“This is musical theatre with elements of comedy, drama, dance,” said Trevon Jugmohan, producer of the upcoming production The King and I. “Not only is this a grand musical, but it set a benchmark for all musicals that have been staged on Broadway.”
In an interview with Jugmohan in late March, the Sunday Arts Section got an exclusive behind-the-scenes look at this musical project.
The King and I is derived from Margaret Landon’s novel Anna and the King of Siam. It is the fifth musical by the team of composer Richard Rodgers and dramatist Oscar Hammerstein II and was later adapted to the 1956 film version, for which lead actor Yul Brynner (The King) won the Best Actor Oscar.
Jugmohan’s company is called First Instinct; it was founded in 2009 and last year staged The Sound of Music, another beloved Rodgers and Hammerstein musical.
“After the Sound of Music in 2012, First Instinct was intent on building a reputation for quality theatre in T&T and, more so, quality family entertainment. The King and I was the choice of our executive producer, John Smith, who intended to raise the bar even higher than the one set with our previous production.”
Jugmohan said the casting process incorporated actors who had been with the company in the Sound of Music, along with those gleaned from an open casting call advertised in the daily newspapers as well as on Facebook.com. “The quality of young, talented, vibrant performers was overwhelming. It was a hard decision to attempt to place all worthy participants. So hard, in fact, we double-cast and placed understudies under several characters, thus accommodating the best of the best.”
The players include lead actor Conrad Parris as the King of Siam; Tova Miller as Anna Leonowens; and Germaine Wilson and Patti-Anne Ali sharing the role of Lady Thiang, the King’s chief wife. The supporting cast includes Chris Smith as Kralahome and Rais Clarke-Mendes as the King’s newest wife Tup Tim. Her secret love interest is Lun Tha, played by Charles Reid and Christian Roberts.
Raymond Choo Kong will direct the show.
“Raymond has been my friend and mentor for the past eight years and when I approached John with the idea of producing theatre in 2012, we could think of no one better suited. Raymond has directed it all in theatre, from drama like Mary Could Dance, to comedy—Norman is that You—and he has had hands-on experience with large-scale musicals, such as the Wizard of Oz and the Little Mermaid,” Jugmohan said.
At a rehearsal last week, Choo Kong was caught whistling a lively tune along with the actors as they were put through their paces. When asked about his role as director, Choo Kong said he was seeking out new challenges in theatre. “I am trying to move away from performing to do more directing and training.”
During a break he shared a bit more about his experience in musical theatre. “I do different types of theatre, and doing musicals takes me back to training in the tent”—refering to Helen Camps’ Tent Theatre of the 1980s, where many a Trinidadian thespian cut her or his teeth.
“There are certain fundamentals and foundations that remain. I’ve also worked with children before. With them there is usually a lot of work to be done and indiscipline to be quelled. But music makes it easier and they audition, so they know what they are getting into and what is required.”
The musical team for The King and I comprises Gregory Wong Fo Sue, an accomplished pianist/keyboardist and Loraine Granderson, music teacher and choir director at Bishop Anstey High School, Port-of-Spain. The musical accompaniment will include the Bishop Anstey High School Choir and Steel Ensemble, and percussionist Everald “Redman” Watson, along with two french horns and one oboist, creating a distinctive classical/local combination.
The technical crew includes Gregory Singh, stage manager; Bente Lashley, lighting; Treldon Thompson, sound; and Christopher Smith, production manager. Choreography will be done by Abeo Jackson along with master dancer, choreographer and tutor Dr Sat Balkaransingh. Costume designer is Margaret Sheppard and set designer is Randal Halfhide.— Janine Charles-Farray
The King and I opens at NAPA, Port-of-Spain, with a gala on April 25 and public performances through April 28. There will also be special performances for schools, as well as a South gala at the Naparima Bowl in San Fernando on May 15 with public performances up to May 18. A final run will take place at Queen’s Hall, St Ann’s, from May 29-June 2.
”First Instinct Productions“… The same company that did the “Sound of Music” last year presents The King & I, Directed by Raymond Choo Kong. I came, I auditioned (just 1/3 of others I had that day… but that’s another story). Here’s a first look at the Cast… an interesting blend of seasoned professionals and amateurs…. of the King and I coming to a theatre near you… literally
Backstage with the Cast of Hairspray Continued…
What was initially intended to be released within a matter of weeks of Introduction to Backstage with the Cast of Hairspray Series, has now taken 6 months to publish when my PC had other ideas, decided to crash and take with it all the audio files I had transfered. This one was the only one I was able to recover (only because it was still on the device). Yay for mummy’s phone! Miss Boucaud Mason became a familiar face for me in what was probably the late ’90′s- early 2000′s as the lady in the sign language bubble, and from those T&TEC Christmas ads back in the day. In the context of the color-blind casted Hairspray she was”Velma Von Tussle”. Offstage she was and is the ever gracious and indefatigable Debra, giving 110% all the time, challenging the cast to constantly match that energy every time, in what can be described as a very energy demanding and draining process, while being able to inspired fellow cast members and pacify emotions and insecurities with her words. Being in a very Oprah Winfrey mode back then, I approached miss Boucaud Mason for an interview (Yay! Very 1st interview.. Harpo Studios here I come). well… it’s more of a conversation than anything else… but that was last year. 6 months has been a long time. Although Hairspray is no longer the word (as opposed to Grease), I still wanted to share my little conversation with this Veteran and Cacique Award-Winning Actress, Director and Stage Manager.
1. How long have you been acting and what inspired you to pursue a career in theatre?
“I joined a theatre company in 1984 called Trinidad Tent Theatre, but when I joined in 1984 I really joined to work backstage… (to) do the assistant stage managing, stage hand, helping the actors, preparing things for the actors, cleaning the space… that kind of thing. And then it was only late into being around them and that kinda thing I eventually got a chance to be on stage. So I really started in ’84 with Trinidad Tent Theatre and I would say I was there for about three or four years before I actually got onstage productions. And my 1st ”professional”.. and when I say professional I put professional in inverted commas, because my 1st professional production was in 1989 with Raymond Choo Kong Productions… something called “Run for your Wife” at the Arima Town hall. It was professional because it was the 1st time I got paid, that’s when I started to get paid so.. you know for being an actress or an actor as you may want to say…”
2. Sooo… you did not join the Trinidad Tent Theatre with the intention of being on stage?
“Yes! Yes… but then I was prepared to do whatever it took.. yeah, <that’s why I joined because I think it was>. My interest in theatre started when I was doing A level literature eh.. and going to the theatre as part of the literature class and wanting to be able to do THAT!… what I saw people doing on stage. So I joined with the interest of getting on stage but it really didn’t matter what I did before because I knew nothing. And I really learned from seeing… observing… being in the space.. seeing the process and eventually being part of the process and continuing the learning and the learning still continues of course.”
True! In my time being around young performers and people who want to get into the performing arts industry… I have come to realise that for many of them, they want to become stars. If they don’t get a leading or featured role.. and these are young people with little or no experience…, then “ I eh doin it”. I heard a bit of that in the cast of Hairspray as well but I eh bussin’ dat mark. Young performers have to understand that you learn things along the way. If you do not get a leading role it’s not necessarily always be because you don’t have talent, but it may be because you are not what they may be looking for at that particular moment or for that role and they may keep you on board.. in the ensemble to simply observe you because the director sees potential. Sometimes you just need to take those opportunities to learn as much as you can and improve your art… at least that’s what I choose to believe.
“That is something I am trying to come to terms with and come to grips with: That young people love so much instant gratification. There is so much youtube and the internet and the Hollywood is closer to us now because of the internet and because of the way the world is.. everybody just really wants to be a “star”. Everybody wants to do it and they want to be PAID for it…you know? And I know that we did it for years and years just because we enjoyed it. I did it for years and years without any money and ah mean when I started what we were getting was considered a little stipend… for transportation you know?.. buy a lil something to eat on the way to rehearsal. I have to admit I never enjoyed it because of any thought of being… “famous” for want of a better word. I never joined with any thought of being a “star”. I did it because I wanted to do something with my freetime after work. And I felt you knowe lemme try this theatre thing and see hw it goes and that was my only reason for doing it.. to occupy my FREETIME after work. Something that I hoped to enjoy and I eventually did enjoy it so much that I never stopped but it was never about the money it was never about fame or any of that. It was about being in the space, doing the work, enjoying what I do and that was the main thing for me.”
3. How many productions have u been involved in and what were your most memorable roles?
“Oh god Plenty many productions! If I count from 1989 to now, I can literally say that every year from 1989 to now I have done something. Umm.. to say how many… I would have to sit down and go through my archives. But I know that from 1989 to now I have been involved in the theate every year. Recently though the last 7 – 8 years I have been more involved in directing and stage managing than acting. So there are times when I opt to be the director and not the actor, or I opt to stage manage and not act because I just want to be a part of the process, I just want to be in the space. Whether I get on stage or not is not important to me eh. I want the wrk to be good work and the work to be the best work.. I want us to enjoy what we do and for the audience to come away even if its just with a belly full of laughter… it really doesn’t matter. So now I am opting for more directing, stage managing, working behind the scene. If I get the acting role and they insist I must do the acting role I will do it. I can’t tell you how many but I know from 1989 to now I have been involved in the theatre in some capacity, because I know when I started in the theatre, apart from being the gopher for actors I also worked as an usher. I also worked in box office, I did stage hands.. I was a stage hand in many productions and everything just grew , grew, grew to the point that I was an actor, then it grew to the point that I could stage manage and then it grew to the point that I can direct so I have been involved in all areas but I can’t tell you how many productions.
My most memorable would have been…well apart from the 1st one which is the most memorable because I remember how hard it was to get to what the director wanted because of course you’re young and now learning, but the director was Raymond Choo kong and he was the person who gave me the most chances and its because of him I am where I am today. But because he is such a good director we got it because I remembered going home nights and crying “I would never get this’ because I am not getting it and you know eventually I got it! So I will remember the role for that. I will also remember my most memorable role to date was in a play called “Boeing Boeing” where I played a maid. Uhhh.. “Bernard Lowe” which was Raymond Choo Kong’s character had three girlfriends all flight attendants and it so happened that one day all the flight attendants was in the apartment at the same time, so it was up to me , you know… he is depending on me to maneuver and manipulate and keep them away.. and of course I liked some and did not like others… you know it was a mess! <Chuckles>. So that was my most memorable role because it was the 1st time I got recognition, it was the 1st time I made the papers as an actress so I remembered that and it has been one of my most enjoyable roles to date! yuh know.. maybe that. But I did really good work that I really appreciate, I did a play called doubt with Richard Ragoobarsingh, with “Rick/Ragoo Productions”, I played the mother of the child who was supposedly being abused by the priest… I enjoyed that role tremendously .. I.. I enjoy all that I do I have to admit but ummm.. (it) was the most memorable only because it was the 1st in “Run for your Wife” and in “Boeing Boieng” because it was the 1st time I was recognized those will stand out, but every role was memorable, every single one.”
[...ARCHIVE PHOTOS COMING SOON...]
4. I have never seen or heard of you being in a musical theatre production before.. Usually it is.. for want of a better term, “sex comedies”. Have you performed in musical theatre before?
“Well I did two… I think they were musical theatre… they were not “Broadway” musical theatre but I did… under the direction of Louis Mc Williams I did “Dragon Can Dance”, which I think is a local musical, and I did something with the “Baggasse Company” in the 80’s called “A brighter day. It was actually written by the sister of the Baggasse producer, Kristene Johnson, and I was involved in that as well. So those were two musicals that I know for sure I had to sing and dance in… But I have never done a known Broadway musical… and my parts were never great wonderful parts where I had to daunce <Says dance with European accent> forever its just like what I do here.”
5. Besides the obvious, how is the musical theatre experience different from your experience in “legitimate theatre”?
” Umm… (1). I have never worked with so many young people so that’s one… A big difference right off is that its usually mature people, its usually people who are really good friends… so we’re like almost friends and family, I am accustomed to working with people I know, I trust, who I love who are my friends…who come like family and we have a certain way we do things. Here it is young people… 99% of them I don’t know. So that was one change. (2). Your rehearsal process is very different from our process. Your rehearsal process is long.. really long. Our rehearsal process is not that long because I think it is because we have more experience and with the actors who we work with. So we can get things quicker.. and because of the type of theatre we do too. Of course a musical will take more work, because you have to work on choreography and all the dancing and you know?.. making it work. You have to work on music and learning all the songs and learning with the band and the orchestra whatever you use,.. plus you have all the drama in between so its a lot more work so your process is longer… I am not accustomed to long rehearsals!.. Rehearsals that start 1:00pm in the day and finish 9 O’ clock and 10 O’ clock at night.. NO! We have rehearsal processes that are shorter …in terms of duration and in terms of the length of time it takes to get from the page to the stage. How is it different?.. its different because I love music. So to be exposed to that music and hearing good music every night really does do something to your spirit you know? . and I think that… what the music does here, makes up for what I am missing with my regular theatre company. In my regular theatre company we laugh a lot… we enjoy each other’s company a lot, we laugh a lot, we love a lot. and therefore that laughter . That camaraderie we have is what lifts my spirit there.. Here, because I don’t have the camaraderie of people my age for one, and these are young people who are not my friends you know I’m just knowing them.. the music is what does that here. You know?”
6. As a veteran actress with many credits under your belt and with such a wealth of experience, did you have to audition for hairspray or were you precast?
“I had to audition for hairspray. Umm… and I wouldn’t want it any other way because I really don’t think “veteran” is a word to use simply because I only do this as a hobby you know. I only do this for the recreation, the enjoyment, for the fun.. for just that. I don’t get so intense about it. I‘m not intense about it! I don’t want to go to Hollywood.. I don’t want to.. I’m jut not that intense about it. You know? I do it because it is something that satisfies my spirit! It touches my soul and I enjoy it.. so I wouldn’t say “veteran” in that way, but I know have been doing it long.. so yes! I had to audition… and I didn’t know what role I was going to get. I was waiting just like everyone else to see where they cast me. So I had to do the singing, the the movement and I don’t think I would have wanted it any other way because I don’t think that I deserve any special treatment and I will tell u why… Just looking at these young people they’re so talented.. so much more talented than I am and then acting is not something.. I heard this quote recently from Phillip Seymore Huffman, he said acting is not something you get good at and stay good at. You have to continually work at it so I can be very bad in something if I am not directed properly and if I don’t do the work. So being an actress and not having to audition for the role.. doesn’t work. <conversation lost to background noise.. and distorted audio> I need the director to help me to play the part and they have a lot of talented people who can dance better than I can dance, they can sing better than I can and act just as good as I do so really.. is wah?”
7. What inspired you to audition for hairspray and to accept the role?
“I wanted to do a musical before I reached 50. <laughs> (1), (2) I saw Sister Act on Broadway and I think that also kinda sparked a little… you know.. “I want to do a musical in my life”. I have to admit that Evette did call me and say you know.. we’re doing Hairspray .. which is the production team did call me to say we’re doing this musical Hairspray, are you interested? I could have said no but I did say yes because in the back of my head was that inspiration from Sister Act and also in the back of my head I was turning 50 and I wanted to start to do different things. So that there call to me asking me if I don’t mind being part of the cast also meshed everything together.. but I had to audition.”
8. What research if any did u do to become Velma Von Tussle?
“I just googled Velma Von Tussle, read what her role was and that was it. ‘Cause I then had to depend on the director to tell me what he wanted and I still had to bring my own sensibility to it. But I did read about that character and after reading about her, I forgot that… and then developed my own sense of what I think she should be, based on what is happening in the theatrical production and what I felt I could bring to it as a Trinidad actress.”
9. You embody the character of Velma Von Tussle so well, how different is she from any other character you have played?
“You think? (laughs) To tell you the truth eh I think I play her very well because of the person I am naturally eh.. I am very cut and dry, and very direct! But I also did a television soap opera called West Wood Park where I played a character called Ava Dusoleil, rich , snooty , didn’t really like a lot of people So a lot of Velma reminded me of Ava Dusoleil and I have done that kind of role in other plays.. so it really wasn’t hard.. I just had to bring the “Velma-ness” and the “hairspray-ness” to it if you know what I mean.. you know?.. but I have done characters like that before particularly Ava Dusoleil in West Wood Park, I’ve done… these kind of characters on stage before where I was cut and dry and direct and rude and insensitive and.. I have done that.”
10. Who is Velma Von Tussle to you?
“A racist.. a selfish individual, who really just cares about herself. Even her daughter.. she cares more about herself than her daughter you know the daughter is there and her daughter embodies a lot of what she is simply because of the daughter being around her all the time. But to me shes selfish, she’s mean, and all of that because of her experiences I think and she never let go.. she never forgave. She’s very work oriented, very focused, very successful at what she does because she brings a certain amount of energy and discipline to what she does and that kind of stick-to-it-ive-ness of her role. But she can.. like everybody else, no body is one way.. She’s soft toward her daughter, she has her moments where she treats people well but generally, she’s flawed just like every other human being.”
11. I have a question written down here that you sort of answered in passing before, but not quite… So I guess I’ll still ask it : “Have u ever worked with a cast of so many young people before and what is the experience like?
“Well the closest I ever came to a cast of so many young people was “A Brighter Day”, and even that didn’t have THIS amount of young people!… and a lot of them weren’t even “young people” eh… a lot of them were much more mature people What was it like working with this cast?.. I just had to get accustomed to what young people are… I am not around a lot of young people all the time! I teach you know…but my children I teach them and then they go home. I don’t really lime around a lot of young people therefore I had to get accustomed to the type of music.. get accustomed to the talking all the time and the laughing all the time at every little thing and I am wanting to know what is so funny? What are they laughing at? But that was in the beginning. And now its just a lot of young people. That is what they do, that is the music they listened to, that is who they are, and I am now learning to just accept them for what they are. And I think they are a really great respectful bunch of young people, I think they are talented, I think they work hard, I think their hearts are all in the right place and I am AMAZED that with so many young people in one space… there is no conflict! Maybe there is.. me doh know, but from what I observe.. they just gel and work so well together and there for I think that this is a unique bunch of young people… Everybody’s interested in doing the work, and getting it right and making it work, and they don’t care how long they have to rehearse, they just keep going and I admire that. I really admire that! So they are great young people out here doing great work…”
12. Were there any skills or qualities you had to pull out of a hat, skills you never thought you had to become Velma Von Tussle?
“Yes! She had to sing <you should have seen DBH’s face here… classic>… and she had to do a little dance routine that I aint get yet… but am… it’s just to be more confident in opening my mouth and using my singing voice and just being more confident and knowing well ok I practiced the dance steps long enough, I am going to get it. But it’s the singing skills and the acting dancing skills. The acting skills are there.. I just have to keep working at them and you know I know what to do, but the dancing and the singing…”
13. This one is a long question because I actually did some research on you before this interview right,.. Oprah said to prepare… and I came across and article and I think it was in 2007 and you said,
The day I buried my father I had to be on stage for the opening night of a play at the Central Bank Auditorium, no matter what, the show must go on.
As a performer I think I have sacrificed a lot. Sometimes I go weeks without seeing mums (God I love her) or monthswithout a semblance of a social life, and have become all to familiar with the line “I can’t, I’m in rehearsals”. Were there any sacrifices you had to make as a performer that you have come to regret now?
“No! None. You know why?.. because I am very good at balancing and managing my time. Umm… the only sacrifice you really have to make is a sacrifice of time eh. There are certain things you cannot do because you have a rehearsal, certain things you cannot go to… I had to give up a lot of things I was working on, things I had planned before, things that you (I) wanted to do and then you realize …OK they call a rehearsal or they call a production that is going to fall when you planned to go to the United States of America and you say well I have to cancel that cause you have to choose between… so it’s always a time issue, but I don’t ever consider any of it a negative sacrifice because it is what life is and it is just what happens. You just go with it! I don’t think I had to sacrifice anything. If it’s anything… the thing I sacrificed plenty is my sleep.<chuckles> Theatre is the only thing that gets me out of my bed at late hours. So I think THAT, sacrifice of sleep and rest, like on a Sunday. I have sacrificed my Sundays for this rehearsal which I will never do again. I am not sacrificing my Sundays. My Sundays are my days for my Sabbath to do nothing. To rest.. we/you got 6 days to work , 1 day to rest. I take my Sundays very seriously. So I sacrificed that, and its always about sacrificing time… but because I am so good at managing my time, the sacrificing of time has never really been an issue. When it becomes an issue is when the rehearsals begin to encroach on things I had pre-planned, and sometimes it’s easy to let it go and sometimes its not so easy to let it go yuh know? But in terms of family life.. yes there were times that my husband will find that I am not home enough and therefore I have to say “Ok producers, I am not rehearsing on the public holidays”, “I am not rehearsing on Sundays again at all”, “I cannot rehearse today because I need to be home”… so therefore you have to… YOU have to know what you have to (do)… and you have to decide what is more important. And once you can balance it (because I tell people I never leave my house hold chores undone to do theatre, that has to come 1st .. and then. You know soo.. I dunno if I answered your question but..”
14. Have you ever performed outside of Trinidad and Tobago?
“Yeess! Tobago… well that is in Trinidad and Tobago. Greneda, St. Croix <laughs> Daz it! I’ve performed in Grenada and St. Croix apart for Trinidad and Tobago, yeah that’s it.”
15. How does the state of their theatre compare to our own?
They have NONE! They have none! We had to take everything there. Absolutely take everything there and they were so appreciative of what we were bringing that they’re begging us to come back, they were sold out, that kinda thing… and then he spaces that we performed… they didn’t really have “theatre” spaces except for St. Croix, St Croix had a good space but there were still a lot of things to be done to make the play or the production work.”
Kinda like Tobago!
“Yes! Very much like Tobago”.
I was talking to a performer from Tobago and I asked if they had any performance spaces and you know when you go to Tobago for.. what is this Tobago thing again… Heritage?.. it’s just performances under a tent, and for an island.. well we are a country, but for an island so rich and diverse in their culture I think it is unfortunate that they don’t have a performance space.
“Grenada is like that. In Grenada we performed in the National Stadium, you know?.. St. Croix had a nice theatre space, but still it wasn’t up to par with what we have here.
So essentially we are the theatre centre, the “Broadway” of..
“…the Caribbean, literally! Except I think for Jamaica and Barbados. Oh yes I performed in Barbados too.. what is wrong with me? Yes we went to Barbados.. no, I didn’t perform… I went to work on a production. We did Mary could dance in Barbados. So I have done theatre in Grenada, Barbados and St. Croix. Barbados has their act together, St. Croix has their act together, but Grenada still has to develop some stuff.”
16. Soooo.. I’m not really sure how to ask this question. Well.. it’s not really specific, can you describe your journey from a tent cleaning stage hand to a professional actress, stage manager and director?
“Oh, Exciting! Interesting! Lot of hard work, lot of dedication, lot of sacrifices of my time and my SLEEP. I made lots of really really good friends, some of my best friendls are in the theatre. Learnt a lot about life. Realized that I am really a very disciplined person because I never fell into the vices that so called theatre people will fall into the drinking and de smoking and d liming. I can say no, I can say I am going home to rest. I can cut off. But it has been a journey that made me realize how disciplined I am. It has ,made me realize that what I do in theatre is really enjoyable and I need to do it if for nothing else more, than the enjoyment and satisfaction of my soul. It has been hard sometimes because not all the time you do a play its easy and sometimes you get frustrated, sometimes depending on the cast it can be a little tough. Its not always an easy, wonderful, warm easy to work with cast, umm… they have seen a lot of my bad ways because I am a very abrupt, talk to people very sternly and a lot of people in the theatre don’t like that about me. But That’s is how I am and who I am. I try to curb it, so I’ve learnt a lot about myself and what I need to do in order to relate better with people. So it is all of that you know. From 1989 to now it has been a journey that has afforded me a life style that I would not have had, had I not been in theatre. Because it has exposed me to a whole new different world, a different way of thinking, a different world view you know?.. and therefore I am more open minded, because I am exposed o all these different ideas and word views. Theatre has afforded me the travel experience…umm even trips to new York. I do trips to New York with theatre people. I didn’t go with other friends.. I went with my theatre friends and lived on Broadway, you know and that experience in it self was one of the best experiences of my life. Every time I go to New York it’s Broadway… it must be Broadway! You know that kinda thing? So it has given me a lot a lot of umm.. a lot of experiences that has made my life very gratifying. You know, that kinda thing.”
17. To Who or what do you credit your success in theatre?
“To Raymond Choo Kong, Richard Ragoobarsingh, Penelope Spencer, Gregory Singh, all these producers… Nikki Crosby, Cecilia Salazar Clifford Learmond… and I don’t want to leave out any body. All these people I have lived with, Mairoon Ali that I have loved, you know, over the years I have done work with them for years. I credit them for that because first of all they trust me enough to give me work, they trust me enough to put me in the work, they trust me enough to get on stage with me, so I credit them. So I’ll tell you.. Raymond is the person who initially took the chance and he kept taking the chance and nobody else was taking the chance. So I have to say Raymond. I have to say my family, my parents, my brother my sister my husband because I have always gotten the support. I know it was a little tough with my husband getting accustomed to the theatre life style but I was still able to some extent do what I had to do. So family support was important. My brother and sister always supported everything I do, my parents who knew of my discipline they knew that my head was on, so that they trusted me enough to let me go into this thing called theatre and knew that it was going to be alright, you know hat kinda way..sooo umm.. them.. and myself.. for just sticking to something that I started. What do I credit for it?.. the fact that theatre is so enjoyable The fact that taking a piece if work from the page to the stage is such a wonderful process and that when you get to the end it is so enlightening that you just want to always keep doing it… and The fact that I enjoy my friends in the theatre fraternity so much. If I didn’t enjoy them and enjoy what I do I wouldn’t do it. So that is what kept me going. You know.”
18. I saw you and your school for the deaf attend Carvalho’s Production of Wonderland earlier this year and that intrigue me… How do deaf people enjoy theatre?
“They will enjoy it if there is enough spectacle on stage. They not hearing it… right? What we have to do is before or after explain the story to them or while it is going on they will ask you “what he say?” or “what that mean” and we will explain it as they go along. But the more interesting your lighting is, your costuming is, How BIG your production is in terms of the impact of lights, costumes and characterization, they see that and they can follow it based on that. So they can follow the story ‘cause they are not stupid, they can follow the story. Ah mean… you can’t hear but you know what is going on… but if a man get into a car and gets into an accident they can understand that. So if a character gets into a car and he drives and gets into an accident and somebody comes out and starts to quarrel with him that is not hard for them to follow. So they CAN follow because they live life. Theatre is a reflection of life on stage. They see these things everyday of their lives and they know what is going on. What adds to that is when you have magnificent costumes, interesting lighting, character portrayals that are really big.. so musicals work best for them, Grand musicals with big numbers of casts. It’s harder for them to enjoy something like “Doubt” you understand?… where there is a lot of dialogue and people are in regular clothing. They would be able to see what is going on but they won’t be able to understand because it is too… tamed. So they need the bigness, they need the spectacle.They need the color and the lights, the bigness of the characters. They need overdone action that kinda thing.”
Because Carvalho’s Productions if nothing else is always a visual spectacle…
Yes! that is what they need… a visual sectacle. <…> Hairspray they could have enjoyed… they would have enjoyed! Only thing is we closed before the school show, so they wen home. If the did’t go home then they would have come. THAT they would understand, That they will get. They will see the dancing… oh yes, and another thing i did not mention… a lot of dancing in it, they understand that. they do that. So dancing will appeal to them, characterization, spectacle… the Visual Spectacle. Everything that comes with.. the fog, the lighting, Oh! everything appeals to them.”
19. I recall an incident during tech when a member of the ensemble came to you expressing discomfort with..*thinks*.. how she would appear on stage, I won’t go into specifics to protect the innocent (lol), but you gave her some words of advice that was very inspirational, would you care to repeat that for the purposes of this blog?
“Well I wouldn’t repeat that, but I will tell people if you are an actor, and you have a problem with the way you are looking on stage then you are in the wrong profession.You just have to look the part, and looking the part may mean that you are completely out of the plot. It’s not you! I am not Deborah when I am on stage, I am what ever that character is, and If they put me in the ugliest dress, and the baddest wig, once it works for the character, once it is what the director wants, once you understand that it is not you, it has nothing to do with you, from the time you enter that stage you become somebody else and you have to lose yourself in that. If you cannot lose yourself in that then acting is not really for you. Because anytime you want to go onstage looking pretty like you usually do in your real life then what is the point? So I think maybe I mentioned it to somebody here, but I always mention it, I always tell people this. When I am on stage I am not me. From the time I get on stage, whatever character I am playing, I become them and I do not care how that person looks. That doesn’t bother me. (If) that is what the director wants, (if) that is what works for the character then I am going there because at the end of the day I have to BE the best character. Deborah the actor has to do the work so that character becomes alive and lives true to everything else that is happening in that space at that time. You loose yourself in it. There is no audience. That is why I never get nervous wen I have to perform onstage, there is no audience. I am in that moment. You just have to lose yourself in it and be true to the character no matter what you look like or what you have to do. If there are certain roles that will go against your spirituality or go against your moral fiber then you draw the line and say you are not doing the role, but If you commit to the role then you have to go there and lose yourself in it. You have to lose you.”
20. As a director in your own right, you will have your own visualization of the transfer from page to stage. How easy is it to separate your vision from that of the director?
“Not easy at all! I have to talk to myself sometimes and say Deborah you are NOT a director here you are an actress UNDER a director, forget it! And if I talk to myself enough I could just lose it. Because there are so many things I see that I would have done differently… but I not directing nuttin. I am here to BE directed and therefore I have to tell myself it is not your vision, it is not your directorial choice, leave it and go with it. So I the actor may not agree with what you the director tells me to do but that is not my place (to question), I have to do what you want, and that is something that I can let go very easily but when I am directing if I want it I want it. So he (the Director) or she feels the same way. Hey want it. They don’t care what my perception of directing is. That has nothing to do with it! I am one of those actresses who are very very… for want of a better word, glibly do whatever a director tells me to do. I do not question it. You know there are some actors who will question and analyze and say but that wasn’t my motivation… No! that is what you want me to do.. I can find the motivation to do it because I know you are seeing a bigger picture than I am seeing as the actress. So I am one of the actresses who whatever a director says, I say OK. I EH CHALLENGING NO DIRECTOR’S CHOICE”
Now as someone who choreographs (I don’t like to call myself a choreographer as I still have much to learn), I have choreographed for four different productions which included excerpts from Hairspray. Some persons who are in this cast have been accustomed to my 60′s style which is very different from this production’s so there has been this sorta internal conflict within all of us where it came to this production, especially after coming out of another “excerpts from Hairspray” workshops just a few months prior. I have had to remember what I told them and myself before we even auditioned for this production: Forget what you “know” about hairspray and just…surrender to the process”. But as the choreographer for those other productions it was hard. Especially when the choreographer how I felt about a piece of choreography when I was trying to not have an opinion for better or for worse about it and just surrender. All I could have said was “You’re the choreographer. Whatever you give me I’ll do”. That was the best response I could have given at the time.. It was just so very different and my mind and body just needed some extra time to go back to default. Hope I didn’t dig a hole for myself…
“Yeah they have to forget it, but it’s hard. As a director sometimes I had to say Debra close yuh eye and walk away this is not your work. It is hard but you really have to forget what you know and surrender to That process and Trust the process.”
21. Have you ever felt taken advantage of as a performer? From my experience.. well.. I have no problem doing gigs Pro Bono but if you tell me I am getting paid.. then pay me! If things change and you come upfront and say so then fine, I appreciate that so now I can make informed decisions on how I spend my time and money. I appreciate the honesty and I am not left with resentment, or a feeling of being cheated when have to be running you down ’cause you ducking or taking forever… and I mean years to come through. Daz why I like contracts too… you see this verbal agreement thing… after those couple times.. that does have me so uneasy eh. Has that ever happened to you?
“Never! Umm… wait.. Once it happened to me. I did a radio ad. I went into the recording studio and did the radio ad and I don’t think the ad ever ran… but I didn’t even get the demo. I didn’t feel anything but I did feel tat the person was dishonest… they have to live with their dishonesty… that will not affect me. I did another ad… a series of ads that ran for a certain infomercial and I was promised lets say.. and I am just throwing it in the air $6,000, and i got $3,000. By the time I was ready to collect the next $3,000 the person moved. The company moved.The person I couldn’t get them on the phone again and I said that person is dishonest, they have to live with that. I did my best. I got what I wanted from it… the satisfaction of doing my best… money is just money and at the end of the day I will survive without it. So therefore I know of those two instances but I cannot say that I have been taken advantage of, and I will not be taken advantage of because of my perception. I could choose to say that dey owe meh and dey is dog.. I could choose that! but I choose to say they have to live with what they do. I could live with it because I did my best and that is all I ask of me: that I do my best. I tell people when people hire me to do anything, the last thing I talk is money because I am not doing it for the money. When I am finished, if the client is satisfied with my work. that means more to me than any cheque they can write me. A lot of times i do not discuss money up front. Lemme do the work and if you are satisfied with me at the end of it… pay meh, and if your not satisfied with it then that is fine too. so its all a matter of perception so i cannot say that i have been taken advantage of . Those people were just unfortunately dishonest people.. and we will always have both.”
22. Do u have any advice for young persons who would like to get into the performing arts?
“Yeah! Just know you have to make plenty sacrifice of your time. Sometimes your life is not yours. And sometimes you have to know if your mother is dead, or in hospital,whether or not you want to make that choice. Your father is sick home, you have to see bout he and/or come rehearsals. He done sick already. Now it might sound harsh, but it is the reality. So know that it is a lot of sacrifice. Know that it will make plenty demands on your time. And sometimes you’re going to have to make a decision and weigh what is more important for your life down the road. Know that you mustn’t come expecting to be a star and want big money and didn’t pay your dues. I feel, and I might be wrong, and this may be a different time where getting into theatre means instant stardom and instant financial reward, maybe that’s where we reach now but I understand that being a part of the process and learning to respect the work and learning to respect the process and learning to respect others, and learning the process an learning, and learning, and making mistakes and learning could only make you a better person and a better actor so don’t want the instant gratification of fame and fortune, work for it nah and you will appreciate it more. So know that you will have to work for it, Know that it is a lot of sacrifice, and do it because you love it and are passionate about it. Doh do it because yuh doing it for money. You will be the worst in terms of your attitude to the work. If you’re doing it because you love it and are passionate about it and really enjoying it you could only get better and better.”
THE MINISTRY OF ARTS AND MULTICULTURALISM PLANS TO DISOLVE THE TRINIDAD AND TOBAGO FILM COMPANY
Story by: Dion Boucaud
I write in utter frustration and fear, for behind the scenes there are forces at work making decisions that will drastically affect my life and livelihood. This is not in itself unusual and has certainly happened before, no doubt by the bandits that broke into my home in 2009, however on this occasion the plotters are the Government and their movements are just as furtive and threatening.
The PEOPLE’s Partnership Government has decided WITHOUT ANY FORM OF CONSULTATION to dissolve the Trinidad & Tobago Film Company (TTFC) and re-brand it as the Trinidad & Tobago Creative Industries Company (TTCIC). Under this new Company they plan to bring together Film, Fashion, Theatre and Entertainment. To this end the Trinidad & Tobago Entertainment Company (TTENT) has already been dispatched.
To most people, this may not seem threatening, just another Government scheme. But they won’t see the barrel until they are in it with the other crabs.
One floated rationale is that the film sector is doing so well that they want to apply that model to develop the other sectors.
The current success of the film sector is directly attributable to the singular focus of the TTFC with CONSTANT CONSULTATION with industry stakeholders. It is lunacy and fallacy to believe that this same success can be achieved by destroying a successful entity, and splintering it’s focus to such disparate sectors. What is most likely to happen is that the ball is dropped and any forward advancement of the film industry will be lost as the new entity struggles with the many competing needs of the various sectors and decisiveness and immediacy will give way to pandering and prioritizing.
How can we expect to advance as a country if we are always so eager to repeat the mistakes of the past? TIDCO (Tourism & Industrial Development Company), where Film was housed, failed to achieve harmony in satisfying the many demands of it’s too broad mandate. This resulted in the Film Desk breaking out into the Film Company (TTFC) and tourism being liberated into the Tourism Development Company (TDC). This singular focus worked with trackable and sustainable results; so it is therefore mind numbing to comprehend this backward thinking taking root and being embraced and touted as “Best Practice” by people who know nothing about any of the sectors but feel a need to justify their salaries with “Bright” ideas.
Worse is the swiftness with which they are systematically dismantling the hard won gains of stakeholders WITHOUT CONSULTATION and the total lack of understanding that would engender them to believe that all Creative Industries can be lumped together. I mean “obviously” film, fashion, theatre, entertainment! How different can they be?
And laughable is the proposed board with a famous Movie City owner being touted as the Chairman despite the fact that this person has never displayed any inclination of supporting a local Film Industry, unless it’s a sure BET!
The Ministry of Arts and Multiculturalism Minister, Dr. Lincoln Douglas, spoke of the need for trust and cooperation amongst the State and stakeholders in order for there to be meaningful progress. Is this how we cooperate? TRUST?
I therefore ask the Government, what do you mean by SERVE THE PEOPLE? A statement so nice you said it thrice “Serve the people! Serve the people! Serve the people! This “TOP DOWN” over handed and yet underhanded approach to Film stakeholders does not speak to the ideas of cooperation and inclusion. It displays a gross disrespect and ignorance of how the Industry works and what it needs to grow and develop.
Also dubious are the rumours of the development of a “Film City” in Caroni. Where is the feasibility study? How can you house a SOUND Stage in an area that lies under the glide path of loud airplanes landing at Piarco. Why are you building a facility with huge electrical demands in a flood prone area?
WHY do we constantly have third world thinking and cronyism corroding our first world ambitions?
WHY IS BURNING TYRES THE ONLY WAY TO GET THIS GOVERNMENT TO LISTEN TO THE PEOPLE?
I ask on behalf of the industry and in the name of all that’s sacred; that the Trinidad and Tobago Film Company be left alone to continue serving the stakeholders. If you are impressed with the model then EMULATE it, DON’T destroy it. Film stakeholders and we the filmmakers need to know URGENTLY, ARE WE PEOPLE?
It was immediately after the curtain call of the very first performance of Caribbean Theatre Production’s “Les Misérables: The School Edition”, a performance patronized by an audience of secondary school students. Most of the cast had already eagerly exited into Queen’s Hall’s lobby, still very much in full costume and make up, to meet their friends and patrons. One of the younger cast members, the only one at the primary school level that day among a cast of mostly secondary and tertiary level students returned to the rehearsal hall with a very lugubrious expression painted across his face. (I learned that word from the 25th annual Putnam county spelling bee a couple years ago. Musicals make the world go round yo!) I asked him what was the matter and his response was one of the saddest things ever… He lamented that he felt as though no one really applauded him during his curtain call. He said that it was because he was still in primary school (to an audience of secondary school students), and as a member of the ensemble, he was not important to the show. Personally I felt that the audience that day gave their fair share of hoots, hollers and laudation, but this was his perception, and perception is truth… sad right. sigh!
“You don’t understand anything until you’ve learned it in more than one way” ~ Marvin Minsky
Before I had approached him, someone attempted to comfort him with “there is no such thing as small roles, only small actors.” That’s the go to proverb in situations like this. He said that someone told him that already in the most depressing voice ever. so it was clear that whatever sense that was supposed to make just went straight over his head. I had to try a different approach, and if only because I am in a very big bang theory mood right now, the analogy which followed I shall dub “The 100 piece Jigsaw Puzzle Paradigm.” *Takes Deep Breath. Here it goes…
“A production, .. this production is like a 100 piece jigsaw puzzle, made up of many pieces, some of the pieces may look the same, but they are not. Every piece has a different size and shape. Every piece has its own place. So too does the crew and EVERY single actor, no matter what their character; leads, supporting, ensemble or cameo, they all have their own place in this big picture. The picture will never be complete unless all of the pieces coming together in the right place because all of them are important. If just one piece were missing the rest of the picture would not matter as the observer’s eye will be immediately fixated on the gaping hole… that nagging voice that will keep reminding them that something is missing. Plus no one else dies like you on stage. You are important! The show will never be complete without you. ” ~ Triston Wallace
… he totally understood, and it was the beginning of a very dynamic relationship. He would ask me all sorts of questions about the theatre and how things work, what things mean, and I would share what I have learnt through my experiences, engage his mind in such a way that he can figure it out on his own, or say “Aye kid move! Set pieces coming through!” (I was a stage hand in that production. I love backstageyness!). He always wanted to talk to me and I enjoyed talking to him. Relating to him reminded me of that awesome experience I had working with the kids at La Joya Sporting Complex’s “Tropicamp 2012″ during the vacation. To see how the passion was rekindled in his eyes is indescribable. I could just sum it up as what i call “The Oprah Effect”, but for those are unfamiliar with the awesomeness of the Queen of Daytime Talk Shows, Leo F Buscaglia said it best…
“The fact that I can plant a seed and it becomes a flower, share a bit of knowledge and it becomes another’s, smile at someone and receive a smile in return, are to me continual spiritual exercises. ” ~ Leo F Buscaglia
I truly believe that everything that happens in life is an opportunity to learn. (Heck, just writing this blog gave me an opportunity to learn how to spell paradigm. lol. I never knew there was “g” in there. Even having worked with Paradigm Entertainment in their H2O Phlo/ 2G Micheal Jackson Tribute production, it never occurred to me that Paradigm was pronounced “para-dime”. Ha! but i know now.) Yet they say that nothing is new under the sun. It stands to reason that no one can possibly learn everything about life in his/her own lifetime, which is not to say that one should stop learning, but rather give credence to the significance of sharing knowledge. We lose nothing by sharing knowledge, and, if nothing else, in doing so we create an opportunity to have that moment of truth, an adventure into our own minds, a journey to understanding ourselves… who we are, and who we want to be.
” In learning you will teach, and in teaching you will learn” ~ Phill Collins, Tarzan
In sharing my lil two cents with him, I learned a lot about myself and who I’d like to be…Mums has always said I should be some kinda teacher
It has been two weekends of auditions, twenty four days of nail biting casting anxiety, thirty five days of rehearsals, four days of tech, ten performances and countless hours of lost sleep. It begins to take its toll believe me. Yet it’s amazing how no matter how tired we have been, the hrs of sleep we didn’t get and the number of times we have done the same choreography, walked through the same blocking, sang the same songs, spoke the same words, and resist the urge to die of laughter at Kearn Samuel’s “Box!”, closing night brings novelty to it all. Everything is so fresh, has new meaning and you all of a sudden have the energy to give 110% more than you thought possible when you dragged yourself out of bed that morning.
Much love to the Cast and Crew of Must Come See Productions Hairspray!. Thanks Kimmy for the “Ethnic Movement”… Detention kids we represent! Much love to Rian, Isaiah and Dominic for their friendship! <3. Cherysh and the rest who were able to fall into the occasional Musical Theatre dressingroom Jam session (p.s. you NEEEDS to watch nbc’s Smash eh Cher!). Keegan M. Trevon, and who ever owns that little pink radio for their “Platters of Tunes” and Melissa for the “Food on the table” Amazing performances by Kimberly, our very own Miss motormouth Maybelle. Debra Boucaud-Mason for inspiration, Jeremy Callaghan for in for interesting conversation and the patrons…especially the school kids for their scandalous no broughtupsy cachinnation. Steven and his crew for make up To the backstage left posy.. Hoot! Being invisible has never been more fun!! To list all the memories that will be taken from this experience, My 1st entire run with Must Come See would be impossible. But I will say to the cast the black, the white… and the lil confused ones… We’ve traveled a long road… and it was great and there is no doubt that the next one will be even better <3
We’ve approached the home stretch now. Three more shows left and I am almost embarrassed to say that I am only now getting to know the cast that I have been rehearsing with for three months. A low down dirty shame! I know * rubs fingers, intense deliberate frown, shakes head slowly. Among other things… I deliberately distanced myself.. as in ME.. the person, from this Must come see production of Hairspray… I have my reasons..which I guess may be addressed in future posts about Hairspray or whenever it is appropriate. I have this ability, it’s a gift and a curse really, to just switch off or go into a bubble, to lock me, the person away, and for those tedious hrs of rehearsals.. I did not exist… I was zoned out.. for the most part… all that left was Thad- the detention kid character. Offstage I did not really connect with anyone, offstage they became people and me.. the person was still locked up.. then we moved into the theater… Tech!
Tech had a way of testing the fortitude of the walls I put up. In sharing the dressing rooms sometimes even spending entire days together, I guess I did not have the energy to maintain those walls, or at least i was unwilling to place much energy in that arena.. so I relaxed them.. though just a bit. In doing so I am now begining to appreciate the people exist behind the characters… they have quirky personalities, insecurities. They’re fun loving and crazy as hell and some of whom got some interesting stories to tell. AA! i just talk in Jive! I am offically black now. Woo!!
Today I interviewed a few members of cast and it was quite fun and insightful. I actually decided to do the interview thing… well I’d prefer to think of it as recorded conversation as it wasn’t really regimented… ’cause in talking with them and learning who they are I kept thinking.. lol! someone should have totally recorded that. It’s one of those kind of moments that you get to see in the behind the scenes in DVD extras… something on can go back to and laugh about… pity I don’t have a camera.. but i did have a phone to record the audio that I will later put to the page.. i mean blog. I guess that’ll do for the moment.
My first conversation was with Debra Bocaud-Mason <Velma Von tussle>, and in putting the recording to paper from the recording I only just noticed long it was.. almost an hour… (I could have my own show. Oprah! Hook me up at Harpo Studios!).. ad there are more conversations to come yet. This post is really to introduce that series of interviews with the cast so subscribe and look out for them coming soon.
That being said, to the cast and company: though I may never remember all your names or faces (it’s the old age acting up) and I may not be as social as you may know me to be inside the production as i am outside.. Ya’ll amuse me and inspire me everyday in this production. Trust me when I say if I did not have Hairspray to commit to and some of y’all to lean on, (you know who you are) my life could have taken and probably would have taken a darker turn. Much love to all of yall <3 <3 Muah!
.. Interviews coming soon
“Be prepared… the meaning of the motto is that a scout must prepare himself by previous thinking out and practising how to act on any accident or emergency so that he is never taken by surprise.” ~ Robert Baden Powell
This entry is actually a re post of a document which was created in, and for “The Trinidad and Tobago Performing Arts Network” on 25/08/11. (If you’re a citizen of Trinidad and Tobago, or in the country for sometime and want to keep up with what is happening in the performing arts you should toootallly join it). It may seem a bit redundant for those who may have read it before, but this entry, being a blog post and all, has allowed me to include some features which the prospective auditioner may find useful and hopefully, during the time which has elapsed since its initial posting, I have become more quirky, which would render any entry an entertaining read. Here’s to wishful thinking! This entry: “Audition Help 101″, is part of a series of entries to come, which would highlight techniques I’ve learned as a performer and working behind the scenes, through trial and error, things which should be common knowledge… but apparently isn’t and little things that I have found interesting through reading. Some of these may apply to all auditions while others are fluid and may not be applicable depending on who, and what type of production you are auditioning for.
Before I get into the meat of the matter, I must fist acknowledge Breige Wilson for the initial inspiration..(She probably doesn’t know how much she inspires me yet though, but now that it’s on the internet, it just has to be the gospel truth!), Nicole Wesley (Associate Professor of Dance, UTT Academy for the Performing Arts), Carol La Chapelle (Celebrated Choreographer, Artistic Director of The La Chapelle Dance Co. of T&T, UTT APA Senior Lecturer and Cultural Activist!), Glenda Collens ( Accomplished Vocal Coach, Actress Singer, Song writer and Versatile Performing Arts Professional), Helmer Hillwig (Director and Chairman of Queen’s Hall Board), Ed De Shae (Stage Manager and Independent Performing Arts Professional), Jamel Layne (Booking Agent at Isle Model Management), Avrel Fisher (1st Assistant Director, “Home Again the movie”), and Caroline Taylor (M.A. Theatre & Performance at Goldsmiths University of London), Shannon Navarro (BA Performing Arts at the University of Tampa) and Marc Andrew Hem Lee, (BA Theatre Arts at Cornell University) for their input, comments, critiques, reviews and advice, and all those who have allowed their head shots and resumes to be used in the process and final production of this entry. Luv yalls!!!
P.S. All consultants, head shots, sample resumes a and references are to citizens of and/or persons currently residing in Trinidad and Tobago. (Except Avrel, she’s Canadian, but a Trini at heart). I wanted to keep that local connection. Hey! I may just mention someone you know. Also, Lemme know how helpful this post has been to you preparing for your audition and as a special offer, look out for the special offer below the slide show …
• INTRODUCTION: PRE AUDITIONS
Being prepared is always beneficial. Although there may not be any auditions or casting calls at a present moment, It is advisable to:
- Have your head shots and résumé ready and easily accessible (eg: have it saved to a folder in your email, or my recent new best friend, the almighty dropbox.com, so it can be accessed at any computer with internet access) so in the event that you hear of an audition on short notice, you’d already have your documents ready.
- Continue to Increase your experience. and learning about the art.(Read, take classes when and where u can to improve your art, join a group and continue to practise your practice. (It took me years to know the difference between those two.. #truestory).
Preparing a résumé is sometimes one of the most tedious tasks of the audition process, so having that already prepared, you can spend more time on perfecting your audition piece.
At the basic level, a performer’s résumé (or talent résumé as it is sometimes known ) would detail your experience and training in a performing arts discipline, your abilities as a performer, and contact information. However, it would be beneficial to include and your physical characteristics as well. In a professional résumé , it is considered inappropriate to include personal information, but in the performing arts, employers may often want to know your height, weight, hair color and build. Sometimes, they’ll even want your measurements, for costuming purposes.
• RESUMÉ FORMAT
Unlike professional résumé, performer’s résumés are often broken into columns and kept to ONE PAGE LENGTH. Traditionally, performers’ résumés can include sections on education/training, group affiliations, performing experience, related work experience, awards/distinctions, and special skills. Professional résumés tend to have short paragraph sections. Performer’s résumés are usually divided into concise list form. (consider the samples below)
• RESUME GUIDELINES FOR MULTITALENTED PEOPLE
If you have focused on more than one discipline, get specific! Don’t try to cram all of your theater, dance, modelling and singing experience into the same document. You will not be able to do justice to your experience or your résumé. If you have enough experience in more than one discipline to warrant more than one résumé, then write more than one résumé, and only submit the résumé pertinent to the job title you are applying for… yes! contrary to popular belief, it is a job.
If you are an actor and a singer, a choreographer and a dancer, a composer and a director, have a separate résumé for each title. Keep each one very focused. If you decide to include a section like “Other” or “Special Skills”, you can mention your other talent in a single phrase; “Extensive theater background” for example. It may feel as though you are minimizing your other areas of expertise, but what you’re really doing is focusing. Do not underestimate your special skills when submitting a résumé. A director or organization may be looking for something rare and atypical during an audition scenario, and those special skills may give you an edge.
Your résumé is suppose to convince an employer that they want to hire you, and that you are perfect for the job they’re offering. That means you have to keep everything in the document relevant. If you’re auditioning for a musical, you’ll need to highlight a variety of abilities; if you’re auditioning for a dance show, it might be unnecessary to highlight your vocal experience. If you have developed a unique performers art genre that incorporates aspects of more than one discipline, and the job you are seeking requires this ability, then you should develop your résumé accordingly. You should still keep it to one page, listing the most recent accomplishment first. If you have extensive experience, then choose representative highlights of your training and experience. You don’t need to include everything. Be discerning. Choose your most impressive accomplishments, and in this case, choose a sample representative of your range
In addition to providing your contact, experience, stats and measurements within your résumé, it is advisable to include a headshot. Accompanying your résumé, a good photograph can help convey the intangible qualities about you that make you a good performer. During a large audition, putting a name to a face is important, and not including a photograph could lessen the chances of getting the part.
NB: In selecting your head shot to upload, be sure your face is clearly defined, and easy to recognize.
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Here are some of the résumés of persons who have already benefited from this offer:
Story by: Keisha-Anne Alleyne
We, at the Eastern Youth Chorale (EYC) are a bunch of spirited, creative, motivated young people who strive towards excellence in every area of the Performing Arts – we sing primarily, but we also dance and act- and cover every genre imaginable. Ever so often, the EYC enjoys treating its members with a retreat- we go to different places around the country, looking for quiet, secluded areas in nature for us to learn our music and relax. On looking for our newest destination, we stumbled upon De Freitas Park/ Ranch in Valencia… sounded nice enough; the website showed us a lush, secluded little place tucked away in nature, complete with pool facilities, beautiful surroundings, and surveillance cameras for our protection… it seemed perfect! We booked it right away.
What we thought was going to be yet another wonderful weekend retreat turned into a NIGHTMARE that just got worse and worse as we struggled to wake up. The first “red flag” was the fact that when we were booking, we were told that although someone else made a booking before us that we would be given the reservation… why you may ask?! Well, as a group of about 30 people planning to go to this retreat, and payment was done per person, De Freitas Park would have been getting a much LARGER payoff if they accommodated us instead. That little nagging voice in my head told me that these people could not be trusted, had NO sense of ethics, and that their concern was strictly MONEY… but they assured us that booking us would’ve been ok, and well, from the photos on the website the place looked perfect! So we went ahead.
We were all excited. On arriving, we saw minor differences from on the website – you know, the typical “website-pics-looking-better-than-the-actual-place” scenario – but nevertheless, we refused to let this deter us from enjoying ourselves. Minor hiccups along the way still didn’t discourage us; the owners told us we were not allowed to rehearse in the dormitory area (for whatever reason), and although the dorms were lot more comfortable, we obliged and had practice in the open reception area under the galvanized roof…no practising in the dorms? That’s an odd rule… but oh well! Red flag number 2.
We saw the pool and were going to go in when we were told we had to pay $10. an hour. What?!?! The website said no such thing!! They listed it as if it were one of the other amenities provided to us, and even in contacting the ranch they never once mentioned any other payments other than for that of booking the place. We would have never chosen a place that charged for pool use! What sort of shoddy, scheming place was this, where pool use had a fee?! Clearly not in the league of resorts we were used to… but again, we made no deal of it, because we were already here and we were out to have fun.
This is in no way an accusatory note – I actually do not know what to make of the situation as yet, but you can determine for yourselves. We arrived at the Ranch on the night of Friday 25th May 2012. On Saturday night, our dreams turned into SHAMBLES. For the first time, on the Saturday we gathered everyone together in the reception area for our first practice. After 3 hours of intense rehearsal, we retreated to our rooms… we heard a fellow member SCREAM OUT that her brand new expensive smartphone had been stolen, along with ALL the money in her purse. Everyone SCRAMBLED up the stairs to see if they’d lost anything as well… ONE BY ONE MEMBERS BEGAN TO EXCLAIM, AS THEY REALISED THAT WE HAD BEEN ROBBED!!!
People lost iPods, Blackberrys and other smartphones, chargers, laptops, digital cameras and camcorders, a PSP, a LOT of money, bank cards and ids, makeup, clothes and even SHOES. Scores and documents were scattered, people’s clothes were rummaged through, and no less than $20,000- $30,000 in cash and items had been stolen while we were out of that room! BE AWARE that doors were LOCKED before we left.
We were DEVASTATED. But what made it EXPONENTIALLY WORSE was the TOTAL LACK OF CONCERN FROM THE OWNERS, CYNTHIA AND LEROY DE FREITAS. We immediately called Mrs. De Freitas, the one with whom we liaised – she told us she was in church and would come TOMORROW, then HUNG UP. We went to Mr. DeFreitas, who was extremely avoidant and said that his wife was the one who handled things and refused to say anything more. In desperation, we went to the nephew who lived next door and told him that we were robbed… He came to his door and LITERALLY SAID “ OK, that’s really bad” THEN WENT INSIDE. We were FLABBERGASTED. WHY DID THESE PEOPLE SHOW NO CONCERN WHATSOEVER?!?
We called the police, who showed up in no time – the only GOOD thing about our experience in Valencia thus far. We also continued trying to call Mrs. De Freitas, who was DISCONNECTING OUR CALLS. What sort of operation WAS this?!? Why would a business owner not even FEIGN concern for the sake of their business?! I personally went to the nephew and told him that if he cared about the fate of the ranch he would let his family know the legal implications of their behaviour, and how SUSPICIOUS their behaviour was seeming. The nephew spoke to Mrs. De freitas, and after calling again, she said she would come in half hour. She NEVER CAME. We made our police reports, showed them what we noticed, and gave them a list of items that were missing, along with our contact information. The police noted no signs of forced entry, although doors were LOCKED… Curioser and Curioser.
The next morning, EYC decided that they were going to jump into the pool and make the best of a horrible situation. So the owners didn’t care about our loss?! Well we were gonna have fun NONETHELESS!! While splashing about, Mr. De Freitas walked past, looked at us, said “good morning” and walked away. NO MENTION OF THE ROBBERY AS YET.
The police showed up… lo and behold it was because MR DE FREITAS TOLD THEM THAT WE WERE USING THEIR POOL WITHOUT PAYING!!! Can you IMAGINE the GALL of these people!?!?!?! We told the police EVERYTHING…How could you call the police for not paying TEN DOLLARS to use your pool when your business was responsible for the loss of over TWENTY THOUSAND DOLLARS in cash and items?!?!?! The police could not HELP but laugh at the ludicrousness of the situation. As they were there , I took this as an opportunity to get co-owner Mr. Defreitas to speak with us, with police present as mediators. The police left subsequently and we were able to speak to De Freitas, who told us we could TAKE HIM TO COURT IF WE WANTED. Disgusting people! We decided that we’d use the simplest yet most powerful tool against him – PUBLICLY STATING WHAT HAPPENED . Leroy and Cynthia De Freitas will not get vandalising of their property or a cuss out from me; I’d rather they hang themselves and their business by their OWN behaviour.
I don’t know if they saw bunch of young people and assumed that they could take advantage of us, or if they were simply as unprofessional and ignorant as they seemed, but SOMETHING had to be done. They had “surveillance cameras” which they did NOT want us to see, nor did they offer to the police. They made absolutely NO attempt to settle our minds or even PRETEND to care. A fellow choir member had an uncle who worked at the Valencia Police Station, who found out that the place had been robbed BEFORE and reports were made. HMMMM…
I would like to recap the main points in this note:
- They removed someone else’s booking because they would get more money from us
- They added fees when we came
- They told us we were NOT allowed to practise where our stuff was, then when we left to practise and so stuff was left unattended, WE GOT ROBBED
- The doors were LOCKED, and there was NO SIGN of forced entry.
- The owners were dismissive and unconcerned. They also claimed to have surveillance which they neither showed to the police NOR to us.
- The called the police on US for TEN DOLLARS when we lost TWENTY THOUSAND DOLLARS in cash and items.
I am not one to jump to conclusions, and I would not tarnish someone’s name without proof. But something was DEFENITELY AWRY and one thing I DO KNOW is that I will NEVER PATRONISE DE FREITAS PARK AGAIN, AND I ENCOURAGE ANYONE WHO IS CONSIDERING STAYING THERE TO THINK CAREFULLY : Do you want to give your money to a place that shows BLATANT DISREGARD for your wellbeing and is a place that is apparently KNOWN for being robbed?!?
This nightmare is one that I wouldn’t even wish upon my worst enemy.
Although I wish no ill of Leroy and Cynthia De Freitas, these people are not FIT to run such a place, and I hope by spreading this message others will know this as well.
I encourage people to pass on this message of our experience (CLICK “SHARE”). LET’S NOT HAVE THIS HAPPEN TO ANYONE ELSE.
De Freitas Park website : http://defreitasparktt.com/