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Women’s History Month GRAND FINALE: Celebrating Women In The Arts – It Ain’t Over Till The Phat Ladies Sing

Karen Tortora-Lee — Sat, 02 Apr 2011 16:54:46 +0000

On the last day of March Women’s History Month came to a close but today we have one final curtain call – with two amazing women from the world of opera: Brooke Bryant and Minou Arjomand.

Yes, March is officially over. But, like I said in the title, it’s over when *I* say it’s over … and I say it’s over when the Phat Ladies sing. (Yeah, yeah. I know. No one really uses “Phat” any more. But in this case it was really funny).

I’m fortunate that, in my business (the business of show) I don’t just interact, experience and enjoy a variety of talented people from a range of genres, but my virtual cup runneth over within each of those categories. Take opera for instance. I’ve mentioned often enough that I’ve been a dedicated devotee since my early childhood but I’m thrilled that now, in my role as editor and founder of The Happiest Medium I have been able to truly know so many talent people.

Earlier in this series I showcased Brett Umlauf who is one third of the amazing trio Charites. Today, soprano Brooke Bryant tells us more about this all female group; specifically what their challenges are and who inspires them.

Earlier Brett also mentioned a recent production of Morningside Opera’s Handel pastiche ATRA: Ossia, L’amore Ricordato which was cast “as a lesbian love triangle, the powerful castrato role being sung by a woman and *played* as a woman, i.e., not dressed in pants and a painted on moustache. The director, Minou Arjomand, will be telling you more about that process hopefully very soon.” Well, we’re grateful that “very soon” is now … Minou will be speaking with us from a director’s perspective about how she is reinventing the stereotypical “bland” women’s roles.

And now, for our grand finale – take it away, ladies!

Charites (photo by Michael Blase)

Brooke Bryant (soprano) performs with Charites, a female trio specializing in early music. Brooke recently received a PhD in Historical Musicology from the CUNY Graduate Center and works in fund raising for iMentor, a nonprofit in NYC. Also a singer-songwriter, Brooke has performed with several bands at NYC hotspots like Sin-é, The Delancey, The Knitting Factory and Fontanas.

Talk to me about being a woman who does what you do- just overall.

I have always enjoyed surrounding myself by strong women. I count myself lucky to have several female mentors who serve as professional, artistic and personal role models. A proud graduate of a women’s college (Wellesley), I love engaging in creative projects with intelligent, powerful women. While gender isn’t a factor in how and why I build strong personal or professional relationships, I tend to gravitate towards making music with women. I can’t say why. Maybe it is because collaborating with people who are built to produce sound in the same way that I make sound opens up exciting new possibilities for using my voice as an expressive tool. Charites has provided an amazing opportunity for me to learn from two incredibly talented and inspiring women. Working intensely with Brett and Amber for over four years has challenged me to become a more daring musician and a more creative thinker.

What artists inspire you? Are you particularly inspired by female artists?

I’m inspired by women who carve out their own space for music-making, past and present. Hildegard von Bingen and Barbara Strozzi—female composers who specialized in writing for the female voice—are particular favorites. I also love listening to female bands from the 1990s, like Hole and Bikini Kill. I’m drawn to strong female characters in literature—whether conceived by male or female authors. Right now, I’m reading Bill Willingham’s Fables series (Snow White and Cinderella are amazing) and Sigrid Undset’s Kristin Lavransdatter.

How do these artists inspire Charites programming?

Charites concerts don’t just involve music; they also incorporate spoken poetry, gesture and choreography. We try to make our concerts theatrical experiences that bring music to life through a variety of media. To this end, we do not just take musical quality into account when selecting music. Instead, when designing concert programs, we think about how all of the pieces we are considering would fit together into a comprehensive whole. Character development, plot and emotional/thematic arc are just as important as musical beauty. We like to choose pieces that depict complex characters and offer layers of meaning. Charites frequently performs concerts that address gender roles and identities, either directly or indirectly. For example, one of our concert programs comprises music and poetry on the ephemeral nature of beauty written by women. We find this particularly interesting, because physical beauty has traditionally been the standard by which female worth has been judged. By staging this music with gesture, we call attention to the evanescence of our own bodies and voices.

Are there barriers you fought against in the past that are now becoming easier?

The biggest barrier that Charites faces is time. Our lives have changed a lot since we formed a group. When Charites first started, two of us were in graduate school and had very flexible schedules. After I finished my PhD, I began pursuing a full-time nonprofit career, which has limited the time I have available for music making. Amber is finishing her dissertation and raising a beautiful daughter. Brett is balancing more musical, film and artistic projects than I can count! We have to work hard to carve out time to rehearse. While it can be tough, having limited time actually encourages us to be incredibly conscious of how we are using our time together. Ultimately, we have had to become more deliberate and focused, which has helped us grow.

Final thoughts?

Charites will be performing a free concert on April 13^th as part of Artek’s Midtown Concerts series. The concert will take place at 1:15pm at Immanuel Lutheran Church (E. 88^th Street and Lexington). We will be performing music by 17^th-century female composers, including Barbara Strozzi. We’re also putting the finishing touches on our first-ever recording, so stay tuned! About Charites: Charites (Brooke Bryant, Brett Umlauf and Amber Youell) is a female trio committed to bringing the art of early composers to life through bold, expressive performances. Charites draws on both historical and modern practices to create theatrical spectacles, combining virtuosic singing, movement and poetry to involve, delight and move listeners. Charites’ imaginative approach appeals to seasoned audiences, as well as those who are experiencing early music for the first time. The women of Charites have recorded and performed with esteemed musical ensembles in New York and around the world. They also enjoy collaborating with groundbreaking dance-theater group, Company XIV.

_________________

And now, our second encore, Minou Arjomand. Minou Arjomand was raised in New York and earned her Master’s degree in Theatre from Columbia University, where she is currently working on a doctoral dissertation about theatrical trials in the 20th century and teaching undergraduate courses. She has worked as a dramaturge and director in New York and Berlin, and was a founding member of Morningside Opera. Recent production credits include direction of “The Map of Lost Things” by Darragh Martin at PS 122, direction and set design of a baroque pasticcio opera “Atra” at the Ailey Citigroup Theater, and dramaturgy for the Frankfurt Opera’s “Innenleben: Musiktheateraustellung” at the Bockenheimer Depot in Frankfurt-am-Main, Germany.

Talk to me about being a woman who does what you do- just overall.
I spend my time shuttling back and forth between two slightly different worlds: academia and opera. Within academia, I have always felt respect from my collegues as well as my students, and have also always had inspiring female mentors. Opera– at least the production side, and at the big houses– feels far more male-dominated than academia. In the US, I never felt any sort of outward sexism (working in Germany was a different matter, more below). But I am also slowly getting sick of the bland and stereotypical representations of women on stage. Often the productions that are hailed as edgy and avant-garde capitalize on the most clichéed images of women that can’t seem to get beyond burkas and head scarves on the one hand and graphic sexual violence on the other. It’s not simply offensive, it’s artistically shallow. Perhaps hiring more women to direct at major houses would help!

Are there days it makes a difference – good or bad?

The time when it did make a difference to be a woman came directly after my graduation from college, when I ran off to Berlin to join the opera. A sizable number of Germans who are eager to identify themselves as leftist have this preoccupation about “political correctness” as far as an American is concern. The logic seems to be: the Americans are obsessed about being politically correct while they are actually socially reactionary hypocrites. Therefore, not being politically correct is a sign of sincerity and depth. The practical result of this stance was total impunity for any racist or sexist jokes during rehearsals in at least one of Berlin’s three major houses. More than that, when I complained that the 70-year old chorus director was continually groping not just me, but the other female intern, I was laughed at: “You’re so American. Don’t worry about that, he does it to everyone, he always has.” It made me realize that as important as it is to be critical of our own domestic policies, there is a lot about working in New York for which I feel grateful.

Thanks for this great insight, Minou! Any final thoughts?

Being part of the artist collective Morningside Opera, I have had the chance to collaborate closely with stunning singers like Brett Umlauf, Brittany Palmer, Amber Youell, choreographer Patricia Weiss, and fellow director (and Columbia collegue) Anne Holt. (We have a few good men in there as well). For more information about our group, come to: morningsideopera.com

Women’s History Month: Celebrating Women In The Arts – Spotlight On Jenn Boehm

Karen Tortora-Lee — Wed, 30 Mar 2011 04:07:12 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Jenn Boehm.

The first time I saw Jenn she was standing on the stage at the Planet Connections Festivity Awards Ceremony receiving thunderous applause from the Off-Off Broadway community along with hoots and hollers that filled the theatre that night. She graciously accepted the love. Right away I thought “Gosh, I have no idea who this woman is … but I better get to know her!”

Luckily, I was able to make that “gosh” a reality and while I’m sure there’s much more to learn about Jenn, I’m pleased to say that I’m in a position to do just that. What I can say is that Jenn is many things to many people, but seemingly an endless inspiration to most. Currently she’s the c0-artistic director and managing director of Looking Glass Theatre and has a hand in everything they do from the internship program to each season’s productions.

Well, that’s no small potatoes. Or wait … is it? You see - little did I know Jenn’s story starts not on the boards but in the barns … Jenn came to theatre by way of the farm. Oh, with a stop in pro football along the way. (What?) I better let her explain. Take it away, Jenn -

Absolutely delighted and honored to be a part of this long list of fabulous women!

For years, decades, centuries, women have been told, ‘you can’t.” Like so many others, I’ve heard this statement plenty of times in my life.

Thankfully, my parents always told me “you can.” My folks are organic farmer/ranchers, so I learned the meaning and importance of hard work very early in life. As the eldest of two girls in our farm family, I was, in many ways, the son my dad never really had. We were given loads of responsibility. We all worked together, sharing the heavy-lifting on a daily basis, learning the importance of organization, teamwork and leadership, taking great pride in our work. Those early experiences laid the foundation for the strong, independent person I have become.

Growing up in a rural town (pop. 600) in the Midwest, the majority of “role model” women in my immediate world were farm wives, grocery store cashiers, school teachers, or nuns. (Yes, my hometown is a Catholic community with a huge monastery/abbey and a priory, but that’s a fascinating conversation for another day.) These were awesome ladies who loved their lifestyle, their work and were seemingly completely content. But were they really? My own mother had traveled thousands of miles from her exotic homeland (Thailand) to a foreign country (the good old USA) in 1970 and barely spoke a word of English. She persevered, overcoming numerous cultural and environmental obstacles in the hopes of a better future, a better life. Witnessing her transformation was inspiring. And motivating… I always wanted more, to be more. No matter what society or the small town gossips said or thought that a “small town girl” was capable of doing.

Education, experience and a host of opportunities eventually propelled me into the wide world of sports. Specifically, professional football, a universe primarily powered and led by men. Nevertheless, we – my fellow female co-workers and I – always strived to be stronger, quicker, more-informed and simply better on all fronts, both as individuals and as a team. Accept every challenge. We took advantage of every opportunity to suggest to new ideas, lead new projects, to work harder than anyone else, despite “no, you can’t” responses or eyes rolling “here she goes again.” To which I always thought – yes, here she goes again, get onboard or get out of the way!

Having a deep love for theater since I was a kid doing those awful (but cute) pageant plays in grade school, I decided to pursue my passion full-time and as the stars would have it, found Looking Glass Theatre. Founded by Justine Lambert almost 20 years ago, this is a very special place dedicated to strengthening the voice of women in theater and the arts while creating a community of artistic freedom. I went from a world of men, men, men to a community of women – it was jarring and amazing. We provide a place for women artists of all backgrounds and genres to develop and grow their work. To share their voice as loudly and proudly as they like. To make a difference and empower everyone to create without judgment. There are still hurdles every day, but knowing that there is a collective push and leap to make great things happen, makes getting over them just a little easier. Working together, “no, you can’t” has become a laughable phrase and an accepted challenge.

So yes, we can. We can, indeed.

What’s up at Looking Glass Theatre?

~~ Lincoln on Hester Street AKA 1911 – special “Remember the Triangle Fire” event, staged reading benefiting Planned Parenthood – Friday, March 25
~~ Three By the Sea – children’s show written by Donna Latham, directed by Julia Martin, playing through April 10
~~ Submerged! A night of new works staged readings – Friday, April 8
~~ Just A Reading – a new show written by Ryan Glass, directed by Chanda Calentine – April 28–May 15
~~ EIF Revlon Run/Walk for Women – Saturday, April 30 (join the Looking Glass team!)
~~ Spring Benefit – “Prom II, the sequel” – Tuesday, May 10 (portion of proceeds will be donated to Revlon Run/Walk for Women)
~~ Spring 2011 Writer/ Director Forum – our semi-annual festival of new works featuring emerging women playwrights and directors – June 2-26

More About Jenn Boehm

Originally from North Dakota, Jenn joined Looking Glass Theatre in late September 2005 and is thrilled to be a part of the organization. As Co-Artistic Director and Managing Director, she manages all functions of Looking Glass spaces and Looking Glass Theatre as an artistic, creative not-for-profit organization. From its internship program and acting classes to rentals and each season’s many productions, including children’s shows and two new works festivals, Jenn is at the forefront of Looking Glass business.

Also an actress, her next project is Just A Reading (Looking Glass Theatre). Recent credits include: What Happens to Women Here at Richmond Sheperd Theatre (Stone Soup Theatre Arts); The Maguffin (Philadelphia Fringe Festival) at Second Stage at The Adrienne (Stone Soup); The Hope Chest (Foundry Players, Washington DC); Stone Soup’s world premiere of The Ghost Dancers (Sanford Meisner Theatre) and the production’s return engagement in the Midtown International Theatre Festival (June Havoc Theatre, MITF Award for Outstanding Supporting Actress in a Play); A Chicken Goes to Broadway (Samuel French Short Play Festival/Peter Jay Sharp Theatre); Shapeshifter at The Barrow Group Theatre; Young Jean Lee’s Church at The Public Theater; and Always Family at The Kirk Theater on Theatre Row (Small Pond Entertainment).

Jenn also served as the Managing Director for Planet Connections Theatre Festivity (2008-2010) and works as a graphic designer and freelance sportswriter.

Women’s History Month: Celebrating Women In The Arts – Spotlight On GiGi La Femme

Karen Tortora-Lee — Tue, 29 Mar 2011 02:17:03 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with GiGi La Femme. The first time I saw Ms. La Femme it was December during the Burlesque Blitz and she was completely naked. I then watched, mesmerized, as she did the most seductive reverse strip tease I’d ever seen in my life. After Blitzing my way through the Burlesque offerings I though I understood what it meant to sit and watch a gal take her clothes off. Some do it with charm. Some do it with flair. Some do it with lights. Some do it with humor. Some do it with a touch of rage. Some do it better than others. Some do it better than most.

But Gigi? She does it with a breathtaking, hypnotic vamp that’s covered in a type of voodoo that has been living in the veins of women like her since the dawn of time. Women with names like Delilah, Jezebel, Aphrodite, and Cleopatra.She is a temptress whose power reaches like a vapor right out to each member of the audience and tickles them under the chin before, winking, it slinks back around her where it lives.

However behind all this glitter, glamour, sequins and feathers beats the heart of a businesswoman who has been able to take her show and transform it into a very successful monthly feature called Revealed Burlesque which runs at UNDER St. Marks.

I’ve been wanting to interview her for months, and this series gives me the perfect opportunity to celebrate a woman who is beautiful, smart, powerful, dynamic and amazing. Ladies and gentlemen – I give you – Gigi La Femme.

GiGi La Femme by Luke Ratray

You produce a monthly burlesque show – tell us a little bit about it.

The show I produce is called Revealed, held the third Wednesday of the month at Under St. Marks Theatre. What really sets this show apart is the full nudity aspect which isn’t common for most burlesque shows where the dancers are usually scantily clad in g-strings and pasties. Performing in Revealed pushes acts to the limits: sure, you can be dance while being naked but having a reason to get to do so is the appealing part.

The show is hosted by the critically acclaimed Bastard Keith along with his stage kitten sidekick, Victoria Privates. Every month boasts a buffet of performances from the best in burlesque in addition to featuring a debut from a lady or gent who has yet to show their pinks, as it were.

Revealed is very special to me because it’s intimate, thought provoking and classic entertainment at its best.

Why do yo think Burlesque is seeing such a resurgence lately?

I feel lucky enough to be from (and live in) a city that has embraced the burlesque revival since the early 1990s. From drag shows to girlie shows, burlesque was resurfacing in many different forms and NYC wasn’t the only city that latched on to the phenomenon: shows and troupes were also forming in places like Los Angeles, Seattle, Nashville and New Orleans to name a few. To be in a burlesque show is exciting in itself and that feeling translates to its audience. Comedy, accessible sexuality and glamour provides for an entertaining escape. That’s the bottom line and it’s what people want.

GiGi for Staples Street Project (Photo by Chris Zedano)

I came to your show and loved it. It’s a lot more acceptable for a woman these days to participate in the appreciation of a show like Revealed Burlesque. What do you attribute that to?

Thank you! I think people appreciate the lengths these performers are taking in regards to their acts whether it comes to concepts, costumes and thensome. I also make a concerted effort to include different kinds of numbers: classic, humorous, edgy, you name it. There’s room for it all when curated properly. Secondly, I think people just enjoy performing in their birthday suits! It may seem obvious, but it’s quite liberating when you can perform in the buff in a safe and comfortable environment, not to mention saving a little cash on pastie tape :)

You are very strong and empowering on stage. I think the strip tease these days has a lot more to do with female empowerment than exploitation of any kind – especially the way it’s being done. However, what would you say to your detractors?

Again, thank you so much. I believe first and foremost that, as a performer, you have the liberty to create anything you want when you take the stage. It’s a blank canvas and you make all the choices from the costume, to the music, to the choreography and to the concept. The choices are solely up to the performer. That being said, exploitation, for me, doesn’t even enter into the equation.

Are there barriers you fought against in the past?

There were and are plenty of barriers: personal and business related, but you’re going to come across speed bumps no matter what field you’re in. I would ultimately say that the good outweighs the bad, but I won’t lie: there have been hard times. Regardless, at the end of the day, you just have to deal with the problems and come to your own solutions. When push comes to shove, you have to do what you best, maintain a positive attitude and keep looking forward.

The men that you work with – how do they treat you?

Majority of the time, I meet many men and women who are just lovely, respectful and appreciative towards burlesque as an art form. It’s really quite wonderful. Though, there are always bad seeds out there and you just have to take each situation with a grain of salt. Because performers are *so* accessible, it leads people (not just men) to believe that they can be your best friend and be privy to your entire life story especially since many of us have an online presence. Have I had to “talk to” people or block folks from online social networking sites for being inappropriate? Sure. It’s going to happen. The important thing is to remember to stand up for yourself and not take anyone’s crap because they feel entitled to do so. At the same time, I’ve made so many wonderful friends and connections over the past six years because of burlesque and am very grateful for that.

Are there some resources you’d like to share that you find particularly helpful as a woman?

To be honest, the best resources I have are my friends and my family. When I need advice or need a laugh, I know exactly who I can go to.

What’s up next for you, Gigi?

In a few days, I’ll be going on a month long tour with Dangerous Curves Ahead, a troupe I am a part of with Anita Cookie, Clams Casino, Darlinda Just Darlinda and Minnie Tonka. I am so excited! It’s our third trip and we’ll be hitting the west coast from San Diego to British Columbia. Aside from that, I hope to be traveling more and also bringing Revealed with me! Stay tuned to www.revealedburlesque.com for more info in the coming months.

~~~

More about Gigi La Femme

Since 2005, GiGi La Femme has been named one of New York City’s sultriest striptease stars and is the producer of the monthly show Revealed Burlesque at the Under St. Mark’s Theater.

Awards include: Golden Pastie Award winner for Best Booty Shaker 2009, Perfect Posterior 2011 and Miss Coney Island 2010.

The multi-talented bump ‘n’ grinder, go-go girl, chanteuse and pin-up model has traveled the nation with the ladies of Dangerous Curves Ahead: Burlesque on the Go-Go performing her super hot signature acts in addition to teaming up with her favorite songstress and Bosom Buddy: Anita Cookie!

Check GiGi out online at:

www.gigilafemme.com
www.twitter.com/gigilafemme
www.revealedburlesque.com
www.burlesqueonthegogo.com

Catch her if you can ♥

Women’s History Month: Celebrating Women In The Arts – Spotlight On Diánna Martin

Karen Tortora-Lee — Sun, 27 Mar 2011 04:13:45 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Diánna Martin.

Of course you’ve heard of Diánna Martin – she’s one of our contributors! But her connection to The Happiest Medium started in a much different place … back with The Oath: I was a reviewer for Neighborbee, and I was left emotionally drained by her performance as Deck. I later met her socially at a few of the Off Off Broadway industry events before I was lucky enough to snag her as one of our writers here.

Now she is a dear friend, but in terms of the acting community she is so much more … She is the name and the face behind Martin Acting Studios – a legacy handed down from her father, Ernie Martin. Today, we celebrate Diánna the actress, and the acting coach who is carrying on the tradition she was born into. Here is her story.

Talk to me about being a woman who does what you do- just overall.

I come from an entertainment family. I was always a little ham who had a gift of gab and an outgoing personality…and a very active imagination. My life was a series of acting classes; life lessons were told many times with a preface: “Ya see, Diánna, it’s like in acting…” and I learned about Strasberg and Meisner technique and was on film/television sets and theatre rehearsal techs before I learned how to swim or ride a bike. I intended to be a writer, winning creative writing awards in high school and doing poetry readings in college; but I was always coming back to performing or being involved in entertainment, and eventually realized I had a gift for teaching. This has led to a personal renaissance over the last few years with my putting up shows with other artists, becoming involved with three dynamic and vibrant theatre companies, writing for this brilliant site (after a wonderful period of writing for The Fab Marquee), and becoming a staff member and judge for the Innovative Theatre Foundation. It’s all been fantastic.

My mother, Ann Wedgeworth, is a Tony-award-winning actress of film, stage, and television who studied with Sandy Meisner; my father, Ernie Martin, was one of Lee Strasberg’s top teachers and has gone on to have a nearly 40 year career thus far in teaching with a roster of students that fill the front rows of the Oscars (Dad, now 80, still coaches professional name actors who take time off from shoots for a refresher).

I love what I do. It’s a passion that grows the more I teach, the more I talk about acting, the more I am involved in the creative process or watch others do so. I literally fell into my parents footsteps on all counts…my mother is blown away that I’m directing more and more shows and readings now…(she wasn’t surprised about the acting or the teaching), and so is Dad. They come to everything I do. It wasn’t a choice for me…it was something that just became – it was an evolution, actually. Hey, I’m an artist, not a businessman, and I’m still learning how to get that part right…*laugh*…but it’s been brilliant the way that people have jumped on board. Whether it’s to offer advice on how to set up class packages, to help me set up my game plan for a school, to my buddy Michael Marwit designing my logo, Antonio Minino helping me figure out a PR strategy, or students (beginners to professional actors) contacting me to study. It’s a blast when people recognize that you are someone whose opinion is valuable, whose knowledge of the craft and eye for human behavior is matched with an ability to express it to others in a way that can make a significant contribution. When people ask what I do, and I list all the arts and entertainment I’m involved with, or have been involved with (for five years I worked in live television and was a radio DJ) they are interested; when I say I teach, they often seem surprised when I say acting is the subject (unless they are in the business). Even then, there is a quality of “you teach acting?” that makes me laugh; I suppose it’s because I’m such a kid…some people equate a teacher as a more stoic figure than what I think one should be. If you are teaching people a craft where they have to follow their impulses and express their emotions, then it should be a much looser, more freeing environment.
I joke that I’m like the Jack Black from School of Rock meets a helluva lot of experience in the field of acting. I can talk academic from here until next week, but I find that a less formal approach blended in heavily is the best way to bridge the gap between an actor trying to learn a craft who is stuck in their head, and one who is free with their work.

I teach a combination of Strasberg and Meisner technique that was handed down to me by my father, and tweaked with all the glorious information I gathered from the other brilliant teachers/coaches I’ve studied with…molded into my own way of sharing it and exercises I think are appropriate for the students individually. Topped off with a sprinkling of my own personality, of course. Every moment I learn something new is, for me, valuable; I look at it as “how can I incorporate this into my teaching” if I find it helpful. This applies to everything, including martial arts training I’ve started this year learning Muay Thai. A fellow teacher felt the same way when he started Jiu Jitsu…It’s not like I’m going to teach my students how to do Thai kickboxing, but how can I get them to free their mind and relax their body so their intrument can be free to work, while still being focused on their objective?

Sometimes I do have a maternal instinct with my students, no matter if I’m teaching teens or adults…a den mother, if you will. Other times it’s simply as a mentor. For me, being a woman has nothing to do with it…it’s just being a creative human. But I may be way off base.

Are there days it makes a difference – good or bad?

Only if I haven’t had my coffee.

Are there barriers you fought against in the past that are now becoming easier?

I think my barriers are different than for some other people…as well as the open roads. Any issue I have had to deal with wasn’t so much about my being a woman, but about the apprentice/journeyman manner in which I learned to follow as a teacher, my pedigree and people’s prejudice in comparing me with my father. If you have a Master Acting Teacher/director as a father and an incredibly successful and brilliant actress as a mother, the standards are rather high (which is a good thing). However, sometimes people assume that you have fallen into this profession due to contacts or simply due to an unrealistic view of how good you are at what you do. There are a few who either studied with my father or know my parents who were quick to say “well, you’re no Ernie!” in relation to my teaching. The irony is that I have never said I was – I am simply his daughter who absorbed his lessons from teaching my whole life whereas many others only learned them in the studio. Although I quote him constantly, as he quoted Lee, and relate stories of what both my parents experienced to illustrate situations and concepts to students, I have my own style and my own way of teaching that works. I have my own methods, but I have taken the best seeds of knowledge from who taught me, and in the manner of any other journeyman/disciple I utilize what I learned. I’ve learned from fellow teachers and students of my father’s (like my friend, teacher/actor David Robinette) or from friends in the business (such as playwright/directors Alex Dinelaris and David Stallings) as well as my experiences with my students. It’s all a process. It’s teaching a craft, and in doing so there are also exercises and ways to teach it that have been proven incredibly effective, if you have an understanding of how that knowledge works. Some facilities/institutions I have taught prefer a specific degree for their teachers, for they don’t recognize the passing of the torch that many successful teachers have learned from outside of academic institutions. I find that frustrating, but not an insurmountable obstacle.

I have been rather fortunate, however. These “barriers” or issues have usually not been the case. People recognize that I do know what I’m talking about, that I have successfully taken the torch my father gave me to teach, and that I do have a gift for teaching and getting ideas across to students that can improve their work tremendously. Way more often than not, my pedigree is anything BUT a barrier; it has opened doors and people’s acceptance to at least listening to what I have to say. Then, once I have established my way of teaching and the craft I have to share, they decide if it’s for them or not.

The men that you interact with – do they treat you as an equal?

Most of the men that I meet in this profession have been tremendously helpful. I think that it’s rather telling that all of the people I have mentioned (who are but a few of the wonderful people who have helped me grow) with exception of my Mother (who offered a wonderful amount of insight about Sandy’s approach as well) are men. I think I have been very fortunate to know such gifted and giving individuals.

I think that the profession of teaching acting lends itself to more open-mindedness amongst people than not. There have been many female acting teachers, and one of the main schools of thought that came out of the Group Theatre was Stella’s. Women acting teachers offering important contributions to actors working today is not a new or novel concept.

That said, like most other professions, it is a bit of a boy’s club. I don’t think so much in the sense that women have to prove themselves but that there are simply more men teaching acting/running acting schools than women. But that seems to be changing. I can’t speak to issues such as any discrimination in purchasing space, long-term facility rental etc, or business practices, for I rent my space out from other facilites such as Night Owl Studios and The Abingdon Theatre Complex to teach (unlike my father who had a 5,000 sq. ft theatre/studio complex).

I was teaching before I knew I was going to actually start a business, and since I’m coming at it from the artistic point of view, I admit that I’m still figuring out all the logistics. I am a bit of that nutty professor. But there comes a point when you look to the people who have done it before you (and most of them are men, at least the ones that I know) and say “Hey, man – how did you do this? How did you make it work so you teach a solid craft AND actually walk away covering your expenses?” Hey, it’s all a learning process. I marvel at the men and women who have been able to create an acting school and have it rise like a phoenix. I am just trying to find the happy medium of how to do it effectively as a business for a continuous long haul.

I find men sometimes don’t know what to make of me. They have I have ways of expressing myself artistically and to my students that are not conventional ways a woman is “supposed to talk”. There are expressions I use that make me sound sometimes like a younger version of my father from the 70s when he taught for Lee. Many times I have heard from people who studied with both of us, who said they could hear my father as I spoke. It’s not my intent to sound like wee Ernie, but “Can you dig it?” is as much a part of my vocabulary as “Does that make sense?” and since I’m in the moment and expounding on things that I’m passionate about, it comes across.

Between teaching, acting, directing … writing … volunteering! So much! Tell us what’s up next for you Diánna.

In regards to acting itself, I think it’s important for actors and actresses to realize that no matter how good they are, they can never watch themselves work…so it’s still important to check in and get advice if you trust the source of the information. Al Pacino still studied and was coached by Lee after he became “Al Pacino” and I think it’s important, the same way a musican practices their instrument or a singer scales, an actor has to be on top of their instrument. No matter who they study with, it’s always good to go over the basics. I find this as an actress myself.
And it doesn’t matter what school of thought, ultimately, you choose. We all have our favorites that we utilize, but it’s always good to have a well-rounded craft and to keep in mind that we never stop learning – quantity, quality – and variety. Even if it’s to say “okay, that’s groovy, but it doesn’t work for me.” As long as you are passionate and you make the most out of a craft – and work hard at a craft, if it works for you, then mazel tov – it won’t matter what it is if it gets you where you need to be.

In regards to my current work: I took some time off this past year from teaching my private classes to focus on acting, directing, and my health but still taught at Hunter College and did private coaching. During that time I performed and directed three shows and two readings. I am currently in a play that opens at the June Havoc Theatre April 14, The Family Shakespeare by David Stallings, and then immediately after that I am directing Jim Tierney’s Carry On in June for Planet Connections. I will be starting class again this Fall, though, regardless of my acting/directing commitments; I have been itching to open a new monologue/scene study class for some time, especially in response to many students’ requests. I’ve been asked to do a few seminars as well, and will have my Hunter classes again, and hopefully a reading series I have been looking at getting underway for a long time will finally come to fruition…so Spring and Fall are going to be busy…as usual! I am getting everything in gear to focus on my school again, and find a way to juggle it with all the other commitments in the field that I have…for I often feel like something is missing when I’m not teaching my own class. I look forward to this coming year as I learn how to balance all of it, just taking it moment to moment.

Women’s History Month: Celebrating Women In The Arts – Spotlight On Dev Bondarin

Karen Tortora-Lee — Sat, 26 Mar 2011 19:30:21 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Dev Bondarin.

Like so many dedicated theatre women whose role is behind the scenes (rather than on the stage) I met director Dev Bondarin’s work long before I actually met Dev. It’s an interesting thing to meet a person via her work, especially when she’s a director … Because while her voice is all over the production, if she’s done her job right you walk away unable to separate her out from what you just saw. Sure, you may say “that was an amazing play” but unless you’re finely in synch with all the moving parts that make up a theatre piece you may never understand why you feel that way. And so, its important that I give particular accolades to Dev today – because she’s so often interpreting other’s words … and I’ve been looking forward to hearing her own words for a while now.

Talk to me about being a woman who does what you do – just overall.

I love what I do and I do take pride in being a female director. Being a woman shapes the lens through which I see the world. While not all of the stories I am drawn to have a feminine theme, they touch me in ways that are specific to being a woman.

Are there days it makes a difference – good or bad?

Every day being a woman in theater gives me the chance to make a positive difference.

However, there are some days when I have felt like my insights are perceived as threatening to other women who are competitive or to men who have a need to suppress. That is always a challenge.

Are there barriers you fought against in the past?

There are barriers out there—many unspoken and some unconscious—to contend with. (Just look at how many women are directing professionally as compared with men.) I try, however, to focus on the positive: what are the opportunities I am finding and what new collaborators have I met who I want to work with again. The more opportunities that my fellow female directors and I find, the more we are chipping away at the bigger barriers. And things are getting better, no question about it.

I am more confident in my work and in collaborating so in that regard everything has become easier. I know more and more who I am as a director and as a woman.

The men that you work with – do they treat you as an equal?

The men I work with are wonderful. I can think of one or two instances when I collaborated with a man who was challenged by my being a woman but they are few and far between so I try to take those encounters in stride.

I am lucky that the majority of those with whom I work—men and women— are good people who encourage a working environment of openness, collaboration, and mutual respect.

Are there some resources you’d like to share that you find particularly helpful as a woman?

I recently joined the League of Professional Theatre Women, an organization that promotes visibility and opportunities for female theater artists. I recently directed in their New Play Festival at New World Stages. The evening featured a diverse collection of work of written and directed by League members.

What’s up next for you, Dev?

I have been lucky to work with many wonderful theater companies that are either run or co-run by women (Prospect Theater Company and the Gallery Players among others). This weekend (That’s tomorrow night!!), I am teaming up with playwright Cody Daigle again for a reading of his new play WHY WE FALL with On the Square Productions. Next week I am directing a reading of James Armstrong’s new play WORTH for Abingdon Theater Company and after that I will be working on the next installment of Prospect Theater Company’s Musical Theatre Lab.

~~~

More about Dev Bondarin

Dev Bondarin’s directing credits include Reefer Madness: The Musical and The House of Blue Leaves (The Gallery Players), Snapshots and Map Quest (Prospect Theater Company), A Home Across the Ocean, (MTWorks @ Theatre Row), Romeo & Juliet (EBE Ensemble in Prospect Park), Thucydides (Samuel French Festival – 2009 Winner), and Raised by Lesbians (FringeNYC).

Dev is the Special Project Manager for Prospect Theater Company where she has been a staff member for six seasons. She spearheads and directs the company’s annual musical theater lab of commissions of short musicals by different writing teams on a central theme. Dev loves working with writers and has also directed/developed work with Abingdon Theater Company, Luna Stage, Milk Can Theater, On the Square Productions, and the Manhattan Theatre Source. Dev has assisted Kate Whoriskey, Jim Simpson, and Mary B. Robinson, and has been awarded an SDCF Observership. MFA in Directing from Brooklyn College/BA in Theater Arts and Art History from Brandeis University. Member: Lincoln Center Directors Lab. Associate Member: SDC and the League of Professional Theatre Women.

Find out more at her website: www.devbondarin.com.

Women’s History Month: Celebrating Women In The Arts – Spotlight On Brett Umlauf

Karen Tortora-Lee — Fri, 25 Mar 2011 02:17:04 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Brett Umlauf.

The first time I saw Brett she was decked out in a huge red velvet ball gown, had a powdery white wig upon which a black top hat was perched and she was singing along with two other identically dressed women. Together they were Charites, and they were singing everything from opera to standards to Lady Gaga for Austin McCormick’s take on fairy tales – Le Cirque Féerique. I found them utterly captivating, versatile and charming so when it came time to have my one year anniversary party I definitely knew I wanted them to perform, and I was thrilled when they accepted. Soon enough Brett and I kept in touch through various other things she was involved with, most notably the Diva Search produced by Morningside Opera.

As a lifelong devoted fan of Opera with season tickets to the Met, I’m thrilled that I now have a strong connection to the next generation of Opera via the lovely and talented Brett Umlauf. The more I get to know her, the more I’m continually drawn to her thoughtfulness, her dedication to her craft, and her supreme talent - the voice that floats so effortlessly from her tiny frame and fills a room with the most glorious, lilting, soaring notes that leave you astonished. Ahh, if only Brett could sing her answers for us …

Brett Umlauf

Talk to me about being a woman who does what you do- just overall.

What I enjoy most about what I do is learning from my colleagues, male and female. The euphoria that comes from a good musical chemistry, a gratifying artistic collaboration is what I crave in any project. In her poem “The Witch’s Life,” Anne Sexton wrote: “When I was a child / there was an old woman in our neighborhood whom we called The Witch…I think of her sometimes now / and wonder if I am becoming her…Only my books anoint me, / and a few friends, / those who reach into my veins…”
Substitute the word ‘projects’ for ‘books,’ and I feel as though I’m living her poem. As I witness the crone slowly eclipse the maiden in my form, my face, my voice, my figure, my affinities, I notice I wrap a trusted creative circle tighter and tighter around me, those who ‘reach into my veins.’ I have learned to let my gut tell me from whom I can learn the most, and I’m going with that feeling more and more.

Are there days it makes a difference – good or bad?

I’ve never felt that being a woman was the reason I had a good or a bad day doing what I do. Obstacles that everyone faces: time-constraints, self-doubt, budget concerns, limitations of skill-set; these are the things that can make a rehearsal or process or performance feel gnarly, but I’ve never traced these challenges back to being a woman.

Are there barriers you fought against in the past?

No. And here’s where I feel almost guilty. When I have second wave feminist friends attending a performance where I’m blithely glamming it up, Girlie Culture Style, I experience something akin to shame. (But not enough to take off the lipstick and heels!). However, I am keenly aware that it’s on account of *their* efforts that I can honestly say: what barriers?
I try to honor prior generations of women in everything I do, as I am full of gratitude for where and when I live and with whom and to what degree of freedom I am permitted to work and create. We cast Morningside Opera’s recent Handel pastiche ATRA: Ossia, L’amore Ricordato as a lesbian love triangle, the powerful castrato role being sung by a woman and *played* as a woman, i.e., not dressed in pants and a painted on moustache. The director, Minou Arjomand, will be telling you more about that process hopefully very soon.

The men that you come across do they treat you as an equal?

As they should, the men *and* the women I work with treat me in accordance with my skills, professionalism, contribution, talents, etc. But a fair number of projects with which I am involved are women-only. A woman composer friend recently commented to me how much she’s been enjoying the “courtesy, patience and encouragement” she’s found working in our female dynamic, when she’s used to an environment dominated by male energy. I appreciated her pointing that out, as it’s something I probably take for granted, working exclusively with women so often.

Are there some resources you’d like to share that you find particularly helpful as a woman?
I find a lot of wisdom and comfort in the voices of women poets, past and present. Edna St. Vincent Millay, Jane Kenyon, Anne Michaels, Anne Carson, Priscilla Becker… There’s endless free camaraderie out there thanks to these women’s gifts paired with the gift of public libraries.

What’s up next for you, Brett?

SIREN Baroque

A. Come enjoy Charites as we perform works by women poets and composers of the baroque on Wednesday, 13 April 2011 at 1:15p (ARTEK Midtown Concert Series) at Immanuel Lutheran Church; 88th St at Lexington Ave; New York NY
B. Stay tuned for more from SIREN Baroque, a brand new all female ensemble that debuted this month. Photo from our concert at Caffe Vivaldi on the left.
C. Stay tuned for Morningside Opera’s next season and hopefully a feature where director Minou Arjomand and female cast members will reflect on Karen’s questions…

~~~

More about Brett Umlauf
Soprano Brett Umlauf is not only a huge fan of thehappiestmedium.com, but also a founding member of the female early music trio Charites, singer in the all female ensemble SIREN Baroque, co-creator of an educational entertainment about the Swedish rococo poet-composer CM Bellman and both board member and principal artist at Morningside Opera. She’s currently collaborating with composer Kate Soper, mezzo Amber Youell and dancer Laura Careless to re-imagine Pergolesi’s Stabat Mater alongside Soper’s new opera for three female voices. Visit brettumlauf.com for more info and concert dates!

Women’s History Month: Celebrating Women In The Arts – Spotlight On Heidi Grumelot

Karen Tortora-Lee — Thu, 24 Mar 2011 20:22:52 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Heidi G. Grumelot.

Heidi Grumelot is the Artistic Director of Horse Trade Theater Group. Horse Trade is comprised of three theatres that are like second homes to me: UNDER St. Marks, The Kraine and The Red Room. I had the pleasure of getting to know her after we sat on a panel together during FRIGID NewYork 2011 discussing Self Producing Artists. Honestly, I”m surpirsed it took me this long to actually meet her considering what a fan I am of Horse Trade and how much of my time is spent there.

Heidi is also a talented director; she was responsible for the extremely enjoyable Donnie and the Monsters which was held over last year. I’m happy to see someone so cool, so together and so strong being responsible for so much of the NYC downtown theatre scene. I can’t wait to continue working with her in the years to come. Now here’s Heidi’s story …

Talk to me about being a woman who does what you do- just overall.

I love what I do. Not only do I work with the nicest bunch of people around, I get to meet amazing artists each day and glean inspiration. I can’t imagine being a man doing this job…mainly because I’m not a man. Male or female, I do think being an ‘open’ person is a valuable quality in this business. I’m not sure if some of the bedlam we allow in our spaces would have found a home without a bit of openness – BTK Band I am talking about you.

Are there days it makes a difference – good or bad?

The combination of looking a bit younger than I am and being a woman often provokes surprise in those I meet. I generally try and take their surprise as a complement because forty is not thaaat far away… But, I’m not afraid to call people on it if they can’t do business with a woman.

Are there barriers you fought against in the past that are now becoming easier? Was it always easy? Is it still hard?

I think the biggest obstacle of being a woman in this job is facing the under-estimation of others. But any artist who takes chances faces this type of challenge….all the more reason to prove them wrong.

The men that you come across / work with / interact with – do they treat you as an equal?

I am treated very well by all the gents I work with right now. I really appreciate them because they totally have my back. They also work really hard, are generous, and just plain smart.

I have had situations in the past in other places where a man has tried to bully me on the job, so I suppose it has gotten better for me. Actually, I think it has gotten better because I am much better at standing up for myself now. Not to say I think bullying is gender specific, I have had similar situations with female bullies too.

Are there some resources you’d like to share that you find particularly helpful as a woman?

I think everyone should become friends with the Wreckio Ensemble - those ladies know what’s up. Oh, and take a trip to the Russian/Turkish bath house with the ladies on your staff after you finish the FRIGID Festival, I highly recommend that. Definitely take advantage of the happy hour offerings on your block with your favorite NJ playwright. Do whiskey shots with your crazy Israeli bookkeeper if you stay at work late. And do order stew fries with all the ladies in the office at lunch time….

You’re adorable, Heidi. Plain and simple. What’s up next for you?

I would love for more folks to meet The Drafts Ensemble at our Drafts Fest May 5th-15th. This year’s theme: ‘Accidental Discharge Impossible.’ We are very excited to be hosting a South African Theater Festival July 24th-August 2nd. And I am directing a play called Lines written by Terence Hughes in association with the UK Company Ice & Fire August 11th-27th. And before that we have so much more going on with our Horse Trade Residents – check out our website at www.horsetrade.info. And apply for a Residency at Horse Trade, over ¾ of all the playwrights, directors, and producers we worked with this season were women!

Now that’s what I like to hear! Thanks so much, Heidi, for sharing your stories with us … can’t wait to see you at the next show!

~~~

More about Heidi Grumelot

Heidi Grumelot is co-creator and producer of the monthly storytelling show TOLD. She is the founding director of The Drafts, an acting ensemble responsible for development of over forty original plays to date as part of a monthly reading series. She is the Resident Coordinator for Horse Trade’s six resident companies.

New York directing credits include punkrock/lovesong at The Brick Theater, Dido and Aeneas with The New York Collective of Performing Arts at The West End Theater and The Boston Early Music Festival, Donnie and the Monsters at UNDER St Marks Theater, and Accidents Do Happen, Tom’s Things, and Turning the Glass Around in The Red Room. New York staged reading credits include The Flower Thief in The Red Room , A River Pure for Healing, and An Absolutely Perfect Life at UNDER St Marks Theater. Assistant director credits include Antony and Cleopatra, Love’s Labour’s Lost, and A Christmas Carol for the American Shakespeare Center. She has directed productions in Michigan, Virginia, and Mexico.

Prior to working at Horse Trade, Heidi worked for Laura Stanzyck Casting and The Public Theater’s Casting Department. Casting Assistant credits include Impressionism on Broadway, The Cripple of Inishman at Atlantic Theater Company, The Shawshank Redemption at The Gaiety Theater in Dublin, Holiday Garland at The Westport Country Playhouse, and Hamlet and Hair at Shakespeare in the Park.

Women’s History Month: Celebrating Women In The Arts – Spotlight On Franca Vercelloni

Karen Tortora-Lee — Wed, 23 Mar 2011 05:15:02 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Franca Vercelloni.

The first time I saw Franca she was on a stage and I was at a table in the audience, scribbling notes about her Fringe Show Classically Trained, Practially Broke. A lot of the notes which never made it into the review were things like “oh my god … me too” because in a lot of ways her story was my story. But, really, Franca Vercelloni’s story is uniquely her own.

First of all, it’s impossible NOT to fall in love with Franca as she takes to the stage; she’s astonishingly gifted as a pianist, has a sparkle that starts at her eyes but soon has hit every member of the audience, and has the beauty and brains to deliver humorous monologues that keep you in the palm of her hand.

Once I saw her I knew I had to have her as the MC of The Happiest Medium’s 1st Anniversary Party - and collaborating with her was one of the most joyful experiences I’ve known. Frankly, we laughed so much rehearsing the opening song that it’s a wonder we came off as good as we did the night of the show. But that’s the kind of woman Franca is – she’ll put you at ease, she’ll sing you a song, she’ll flash you that gorgeous smile, and after wrapping you up in her talent and charm she’ll leave you with a warm feeling that lingers long after you’ve said your goodbyes.

Now let me turn the stage over to Franca:

I believe that female performers are at a disadvantage from the getgo. “Be thin, be young, be successful by 30 so that you will still have time to have a family.” Or, “Take some classes, get yourself ready, because you’re so specific, you really won’t start to work for 5 more years.” You must be extremely careful whose opinions you listen to, because everyone has an opinion, and many of them are not worth listening to.

You must be strong, you must be innovative, you must have a sense of humor, and, most importantly, you must be a true entrepreneur who creates opportunities for yourself. Stick to your values and your vision. I’ve had weird experiences working with some men, but since I started kickboxing, I’ve found that they consider my ideas and opinions more carefully than they used to.

I was raised by three strong women, and they raised me to be strong. When I work with men or women or anyone in between, I present myself, with all my strength and assertiveness, calm and craziness, and I am not afraid of those things in others. I try to adapt to whom I am working with and treat those people as I would like to be treated: with respect and concern. It usually works out. And if it doesn’t…did I mention that I kick-box? I also write really awesome songs about how terrible people can be. Everything is material as far as I’m concerned …

UPCOMING:
I am currently writing my next musical show, collaborating on both songs and script for a children’s television program, and writing music for a soon-to-be-produced translation of a well-known French farce. Come sing show-tunes with me at the piano at Marie’s Crisis (59 Grove Street) every Tuesday from 9:30-closing and Saturday from 6-10pm. AND come hear me and the other ladies of The Main Squeeze Orchestra when we play our all-Kurt Weill program (Girls Gone Weill) on May 5 at Drom in the East Village (www.mainsqueezeorchestra.com). We were just featured on NPR’s “All Things Considered” and our debut CD is for sale on our website.

More about Franca:

Franca Vercelloni is an actor, musician, singer and writer. Classically trained in piano performance at The University of Cincinnati College-Conservatory of Music, she currently plays in piano bars and teaches piano to children and adults. Her musical solo show, Classically Trained, Practically Broke, played to sold-out houses at The Club at La Mama as part of the 2010 New York International Fringe Festival and enjoyed a 5-week run at Manhattan Theatre Source as part of the 2010 EstroGenius Festival. Other appearances include: The Hampton Playhouse; Theater for the New City; Berkshire Theater Festival; Tony ‘n’ Tina’s Wedding off-Broadway; commercials for Dunkin’ Donuts and Commerce Bank; the Housewife in Ishai Setton’s award-winning short musical comedy film The Butcher and the Housewife and Setton’s feature, The Big Bad Swim (2006 Tribeca Film Festival premiere). Stand up appearances include Stand Up New York, The Comedy Cellar, and Gotham Comedy Club. Franca plays accordion with the all-female, all-accordion Main Squeeze Orchestra (recently featured on NPR’s “All Things Considered”). Franca is a member of AEA, SAG, AFTRA and AFM Local 802.

Women’s History Month: Celebrating Women In The Arts – Spotlight On Emily Owens

Karen Tortora-Lee — Tue, 22 Mar 2011 02:55:40 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Emily Owens. Without exaggeration I can say that Emily paved the way for making The Happiest Medium what it is today. Way back in 2008 when I was a fledgling reviewer and still trying to figure out how to fill a weekly column quota (for another site) publicist Emily Owens contacted me about some shows she was representing. I was new to it all and eagerly accepted every show that she sent my way. ”Just you wait,” my husband (and the co-founder of The Happiest Medium) said, “One day you’ll be getting so many offers from so many publicists that you’ll be turning them away!” I couldn’t imagine what that would feel like.

Well, here we are, two and a half years later and I’m proud to say that Emily Owens and I continue to enjoy a very successful business relationship to this very day. And, Stephen was right – these days THM gets so many offers to review shows that we have to be very choosy with what we follow up on. I’m grateful … but overworked and overwhelmed at times by the amount of shows that are happening in Manhattan. Having a relationship with a someone like Emily — a publicist I can trust – ensures that The Happiest Medium is always covering the best, newest, and greatest of what’s out there. Emily has been critical in getting me together with some of my very favorite people in this industry, and – I’ll say it again – I wouldn’t be where I am if I hadn’t begun reviewing shows repped by Emily Owens. Most recently, as the publicist for the Frigid New York Festival 2011, she made it possible for The Happiest Medium to become a Media Sponsor and the relationships we were able to build during that festival were invaluable. Never mind just plain fun!

I’m in awe of her energy, her intuition and her connections. And I thank her from the bottom of my heart for what she does not only for me, but for all the talented people who count on her to publicise them the right way, every day. Now let’s hear her story …

Talk to me about being a woman who does what you do- just overall.

When you own your own business the business IS you, so everything I do or say reflects on my company in one way or another. From the clothes I wear to what I post on my Facebook status, it all affects how people perceive my company. To that end I’m sure the fact that I’m a woman does play a factor, but its not something I think about as it relates to my job. When I first started out I was more concerned about my age, as I started my company fairly young (I’m 25 now and Emily Owens PR was founded in 2006, you do the math!) I felt for a long time like I had to keep my age a secret, for fear that people wouldn’t take me seriously.

The favorite part of my job is seeing my clients succeed. I know that probably sounds cheesy but its true! The reason I do what I do is to get artists and their work exposure that they otherwise might not get without me. There is so much amazing work going on downtown that people don’t necessarily know about, and I love helping to get that work the acknowledgement it deserves.

Tells us about some of the barriers you’ve encountered.

I knew pretty early on that indie theatre was where I wanted to be, but I ran into a lot of attitude against it. The feedback I received was that press wouldn’t cover off-off Broadway shows and that I’d never be able to make a living at it.

Its still difficult to get the larger media outlets to cover shows being produced off-off Broadway and there are still people I run into from time to time who honestly have no idea what independent theatre is, but I’m much more fulfilled pounding the pavement everyday trying to get my “unknown” clients exposure then I would be if I was working for some big Broadway press agent publicizing “Die Hard: The Musical!” starring Johnny Depp.

The men that you come across / work with / interact with – do they treat you as an equal?

I’m sure my male counterparts are never referred to as the “PR girl” but I’ve always kind of liked being the PR girl! I never want to be treated differently because I’m a woman. In some cases I think people are more likely to hire me because I’m a woman (as opposed to NOT hiring me because of it) but I think that’s almost just as bad. You should hire somebody because they’re the best person for the job, not because of their gender, skin color, or sexual orientation. We’re never really going to be equals until our differences stop being a factor entirely.

You’re so busy! What are some of your upcoming projects?

Purple Rep’s Gay Plays for Straight People (and also gay people), April 8-30 @ The Paradise Factory
Iron Jaw’s Narrator 1, May 11-29 @ The Lion
The Comic Book Theater Festival, June 2-25 @ The Brick

Emily Owens is a press agent for independent theatre. Her clients include Horse Trade Theater Group, terraNOVA Collective, Flux Theatre Ensemble, Nosedive Productions, The Brick, Rachel Klein Productions, and Purple Rep. Visit her site Emily Owens PR.

Women’s History Month: Celebrating Women In The Arts – Spotlight On Kathleen Warnock

Karen Tortora-Lee — Fri, 18 Mar 2011 20:15:47 +0000

These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.

Today we continue our series with Kathleen Warnock.

Kathleen Warnock is a playwright and editor. She is company manager of the Playwrights Circle at Emerging Artists Theater, and curates the Robert Chesley/Jane Chambers Playwrights Project for TOSOS Theater. She curates the Drunken! Careening! Writers! reading series at KGB Bar the third Thursday of every month. She is also series editor for Best Lesbian Erotica (Cleis).

She is tired.

I certainly would be too! I had the opportunity to sit on a panel with Kathleen last year and have been trying to find a time when we could feature her here on The Happiest Medium. Well, thank you Women’s History Month! You finally got this very tired, very talented, very wonderful woman to share her story with me. I’m thrilled that I’m finally able to celebrate all the wonderful things that Kathleen Warnock is doing, every day. I’ll let her take it from here …

Kathleen Warnock

As I said, I’m tired. But interested. One thing always leads to another: whether it’s helping produce The Secretaries for TOSOS in last year’s Fringe (and extension), or working with the Playwrights Circle at EAT. My day job, editing travel guides for Frommer’s, also takes me around the world from my cube in Hoboken.

The days that make a difference are always an Opening Night of mine; those are the best days. I also get a similar buzz from attending Opening Nights for friends of mine, particularly when I’ve helped out with the production. The days that make me think “I’m too old for this shit,” are when I have a lot of production-related stuff at the same time I have a big project due at work, or when I’ve got 2 or 3 deadlines within the same, say 72-hour period! Does anyone know where I can get Adderal?

I’ve often been the only girl in the room: I was sports editor of my college newspaper, worked for the Baltimore Orioles and Colts, and became a sports journalist after I graduated from college. I made it my business not so much to be one of the guys, but to focus on the work, and usually ended up with the respect of my colleagues. I’ve tried to operate that way since. Sometimes, when I’m one of the few women at a production meeting, I just do the same thing and say what I need to say, and do it in a constructive, positive way, to make sure that an issue is addressed. And often, I realize that my presence reminds people that there are women playwrights, women who run theaters, etc.

I wouldn’t work with someone who treated me as less than an equal. Of course, I have the “luxury” of working for little or no money off-off, so if someone’s an ass, I can walk away from the project. The people that I choose to work with most often, and who have chosen to work with me are the likes of Paul Adams, artistic director of Emerging Artists Theatre, who has given me many opportunities as a playwright; and Mark Finley, artistic director of TOSOS, who is like my twin-from-another-mother. Doric Wilson, founder of TOSOS is someone who recognized me as a playwright and a colleague, and has often opened doors for me, and promoted my work.

As a playwright who is a woman and a woman who is a playwright, I find resource websites/lists to be extremely helpful. I have a bulletin board that I’ve been maintaining online for 8 years, called “En Avant Playwrights,” on which I list all the opportunities I find in a format based on play length, and whether it’s for production, staged reading, contest, etc. We’ve had nearly 1.7 million pageviews since I started it. I am also a member of the yahoo group “Playwright Binge,” founded by Patrick Gabridge, a smart, talented Boston playwright who has shared his process of marketing his work, and created a place that supports all playwrights who want to know about getting their work out there. The group does semi-annual “Binges” where they commit to sending out their work every day for a month, then reporting back to the group.

I have a short play, Staying Put, running in Series A at EATfest (TADA Theatre, 15 W. 28th St., subway: N/R) through March 20. It runs Monday, Thursday at 7pm and Saturday at 9pm. The other plays in the series are by two playwrights whose work I love: Barbara Lindsay and Audrey Cefaly. Tickets can be purchased here: http://www.brownpapertickets.com/event/154363 and are $18 (reduced for students, seniors). In addition, my latest full-length play, “Outlook,” was just read as part of the “First Taste” series for company playwrights on March 15, at 8:45. It was directed by Mark Finley, and featured Meghan Cary, Robin Cloud, Irene Longshore & Danielle Quisenberry.

And the deadline for Best Lesbian Erotica 2012 is coming up April 1! For submission guidelines, visit my website at www.kathleenwarnock.com.

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More about Kathleen Warnock:

Her works produced in New York include: “Grieving for Genevieve” (MITF); “Rock the Line” (EAT); “Some Are People” (EAT NYC, Ireland); “The Adventures of…” (EAT, NYC, Ireland, Provincetown). She is a member of The Dramatists Guild.

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