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Disappointment...

I have thought a lot about commenting on the dispute between The League of American Theaters and Producers and IATSE which has led to the strike affecting the Broadway theater. I don't feel it is my place to publicly discuss the issues at hand because I don't know any more about them than has been disclosed in the media. I can, however, talk about disappointment.

The picture above is very ironic. It is taken in front of the St. James Theater where The Grinch That Stole Christmas should be playing. Instead a new show is in town: The Grinch That Stole Broadway.

Whatever the issues, whatever the impasse, because people on both sides of the table are unable to continue talking and compromising, the real loser is the audience. Ticket sales to popular shows are made months in advance and patrons plan special trips into NYC. Vacations are often planned around theater experiences and can't be replicated. For many people it is a "once in a lifetime" experience and one that won't or can't be duplicated after their ticket refund. It is disappointing to the patron and a disappointment to the City and organizations that count on the revenues derived from these visitors. Over 5 billion dollars is generated for the New York City annually through visitor spending by tourists attracted to productions playing in Broadway theaters. It is estimated that theaters and related businesses are losing about 17 million dollars a day during this strike.

Another potential disappointment is for BROADWAY CARES. They were in the midst of their six week winter fund raising drive, a window of time in which the attending audience is asked to donate to this important organization. A lengthy shutdown will be a major disappointment for them.

My hope is that the craftsmen and the producers will come back to the bargaining table looking for solutions that will benefit everyone...including the patrons and associated Broadway businesses and organizations. What blesses one, blesses all!

American Theater Wing...A Great Educational Resource

You often hear me refer to the Tony Awards in association with our faculty at US Performing Arts. So many of our teachers have been honored for their performances by either participating in a production which has been nominated or has received a Tony, or have been nominated for or received one for their personal performance. This award for excellence in the theater, both on Broadway and regionally, was established by the American Theater Wing in 1947 and named after the then famous actress, director and one of the founders of the ATW, Antoinette Perry. I still remember having attended a presentation of these awards as a very young aspiring actress in the 1950s and being so completely awestruck by the people in the room that I had goosebumps! The Diary of Anne Frank was honored that year as the Best Play and although its star Susan Strasberg was nominated the honor went to the absolutely intriguing and captivating actress Julie Harris for her role in The Lark.

Although awards of recognition of one's excellence in their craft is important, in my opinion the greater good accomplished by the American Theater Wing is in its original purpose. ATW's purpose or mission statement is in providing education in the theater. That the do that so well and in so many ways. If you are not familiar with the American Theater Wing take time to peruse their website. There you will find clips from Downstage Center, one of my favorite shows, featuring current Broadway actors in interesting discussions with each other and the host. You'll also find very valuable resources and links to sites with additional helpful information. They feature a number of networking opportunities as well. I think you'll find their site an important resource of current material.

The San Francisco Experience

There is no doubt that San Francisco is one of the most breathtakingly beautiful cities in the world. Its ever changing vistas and views are something you never get used to or take for granted. Its vibrancy and eclectic culture draws movie makers and theatrical producers from all over the world. Looking at the Sunday San Francisco Chronicle Datebook quickly shows you the numerous opportunities there are for entertainment.

This week I am entertaining an actor friend from London. This is his first visit to San Francisco and my husband and I want his visit to be memorable. We want him to see and taste the things that make San Francisco renowned. Frankly I haven't done this "tour guide" thing for awhile and I feel a bit rusty. The funny thing is that a few weeks ago at a social event a couple of people were comparing notes on having just done a similar thing with out of town guests. One of them said, "Boy do I really miss The San Francisco Experience. Do you remember that show that used to be at Pier 39? I used to start all my visitors to the City there and then we'd decide what we wanted to see after that." Well, this week I really miss The San Francisco Experience and I think it's time to bring it back!

The San Francisco Experience was a multi-media production celebrating the sights and sounds of this great city, shuttling viewers back and forth in time while comparing the historical events of San Francisco with today. It was packed with special effects. Most memorably it recreated both the 1906 and 1989 earthquakes allowing the visitor to safely experience what it feels like to be in an earthquake. Audiences not only learned interesting facts about The City but were stimulated to go out and enjoy the things they had seen. The show ran for over 15 years in San Francisco, finally closing its run at Pier 39 a number of years ago. During its final years it was very successfully managed by my business partner, Craig Patterson and if truth be told, I was one of the producers.

The production company founded by Bing Crosby, David Sacks and Charles Patterson went on to produce other Experiences such as The Hawaii Experience, The Hollywood Experience, The New York Experience, The Taiwan Experience, and The Christmas Experience. All were critically acclaimed and all had very long runs.

So, I really do think it's time to bring it back. With today's technology I think it could be a visitor's blockbuster.

The Ultimate Street Performers

Street performing is as old as civilization. Stories were passed down in early tribal fashion from one generation to another through musical and spoken word performances in the out-of-doors to gathered audiences. Today we similarly gather at street festivals, outdoor venues, and more formally at theatrical plays. Perhaps the greatest of all "street festivals" is the New Orleans Mardi Gras.

A tradition that I find charming, inventive and entrepreneurial is that of the corner street performer. You find them in every city, literally on the corners or in the subway and train stations. They are musicians, actors, comedians, jugglers and dancers. Just like in traditional theater venues some of these performers are absolutely "top notch" and others either need a little more seasoning or perhaps just don't have what it takes.

I tend to be drawn to street performers. I think they are unabashedly brave...there is nothing separating them from their audience...and sometimes you get to see an undiscovered gem. A good thing to remember is that after leaving Juilliard Robin Williams honed his improv craft on the streets of New York! I have seen some incredibly talented musicians and dancers performing their wares on the street.

Watching the gathered audiences is often as interesting as watching the performers. I'm also interested in the psychology that draws an audience to a performer. Why does one act draw a mass of viewers while another goes begging? Believe me the answer is not always the obvious, "because one is better than the other." This question was very much on my mind when I walked past a number of street performers today in San Francisco. I saw some musicians playing their hearts out (and very well) with no one even giving them a second glance. Perhaps as my husband said it's location, location location. But if it is as simple as that then why did the group I have nicknamed the "ultimate street performers" draw such a large crowd? In order to even find them you had to walk down a long pier and through double doors built to screen the noise of their unique sound. Once through those doors the first thing you notice is the crowds thronging the railings. Before you know it you are drawn to the group's melody and mesmerized by the choreography of their powerful, yet graceful dance. People didn't just stroll by or stop momentarily as I had seen them do with other performers. They stood enthralled for a quarter of an hour or longer even in the chilly weather. That's why I have dubbed them the Ultimate Street Performers. (Note the Diva taking center stage while the tired backup dancers rest in the background.)



The Ultimate Street Performers

Applications, Applications, Applications...

For those of you in the midst of your first semester of high school Senior Year it probably seems as if your fantastic summer of '07 with its internships and summer programs is a distant blur. The summer sun may be gone but now you're sweating through mid-terms, trying to enjoy the accomplishment of your fall production, and every time you turn around someone asks, "How are you coming along on your college applications?" It can feel as though everyone's on a time line.

Doesn't it seem as though you just started high school and now in rapid motion you have to make the "life altering" decision of where to apply to college? Which is the right school or the right program? Do you declare a major or do you go into school as a liberal studies student and declare later? Can you convince your parents that your passion for theater or media is a real passion and that its pursuit will give you great happiness?

There are different roads for different people. You've been preparing for this for years...really years. Some of you have done all the "right things." You've taken challenging courses, your grades and SAT scores are stellar, and you've participated in enrichment summer programs, perhaps even acquiring college credit. Some of you may still be finding your way academically. Maybe you don't test well so that your test scores don't reflect your real ability and potential. None of this really matters when you're sitting alone at night looking at the mound of work and personal statements that are required to submit a college application. There is also the question of when to apply. Should you apply for early decision or early action?

Senior year can be a stressful and overwhelming experience when faced with all these decisions and then you add to it the requirement of an audition and interview or the need to present a portfolio of work. It is important to take a deep breath. Step back for a minute and let some perspective settle in. First of all, there is not only a place for each one of you but the right place. It is sometimes just a matter of changing your perspective and not listening to all the misinformation from friends and family members. It's important to really do your homework and sometimes that means getting a "tutor." There is wonderful guidance counseling available through organizations such as the Independent Educational Consultants. A few regular meetings with a counselor can put you and those applications on track pretty quickly and will give you a direction and a peace of mind.

A Broadway Happening...

This is intended to be the last entry chronicling my trip to NYC last week, but I love my work and enjoy sharing it, particularly when it is filled with exciting people and events. Last Saturday night I attended a small dinner party for about 25 people. The highlight of the evening was that incredibly talented Tony Award winning actress pictured above. If you don't readily recognize her it is Christine Ebersole. The picture on the right is from her 2007 Tony winning performance as Edie Bouvier Beale in the hit musical Grey Gardens based on the cinema verity documentary of the same name . The picture to the left shows Christine in the center flanked by Scott Frankel, librettist, and Michael Korie, lyricist.

The dinner was held at the stunning new Alvin Ailey Studios with it's floor to ceiling windows overlooking 9th Avenue. The studio was set up with small tables of 6 which made dinner conversation very easy. My dinner partner was Michael Korie and I enjoyed hearing his candid thoughts on writing. I was not only interested in his writing of Grey Gardens but also his opera Harvey Milk which had premiered at The San Francisco Opera.

Following dinner Michael Kerker of ASCAP moderated a panel with Doug Wright, Michael Korie, and Scott Frankel talking about how the Grey Gardens documentary inspired how and what they wrote for the musical version. They showed clips from the movie with Christine "morphing" into song. It was an amazing intimate evening. It reminded me very much of some backers' auditions I had attended as a child with my father when writers such as Comden and Green and Jule Styne had played their way into the hearts of producers hopefully wanting to back their shows. In the this case no one was looking for backing and the show had already come and gone on Broadway sweeping in many notable awards before closing.

The following morning I made the brisk few block walk from my hotel to The Russian Tea Room. When was the last time I had the opportunity to brunch with 14 Broadway artists? There was so much talent and so many Tony and Drama Desk Award winners in that banquet room that it was an amazing embarrassment of riches. As I looked around the room I realized that 3 of those artists are part of our US Performing Arts faculty family and several more are going to join us in 2008. Wow!

The artists present were Lynn Ahrens (lyrcist), Danny Burstein (actor), Stephen Flaherty (composer), Michael Gorman (actor), Sandy Duncan (actor), Justin Greer (actor), Jonathan Hadley (actor), Dee Hoty (actor), Elmore James (actor), Baayork Lee (choreographer, director, actor), Rebecca Luker (actor), Dana Moore (actor), Lea Salonga (actor) and David Zippel (lyricist).

In addition to these extraordinary guests, many of whom would leave to join their casts for matinées and evening shows, there were 15 Kennedy Center Committee members and staff. The sole purpose was just to eat, mingle and talk about the business. I use the word passion a lot. There was so much passion for the arts in that room in palpitated.

Following lunch I went with a friend to see Danny Burstein in his Tony nominated performance of Adolpho in The Drowsy Chaperone. It was a most enjoyable afternoon at the theater. Danny is outstanding...and hysterically funny. It's two hours of fun with no intermission.

The New York portion of my trip ended on a high with dinner at La Dolce Vita, a tiny little Italian restaurant in Soho with good friends Robert Pullen and Baayork Lee. I couldn't ask for anything better.

Radio City Music Hall

I haven't been to Radio City Music Hall since it completed its seven month $7,000,000 refurbishment in 1999. When I was given the opportunity last Saturday to take a VIP tour I quickly opted in. I highly recommend that you take the tour the next time you're in NYC.

I know that everyone immediately thinks Rockettes when they think about the Hall but there's a lot more, not the least of which is the lavish meticulously and authentically restored art deco interior design. This is a "vaudeville" house with a class act and movie premieres.

From the moment you step off the Avenue of the Americas into the theater you have stepped back into time. The authenticity makes you wish you had been born in another time. It is truly a suspension of disbelief. I suddenly could feel myself in an elegant shimmering gown with freshly coiffed hair and long painted fingernails. So convinced was I, that it was startling to catch a view of myself in a mirror with my wind and rain tousled hair, and wearing a short jacket and jeans!

The tour through each of the many men's and women's lounges would be worth the price of admission alone. They are so elegant and comfortable I'm not sure why anyone returns to their seat following a visit. There is sculpture and statuary everywhere worthy of the finest museum placement. In fact, one of the paintings, now returned to the men's lounge, was residing for years at MOMA.

You only have to stand before the incredible auditorium doors to know you are in a very special theater. The auditorium houses the larges proscenium stage in the country with some of the best acoustics anywhere. But, there is no backstage. They built the theater without a backstage. You have to go see a production to see how ingeniously they have solved the problem and the way staging compensates for the lack of storage and cross-over space.

Probably my favorite room was the Conference Room Suite. It was filled with so much "deal-making history" and pictures of contract signings that I could have spent the afternoon just looking at the pictures in the frames dotting the walls and furniture.

Backstage is backstage. The history is shown in the photos on the walls. There are the normal dressing rooms and costume shops and green room. There is the hustle bustle of performers rehearsing and having fittings...and there is the smell. Backstage always smells like backstage. I guess it's a combination of musty space, makeup and perfume. It's always a stark contrast to the front of the house, but that's what it should be when there is magic about to happen.

Best Kept Secret

One of my appointments on my trip east was with the Atlantic Theater Company. Of course I know their reputation as a producing company with Tony Award winning productions such as Spring Awakening, The Beauty Queen of Leenane, and The Lieutenant of Innishmore. Of course I know some of their award winning founding members. Artists like Felicity Huffman, William H. Macy and David Mamet. None of that is a secret. It's not a secret that they've garnered Tony Awards, Drama Desk Award Nominations, Obie Awards and the list goes on. It is not a secret that they serve as an acting studio for New York University Tisch School of the Arts undergraduate program.

What then is the "best kept secret?" Their own excellent conservatory program. It is a comprehensive two year training program taught by some of the best dedicated faculty anywhere. Why do I say it's a secret? Because in talking with some of my colleagues, who certainly should know better, they kept insisting that I was making a mistake. They were certain in their contention that the Atlantic Theater Company is an ensemble company made up of fine actors who sometimes teach in the Tisch program. They had that part right but when I arrived for my appointment with Mary McCann, School Executive Director, I found a school teeming with the energy of emerging artists. I observed students rehearsing with honesty and generosity and I knew there was good work going on. It is a school clearly focused on the process of the craft. My bet is their graduates come out ready to work. Remember this is the school that gave us Spring Awakening!

Mixed Reviews...Mixed Emotions

I was in New York last week. There is theater everywhere and I'd been invited by my friends at The Kennedy Center to attend the Friday night performance of Pygmalion at the American Airlines Theater. In my busy round of meetings on Friday I had the occasion to mention my evening schedule several times and each person had a different "review" to give me of what I was going to see! It certainly was a verbal rendition of mixed reviews and the people I was meeting with were very definitely knowledgeable theater people. It was disconcerting because there were so many great shows I wanted to see that I didn't want to spend an evening at a show that wasn't "worthy." All of a sudden I realized that I was prejudging a performance that if nothing else had the opportunity to entertain with its droll wit. Surely this rendition of Shaw's play would be a verbal tour de force if nothing else. And, without a doubt, it would beat an evening of predictable television formatting.

As always live theater didn't let me down. The Roundabout Theater Company, the producing company, has really found a niche on Broadway with its limited runs of revival productions. I thoroughly enjoyed my evening of Pygmalion and from their reactions so apparently did the rest of the audience. Claire Danes is not the Liza Doolittle of My Fair Lady but again I don't believe Shaw wrote her that way. Ms. Danes appears to still be getting her Broadway sea legs, which I have no doubt will strengthen with each performance. She is surrounded by a strong Tony Award winning cast such as Jefferson Mays as Henry Higgins and Boyd Gaines as Colonel Pickering, Tony nominee Helen Carey as Mrs. Higgins and a wonderful caring Mrs. Pearce played by Brenda Wehle. The costumes are elegant and the set is wonderfully designed (Jonathan Fensom). Director David Grindley who received the Tony Award for Best Revival of Journey's End in 2007 gave me a lovely night at the theater with no mixed emotions!

GOOD MORNING, BALTIMORE

I missed the Friday post of my Blog. I was having computer issues with the internet access in my New York City hotel room. Instead of being relieved about leaving the computer keyboard for things "more fun," I found that I felt both guilty and sad. Guilty because I have promised myself that I would write daily during the work week and sad because I enjoy the writing and the connection with you! So now instead of writing chronologically about my trip I am going to write about an idea that came as a result of a meeting I had today in Baltimore.

My morning started at 4:45 a.m. with my hotel wake up call. I met Robert Pullen, the Producing Director of The Kennedy Center and our Producing Director of our east coast programs, at Penn Station where we boarded our train for Baltimore, MD. We had been invited to talk to the annual meeting of the Tips on Trips advisors. Tips on Trips is a summer camp and specialty programs referral service. They have often referred students to our programs and although some of their representatives have visited one or two of our sites, most of us hadn't met. It was a good opportunity to explain what makes US Performing Arts unique among summer programs and to point with pride that we are the largest network of performing arts and media summer programs partnered with and recruiting for the colleges and universities we represent. And what better place to talk about theater, film and dance than the city that spawned the creation of Hairspray?

Some of the questions that came up made me realize we never talk about is how we got started. The concept and mission statement, "to represent the best in performing arts and media education" came from an idea I had when I was teaching in a small liberal arts college. As a faculty member who was responsible for interviewing potential incoming freshman, I became acutely aware that many high school students had little knowledge what the college they were interested in actually offered in the way of a major in their field of interest. Most of their information was based on perception and hearsay. They were about to make some big decisions and their parents were going to pay large tuition bills based on this perception of knowledge. On the other side of the coin, college faculty was going to have to make admissions decisions often based on barely two minutes of meeting a student and in some cases viewing their audition. Being familiar with college athletic recruiting I thought that the entire process could be rectified by bringing students to the college to work in intensive summer programs with the actual faculty they would work with if they attended the university in a mirror of the type of classes they would take as a student. They would also have an opportunity to live in the dorms and eat the dining hall food!

As I began to research the program I met with the CEO of an experienced network of sports camps and although recognizing our differences I tried to find the similarities for a learning experience. During this process of fact gathering my son heard about my idea from the sports program CEO at a social event they both attended. He too saw the potential of helping students hone their craft with professionals while concentrating on the process with less emphasis on the product. He challenged me to start the company by becoming my co-founder and sharing his expertise in marketing and his visionary business skills. Our programs grow each year. Our faculty is enormously invested in their teaching and their students. They are among the "who's who" of the American stage and screen and they share their expertise in what they call their "give back" time. As we add sites and programs we want to continue to share information with students that will help them prepare for their future. We intend to give them choices to explore for both their college choices and their professional choices. We want our students to know why they are making their decisions and we want to help them find the right path for their unique self.

How Much Does School Matter?

Recently I received a communication from a parent saying that their daughter had been told that if she really wanted to act school doesn't matter. The red flags went up for me immediately. Education is the cornerstone for an actor. It is the well that an actor draws from for all their work. That education comes in many different forms and makes up the background that we call "life experience." No, not all actors will choose to go to college just as not all high school graduates choose to go to college immediately after graduation.

An actor benefits from formal education in research, history, art, science and math. Actors are expected to be disciplined and part of that discipline is investing in the job at hand. For a high school student the immediate job at hand is successfully completing their high school studies. To "blow off" those studies because you don't think they 're important is to diminish your growth. For one very important thing is that schooling isn't just a means to an end it is an educational process in itself and therefor very beneficial.

The truth is unfortunately that Hollywood, particularly television, is a young persons' town. The prime age for actors is between approximately 16-22. If a student asks the "right" question of one of our faculty those statistics will come up. But that's not the whole message and the path will be different for different people. However, our message is that acting is a craft. It's study takes a lifetime and its foundation is a good liberal arts education. It is important to be an educated and erudite actor in order to be able to deliver a good performance and to have longevity in your career. If you want, do a little research, how many child actors go on to successful adult careers? Childhood is a very short span of years. Adulthood is the rest of our life. Everyone who works for us at US Performing arts as mentors/counselors has at least an undergraduate degree and most have or are in the process of receiving their graduate degrees. These are all talented "20 something" actors, dancers, filmmakers and writers who value their craft enough to engage in the discipline of their education.

The Big Apple

The past few weeks have been very busy putting the final touches on our 2008 season. And, like yesterday's blog said, it's been necessary to really be in the moment as we make decisions on website design, marketing campaigns, catalog image, and the additions of new sites and programs. I've been multi-tasking to the max and sometimes not too well. Everyone who knows me knows that I am a tough taskmaster, holding the bar high for everyone but even higher for myself. So the days are often long but the rewards are great.

My biggest reward right now is my business trip east. Traveling on business is never my my idea of seeing the world,
and in the press of the moment, I admit that not a lot of attention has gone into looking ahead at my travel plans. In fact, the only "travel plan" is my flight to JFK . I haven't yet connected the dots to the rest of my journey. I don't even have a flight booked for home yet! I actually do have friends who think that all the travel I do must be very glamorous. I would love to have them "walk in my shoes," so to speak sometime. Getting anywhere in this day of airport security and air traffic control delays is a nightmare, but the pot of gold at the end of the journey is always worth it. This trip is filled with "perks." Lots of evenings at the theater which I will write about later. My meetings are with people I admire and who always invigorate me and stir my creative juices.

I'll be in NYC for about four days which is plenty of time to go to Lincoln Center, Radio City Music Hall, Carnegie Hall, and several Broadway theaters. Many of my meetings involve meals and I'm hoping to find time to stop in at my new favorite dessert spot. Last year when Craig and I were in New York and walking and talking the smell of fresh stirred vats of chocolate drew us in...only to find out it was their opening day. A true NY find. Then it's off to Baltimore, MD and Washington, DC. By this time next week I will have earned my way back home and hopefully will have some exciting stories to tell.

A Glorious Day is Dawning

The alarm didn't go off this morning. Not that I needed it to. My internal clock went off as usual at 5:30 a.m. There was a touch of annoyance at my husband for not setting the alarm as I laid in bed assembling my agenda for the day. As the "to do" list mentally grew so did my passion for the day and my eagerness to see what it would bring.

I have the most wonderful job tucked into the most wonderful life. Life's path takes such interesting jogs and turns as you journey through it if you are only willing to allow it. It's a lot like getting on a ride at a theme park. You know it's going to be wonderfully exciting so just get on and go with it. That's what I was thinking about this morning as I headed out to work. I thought about my path and the many twists it has taken with each new experience building on the previous one. Could I have been a director without having been an actress first? Would I have produced if I hadn't directed? Certainly my life as a dancer experiencing the masterful choreography of George Balanchine and then the fledgling work of Jerome Robbins prepared and prompted me to study acting. Could I have been a college professor if it hadn't been for the path already traveled? Are not all of these pieces, together with the parts my co-founder and other team members bring to the table, the fabric that makes up US Performing Arts?

I speak a lot about passion. I love what I do. I love working with our directors and faculty and customer service representatives, our designers, and most of all our students and parents. I am grateful to be on this journey of life, taking from the past and building to the future. It is from the present that the future springs. Actors are taught to live in the moment. To experience each action on stage or before the camera as if it were happening for the first time. To listen with fresh ears so that each response comes from an instinctive place. So this morning I stopped on the way to work to "live in the moment." I stopped to photograph the sunrise and watch the white pelicans fish for breakfast.

Theater Exists Everywhere

Last Thursday I had spent a pretty busy day putting together a business trip to New York City, Baltimore, MD and Washington, DC. for later this week. The business part of the trip means coordinating the schedules of many people and its always tricky. Phone tag seemed to be the order of the day. The social part of the trip promises to be lots of fun with a number of trips to the theater with friends and to see friends. As I was adding and subtracting from my calendar I started thinking about the opportunity to see theater...good theater...all around the country and in many venues.

Seeing theater, whether it's straight theater, musical theater, dance, opera, comedy or drama is a treat to be relished. Somehow there has been a hue and cry in recent years that theater is too expensive so it's a treat the average theater-goer must forgo. But there is lots to see with wonderful casts that are affordable and there are seats in the big commercial houses that will fit the pocketbook if you are willing to buy same day half-price tickets (available in all major cities) or sit in seats other than the orchestra or dress circle. In New York, nothing is more fun than discovering a wonderful play at an off-off Broadway theater and being the first to see it before the producers take it on up to Broadway.

What about really being adventurous? After all, what is theater? Isn't it a dynamic art form that involves the audience both aurally and visually that becomes a collective experience between audience and performer? So when Karen, of our office, invited me to a performance in her church of a group called Rhythm Village, I eagerly accepted. Rhythm Village is a drumming group featuring West African music and founded by Gabriel Harris. Gabe is not only an accomplished performer but he is an innovative educator and I was eager to see how he would combine his talents to engage an audience. What an experience!

First of all, the audience was made up of people from 2 to 82. They clapped to the beat of the African drums with a primal sense of rhythm. The little children unabashedly danced at the front of the stage only giving way when one of the performer's choreography happened to take them off the stage and down into the audience. The audience learned the echoing chants of the African songs. They sang with a sense of joy that you can see mirrored in the face of Naby Bangoura, above. Naby is the choreographer and cultural liaison and I felt transported to another land and another place, and yet so keenly present, as I watched the masterful dancing of the troupe. The group was occasionally joined by Gabe's wife, an exquisite dancer, who would arise from the audience to join in. This was true theater...an absolute at-one-ment between performers and audience. I am looking forward to my trip to New York this week. I know I will see good theater, but I will always continue to look for theater that is "off the beaten track" and I hope you will too because the rewards are great.

Where Will Your Passion Lead You?

Where do the scenic, lighting, sound and costume designers come from? How does someone decide to be a director or a producer, or a casting agent? What about a stunt person? How does one decide to become a fight choreographer? How about someone who specializes in marketing for film or the theater? Does someone wake up one day and say, "I think I'll go into craft services." (on set food catering)

I think it starts with seeing a play or movie that pulls at your heart and gets under your skin. Or maybe it starts when you're a child and you perform a song or a dance or make up a play that gets a reaction that makes you feel good. Perhaps it starts when you and your friends decide to make a movie or your teacher casts you in a play or you become one of Mother Ginger's children in The Nutcracker. I do know that if the first embers take hold and are fanned until the fires of passion ignite there is no stopping. One door will lead to the next where another door will open and before you know it you have to be involved somehow somewhere in this great world of magical make believe. The more you stay involved the more you understand how important every piece, every nuance, weaves together to make whole cloth. Your passion finds its place where it can best shine...and sometimes it's in the audience seat as a passionate viewer.

College Bound

Senior Year in high school is supposed to be a time of excitement with the promise of things to come but somehow it has become a time of great stress. Students are faced with a mound of applications and due dates. Decisions have to be made about whether to opt for a gap year or even to go to college at all. For the students in the arts there is the addition of auditions and portfolios and interviews and trying to decipher which schools require what. Students are confused, parents nag about essays and personal statements, and what should be a joyous journey becomes agony.

There is help available but often in the quest of getting into the "best" school instead of finding the "right" school parents don't know where to look until it's too late. There are two organizations that are helpful to know about. The National Association for College Admissions Counseling (NACAC) sponsors a series of Performing and Visual Arts College Fairs beginning this week. The other is the IECA (Independent Educational Consultants Association) where you can find helpful information and a list of independent unbiased and knowledgeable consultants to advise you.

The path to college is a process just as education is a process. The arts are definitely a process, and as I often tell students, you need to learn to love the process because that's where you find the art.

Where Were You When The Paper Was White?

My father was a great man. He was an early broadcaster who began his career in radio at CBS in New York. Always looking for new frontiers and exciting opportunities he migrated from radio into television as a pioneer in that "new" industry, eventually becoming an Executive Vice President for ABC. In that capacity he gave a lot of speeches and one in particular I have never forgotten. He spoke to an association of film and television critics and he really took them to task. The title of his talk was Where Were You When The Paper Was White? The thrust was: "It's easy to criticize after the work is done, but who among you has the courage to risk sitting down in front of the white paper?" "Who among you will write first?" He wasn't criticizing the critics. He was only championing the creative artist.

That talk made an impact on my life. That's when I realized that it wasn't enough just to have a dream. A dream is only as good as the passion behind it. The passion helps the dream to unfold until it becomes a realization. It drives us to hone our craft and it pushes away the fear that would allow us to stand in the shadow of another's' work. It obviously made an impact on the listeners that evening because two of them went on to write successful screenplays and one became a television series writer.

I am in awe of the writer. It all starts with the writer and the white sheet of paper and an idea. I love seeing a story evolve through its characters as they take life and I love watching the process move from the page to the director, to the actor and to the audience.