Examining life by the throat

Freelance...WHAT?

2011-10-27T15:14:00.006-07:00

Shooting a wedding where half of the wedding party are actors should be a dying wish.

As the summer ends and I finally get to wear some of my favorite things (LAYERS!) I have to look back on a milestone.

My first full season as a wedding photographer. Being able to say it's something I do. It's a skill I have.

So...yeh. That's cool. There's that.

Megan, who you saw before, is a long time friend and was one of the first to ask me to be her photographer. Also the first wedding I had shot completely on my own. I am sharing more of her with great pride. Because, you know, shooting weddings alone is completely exhausting.

Megan getting ready

2011-10-26T06:52:00.002-07:00

This is part one of a series of posts around Megan and Nicks wedding day. Nuggets for everyone to enjoy!

I think I'll put the first look up next.

Metaphor...the value of learning onstage

2010-05-07T09:20:00.002-07:00

It's been a long time since I've update, but I'm not going to beat myself up for that anymore. Something leapt out at me today and I wanted to share it with all of my 4 followers.

First of all, this is taken from Jeremy Slagle's blog "Jeremy Slagle Designer" http://www.jeremyslagle.com/blog

As Jeremy wrote about his love of drawing with fountain pens, he referenced Nick Meglin's book "Drawing from Within". In it, Nick speaks of drawing with a pen as a hardball way of learning through doing. As I read the quotes I imagined the same sort of metaphor could probably be applied to any creative art. Human that I am, I wondered how it would be applied to my craft...

Last night's performance of Spring Awakening felt the longest I'd gone without saying those words in a long time. I didn't feel as immersed in them. The show was fine, as the ensemble really draws the scenes tightly, however I longed for a do-over. Tonight will be back on my personal game.

But I don't get to yell cut or ask for another take. Each word I said that night was a big fat bed I was making that I was going to have to sleep in.

It was inspiring to read this this morning. I'm looking forward to the show tonight, pen in hand.

Nick Meglin's Quote: (From Jeremy's blog)

"Learning anything is an experiential process. Children learn to walk and talk through experience, not from a book" "Learning to draw is a similar natural response."

If you really want to draw better, you have to recognize your mistakes, and nothing shows off your mistakes better than permanent ink. No erasers, no white out, just you, a pen and your subject. Try it sometime. And Don't forget who you are drawing for...yourself. It's your sketchbook. Think of it as a book of beautiful mistakes.

One more quote from Meglin sums it up:

“…I tell this to my students—I taught drawing for twelve years—if you don’t want to be told you’re a lousy artist by someone out there who doesn’t know what he’s talking about, don’t draw. Don’t fill a white page with lines, because once you do it, you’re at risk. But if you are going to do it, put everything you can on that page, everything you are or what you feel, what you think, your perception, you alone, not what you’ve seen, not what you think you’d like to do. React to that model, be at one. You’re the only artist in the world drawing that model tonight that way, in your way. No one else can do it.”

“Bet the whole roll and put yourself at risk. If not, you’ll never win. You may not lose, but you’ll never win. Go down swinging. Lose trying. But put yourself at risk. And that’s what creativity is.”

American Original Sin and other narcissistic pursuits

2010-01-22T10:48:00.002-08:00

I'm an idealist or, at least, an optimist. And by that definition, I would also define myself as a realist, as a person who thinks about the best of things like that would also have to believe that these things are REALLY possible.

So I'm an optimist/realist.

Over a week ago, a 7.0 Magnitude earth quake hit Haiti. 13 massive aftershocks later (that same day) all the major cell phone carriers worked with mGIVE.com to set up texting donations to the American Red Cross and other relief organizations who are pouring their efforts into the capital of Port-au-Prince.

Texting.

Hand Devices.

Blech.

Americans...

These are the first words to seethe through the conscience of the world. Of even ourselves. But no other country had been able to set this up. This same devices used for twittering and chatting "():-)" and Facebooking which is the subject of mockery for half of our peers allowed everyone the opportunity to give just a little.

And so there we are with phone in hand. Not the source of our American Guilt, but a symbol to be sure. A symbol for the caricature of fingers on the touch screen, stomachs over the belt, and eyes towards free TV. And as a population, by the end of 4 days, we the people had donated over $21 Million to Haiti. In as little as $10 increments. It is much higher now. That's texting.

The first reports I heard after the earth quake were of Firemen in California chartering a plane to help with the relief.

Take a look at a map. Find the United States of America. Look towards the left. And then trace it to Haiti (juuuust a jump to the right...).

We are an altruistic people. We can be, at least. And we are being. To take a government bid of $100 Million dollars and say "We'll see you're $100 M and sponsor over 20% of that of our own money". And then say that after a catastrophic recession.

We dug deep.

We also dug wide.

And we, as a people, showed that we're not the sniveling grotesques so easily broad stroked by the cartoonists of the world.

I'm very proud of us.

Text HAITI to 90999 to have 10 added to your phone bill for a month and given straight to the Red Cross efforts in Haiti. There are other organizations that have set up similar numbers.

And that devil worshipping mega-giant corporation I sometimes pour coffee at, Starbucks, has a button on everyone of their screens. Go to the barista and say "I'd like to donate to Haiti" and they hit that button and you give him whatever amount you want. It's a no-holds barred, to not bass go, no tax, go directly to haiti siphon. But don't forget to tip.

America is a good place working to be a better place.

Love for Haiti.

Or as us lazy Americans would TXT: <3 4 H8I >

This reminds me, at a distance, of the show I was just cast in, which I also came to gloat about. I just finished a stiff competition for the role of Hans in Spring Awakening at Promethean Theatre Ensemble. A bit amazed, this is the second audition I've been on in Chicago, second callback, and each time I've walked in I've been beautifully intimidated by the depth of competition. The callbacks included sides that they had sent us to prepare. The part I was reading for includes the famous monologue about masturbation. About the resistance of masturbation. Of impure thoughts. The children in this play are raised with a sort of Catholic Guilt. The notion that we are born damned and our life is a futile attempt to find grace. To struggle towards it offers no happiness. To not struggle towards it makes you the worst of mankind.

I see that American and Catholic guilt as close cousins. Maybe it's because we're so stuck on being this One Nation Under God.

Anyways, the side was incredible. Perform the 2 page monologue. Analyzing the translation of the 1891 German text was fun. Too fun. I needed this part because I did some great homework. It almost made me shudder to think of not being cast, I suddenly got Hans so well.

To struggle towards grace offers no happiness. To struggle against it is damnation. So Hans asks, "Why struggle?" He decides to do what he wants. Maybe we'll be happy in the future. Maybe we'll be sad. But right now, this is NICE.

Interesting...

Glass City Stills, photography, and performing

2010-01-11T18:13:00.004-08:00

I almost don't know how to start this. I feel speechless because I keep thinking the same thing...

I totally love this city. I love this situation I live in.

Epic Proportions had it's first read through with Project 891 Theatre. Looking at how funny it was with us sitting on the floor during our first read-through, I think we're going to have a laugh out loud, feel good comedy all over our hands. I'll have photos of that coming soon, I hope.

Glass City Stills is escalating nicely, more head shots have been posted. I think we're hoping to take full advantage of this second blow of warm weather this week and do a few more outdoor shots. Like these:

After that, I wrapped up still photography for a Chicago based rapper called "Napalm" which John Klein shot. Some of those ended up pretty exciting:

Lastly, the freelance life continues to boom with Kiana at my side. Her's as much as mine. Her first rehearsal as Assistant director was last night, with a callback for a new play tonight, and professional consultations and class offerings. I'm more and more assured that I'm in the right city, professional, and general place in my life.

Oh, and my cat, Tempest, likes directing too:

Art in Chicago

2009-12-29T10:15:00.002-08:00

The tag that I think most sums up my love affair with Chicago is this:

"It's everything I love about the midwest but with an edge."

Things are explored and pushed to their limits. At the same time, people are still nice. There's a magic hospitality that is native to those who live here. That I didn't need to whip out my Iphone to get home from Wicker park because the driver and another passenger were happy to direct me. We ended up having conversations about where we're from. They loved Ohio. That's just cool. That kindness in the vastness of the city is constant and that it refreshing.

The Tribune just released an article listing the best theatre of the decade.

This excerpt really excites me, that I live and am working in this place:

"the play meant a great deal more in practical terms. It re-introduced the new generation now headlining the Steppenwolf Theatre Company, a group synonymous with made-in-Chicago theater, to the international audience. It refocused attention on what most distinguishes Chicago theater from other cities, which is the fearless quality of its actors. It paved the way for a new Chicago theater renaissance. Once again, Chicago credits became a badge of honor for a theater artist. A whole city of creatives suddenly had a useful set of coattails."

And the link is here:

http://leisureblogs.chicagotribune.com/the_theater_loop/2009/12/looking-back-on-the-decade-august-osage-county-was-fearless-chicago-theater-taking-on-the-world.html

I can't believe how lucky I am. My life, my friends, is a boundless privilege.

Glass City Still

2009-12-29T08:44:00.002-08:00

Not shifting gears here entirely (though it would be nice if I updated more frequently. Maybe that'll be one of my new years resolutions!)

Out of a thirst to be a part of the process more than one who a season allows, a thirst to work together,and a thirst to be around actor, creating beauty, and nurturing talent, John Klein (www.windycitycamera.com) and I have formed a branch of Glass City Films called Glass City Stills (www.glasscitystills.com). Doing print work, head shots, modeling, events, but keeping it artistic. Keeping it inspired. Already have worked lined up in the next month. Loving it.

Here's a sample of what we've done so far. More coming!

Separation Anxiety

2009-11-07T10:03:00.002-08:00

Hey all (few),

Life is swimming at a crazy rate. I'm living in Chicago and shooting Separation Anxiety. I'd love to decompress about it but I'm worried there isn't enough time. I'm constantly worried that the minutes are slipping through my fingers at a rate too fast to vom onto the keyboard.

This crew is fanatic and this cast is outrageous. This team of filmmakers is departmentalized and focused, which is a godsend considering the breakneck speed. Day five is done and we've completed over 28 pages of script.

That's insane for all the know.

More later. Life calls. Rehearsal, behind the scenes interviews, and film-photos later tonight. Going to try and see a show between all of that.

There's a lot going on and a lot of good in all of it...

2009-05-21T13:24:00.001-07:00

There’s good in just about everything

Been sick for a week. Enough to feel like I’ve been knocked out of commission though, when I look back on it, I see that I have maintained everything and then some. Only gave up one of the six shifts I was schedule to work in the last five days, had a great shoot on a film set in Athens, got my new banking set up for my move to Chicago, got some bills paid, got the shopping done.

I’m dutifully proud of myself.

In this weekend, I’ve been to an intense rehearsal for Winter’s Tale, where I was able to execute some incredible techniques taught to me during our Classical Workshop. Onto Sunday, where I was on an incredibly professional film shoot for a short called “Caught” I was allowed to take photos which you can see here:

http://www.facebook.com/album.php?aid=2576732&id=12400542&l=edcd8489db

And monday I altered my body for the first time for a show. On the company budget I was spray tanned at 9am. This was for my role of “Angel” in I’ll Take Romance. “Alter”, I guess, would be a relative statement. I’ve been working out two hours a day for a month for this role. Something about a major playwright giving the character description “Impossibly Gorgeous” really makes you want to achieve the impossible. Then, of course, there’s the stage direction “If good dancing means you’re good at sex then Angel must be amazing at sex.” I’ll work on that one later...

This film I shot on Sunday. Now THAT’S something worth talking about...

“Caught” is a brave work created by Monte Patterson, an MFA in filmmaking at Ohio University. It’s based off a book called “Tearoom” about the historic police investigation of the surveillance, arrests, and prosecution of 16 men who took part in acts of sodomy in a public restroom in 1962. The homosexual acts were taped on super-eight films, sensationalized in the papers (even being described as bestial) and each one spent at least a year in jail. College professors, married men, students, and clergymen.

Shooting the scathing truth of this story first was like jumping into a cold lake to get to the other side. There was no warm up period and no wading. I was reassured in working with the professionalism of filmmakers, the knowledge that the majority of them were MFA filmmakers at a very respected film school, and that during the harder scenes, a advisor/professor was there to see to it that everything was handled with a gentle hand. I’m anxious to see footage or stills from the project, but reassured that my best interest, along with the interest of the other actors, as well as the interest of the story were at heart.

Now, into more memorization for Winter’s Tale, more work towards I’ll Take Romance, working and taking photo’s for Kiana’s absolutely riveting production of Edward Albee’s The Zoo Story. Those pics to follow soon!

my long unexplained absence

2009-04-14T04:54:00.002-07:00

Dear Tempest,

I’m writing to you today to apologize for everything my absence has done to you. To you, the ferocious lion at the top of my page, constantly protecting me from intruders while I lie down in the background. I’ve been selfish. I’ve been absorbed in my own career and you’ve been ever vigilant. I want to thank you for this. And I have returned with renewed passion.

I wish I could tell you I brought home the one victory you would have really wanted of me. To be cast in The Tempest by William Shakespeare. I’m sorry. I didn’t get the part. I found myself fumbling over the text when I would have rather had a monologue prepared. The classical language was elusive that day between two mid-day shows of Sarah Plain and Tall. I’ll stop making excuses. I’ll just leave that at “I’m sorry.”

However, I do have somethings to report!

Toward the end of every show I approach this panic that comes over me about finding another gig and making it something that rewards/challenges me. Something to say “I’m moving a long in my path, forward.” When you’ve been knee-deep in a show for two-three months the challenge to the professional is to wrap that up whilst finding more work. That makes you an effective freelance.

Sarah Plain and Tall ran for 15 performances with a solid closing to very enthusiastic families. The kids were a thousand times better and more comfortable onstage than when I started acting when I was 16. I shudder to think of the genious that goes on in their families. I then went to audition, during the second weekend of the show, for The Tempest as Ferdinand but the selections were hard to read. Oh, right...sorry...we’re not talking about that...

I redoubled my efforts. It became paramount to me to find some classical work. An MFA and a Doctoral student as OSU had announced a workshop production of Winter’s Tale that would be done as an educational outreach with Upper Arlington High School. Although I was booked for the latter part of May, I found out that the other directors has similar conflicts and that this was going to be a labour of love either way. As long as I didn’t feel alone, I was very happy to be a part of this if they’d have me.

And I did much better this time. And I get to really saturate myself in classical text in the role of Leontes, playing opposite Julie Anne McMillan as Hermione. Julie Anne is one of those actresses I admire immensely. The first time we crossed paths I played her son in Out Town and then her treacherous servant in Mary Stuart.

Just alongside all of those auditions I got a call from Paul Lockwood of Evolution Theatre. They’re doing a world premiere production of I’ll Take Romance by Edwin Sanchez, whose works have been premiered on broadway and by the Atlantic Theatre (Mamet and Macy). I’m excited not only to originate a role for someone so major, but also to hear that the playwright might be coming to opening night. Sometimes I have to remind myself that I still live in Columbus because it’s a deceptively ambitious theatre community. I was cast and now I am in a physical work-out regiment to look like a Go-Go boy by May 11th. Bring on all the jokes you can muster, I’ve already made them.

So...I’ve successfully eluded the question “What’s next?” which nips the back of my neck as other shows come to an end. And now I’ve managed to put it off for more than a few months. My final performance in Columbus will be Davis in Red Light Winter: one of my favorite plays and one of those deeply disturbing parts under the powerful direction of Jimmy Bohr with, once again, Evolution Theatre. My excitement for my final summer in Columbus has outgrown itself as I prepare to move to Chicago. And Adam Rapp will be coming to that performance as well, all fingers crossed.

Between those shows in the theatre, I’ve been busy with auditions. I have one this evening in Athens Ohio. So I’m off again, with a promise to update much, much, sooner this time.

Sorry, Tempest, for the long entry. There’s been a lot happening. But I’ll keep you in the loop from not on. Thanks for cuddling with me this morning.

A great comment deserved a thoughtful response

2009-02-08T13:41:00.000-08:00

I received a comment from my brother, Chad. Reading it helped me realized what I’m looking for next, and why I’m so sure I’ll find it in Chicago. So here are his comments, questions, and my answers.

You said that you wonder when the next level of skill will be achieved for yourself, and how it is you can get better. What do consider the pinnacle?

I’ve finally discovered that, in a way, I can’t tell. I have no idea what will transcend in my mind to make me reach the next level of acting. But I’m certain that it’s always there. There is always more. I did a show where I had to legitimately cry onstage. I never considered myself someone who was able to do that, but then I was challenged. I was challenged in Separation Anxiety as the most age/type similar piece to myself, to I was able to really see how true how I could make it. I was challenged in Boys Next Door in working with a mental disability but making it true, and making it real and still serving the play. I think it comes in challenges. I’m challenged each time I do a classical text, especially with making it truthful. where the next challenge is, I’d say, is where the next step will be. That will be the next time I grow.

Pinnacle? I hope not. Never.

With your experience now, what do you see when you see Ian McKellan work? What do you see when you see Tom Hanks work? How do you analyze their appeal and skills?

I made the observation the other day that iconic actors, truly celebrated actors of stage and especially film, have a nuance to their voice that is immediately recognizable. James Earl Jones, Tom Hanks, Ian McKlellan, Sean Connery, John Malkovich, Peter Sarsgaard, the list goes on. One would ask which came first, the nuanced voice or our appreciation of the voice, but I think it’s a pillar of storytelling that ironically may be my worst enemy and my best friend. I’ve always been considered an actor with a great ability for movement and emotional intensity. But as one peer exquisitely put “That was the best work I’ve ever seen you do, but I couldn’t hear a damn thing so I didn’t give a shit.” And then another director I worked for told me my voice was thick and deep like honey and that, when executed properly he wanted the whole room saturated in it, then he said I needed coaching. (He actually said “Get a fucking MFA” but the sentiment was kind.)

So it’s story telling. And to be expressive physically and vocally is important. But I think the stage calls for the physicality whereas the screen needs the subtleties of the voice and the face. And as a test to my brother, the man asking the question, I want to know what you hear when I say “Harrison Ford.” “Liam Neeson.” “Ewan.”

Besides these assets, one more thing I see with them is security. Oh, how easy it would be to take risks when there is less questioning. With such successes as these more known actors have, they walk into work, on average, every day with confidence. Tom Hanks is a favorite of Steven Speilbergs. Can you imagine him walking onto set one day with the thoughts “My director is under-qualified” or “This script isn’t workable.” NO! Or even “I need to do good here or it will be my last job.” Of course not. And he would never make a decision on-set or onstage that would be questioned by anyone unless they were amazingly good at their craft AND THE DIRECTOR.

It’s in the security. They don’t have to deal with a “day job” or with amateurs. The thing that makes them professionals is just that. Less bullshit = less to question.

Example: Christopher Walken in Catch Me if You Can, during a dinner shoot with Leonardo DiCaprio was doing the 11th take of the scene where he’s talking about when he first met his wife and suddenly started choking up and fighting back tears. It changed the tempo of the entire scene. It wasn’t in the script or requested of him.

It’s now in the film.

Security.

Respect.

So I try to do that. I try to ask myself “If I were working with the best team on the planet, and I had the clout that Tom Hanks has where there is no stupid choice except for an unmade one, what would I do?” Usually, that’s the one that gets the best work. That confidence, just like moment of solitude. No one will judge you, so make your decision and fear not.

Then, looking across the spectrum, we have some actors who work and work, even finding amazing success, yet they never achieve that... "level of acting." Which leads us to admitting hat some people either have it or don't, despite any training. Some people with no training can get up and act circles around an MFA devoted to the craft.

I should begin this by saying that training is training. And different people learn differently. Just as some people are aural learners, vs. physical, vs. visual. Some people learn by watching film and theatre all the time. Some people need to just do it. Some people need to have a focus. I still look forward to getting an MFA. But I believe more training is always a fantastic option. Be it from experience, or classroom scenario, or just watching it. You could be the best actor on the planet (doesn’t exist...too subjective a craft...but for the sake of argument) I would argue how much better you COULD be if you sought training. So the question of training shouldn’t simply stop at “Am I good enough to pay the bills” but should cross to “Am I the best I can possibly be.” Lots of people pay the bills without turning my head, let alone changing my life (Adam Sandler) but people who are devoted to breaking their own molds and ours, MFA or not, but search for a new, deeper truth. Those are the students (Heath Ledger).

Secondly, I want to dispel one rumor of “magic” that encompasses acting or the training of actors. I admit it’s subjective, but there are certain pillars that simply need to be present. Can you communicate? Can you convey emotion? Can you empathize? At the very least, you need to be able to do these. Everything else just HELPS with these ideas. When you break it down, graduate school is graduate school. And MFA in graduate school guarantees as much quality as an MBA in business. It does not a wondrous actor make. It is simply a guarantee to THAT student that they will be exposed to at LEAST *this* much subject matter. To learn it or use it is our prerogative. It’s just an avenue of education, nothing more.

I want an MFA because the saturation might help. I’ve discovered I’ve learned a lot in my BA and also just working at it non-stop over the past 2.5 years, but an MFA is still on my long-term consideration list.

Aside from Glass City Films's vision, what is your vision for yourself? You've written that you see yourself as an actor, then a writer, then a director. A vision for yourself can change and evolve as often as you need it to, but, in light of your Gary Sinise connection, where do you want Cole Simon to fit into the pantheon of thespians?

Wow...good one...

I want to pay the bills. I believe in what I said earlier about it not being “magic.” A man with an MBA wouldn’t start a business unless it was feeding him and his family. He wouldn’t just do it for love of the paper-work. I love theatre/film and I will always love them but I will not settle for anything less than paying the bills with it. Even if it’s a tight existence at first, this is my standard. Not a goal. Goals can be missed. I want to set my standard at consistently working and supporting my life with my work. I went to college for it. I have devoted myself to it, I have received accolades for it, I can at least ask for three meals a day and a roof over my head. I think the major downfall of a lot of thespians is to treat it like anything less tangible than “do” or “don’t do.” It’s simple. Go to school. Get a degree. Learn it. Do it. Get paid for it. Do I want fame? I won’t say no. Do I want fortune? I won’t say no. Do I want respect? Hell yes. And to watch any performance, adore a performance, be moved by a performance, and then say “Don’t quit your day job.” Doesn’t sit well with me. That’s not respect. That’s like stiffing your waiter after the best service you’ve ever had.

Chicago is the step towards this respect for me. There is a lot of work to be had in Chicago. I admit the money won’t be immediate, but the quality of work will be. I will be able to taste what the icons taste when they go to work because I will be able to work with people who want it as bad as I do. I will not work with a “once every five years” director or an actor who has no idea what a conflict is. It’s going to be a different world because the craft is going to be so much more nurtured. I hope...

And in case I mislead anyone. I’m an actor. Then a director. Then a writer. That’s for another entry though.

Thanks.

Synchronicity

2009-02-06T13:27:00.002-08:00

I’ve always been one to believe in signs. That’s not to say I believe in signals. I don’t necessarily believe that someone is up there dropping hints when the road gets hard to see. But I believe in pattern. In the pattern of human nature. In the pattern of geography. I believe that once you start to notice these patterns, it’s like seeing the laces on the ball, and you can start to feel more confidant in your gamble.

These are signs.

So here I am. Feeling fairly confidant after the unified auditions, working on shows and more and more the image of living in Chicago with Kiana and working as a real actor while working with Glass City Films is becoming tangible.

I’ve been trying to follow up on theatre companies that were at the auditions, just a little digging to see if it’s the kind of company I want to work with, sending post-mortem e-mails to keep discussions open, etc. I did a little more digging on the theatre company, Steppenwolf, than some of the others because, well, they are a staple of Chicago as one of the most respected theatre companies in the world and they have a rich, risky, history.

I found these facts:

Just after graduating from high school, Gary Sinise was approached by friend and classmate Rich Argosh to put on a play. He agreed, and they began performing in a church basement. One of their first shows was Rosencrantz & Guildenstern are Dead, where Gary played the role of Rosencrantz, after which Gary, Rick Argosh, decided they wanted to continue working together and to find a permanence. It was then that Gary relocated to Chicago. Gary also directed, from the beginning, for this company. It wasn’t until his senior year that Gary Sinise realized he was devoted to theatre.

Compared with my own story:

I loved theatre in high school, but never realized I could DO it with my life. Just after graduating, I was asked to be in Rosencrantz & Guildenstern are Dead under John Klein’s company, which has a checkered past with performing in a church basement, which is, in fact, where we rehearsed the show. I played the role of Rosencrantz. I would later direct for this man, just one year older than me, and we would realize our artistic relationship was so much more than an affair and thus the elope to Chicago.

Yes, admittedly, I believe in signs.

As soon as I find them, I’ll post pictures of our production of RaGaD. But, until then, here is The Steppenwolf production shot. It’s a wonderful reminder that juggernauts begin somewhere on the ground, just like us.

I'm pretty sure that's Gary, on the right, as Rosencrantz.

Chicago...

2009-02-02T14:54:00.001-08:00

Is amazing. Kiana and I road-tripped to Chicago for the Illinois Theatre Association annual unified auditions. The excepted 300 auditionees and we were among them and then had to find out how to make two contrasting monologues last only 90 seconds...altogether.

Why were we working so hard for an audition for a community of theatre 5 hours away? Why, because Kiana is graduating from Ohio State with her MFA in a matter of months and, love this city though I do, it doesn’t have much to offer us in the way of career paths.

And Chicago juuust might.

So we set out for the weekend and met up with as many artists we know of who have made Chicago their home. We got dinner with Sarah (a young actress from OSU, like myself), with my great friend Terrence (another actor with a BFA from Syracuse who really knows his shit), Tanya (an MFA from the last OSU class who had wonderful insight for me and especially Kiana), then off to dinner with Jen (a Duel major in Theatre and Social work, recieving her graduate degree at the University of Chicago in Social work and hoping to use the two for her therapy in the future) and of course the man who needs no introduction, John Klein (BA, like myself. Toledo like myself. Love me, like myself. And a full-time film maker.)

The information we gleaned from them was priceless. About living style, about neighborhoods. About art in Chi-town. About how to get by, keep happy, have fun, meet people, meet professionals, etc. About how to be a professional in a world without excuses.

Another thought. Kiana and I got in Friday afternoon and decided to see Terrence in his show “Stage Black” at MPAACT theatre. I am conditioned, from living in Columbus, to set my standard low. I don’t want that to come off wrong, I have been really moved by some theatre here. But when I go see friends in a show there’s usually something about it that you just have to try an forgive, be it the lack of direction, the weak link in the cast, etc. But this show blew me away. I’m saying that I stumbled into one of the theaters that my friend Terrence is in and was completely blown away by the quality and the talent. There are real artists in Columbus and there are real artists in Chicago. But the thing is, I didn’t have to look that hard to find them in Chicago. That was a nice sign. And the talent was diverse in age, race, and type. That’s another nice sign.

So...THE AUDITIONS.

We opted to get them done in the morning slot. Kiana wanted the morning so we could get on the road back to Columbus at a decent hour. I needed the morning so I could get it over with. I mean, this is intense man. To date, probably the most major audition I’d been on. (Most major...is that appropriate?)

We worked monologues each day up until that morning. We showed our pieces to friends to lessen the sudden nerves of going up in front of 40-something directors. With these cuts and the time constraints, the monologues had to be practically choreographed. There was little room for pause and the pauses we decided to keep had to be to the T. I grew a lot as an actor on just working on this. I like to think I already had the intensity. I’ve been growing a lot in nuance. But here I developed a very powerful sense of precision. Everything was planned and still fresh.

There was only one professional company actively holding callbacks that day because they were located in western Illinois, about 2 hours away from Chicago. They are called Timberlake Playhouse. They were just grabbing actors as finished and taking them into the other room.

They tapped me. Brad Lyons tapped me and read me heavily for their season, and paid a lot of attention to me for Wait Until Dark, as well as Grease, Lend me a Tenor, Dirty Rotten Scoundrels, The Wedding Singer, and Buddy Holly.

I know...that’s two plays and a lot of musicals, right? Yeh...they asked if I could sing and dance. They had me learn and 8-count and sing anything from any show-tunes I know. It’s a professional summer stock company, so if I’m in Wait Until Dark I’ll have to be a chorus member in Dirty Rotten Scoundrels, so I need to at least fake it, they said.

Gah.

At last, I was released and Kiana and I began our trip home, back to reality. Dazed and excited and terrified.

I will not deny that we are looking ODDS in the face. But we always have been. And we took on even worse odds with Glass City and we came out with history for Toledo, career boosts like some young artists (including myself) could only dream, and best nominations across the board. We’ve got what it takes. And to say we will do it ignores that fact that it’s already being done. Nerves are to be assumed, but I’m done doubting. Me and Kiana dude...what a team.

Lastly, this morning I got an e-mail from Circle Theatre in Chicago. They want me to read for Brick in Cat on a Hot Tin Roof.

I shit my pants.

It’s gonna be difficult to swing the stipend but they are Jeff award winning (that’s the Chicago version of the Tony award). They were very complimentary of me and it just bumps up on when we were looking to move. Can it work? I don’t know. But will I say no just yet? Hell no.

Whew...I’m off to rehearsal now.

scratchin' backs

2009-01-27T16:57:00.004-08:00

My friend and the creative yin to my yang is John Klein. An inspiration on so many levels to me, he is a kind and generous soul, he is talented as a producer and a DP of film. And he has made those bearers of the Bachelor of Arts, such as myself, proud by working hard in school, saturating himself with knowledge, and going on to his third straight year out of college as a professional filmmaker in Chicago.

Because "Glass City" which John co-wrote, produced, and DP'd was competing in Oklahoma, John drove down there as a representative. In doing so, he had to say "nay" to a lucrative film project. This sacrifice has him scared for the first time in three years. He'll be okay, he knows it and so do I. But faith, being nothing without action, needs a little help.

So I leave you today with the reel for John Klein, (www.windycitycamera.com) one of my best friends, my favorite filmmaker, and your ticket.

Bigger Screen version and more info :http://www.youtube.com/user/WindyCityCameraND

And here it is!!

back to back to back to back

2009-01-24T14:59:00.004-08:00

So, in less than a month and a half I opened and closed two full on productions with the enviable Available Light {theatre} Company. In the four days since it closed, I looked at my year in theatre (Jan 08- Jan 09) and thought "Okay Cole, how are we gonna follow this one up? Don't tell me this is the end of the sprint."

And then I received an e-mail from the director of "Sarah, Plain & Tall" at the Columbus Children's Theatre. She's heard of me and she wants me to read for some roles in her show. Another semi-professional show, but in this town you have to realize there's not much more than semi-professional work out there. I'm eager and optimistic to see a change in this, given the advent of AvLT as a non-profit, along with Theatre Daedalus, as well as Evolution on top of CATCO. But for now, CCT has been on my hit-list for a while and has fallen quite neatly into my last nine months here and just exquisitely after my pioneering charge into Evolution and Available.

In other words, WOOT.

I'm not even close to stagnancy.

Friday was my audition, and they offered me a role on the spot. Four, actually. Four minor characters to have different accents and physical types. I'm also going to be a mentor to child-actors. This could be a wonderful experience statistically of course, but the experience could be mind-blowing.

And I also want to leave you with these links. Matt Slaybaugh author's his own blog and these articles are two of three dealing with his own personal blitz of theatre. As a founder, director, and writer. I have a lot to learn from him. Enjoy!

Continue reading "3 Shows, 3 Cities, 3 Weeks: Part the First" »

Continue reading "3 Shows, 4 Cities, 4 Weeks: Part the Second" »

And lastly, I've designed my own website. Since I link to my blog from there, I may as well announce it's existence here:

www.cole-simon.com

Locations...

2009-01-16T13:09:00.004-08:00

I sit writing to you from the Luck Bros. Coffee House in Grandview, Ohio (Columbus). One of my best friends and my father are in Duncan, Oklahoma, for the Trail Dance Film Festival where we, with Glass City, have been nominated for Best Drama, Best Director, Best Actor (Scott Wilson) and Best Actress (Kiana Harris).

So, why am I here, you might ask? Because, my show, The Internationalist with Available Light {Theatre} Company is closing this weekend, and at 23 years old, I just haven’t figured out how to be two places at once. This has been hailed by some as one of the best productions they’ve seen in Columbus, between script choice, performance, director, and use of space with design elements. And I couldn’t agree more. The people I’ve come to meet and the performances we’ve achieved are nothing short of professional. And at this point in my life, that is a most apt compliment.

Three major newspapers published articles a few weeks ago, hailing Columbus for it’s wonderful year of theatre in 2008, and even for our ability to produce two new theatre companies in the mids

t of a recession. January 2009 kicks off with a slam dunk with Available’s The Internationalist and continues, just two weeks into the new year, with Evolution Theatre Company’s production of Frozen (directed by Jimmy Bohr and starring Mandy Fox, Jon Ozbeck, and Tori Matzos) already receiving a rave review and a nod for best production of the year from the Columbus Dispatch.

I’m eager, in these nine more months in this city, to see what will happen next. I refuse to believe it will be nothing short of explosive.

Internationalist ushers in a new slew of locations for me. Meaningful locations. First, this coffee shop is lauded by the director and all over the program. I decided to walk in today and get some catch-up work done between work and the show. I introduced myself to one of the Luck Bros. and he said “Oh, you must know Matt.” He then insisted on making me a house latte which he “Lives for.” On the house, I drank the most beautiful espresso and steamed milk I believe I’ve ever had. It’s seriously velvety and gorgeous.

It also marks my first time working at the Riffe Center. I understand that might just not be as impressive to some, but as it relates to me, it is very exciting. Maybe that’s one of the things that makes me an artist, in that I find the gravitas in everything.

Being at the Riffe, at this point in the year, is busy. There are three theaters. Studio 1, used for rehearsals mainly. Studio 2, which is a thrust theatre where we are staging Internationalist. And Studio 3, the proscenium, where CATCO (Contemporary American Theatre Company) usually performs, but as they are in rehearsals in Studio 1 for Almost, Maine, Studio 3 is being used for the Pheonix Theatre’s The Miracle Worker where the actors both speak and sign their lines for deaf audiences.

That seems like a lot. Because it is. This last week has been a faction of nods and hallway conversations of actors from three professional companies each on their way to their perspective theaters or dressing rooms. The Subway across State Street (The Riffe is Downtown) is the only place that is open after 5pm, so cast and crews alike head there before going to work.

Going to work...

I’m sentimental. And you’ll have to excuse me for just one second. I need to sit and breathe in that magnificent notion.

We are going to work. I am an actor, just going in for another day at the office.

This is where I am in my journey. I am doing good work, but I am also consistently working. This is where I am located.

Here it is. The best Latte I've ever had.

Separation Anxiety Investors Trailer

2009-01-11T19:46:00.002-08:00

The film, Separation Anxiety, that I am acting in and directing.

From Stage to Screen: The guy who was there both times

2009-01-02T12:10:00.001-08:00

NOTE:

I'm cross posting here from something I wrote this morning for the Separation Anxiety Blog. I figure it's just as apt over here.

I’m up early this morning to make my self-set deadline of Friday for this blog. I was up until 1AM last night listening to music from this dream team of artists that have sent their material our way to be considered for the soundtrack. In some cases, I think we really struck gold. The trailer will testify to that in a matter of days. It’s surreal to me.

I’ll begin this topic with a bit of back story, and we’ll go on from there.

From Stage to Screen

The Theatrical Production

About a year ago I was heading into tech week for Separation Anxiety at the Curtain Player’s Playwrights Festival. This annual festival took place during the winter (now summer) where, unlike their regular season where they perform the show for three weekends, three brand new pieces are performed for one weekend each.

When I first read Sep as a play, I found myself compelled by the idea of it. The decisions were bold and unforgiving. I turned page after page to see what would happen next. However, that’s not to say that it was without it’s flaws. The play w

as verbose (which I usually don’t mind as much but generally, it’s something to avoid), it had some factual flaws that, if scrutinized, would blow holes into the entire plot.

And because the Playwrights Festival took place over the christmas season, rehearsals were

limited. We were only afforded one session with the playwright to make sense of things with him in the room and request changes. O

therwise, we were to make due.

As the show ended, I had grown a lot with Bailey. Separation Anxiety was my first bit of theatre outside of college, just after I’d finished directing Glass City. I’d grown because Bailey, along with the other characters and due to the limitatio

ns of the Christmas holiday, hadn’t been given the ideal TLC of a playwrights festival (hence the excitement for moving it to the summer). Where Bailey was underdeveloped I found myself doing a lot more work on my own to justify certain actions and decisions, especially pertaining to the big decision that is ultimately asked of Bailey. I added a brava

to him. A certain infuriating sense of mysterious confidence that “worked” for the character but really was the smoke and mirrors effect to mask someone who was altogether an unanswered question.

Opting Sep for a Film

Since working with John on Glass City we both realized we need to jump at the chance to work with each other again. In late December we’d just finished up a marvelous and hurdle-ridden short called Rendezvous and decided we would keep enabling each other. John respected my instincts for finding good artists and good mater

ial. I respected John’s passionate yet fair sense of filmmaking and his ability to spot a success, among other things. I mentioned the script to him, but sat on it until running it by the writer, Jeremy Sony. At a closing night cast party, when I asked him and got a very shocked or somewhat befuddled “yes” I timidly s

ent it to John in a sort of “There-might-be-something-here-but-I-like-the-story-and-the-characters-could-be-great-I-hope-you-don’t-think-I’m-a-fool-because-I-know-it-needs-work.” You know...THAT sort of timidness.

What I got back from him was startling.

~Cole:

Just finished reading.

It's beautiful. It's absolutely beautiful. There are scenes in this

that sparkle and crackle with brilliant resonance, and what it lacks in

subtlety at points, it makes up for with wondrous feeling and heart.

My first thoughts:

So, what we’ve just done is Opted the Script. Nice.

Re-writes

There are certain aspects of working with people I’ve come to develop that is a litmus test for true collaborative artists. Jeremy is a wonderful collaborative artist. When we sat down for dinner after the play had closed with the specific intention of discussing screenplay options, I had never really talked to him before besides in passing. As I’ve said, one of the frustrating aspects of the theatrical production is how much the writer was not actually in the room with us. So, here I sit, a 22 year old freshly graduated collegiate, meeting for the first time with playwright/director Jeremy Sony about his play that I was

just in, and oh yeh, he’s 7 years my senior.

The beginning started as cordial and pretty nervous, maybe a little awkward.

And then I remembered the point. We want to make Sep into a film. That tells him already that we love the script. But the difference is that we want to raise a lot of money for this and pay everyone what’s fair. So, that being said, the notes I give him on re-writes from myself and John might come off as harsh, but he should remember it’s because we think he’s really good.

And he never needed reminding of that. It seemed he was thirsty for hardcore criticism. So

mething that is hard to find in a theatre community, which is someone who both knows what they

’re talking about mixed with being honest and truthful enough to challenge you to get better. I think Jeremy

and I first bonded on that, and a beautiful friendship has since stemmed. But we’ll see what he says later this weekend.

That is what I mean by collaborative artist. Jeremy sets out to do his part of the job in the rewrites as he is the one responsible for them. However, at the same time, we all have a hand in it. Because what he doe

s effects us and what we do in our jobs effects him. Jeremy does so well in film/theatre becau

se he respects how it MUST be collaborative.

Bailey

Bailey’s transformation from the stage to screen is born in the re-writes. Jeremy is working hard to get much more specific with each character, especially the “children” Quinn, Jess, and Bai. Where, as I mentioned, Bailey had an infuriating sense of confidence before, Jeremy has done a wonderful job making him more sensitive and embracing his flaws as well as his virtues, while keeping the truth, which is that Bai likes to make light of everything. With Jeremy as the director/writer of the project, I have been able to meet with him fairly frequently simply to ask questions about the Baile

y and to offer up my own answers. Bailey has grown in his sensitivity, his goals, and his perhaps crippling insecurities.

Questions

Ultimately, I have a list of things that I want to talk about here regarding putting a play on scree

n. But this is

carrying on and I don’t want to lose you. Feel free to ask any questions in the comments b

elow or email us at ou

r movie Gmail! Jeremy Sony is next, due up by Sunday. Happy New Year everyone!

Cole Simon

A good year for theatre in Central Ohio

2008-12-28T10:44:00.003-08:00

I found this article in the news. Proud to be a part of two of the companies, as well as knowing the director in mention.

Memorable Shows came in big and small packages.

Vacation? WHAT vacation?

2008-12-27T16:50:00.005-08:00

In a blur, almost two weeks have gone by. And it’s not for lack of effort, but lack of time and an

abundance of priorities.

Foolin’ Around with Infinity turned out to be way more than anyone bargained for in the most beautiful of ways. The show performed in Granville, at Dennison University over two nights to two fantastic audiences in both size and response. I walk out of there with the respect of a great company. Respect enough to ask me to be a part of their next show, The Internationalist by Anne Washburn. I also leave with a confidence that I can handle any sheer amount of text within a short rehearsal, give

n the healthy environment.

And I’m gonna need that environment.

The next show is longer, and we all have a lot more to say. My heart goes out to the rest of my cast, as the majority of their lines not only must be brilliantly acted, but done so in a made up language. Oh, Anne, you crazy dog of a brilliant playwright. And so with Christmas going on, we have 12 rehearsals before we open. 12. I’ve heard of worse....?

Backtrack to the tech week for Foolin’. By night, Kiana and I drove to Granville for rehearsals. By day (and some twilights) we were on-set for the investment trailer for Separation Anxiety. John Klein was in town for a week and crashed on our couch. It

was a beautiful return to the set with one of my dearest friends and collaborators. Only, this time, I was on-camera as opposed to behind it.

I describe myself as an actor, then a director, then a writer. I love all three, I’m capable of all three, but it’s in that order for a reason. I find it funny that in all the time of working with John on these projects, this is the first time I’ve been his actor. I’m excited to say it won’t be the last. Especially with how good the trailer looks. Stills will be at the bottom.

As the days after our saturday wrap (a week ago, sheesh) flew by, Christmas came as I took my 36 hours off of work/rehearsals/work, etc to drive to Toledo and see my family. In typical Simon fashion, I was up at 6, and found myself in dad’s editing office with him, walking through each clip of the trailer, until we had a complete project. With some bumping and some sound stuff to finagle, the damn thing is put together. And it’s solid. We have no music locked yet, so we have not been able to implement it. We edited from the hip, using our own biorythms, conversation about the story, and character to put it together. At the end, we hit play on a song we loved as we watched the trailer and beamed at how simply musical t

he story, the dialogue, the editing already is. It syncs with almost any song, and is magnified by it. Every time we put it to a song of our choice, I’m moved by the swell of emotion it elicits in me. What beautifully orchestrated shots. The dialogue. The editing. Huzzah.

The only thing that I keep reminding myself, in part of excitement and in part of my incessant perfectionism, is that next time can only be better. Stronger decisions. Stronger acting. Stronger cinematography. Stronger writing. It can only be better next time, and next time is well on it’s way.

And again with the Christmas! My brother got me a blank journal, and the kicker, a leather-bound fully decked out planner full

with calendar, lists, contacts, divider, pen, and folders that starts in January. It is one of the most exhaustive and pretty non-electronic things I own. So the question...I do all of my planning and “ledgering” on Ical and my Ipod, and I don’t i

ntend to stop. It’s so easy. I get my work schedules that go up every week and tap them in. So how can I pay homage to this fantastic present and and not leave the my system behind? The same way I did with this journal. This planner will b

e dedicated to freelancing. And let me tell you, the first half of January alrea

dy looks pretty full. Topped off with a trip to Chicago in the end of January for big auditions.

This life of art is raining down on me whether anyone wants it to or not. Luckily me, my family, and my friends are thirsty.

Foolin' Around with Infinity Trailer

2008-12-16T20:27:00.001-08:00

Foolin' Around with Infinity TRAILER

Available Light does some of the coolest networking I've seen in a company. From a newbies perspective, they always focus on work that demands some sort of reaction from the audience. Which is redundant, when talking about good theatre, but at the same time, fitting for this company. Their networking tactics span from facebook to myspace to blogs and a website. They are on Twitter, Linked-in, and who knows what else. But the upshot is that they are a Theatre company in the city and they pitch themselves as a theatre company FOR the city. To see a show at AVL(t) is to be a part of the community. And that makes it so much more rewarding to be in the audience.

This is the trailer for "Foolin' Around with Infinity". They do a trailer for each show. And they waste no time. Another thing I like about this company. They are ambitious and make valiant efforts at achieving fantastic accomplishments, but they word "Later" doesn't seem to be in their vocabulary.

Foolin' Around with Infinity Trailer

Pictures from Infinity:

2008-12-13T06:23:00.006-08:00

Just a few pictures from Foolin Around with Infinity rehearsals...

You will see A) A self portrait going into rehearsals

B)a group portrait of some of the cast huddling around table work.

C)Our Director, Eleni, exaggerating....

D)Nate, who plays the ethereal Mr. Anderson like a kaleidescope

E) My beautiful and incredibly talented girlfriend, Kiana, who plays LUKE

...becoming reality

2008-12-12T21:25:00.004-08:00

Dreams are coming true for me.

Amidst prepping for the Separation Anxiety investment trailer, I have been a part of a blitz rehearsal for Foolin’ Around with Infinity. A show by Stephen Dietz, author of over a dozen major plays, easily.

Foolin’ is...a mystery play. That’s the best way I can explain it. It’s definitely a Genre-bender. It’s mystery meets star-crossed romance, meets thriller, meets comedy about two air-force officers who oversee the keys to the nuclear war-head in Utah, one of the officer’s estranged daughter, and YOU. You are a part of this play as a part of this world, and the editorial YOU watches it all unravel before YOUR eyes.

In the midst of working for a wonderful company, I heard they were looking for a male actor to take a small role in their next project. When it was offered to me, I wasn’t sure if I could handle the scheduling on top of everything else, but the director told me my conflicts were fine.

So, at this point I’m signed on for my second Available Light theatre Company project, which is a company I’ve been fascinated with and wanted to work for for such a very, very long time.

And then, this past monday night, I received an e-mail from John Klein, my producer/co-writer/DP from Glass City. Glass City has been accepted to Beverly Hills hi-def film festival and Trail Dance Film Festival in Oklahoma. The most recent word was that Glass City has been nominated for Best Drama, with a best lead actor nomination for Scott Wilson, best lead actress nomination for Kiana Harris, and best director nomination for... me.

My euphoria grows, and when it rains it pours. From the first days of shooting I explained to people that we were on to something fantastic because there was literally nothing about the film that could be considered categorically bad. And finally, on the end of this trip, we are being considered categorically ...”best”.

And best is a relative term. Best in the city? Best for a newbie? Best of what? This competition has categorized us with other best actor "Colm Meaney" of Star Trek and a plethora of other common household movie names (He's been everywhere) and best actress Michelle McCarthy of one of my personal favorite films The Nines and of Gilmore Girls.

As we sprint towards the finish line with Foolin’ Around with Infinity while sprinting to the starting gate for Separation Anxiety, I get a phone call. The director for the next Available Light show, The Internationalist, wants to have a meeting with me as soon as I can make myself available.

Oh god, I thought. Here comes the other shoe. This is the end of the fun ride. He’s gonna have to kick me out. He can’t work with my hectic schedule. It was fun while it was lasted. It was an honor to be considered. Etc...

Mr. Slaybaugh sits down with me at Stauf’s this afternoon. He explains to me that their lead actor has dropped out. And asks if I would take the part in his stead.

I will be rehearsing from the 22nd to the 4th, when we go into tech week for this show at the Riffe Center, with a wonderfully renowned and fantastic theatre company, and playing the there for two weeks.

One thing I’ve noticed about myself is that I’m becoming less and less timid. The idea of a short rehearsal process doesn’t scare me. It barely gives me hesitation anymore. If someone can do it, I can.

So, at a sprint speed, my dreams are becoming a reality.

Elation over Anxiety

2008-11-26T11:56:00.007-08:00

I have just finished reading the second film draft of Separation Anxiety by Jeremy Sony. Before leaving for Toledo for Thanksgiving, I feel I should recap the near future.

Available Light Theatre is doing "Fooling Around with Infinity", a studio piece by Stephen Dietz, that will be up an running a full production in just three weeks, 16 rehearsals. But we'll be okay, I've had similar circumstances with less qualified individuals, but this cast is all from a world of professionalism, and we fell happily into each others laps.

I'm taking the first few weeks off of helping with "Frozen" to devote to this shortened rehearsal time, and then I'm shooting an investment trailer for "Separation Anxiety" before Christmas. Kiana, who is in both "Fooling" and "Separation Anxiety" leaves for Philly for a week for Christmas, and I will reground myself to jump back into "Frozen" in January.

Speaking of Kiana. There's a path that we are all on, some blindly and some purposefully. I feel that Kiana and I are on a purposeful path. She has directed me and I have directed her. But as we both grow into being truly professional performers, I smile to think we are not only growing forward, but growing together. I am honored to share the stage and the screen with her in our next projects.

But Separation Anxiety... I cannot remember the last time I felt so many chills in one reading, the need to push away from the desk and pace, trying to imagine this guy is in our lives, this writer is in our reality, and asking myself how he could possibly, remotely, achieve an excitement as mutual as ours is to work with him. I can't imagine the last time I was so amped to incarnate a role. (See pictures from the world premiere, above.)

And with all of the beauty that is this script, I see 1,000 ways to improve it, to make it do more than transcend mere solidity in the coming drafts. And the idea of that tells me two things. That I'm in the right field. And that we're going to be very, very, very successful in the coming year...

I have to leave you with my friend John's post. The yin to my creative yang. A producer, a writer, and a cinematographer. His thoughts echo mine, or do mine echo his?

"Angels around you."

Given that I'm still young and eternally optimistic, I imagine I'm also not the best at determining which films will be marketable or critically sound. Yet, I've never read a script that makes my heart run the gamut of emotions quite as vividly as Jeremy's screenplay for Separation Anxiety.

The most recent draft of the script came in this weekend, and it's a thrill for me to see its full-blown transition from a stage play into a feature film. Striking use of visuals and emphasis on smaller moments, a diversity of locales and a heightened sense of production value have burrowed their way into an already magnificent character study, and while there's still work to be done, the fact remains: there is a remarkably solid foundation of storytelling driving this beautiful screenplay.

Working in Chicago, I've felt curiously numb by even the best projects I've encountered in the Windy City, and at worst I've been so disgusted by them it's a wonder I'm able to continue working. The sad beauty of my job is that it's, first and foremost, a technical one, and I can tune out the lacking aspects of a production while paying attention to the visual items I can control. So it's a wonderful relief to read and re-read a script for which I feel nothing but passion and excitement at the mere thought of producing. Or shooting.

Whether or not I ever find that project or those people in Chicago remains to be seen. Tune in next year. Until then, I've met and left all my fantastic creative muses in Ohio, and I'll keep returning there to work with them until they find their way to Chicago or until we hit it big together. Glass City, for all its flaws and its shoestring budget, was - in my opinion - a remarkably assured and controlled debut of a film. In its current screenplay state,Separation Anxiety beats that debut by a landslide. If this is what it means to improve with each project, think of what the NEXT film will be like.

I truly can't wait.

Can't wait, indeed.

Learning to freelance...

2008-11-18T21:27:00.004-08:00

I began this blog with the notion that being an artist would be one of the gears. It has come to light that’s the only gear I care to be in...

To be in demand. To be working. My senior year I worked with Jimmy Bohr in Our Town, and then a girl named Eleni in Mary Stuart. After I graduated, I directed “Glass City” and came back to Columbus with an inadequacy complex. It would be the first time in two years, at least, that I had not had something lined up. And now I had none.

The inadequacy was awful.

And I finally got off my ass and found some auditions. That lead me to reading against a Mr. Zach Sciranka for Rabbit Hole. The part went to the better choice and I, instead, landed myself a callback for Jeremy Sony’s Separation Anxiety, where I met Jeremy and Marla. That led a little more exposure, and I was invited to be in The Boys Next Door”, directed by Marla...

And then I just kept going.

Because the one thing I was not able to study in college, and needed to devote a year too, was the aspect of being a freelance artist. The act of looking for work. That idea that no city is too small, that no answer is worse than “No, thanks” and that “No, thanks” isnt’ that bad of an answer after all. And sometimes, just sometimes, “No, thanks” means dodging a bullet. That you need to devote at least quite a few hours a week to finding work.

Rest assured, once you get out there, it’s easier to stay out there.

And we come to Tartuffe, directed by Beth, who directed me when I was a junior, and Little Dog Laughed, which I found out about in Tartuffe, but knew the other actor from two years prior in another show.

And finally, I have an avenue to work with my mentor again. Assistant directing Frozen for Evolution Theatre Company with Mr. Jimmy Bohr. To sharpen my directing chops with him is a wonderful opportunity for me for so many reasons, least of which is the killer resume addition. But he wants me not only for my opinion, but so that I might learn what it’s like to WATCH great actors in the process. But doing is more than watching. And the only reason he would tell me not to be there is if I’m acting, myself.

Re-enter Eleni. I worked with her at the end of my senior year, and have remained in touch.

And she asks if I know any other actresses...

And I finally get to share the stage with Kiana. After three years.

Acting as a craft is about what you can do.

Acting as a job is about who likes working with you while you do it.

And so I’ve been offered an opportunity to be in the next Available Light Theatre studio piece, Fooling Around with Infinity. My enthusiasm knows few bounds.

Save for adding a fifth ball...sixth ball...to my juggling act. With the cooperation of those around me, I have faith that I will deliver some great work on this and still be a valuable asset to Frozen, and to my “Bruce Wayne jobs.”

“Bruce Wayne jobs” are the loving title I use to describe those acts that guarantee money but don’t necessarily involve the arts. Not to be mentioned again. I sent a quick email out to a company looking for a model the other week, with some head shots attached. I got a nice gig. The head shots were free, from a studio I do regular modeling for in the mornings for money.

Why am I telling you all of this?

Because I am trying to illustrate that seeds are planted and harvested at different times. Our Town to Frozen. Government Inspector to Tartuffe. Mary Stuart to Fooling Around with Infinity. I am working now because I was hustling before. But keeping your eyes focused and your mind on your JOB will mean eventually you wont’ have to strain so hard. Am I making a living wage as an actor? Not yet. Am I doing a damn fine job while living in Columbus? You bet your ass. Because where ever you are, there are always opportunities. Where ever you are, there is always work to be done, either expanding your wallet or expanding your mind or both. To date, the best work I’ve done has not been paying. Call them glorified internships.

And the pattern continues. Separation Anxiety to Separation Anxiety... The trailer is to be shot in mid-late December. The film to be shot in the summer...

Planting and Harvesting.

Bring on the winter.

I consider myself lucky...

2008-11-14T18:32:00.001-08:00

When I arrived at The Ohio State University in 2003, I began as an English major with the narrow fear that if I were to be an actor, I would have had to start a long, long, time ago. It was the encouragement of my theatre 100 teacher, Tanya McBride, that got me into claiming a minor in the program. And it was the eventual guidance of Jason Hedden, my introduction to acting teacher, who first got me cast in a show, that made me think “Whether I can do this or not...I’ve got to try it.”

And I found myself, my first year of college, at a place that would traditionally fall under the category of a “Less-than-competitive” university. But I have believed that college is what you make of it, you just have to use the opportunities given to you and constantly be studious.

...But something else happened that first year. Not only did I come to OSU with thousands of others, and join the theatre department with a few hundred (or less, rather). But I was joining the new chair of the department, Mark Shanda. And I came to learn the he was aware that he was coming into a “Less-than-competitive” university as well. And he also subscribed to the motto: College is what you make of it...

And so he stripped the MFA program to the bones, from what I heard, realizing that the only way to fix the problems and the weaknesses is to start from scratch. No longer would OSU take in new MFA actors every year as a free-cycle of graduate students, but instead they would find a core group of ten students and focus on them for three years, and start over again, and again, and again.

So my birth as a student of theatre at the Ohio State Theatre Department was the birth of the new MFA actors and the rebirth of the department itself. And, aside from the hiccups that inevitably come along with new curriculums, the department became stronger for it. They were talented and they, when able to overcome the frustration of setting the new standard, created incredible moments of theatre that us “Junior Varsity” undergraduates would run home talking about and taking notes on.

Cut To: Senior year

The first round of MFA’s have graduated. And we welcomed the new students. Happy, beautifully profound and eager faces. And I would come to learn, along with others, that these are some fantastic artists in our midsts. And OSU grows even more, because they set a high standard with the class of ’06, and have stood on the shoulders of these giants to reach higher. This class contains wonderful actors, wonderful directors, wonderful writers but, more importantly in the MFA, wonderful leaders. And these leaders reached out and created astounding work together and then still, with the undergraduates, holding us up on a pedestal that we worked hard for, but weren’t sure we deserved.

And the rebirth continues, as the new MFA’s settle into their locker rooms, the new professor, Jimmy Bohr, settles into his office. And he brings with him a profound education, and pedigree of experience, and that which makes all his knowledge worth a damn...honesty. And he rattled the cages of stagnancy that creeps up on the self-fulfilling prophecy that comes with living in the midwest. He said “Yes you CAN do this.” He said “You won’t do this because you won’t WORK.” And those who set their pride aside to listen? Learned.

All of these things have happened. All of these stars aligned, for me, so that in the year 2007, I would graduate with the sleeper hit of the century for my degree. I went to The Ohio State University (it’s important that “the” is capitalized) with a degree in theatre, emphasis in acting, writing, and directing from the department which has an awesome new works program and has offered me some amazing opportunities. I have a BA, but worked hard to take classes that resemble a BFA, but I can design a set, a light fixture, a costume, and more pertinently, I can hold a conversation with my designers without them feeling like they’re talking to an alien.

And then...the Supercontinent

But no, fate was not simply good to me while I was in school. College is what you make of it. Opportunities are how you look at it. And even as I have graduated, I return the the Bowen Theatre to watch the world premiere of Stephen Culp’s new work, Pangea. Directed by Jimmy “Cut-the crap” Bohr and starring a daunting 18 actors, including all the MFA’s (save for two, one assisting and one having a baby.) My alma mater has mounted a major production of what will be a major play. Beautifully written, and re-written, by Mr. Culp and carried through with intense passion on the visceral set of Victor Shonk, transforming the thrust theatre in an arena.

The production is not without it’s flaws, to be sure. As is the wont with OSU trying to do little known, peripheral, or new work, as well as re-inventing themselves, the standard falls at their feet to be set, rather than mimicked. And it’s much harder to set a standard that meet one. The video was well shot, but fell short, in my opinion, in it’s implementation. The staged combat was untidy enough to pull away from the momentum of the story, and some of the acting, as you will have at the university level, was not a professional quality.

And my critiques stop there. Because to take a step back, and look at the big picture. You see the opportunity that OSU stepped up to. A wonderful director using his connections to bring a major playwright to a too-little-respected department where eager and talented artists step up to produce a play with four different dialects, four different locations on the world, a text that has been cut down to a run time of 2:45 and with 150 cues...of just video alone. A cast of graduate students and undergraduates sparring onstage in a wonderfully tight dialogue that leaves your head spinning and, finally, the whole show is brought into it’s beautifully graceful and ugly landing by one actor, in a 15-20 minute monologue. A closing that act that leaves me full of humility, wonder, and fear.

I consider myself incredibly lucky...

WOSU interview with playwright Stephen Culp, conducted by Joy Reilley

On theatre as a livelihood...

2008-11-09T04:31:00.000-08:00

Last year, I had the opportunity to watch a presentation by American mime, Gregg Goldston. This was one of the few mimes considered good enough to work with Marcel Marceau without having actually studied with him.

After his show, I found myself in futile attempts to practice isolations and rehearse my "mime face" in the mirror. This was one of the best show's I'd come to see. And I never thought I was a "mime guy."

Beside being blown away by the sheer talent of this man's performance, and made utterly jealous of how effortless he makes it all look, day in and day out, his talk-back is what really rocked me. Very eloquent. Very precise.

And one of his anecdotes that still sticks with me today was about a mentor he has who lived in France (no, not Marcel this time.) This was a very successful French mime who was being interviewed for a magazine. Upon hearing about his work-out sessions every morning for mere isolations, the reporter commented "Wow, you must be very disciplined!" To which this artists said "No, I don't call it discipline. I call it devotion."

Because, you see, discipline acknowledges the resolve of the subject to do the thing. But devotion acknowledges the obsession of the thing to be done by the subject. Devotion acknowledges the artist. It acknowledges someone who has truly found what they were meant to do. That mime actually loved doing those grueling exercises each morning. And moreover, he loved doing them as much as he loved the performance at the sold-out theatre. His devotion was to his art.

If you ever find yourself sitting at home going over your lines, taking notes, or finding time to do a warm-up even if you are not currently in a show, then you might consider that you have found something you are devoted to.

Alternatively, if you haven't... Make some room for the hopeless.

1 man with $1,000 or 1,000 with $1? You decide.

2008-11-07T08:46:00.000-08:00

What President-elect Obama did was brilliant. I honestly have to think he meant to do this. By connecting to everyone, the common person, via Facebook, Email, Twitter (did you know he announced his VP choice on Twitter before going to the press?) he made US the politicos instead of the outsiders. He changed our mental image of politicians from men in suits slapping each other on the back with cigars to young men and women, T-shirt and jeans, spilling out into the streets dancing and hugging each other. He made the country jump tracks.

One of his most impressive moves was the rejection of public financing. By seeking private donations, not only was there no cap on what he could raise and, therefore, spend. But he was, again, coming after us to get our blessing. And he came after every single one of us for ten dollars, five dollars, a dollar. And we invested. That dollar was our investment. That measly, easy-to-let-go-of dollar gave us a vested interest in who the next president would be. We not only want him to win, but if he loses we lose our investment. So that dollar, comparatively, is the most we would be spending, compared to what he really wants. Our vote and our influence.

So let’s say one republican donates 1,000$ to John McCain. That’s 1,000$, to be sure, but that’s still only one vote and one connection to a network of other people.

But Barack Obama, let’s say, gets 1,000 people to donate 1$. That’s 1,000$ again, but you’ve got 1,000 people investing in you, to be followed by their vote and to be followed by their connections and influence.

Then multiply those algorithms. Exponentially.

What Barack Obama did was brilliant. I feel like Renee Zellweger in “Jerry McGuire” with how he got our faith before the other president was even out the door.

Barack: Hello. I’m running for president of the United States of-

US: SHUT UP. You had me at “Hello.”

Inklings

2008-11-06T21:19:00.000-08:00

It’s always been a habit of mine to A) juggle a lot on my tray and B) inevitably neglect one of the plates until gets a little too close to the edge. At one point, after directing “Glass City” there was the very scary and altogether strange realization of “Well, now I know I can get directing work. Let’s hope I don’t spend ALL of my life behind the camera.”

I went on to do four shows in the year since the film was finished. From the new work, Separation Anxiety of which I originated the role of Bailey, to playing Barry in The Boys Next Door, to Damis in Tartuffe, and Alex in The Little Dog Laughed with smaller projects dispersed here and there. I’ve grown a lot onstage in the past year. Let me tell you something. I will always advise a person to seek actual training in whatever art they pursue. Do not just begin trying to get work or to get cast because, even if you are the best actor, the best painter, the best singer in this day, I would shake at the thought of how good you would

be if a teacher, professor, or coach skillfully guided you through the depths of your tool. The question should not be “Am I good enough to get work?” Rather it has to be “Am I the best I could possibly be?” It takes talent and training, I believe. But on that note, with those foundations solidified, nothing teaches you more about acting than just acting, every second you can, appreciating all of the theatre's little moments. Even the worst shows give you something you can learn.

But I’m getting off point.

Recently I began a weekly meeting with a friend of mine, Jeremy. Enter full circle: Jeremy is the playwright who wrote Separation Anxiety. I forwarded the script to the founder of Glass City Films to see if he would be interested in making it his next project. It was met with an overwhelmingly enthusiastic “YES, BY GOD THIS IS AMAZING! But let’s fix this and this and this...”

You see, what I’ve noticed about myself is this: I take on a lot and do very good work so that, when I come across something I don’t think I can handle, no one would hold a candle to my excuse of “having too much on my plate.” Because the resounding truth of the matter is just that.

However, it’s still a crutch. And I think Jeremy has the same tendency towards overwhelming himself in order to spare himself. Which is why he directed a wonderful production of The Guys and is the president of a theatre that typically produces somewhat ambitious theatre, including a studio piece AND a playwrights festival, etc. All the while, he’s owed Glass City Films draft II of the film version of Separation Anxiety.

And here I am, calling the kettle black. I am a writer who has yet to see a staged production that he could call all his own. I have written tons, collaborated, worked in film, but not onstage, not with a REAL process. And now I’ve got an idea for a

play (or feature) that I have started but, instead of finishing (which is simply daunting) I have decided to land this lead, and then this role, and assistant direct THIS show, and presume to tell my friend Jeremy that he needs to turn his Opus in pronto because the clock is ticking.

We looked at each other, I believe each knowing that there was an inspiration welling up and brimming over inside of us. A knowledge that we had something we wanted to say, and the ability to say it, but lacked the accountability because we are so used to directing or acting, where the rewards are palpable, audible, human reactions, that we couldn’t imagine writing something for an audience in our head, not to be heard or recognized for weeks, if not months after “THE END.”

And the Inklings began their meetings. At least once a week. To write, critique, and hash out the details of story. We would be each others audible reaction, our immediate gratification. Our accountability. I have written at least a scene for each week we’ve met, which puts me at just over a quarter through my first draft and puts Jeremy 8 days away from finishing Draft II. I have begun this blog. This avenue of getting thoughts out that were so bottled up, before. And, ironically, without mutual knowledge, I’ve come to find that he’s begun a new blog, also. The biorhythms of creativity have synched up with us. And I am conquering my greatest fear...

To finish something with no guarantees.

After writing a scene today, I was inspired by my surroundings and set up my Macbook like a tripod, to get some stills from a scene in Separation Anxiety.

What you are seeing are an early depiction of Quinn stuck in the airport.

Higher Existence

2008-11-05T18:12:00.000-08:00

Recently, towards the latter end of college and onward, I have discovered a drive in myself that insatiably seeks more knowledge, more experiences, being burnt along the way and being lavishly rewarded.

Both of these burns and rewards have been merciful.

And so I look at my old Xanga account and realize it has gotten sloppy. Rather, is was never really focused in the first place. It serves its purpose well, being a pulse for our friends from high school and college, now across the world, to check mutually. Pulse about work, homework, being sick, being healthy, being a young man living in Columbus, Ohio.

This will set out to be something entirely different. Something greater. This is a blog about a higher level existence that I thirst for. I sit hear, armed with my Macbook, my Ipod, my inspirational friends and colleages who thirst for the same, and I will focus this into thought on major topics. Primarily this will be about art that I am working on. You will never see words such as "bills" or "work". That will be on my Xanga.

Here, I will exhaust topics to my satisfaction.

Thanks for reading,

Cole