When it comes to wigs and beards, one-size doesn't fit all

Wigs and beards (and other hairy add-ons) require a lot of care in their selection, use, styling, and maintenance, and this week, the Geeks explore their use on stage.

Most community theatres have had the experience of an actor or actress who needs a wig for a particular role, but plainly doesn't look good in it.  There are several possible reasons for this:

Fit (we've all seen the poor actor with a wig that looks more like a wild animal crawling on his/her head than a well trained hairpiece).

Color -- either the color doesn't appear natural, or clashes with the actor's makeup or natural skin coloring

Style -- sometimes a wig is styled badly, or has been restyled and doesn't quite conform to the new look.  The style may simply be wrong for the play, too.

The Geeks also talk about he use of beards (always tricky, it seems), and moustaches.  It's all HAIR in this episode of Theatre Geeks.

Music was provided by Music Alley

When it comes to wigs and beards, one-size doesn't fit all

Wigs and beards (and other hairy add-ons) require a lot of care in their selection, use, styling, and maintenance, and this week, the Geeks explore their use on stage.

Most community theatres have had the experience of an actor or actress who needs a wig for a particular role, but plainly doesn't look good in it.  There are several possible reasons for this:

Fit (we've all seen the poor actor with a wig that looks more like a wild animal crawling on his/her head than a well trained hairpiece).

Color -- either the color doesn't appear natural, or clashes with the actor's makeup or natural skin coloring

Style -- sometimes a wig is styled badly, or has been restyled and doesn't quite conform to the new look.  The style may simply be wrong for the play, too.

The Geeks also talk about he use of beards (always tricky, it seems), and moustaches.  It's all HAIR in this episode of Theatre Geeks.

Music was provided by Music Alley

Theatre critics aren't always nice, or fair.  Is there anything we can do about reviews we don't like?

Episode 94

Lashing back at theatre critics makes for some interesting news stories, and there isn't a community theatre actor or director who hasn't wanted to give a theatre critic a piece of their mind.  But is it really a good idea?

Inspired by this Playbill.com article by Robert Simonson, the Geeks explore this issue as it relates to community theatre.  Marcia, a theatre critic herself, has some special insights into what reviewers, editors and theatres deal with.  When reviewing community theatre, a reviewer has to be honest with the reader, but still be supportive of the performing arts, especially in smaller communities.  It's not always easy.

But sometimes, a theatre critic has an axe to grind that has nothing to do with the show, or, in some cases, is plainly ignorant of the material he or she is viewing.  What can (or should) a theatre do?

The Geeks also discuss the impact of social media vs traditional media in the lives of theatre critics, theatres and audiences alike.

Here's a link to the Playbill.com article, "When Artists Attack: Does Criticizing the Critic Ever Work?"  It's a fun, interesting look at the history (and advisability) of artist backlash against critics.

All this, plus a special "rant" from Marcia!

Music provided by Music Alley.

Theatre critics aren't always nice, or fair.  Is there anything we can do about reviews we don't like?

Episode 94

Lashing back at theatre critics makes for some interesting news stories, and there isn't a community theatre actor or director who hasn't wanted to give a theatre critic a piece of their mind.  But is it really a good idea?

Inspired by this Playbill.com article by Robert Simonson, the Geeks explore this issue as it relates to community theatre.  Marcia, a theatre critic herself, has some special insights into what reviewers, editors and theatres deal with.  When reviewing community theatre, a reviewer has to be honest with the reader, but still be supportive of the performing arts, especially in smaller communities.  It's not always easy.

But sometimes, a theatre critic has an axe to grind that has nothing to do with the show, or, in some cases, is plainly ignorant of the material he or she is viewing.  What can (or should) a theatre do?

The Geeks also discuss the impact of social media vs traditional media in the lives of theatre critics, theatres and audiences alike.

Here's a link to the Playbill.com article, "When Artists Attack: Does Criticizing the Critic Ever Work?"  It's a fun, interesting look at the history (and advisability) of artist backlash against critics.

All this, plus a special "rant" from Marcia!

Music provided by Music Alley.

Miguel Nunez talks about  his journey from community theatre to Chicago's Theatre Scene

The Geeks got to know Miguel as Michael Natoli a decade ago when he arrived at our home theatre (Elkhart Civic Theatre) with a thick Venezuelan accent but loads of enthusiasm.  It turned out community theatre was just one step along the way to a professional acting career.  Today, Miguel is a working actor in Chicago, performing in both traditional and Latino theatre productions around the Windy City.  In this conversation, Miguel tells us about his progression from our beloved Bristol Opera House to the Chicago stage and independent films. We also discuss the impact Latino theatre with regard to social issues, diversity, audience acceptance and growth.

Show links related to Latino theatre and Miguel Nunez:

16th Street Theater, Berwyn, Illinois (where Miguel will be appearing in 2014)

Teatro Vista (premiere Latino Theatre in Chicago)

Lifeline Theatre, Chicago

Victory Gardens Theater, Chicago

Porkin' Across America Episode 3 featuring Miguel (web series from The Onion)

Critic Chris Jones on Latino Theatre in Chicago

Another interview with Miguel

Crosby's Kitchen (Miguel's day job -- stop in and say hi sometime!)

Interesting blog post about Latino theatre in Culturebodega

Theater Loop -- the Chicago Tribune's Theatre Blog

Stage -- Chicago Sun-Times' Theatre Page

More about Miguel

Miguel Nunez majored in acting at the National Theater University (IUDET) in Caracas, and his work in Venezuela includes The Bourgeois Gentleman, Bufonerias (Teatro Septimo Piso), and Apocalipse 1,11 with Brazilian company Teatro da Vertigem (2001 Caracas International Theater Festival). In Chicago he has performed in The Three Musketeers, The Blue Shadow  (Lifeline Theatre), Augusta and Noble (Adventure Stage Chicago); I Put the Fear of Mexico In 'em (Teatro Vista); Oedipus El Rey (u/s Victory Gardens); After (u/s Profiles Theatre); The Jammer (Pine Box Theatre);The Ghost is Here (Vitalist Theatre); Seven Snakes (The Mammals); Lorca In a Green Dress, Heads (Halcyon Theatre); and has work as an actor with The Gift Theatre, Redmoon, Teatro Luna, Salsation!, Wildclaw Theatre, Chicago Fusion Theatre, and Bailiwick Chicago. He can also be seen in the web-series Porkin' Across America by The Onion, and several regional and national commercials, and different independent films. He started his theatrical experience in English with the Elkhart Civic Theater, where he performed in Chicago, State Fair, Black Coffee, Little Shop of Horrors, Pippin, Joseph and the Amazing Technicolor Dreamcoat and more. While in Indiana he was a company member with New World Players where he acted and directed several plays.

Music provided by Music Alley.

Miguel Nunez talks about  his journey from community theatre to Chicago's Theatre Scene

The Geeks got to know Miguel as Michael Natoli a decade ago when he arrived at our home theatre (Elkhart Civic Theatre) with a thick Venezuelan accent but loads of enthusiasm.  It turned out community theatre was just one step along the way to a professional acting career.  Today, Miguel is a working actor in Chicago, performing in both traditional and Latino theatre productions around the Windy City.  In this conversation, Miguel tells us about his progression from our beloved Bristol Opera House to the Chicago stage and independent films. We also discuss the impact Latino theatre with regard to social issues, diversity, audience acceptance and growth.

Show links related to Latino theatre and Miguel Nunez:

16th Street Theater, Berwyn, Illinois (where Miguel will be appearing in 2014)

Teatro Vista (premiere Latino Theatre in Chicago)

Lifeline Theatre, Chicago

Victory Gardens Theater, Chicago

Porkin' Across America Episode 3 featuring Miguel (web series from The Onion)

Critic Chris Jones on Latino Theatre in Chicago

Another interview with Miguel

Crosby's Kitchen (Miguel's day job -- stop in and say hi sometime!)

Interesting blog post about Latino theatre in Culturebodega

Theater Loop -- the Chicago Tribune's Theatre Blog

Stage -- Chicago Sun-Times' Theatre Page

More about Miguel

Miguel Nunez majored in acting at the National Theater University (IUDET) in Caracas, and his work in Venezuela includes The Bourgeois Gentleman, Bufonerias (Teatro Septimo Piso), and Apocalipse 1,11 with Brazilian company Teatro da Vertigem (2001 Caracas International Theater Festival). In Chicago he has performed in The Three Musketeers, The Blue Shadow  (Lifeline Theatre), Augusta and Noble (Adventure Stage Chicago); I Put the Fear of Mexico In 'em (Teatro Vista); Oedipus El Rey (u/s Victory Gardens); After (u/s Profiles Theatre); The Jammer (Pine Box Theatre);The Ghost is Here (Vitalist Theatre); Seven Snakes (The Mammals); Lorca In a Green Dress, Heads (Halcyon Theatre); and has work as an actor with The Gift Theatre, Redmoon, Teatro Luna, Salsation!, Wildclaw Theatre, Chicago Fusion Theatre, and Bailiwick Chicago. He can also be seen in the web-series Porkin' Across America by The Onion, and several regional and national commercials, and different independent films. He started his theatrical experience in English with the Elkhart Civic Theater, where he performed in Chicago, State Fair, Black Coffee, Little Shop of Horrors, Pippin, Joseph and the Amazing Technicolor Dreamcoat and more. While in Indiana he was a company member with New World Players where he acted and directed several plays.

Music provided by Music Alley.

Some scripts read well, but don't play well

How do  you save the show when the script that seemed great when you picked it, starts looking like a disaster once rehearsals are underway?  Community theatre play selection is usually a careful process. Selection committees read dozens of scripts, consider their potential casting, and create a season the theatre's patrons will like. But once in a while, there's a play script that makes for a great read but somehow falls flat when the actors get hold of it. And the problem is, the director may not realize it until it's too late to start over.

So the director is stuck. He or she can't revise the script (legally), or make changes that violate the author's intent.  Most community theatres can't or won't replace actors except under extreme circumstance, either, even if a fresh approach might make a difference.

So what is a director to do when the script is letting him (and the cast) down?  The Geeks (who have all been there as directors) talk about some possible approaches rescuing the sinking script, and save the show that's already in rehearsals and maybe even prevent the issue from coming up in the first place.

Music provided by Music Alley

Some scripts read well, but don't play well

How do  you save the show when the script that seemed great when you picked it, starts looking like a disaster once rehearsals are underway?  Community theatre play selection is usually a careful process. Selection committees read dozens of scripts, consider their potential casting, and create a season the theatre's patrons will like. But once in a while, there's a play script that makes for a great read but somehow falls flat when the actors get hold of it. And the problem is, the director may not realize it until it's too late to start over.

So the director is stuck. He or she can't revise the script (legally), or make changes that violate the author's intent.  Most community theatres can't or won't replace actors except under extreme circumstance, either, even if a fresh approach might make a difference.

So what is a director to do when the script is letting him (and the cast) down?  The Geeks (who have all been there as directors) talk about some possible approaches rescuing the sinking script, and save the show that's already in rehearsals and maybe even prevent the issue from coming up in the first place.

Music provided by Music Alley

Community support isn't always about the dollars -- ideas from an expert

Community theatres are nothing without community support, but getting it can be difficult.  Keith Martin, John M. Blackburn Distinguished Professor of Theatre at Appalachia State University has been helping performing arts organizations get community support of all kinds for more than 35 years.  He joins the Geeks to talk about cultivating corporations and individuals for stronger monetary and in-kind support for community theatre, regardless of  community size.  Great ideas and examples of where, with a little imagination, he's been able to get high-value support from donors who weren't sure they even had anything to give.  A must listen for all community theatre people.

John, Dave and Marcia have gotten to know Keith via the AACT Festival events, and we're glad to have him join us on Theatre Geeks for the first time.  Join us for some fascinating conversation and ideas you can put to use to build support for your community theatre.

Keith Martin is the John M. Blackburn Distinguished Professor of Theatre. Martin's career in the not-for-profit sector spans over 35 years and includes producing, artistic direction, choreography, and management in professional theatre, dance, opera, symphony, film and television, for which he received an Emmy® award in 2010.

Martin's 400-plus stage credits include direct work with such renowned artists as Academy award winner Olympia Dukakis; Pulitzer Prize recipients Beth Henley and Tony Kushner; producer Joseph Papp and performers Dixie Carter, Faith Ford, Sharon Lawrence, Telly Savalas, Burt Reynolds, Tony Award-winners Bonnie Franklin and Beth Leavel, and Emmy Award-winner Doris Roberts.

A lifelong activist and arts advocate, Martin served with distinction on the state boards of the Volunteer Lawyers for the Arts and the American Civil Liberties Union. He is Past President of the North Carolina Theatre Conference, receiving three awards for service to the field, and twice was elected to the Board of the Southeastern Theatre Conference, first as NC state representative and then as Professional Theatre Division Chair.

Nationally, he was elected to the Executive Committee of the League of Resident Theatres (LORT), participating in collective bargaining negotiations with both Actors' Equity Association (AEA) and the Stage Directors and Choreographers Society (SDC). Martin completed two terms as an Endowment Fund Trustee for the American Association of Community Theatres (AACT), for whom he co-chaired their record breaking national conference, AACTFest '07 Charlotte.

Keith is a teacher of arts management, consultant and theatre festival adjudicator, among the many other roles he plays in the national arts community.

Music provided by Music Alley

Community support isn't always about the dollars -- ideas from an expert

Community theatres are nothing without community support, but getting it can be difficult.  Keith Martin, John M. Blackburn Distinguished Professor of Theatre at Appalachia State University has been helping performing arts organizations get community support of all kinds for more than 35 years.  He joins the Geeks to talk about cultivating corporations and individuals for stronger monetary and in-kind support for community theatre, regardless of  community size.  Great ideas and examples of where, with a little imagination, he's been able to get high-value support from donors who weren't sure they even had anything to give.  A must listen for all community theatre people.

John, Dave and Marcia have gotten to know Keith via the AACT Festival events, and we're glad to have him join us on Theatre Geeks for the first time.  Join us for some fascinating conversation and ideas you can put to use to build support for your community theatre.

Keith Martin is the John M. Blackburn Distinguished Professor of Theatre. Martin's career in the not-for-profit sector spans over 35 years and includes producing, artistic direction, choreography, and management in professional theatre, dance, opera, symphony, film and television, for which he received an Emmy® award in 2010.

Martin's 400-plus stage credits include direct work with such renowned artists as Academy award winner Olympia Dukakis; Pulitzer Prize recipients Beth Henley and Tony Kushner; producer Joseph Papp and performers Dixie Carter, Faith Ford, Sharon Lawrence, Telly Savalas, Burt Reynolds, Tony Award-winners Bonnie Franklin and Beth Leavel, and Emmy Award-winner Doris Roberts.

A lifelong activist and arts advocate, Martin served with distinction on the state boards of the Volunteer Lawyers for the Arts and the American Civil Liberties Union. He is Past President of the North Carolina Theatre Conference, receiving three awards for service to the field, and twice was elected to the Board of the Southeastern Theatre Conference, first as NC state representative and then as Professional Theatre Division Chair.

Nationally, he was elected to the Executive Committee of the League of Resident Theatres (LORT), participating in collective bargaining negotiations with both Actors' Equity Association (AEA) and the Stage Directors and Choreographers Society (SDC). Martin completed two terms as an Endowment Fund Trustee for the American Association of Community Theatres (AACT), for whom he co-chaired their record breaking national conference, AACTFest '07 Charlotte.

Keith is a teacher of arts management, consultant and theatre festival adjudicator, among the many other roles he plays in the national arts community.

Music provided by Music Alley