promo game up!

---

---

There you have it, folks.  Invest time into promoting yourself by promoting your productions.  I hope it leads to full houses and more success down the road!  No excuses!

How To Handle Reviews (Especially Bad Ones)

Alec Baldwin posted up on HuffPo an opinion piece regarding how Broadway has changed.  After reading it, I felt I had to share some advice to my fellow producers as to how to deal with reviewers and how to deal with the consequences of having been reviewed.

Getting Reviewed In The First Place
Press releases are the key to getting reviewed.  I would also venture to say that you should ask one of your colleagues to write a small review on your behalf.  I'll leave it up to you as to whether you want them to be honest or biased; either way, you can still get a little bit of "press" during your run that may get picked up elsewhere.

A lot of the time, a reviewer comes out based on merely title alone.  I feel the show I wrote El Mari-ChiChi:A Robert Rodriguez Burlesque for Gorilla Tango Burlesque got reviewed due to the multiple pop culture references in the title - basically boiling down to "boobs", "Robert Rodriguez", and "Desperado".  My Brat Pack: The Musical got reviewed for the same reason.  Have a kitschy title and you may well be on your way to getting someone to come out and write about the show.

How To Deal With The Reviewer
Many of the times, I'd find out about the reviewer coming to the show the day before or the night of by the theatre.  TIME TO FREAK OUT?!  No.  The cooler you are about this the better.  Do the following to make sure you've done everything you can to influence the odds in your favor to get a good review:

• Ensure the reviewer has two complimentary tickets (comps).  Many reviewers don't like going to see a show by themselves.  Call the box office as soon as you find out they're coming to set this up.  Reconfirm that the tickets are available once you arrive to the theatre.
• Do not contact the reviewer to discuss any show particulars prior to the show.  It looks like you're trying too hard.  If you wish, drop them a quick, brief email letting them know you've set their comps up and that you look forward to reading what they thought of the show.  That's it.  No more!
• If you can afford it, comp them on some concessions.  Let the staff know who the reviewer is, what they look like (try to find out as quickly as possible), and that a certain amount of what they want is either free or will be purchased by the production.  Let this be a surprise to the reviewer once they go up and get a drink or some snacks.  It'll hopefully buy you some brownie points towards a good review.
• Let go once they arrive.  Hopefully the talent put into the show will be apparent and be judged fairly.  There's nothing you can do to get a good review beyond what I mentioned above.  If the show sucks to begin with, no amount of free M&Ms and beer will change their opinion(ok, well, maybe with enough beer...)

To Tell Or Not To Tell - That Is The Question
Generally there are two rules of thoughts regarding telling the cast you have a reviewer in the audience.  On one hand, many actors have never been reviewed and allow their performances to be affected because they are either scared about how they're going to be perceived on stage or overcompensate to make sure the reviewer writes about them.  On the other hand, it may motivate the actors to put on a better show and draw a more supportive crowd.  As a producer, you want all of your shows to be the consistent night to night.  Talk to the director and get their thoughts on how the actors are going to deal with the news of having a reviewer in the audience.  If they think the cast can handle the news and it would only help the production, then it's probably ok to let them know the reviewer is there.

If you choose to not tell your actors about the reviewer, be aware the decision could come back to haunt you.  Some actors get upset not being told every minute detail about what's going on with the production.  You may get accused of "hiding things" from the actors which isn't good for morale.  Luckily, I don't believe anyone has every come back to me with this but I've always been cognoscente of the possibility.

Dealing With The Aftermath
So, the reviewer came, the show went on like it was supposed to, and now you're scouring the internet looking for the review.  Be prepared for what you might find.

If the review turns out to be not bad (yes, "not bad"), you can probably share the article.  By "not bad", I mean that the reviewer wrote something that doesn't completely destroy the chance of someone coming out to see your show based on that review.  If you say "eh, not bad" after reading it, it's probably okay to share with the others.

If the review turns out to be good, SHARE THAT WITH EVERYONE AD NASEUM!  Good press is good press so take advantage of it!  See if you can use that good press to land more shows or an extension of your current run.

If the review turns out to be bad, you may want to leave it alone and allow the others to search for it on their own.  Depending on whether or not you told them about the reviewer, it may not be found until your run is over.; this case is atypical unfortunately.  I've had actors forward links of bad reviews to the entire cast attached with angry verbiage like "THIS IS SOME BULLSH*T!" or "THEY DIDN'T EVEN WATCH THE SHOW WE PUT UP!".  Be prepared to provide words of encouragement and civility to the cast so that the review doesn't destroy morale. I'm not saying you should blindly contradict anything they say about your show, but rather be prepared to take those comments in and process them. 

After your review, you may want to think about changing your show to either expand on the good things mentioned or "fix" the bad things swimming around in your head.  My advice is to make almost no changes to your show as far as content, casting, blocking, and direction.  The show is what it is.  However, if you determine you may need some pick-up rehearsals to improve the execution of the show, that'll probably make for a better show.  Changing things at this point to appease one person's opinion is fool hearty and will probably result in an inconsistent show at best.

---

As entertainers, we want everybody to like our work.  Not everybody will.  Produce a show that speaks to the facts of your vision instead of playing to somebody else's opinions.

Got any other useful tips handling the review process?  Let us know down below in the comments or hit us up on Twitter (@nvgdesign) with your ideas.

When You Need To Know Who's Who In What

Civilians (non-producers) tend to like to give me their thoughts on what they think improv is all about: 

• It's stand-up comedy. 
• That Drew Carrie show thing, right? Whose Line? I watch it all of the time on TV. 
• Where you make EVERYTHING up! 

Contrary to popular belief, there's a lot of structure around improv shows.  We spend an inordinate amount of time learning how to create different pre-determined forms and structures in which we improvise the content.  As part of these forms we have to also think about the production of the show itself.

To have a successful show, we need to be able to execute the forms in a show within the timeframes we're allotted.  We also need to consider who else is playing on the same bill as they could have a form similar to the one we wish to present.  We also need to consider what kind of crowd we're playing to.  Are we playing for a "bar" crowd?  Does the audience want more "refined" humor?  Factor in all of these items, the percentage of improv that's being executed in the overall production is actually in the minority compared to all of the preparation just to set up the conditions to improvise on stage.

Most of the time, I know the answer to most of the important details going into a show:

• Who's producing the show?
• What time is the official call for the teams?
• What's the location of the show?
• Who's on the bill?
• What's the after-show activities?
•  What promotion will be done by the host and what needs to be done by the participants?

When I don't know this information, I find performing a little bit nerve-racking.  i'm typically the point man going into shows so my actors come to me asking me all of these questions.  If I don't have a ready answer, they tend to get in their heads which in turn puts me in my head because I'm now worried if I'm going to get a good performance out of my actors and worried as well if I'm going to be out of my head enough to perform well.  ARGH!

I tell the civies about these thoughts and they come back with "Well, it's improv right?  Just improvise!"  Perhaps that's a valid point.  It should be about improvising but producing is much more about planning for the expected and unexpected.  In these scenarios, the more planning and communication performed, the better.

What are some of the details you need to know going into a performance to make you feel comfortable to give your best?  Share you ideas int he comments below or hit me up on Twitter at @nvgdesign.

P.S.  In a future blog, I'm going to explore how improvising can be an important tool to keep in the back pocket of aspiring producers.

Everything Is A Networking Opportunity

Ever heard that "it's a small world in theatre"?  It's true.  You can be in a major metropolitan city or small town and eventually, you will know just about everybody "in the scene".  It's important that you maximize every interaction you have with people so that you can take advantage of your relationships to make something happen when the time is right.  It'll make your personal journey to success a lot easier if you learn to do so.


When I first started acting, it was a side hobby that was just for fun.  While people in my Intro to Improv classes were talking about how they would be on the Second City Mainstage in less than a year, I made a pact with myself to continue acting as long as it was fun.  It made me relatively cavalier about how I interacted with my peers because I didn't really care about what I said or what I did; the consequences of my actions were irrelevant because I wasn't planning on doing it long-term.  However, things changed after year one. I decided that I really liked this and wanted to continue doing it. I then decided I needed to go onto the next level of classes to get more training.  This is where I found I was now a player in "the game".

The Game
The theatre scene requires two major skills - on-stage & off-stage.  The on-stage skills are the ones most people think about and work to hone. We take a million classes, workshops, and seminars to be the best actors we can be.  We try to incorporate everything we read, hear, and say into our work.  We work hard on keeping our bodies, voices, faces, and minds in shape so that they're available to us at a moment's notice.  These are all important and are the skills other people see 80% of the time.  But you also need the off-stage skills.  These include skills in business management, communication (written and verbal), psychology (understanding people, situations, and how to react to them), and general professionalism (being on time, learning your lines, responding to emails, contributing to the production's promotion, etc.)  These are the ones no one teaches nor emphasize as being just as important to your overall career as the "real acting" skills.

Another (in)famous saying in theatre (or entertainment in general) is, "It's not what you know.  It's who you know."  This cliche sums up the game quite succinctly.  Off-stage skills can be used to further your career.  Since you never know who may be casting what project, you have to assume that everybody you interact with will potentially be on the other side of the long audition table at some point.  This includes all of your directors, teachers, actors, stage crew (set builders, tech people, lighting people), box office concierges, producers, caterers, and even patrons you encounter along the way.  Everyone of these people can influence your next move!  Do your best to interact with EVERYBODY and make a good impression with each of them. You can't make everybody like you but you can at least try to have everyone know you, and once they know you, hopefully you made a good impression on them to keep you in mind for future opportunities.

I recently treated a workshop with a famous director as an audition for future work.  I paid $50 to spend three hours with this person which I wouldn't normally get access to.  I dressed up for the audition and brought all of my skills to the front for those three hours.  I made a great impression and now have a regular correspondence with her.  I've even helped make it possible to have a private session with this director to get even deeper into the line of work I've been dreaming of in June.  Guess what I'm going to do for that. Treat THAT time like an audition as well :) Yes, I may not get the job I'm looking for directly this way; however, I am keeping hope that I'll be remembered when someone is needed for one of their productions in the future.

Playing The Game
Here are some things you can do yourself to distinguish yourself from others when working your off-stage skills:

• Take advantage of your Facebook/Twitter friends.  If you have a chat feature, chat with the people on the list.  It can be a simple "hello".  There is a reason why you're connected with these folks so use the technology to keep your presence in their minds.
• Attend other people's shows and make sure they know you were there.  Even if you leave early, at some point, let them know you got to see their show and what you thought of it.  Be honest (but cautious) about your feedback.  If you need help telling someone you didn't enjoy their show, hit me up on twitter (@nvgdesign) and I'll give you tips as to how to say something honest while staying positive.
• Make it a point to connect to everyone in your classes in some manner (even if you don't necessarily like them).  Keep your ears open for things you can relate with your fellow classmates on (sports, fashion, TV, etc.)  I wish I had followed this in my early days of improv because many of those people have gone onto bigger and better things for which I sometimes wish I were a part of.
• Promote shows/classes/workshops you believe in that you're not a part of.  Show that you can support others off-stage as well as on-stage.
• Jump on opportunities to be involved in productions you want to be a part of.  I recently jumped into teaching some workshops by butting my way into a conversation some of my castmates were having with a producer a few weeks ago.  I made no apologies for it because I KNEW it was the right opportunity for my group. 

Brown-Nosing Vs. Schmoozing
I've run into a lot of people who know me merely for my schmoozing techniques.  They also say, "Oh, I didn't even know you're an actor!"  Yes, I'm a professional brown-noser; not in the traditional sense, which is usually the case.  To the contrary - brown-nosing is insincerity used to make personal gain. I only give out compliments to the opportunity gatekeepers that I believe in to parlay into building a relationship that can go two ways.  The person I am engaging gets a qualified person for the job they need to fill and I get to enjoy the opportunities presented to me.  There's no shame in doing so.  Everybody wins.

Go out into the world, my friends, and make your opportunities grow by leaps and bounds!  Let me know what techniques you have found useful in furthering your career off-stage in the comments below.