The 20-year click.

“Yes and” the Cardinal Rule of improv and clearly explains the acceptance of an idea with which our scenes/games are built upon.  But I’ve come to realize that this simple notion has far more reach in our lives and how we reach our goals.

Let me step back to elaborate.  In 1995 I was asked by a co-worker if I could give him a ride to an improv show after our shift, and he’d get me in for free.  At this time, in Pittsburgh, “Friday Nite Improv” was the place for students at Pitt, CMU, Duquesne, et.al. to go for a couple hours every Friday from 11pm-1am and play in a full audience participation show.  At this same time, I was just beginning to perform in theater and was absolutely clueless to improv.  The explanation was, “It’s like ‘Whose Line’.  If you want to play, you raise your hand, and hope the host picks you”.  Needless to say, every Friday afterward, until I moved in 1999, I was there.  Eventually, I joined the house team, “The Susquehanna Hat Company”, and even became a regular host.  And to this day, I still keep in touch with my friends from FNI, even after the show’s 21 year run ended in 2014.  Thanks to my co-worker, Steven Werber, I have someone to blame for every bad scene.

Fast forward to 2019, Las Vegas.  I’m now part of the “Old Guard” of improv.  Trained with Second City in Vegas, performed with multiple troupes at multiple local and Strip venues, hosted my own version of FNI for three years, and even got to coach many of the players here in town.  And one thing has stayed consistent, “Yes and”.  Not in the obvious improv sense, but in the fact that every player in this form of art has been accepting of me.  They are my extended family.  Yet I didn’t realize this until just a couple months ago when I joined ComedySportz here in Sin City.

After a 5-year hiatus from regular improv performance, I auditioned for the team here, and it struck me that these people are my family.  The immediate trust given to me during the audition process and the continued entrust given at practices and during my first couple of matches is inspiring.  Here I am, 20 years in the game, yet a rookie with CSZLV, and I am treated with respect and equality.  I’m playing with people half my age, or a fraction of my experience, but that’s irrelevant.  I’m playing with a group of people that inherently understand “Yes and”, and they don’t realize the true gift they’ve offered; the gift of family.

Like a family, Improvisers are a unique group.  We’re certainly an eclectic group with a vast set of skills and talents.  And the CSZLV team is no exception.  And I’m truly grateful for their acceptance.  It took 20 years and thousands of performances for this to `click’, but this old dog has learned something.  “Yes and” has new meaning for me.  It’s been ingrained in my performances, but I hadn’t realized how much it’s entrenched in my personality, my profession, and my world views.  I’m a better actor because of improv, for sure. But more importantly, I’m a better person because of improv.  Thank you to my improv family here and across the globe. Yes, and especially to my brother, Steve.  It’s all your fault.

Been a few years.....

I try to avoid using Facebook as a means to espouse my theories on life, or art, or even politics.  I find that there is already far too many neophytes and troglodytes out there with dead-set opinions and narrow-minded viewpoints that I will either be ridiculed, ignored, or otherwise provided with the TLDR response. There is a far greater opportunity for me to take experiences and knowledge and allow for self-reflection and critical thinking to enhance my views of the world.  Having said that, I am taking a moment from posting cat memes and funny “balls to the nuts” videos to share something near and dear to my heart, theatre.  Surprise!!!

This Thursday, “The Underpants” (an adapted farce by Steve Martin) opens at Las Vegas Little Theater.  Like any production, there are new and familiar experiences; changes and adjustments; generosity and selfishness; and of course, unexpected situations that test one’s commitment to the art and the trust of the craft.

Las Vegas is a very small acting community, and the comments and actions of those within it are often the deciding factor in one’s ability to find work.  Most often, hard work and dedication pay off for the talent in this theatrical microcosm.  Whether it’s film, stage, or some other artistic medium, how you represent yourself, more often than not, is going to show you doors.  Depending on your words and/or actions, it may just become a lot of closed doors.

I realize no one is perfect, and we all have to make professional choices in our careers.  But it has to be understood that our choices have consequences.  I know I speak for myself and countless others that being on the outside looking in is not conducive to a successful career.  And the struggle to get back the trust which was lost because of a word or action is a Herculean task.   But if you’re committed and persistent…….and talented, you can prevail.  But you have to leave your attitudes, your entitlements, and your pettiness back on that other side of the door.

I love reminding myself of the magic of theatre and having the shared experiences with those willing to work on envisioning a story.   It is not always easy.  It is not always fair.  But I can guarantee that if you disrespect the craft and those around you who dedicate and devote their lives to perfecting the art, you will find yourself looking in. 

I’m proud to be opening “The Underpants” this week.  I hope that if you have the time and means, you will join us in our story.   That you will join us and share with us our work, our dedication, and our love of the craft.  By the way, “The Underpants” is a comedy. Unlike this post.  Cheers.

Post Script (09/05/18)
I wrote this on Facebook on 09/04/18, the day after seeing numerous posts by a cast mate deriding the production and the production team.  The individual sent an email to the Director with language and comments far beyond unprofessional.  And while this individual knew it would cause them to be fired from the cast, there seemed to be no remorse or regret to what that would mean for the cast or the production as a whole.  Noting that this was done less than four days before opening.

So, I posted a rare diatribe on Facebook and subsequently the individual blocked me.  I've come to learn of this individual's attempts to marginalize their actions and to malign me for supposed "threats" implied by my post.  I have not actively pursued sharing this person's behavior, I've not shared the communication originally posted to the public forum and later removed.  And I've not shared this person's name nor anything that would directly identify them.

However, despite being humble and despite said individual's comments about my insignificance in the theater community, this person's name is becoming known simply through the shared desire by the community to know who not to work with. I'm angry from what the person did, but liked the person until Monday night.  True nature comes forth and Karma is a bitch.

Facebook is not my Therapist

Forward.

I'm a complicated person that hides behind a mask most of the time. Very few people know "who I am". You would think that because I perform as an actor that I'm comfortable around crowds, yet the opposite is true. If I'm performing, it's not me. That's why it's called acting. Yesterday was an acknowledgement about what appears to be anti-social behavior on my part. I get very anxious around holidays and tend to avoid parties/get-togethers/et.al. Not sure why I feel the need to share, other than the fact that I'm tired of avoidance behavior.

I started to write this on Facebook this morning, and I quickly realized that I use that medium far too often to share what is in my heart and mind. It is a method by which, I thin, is viewed as some "quick fix" solution. Post your problems and you'll feel better about yourself, but only in direct proportion to the number of likes or comments you get. Apparently, I've been following this methodology for a couple of years.  

So before I restart my blog postings about shows and roles and the general thoughts I have on theater and the dramatic arts, I'm going to resume what this blog was for; a place to share my feelings and thoughts about myself. Yes, it's public, but it's also isolated and insulated to maybe those few who actually care what I go through. Perhaps the musings will allow me deeper reflection on my personality flaws....or maybe they are the traits that make me unique and passionate. Who knows? Certainly not the general public of FB Friends, and Friends of Friends and the acquaintances of random meetings.

So......am I ok? Yes, for the most part. I've realized that my need for someone is strong, but it can't just be someone that takes up a physical space in my life. That's the hard thing. Since so few know me, it's hard to trust someone enough to let them in......Catch 22. I want desperately to share with someone, but at the same time I'm afraid of the rejection and/or betrayal that being vulnerable exposes me to....

Grateful to be a decent actor. Grateful to be smart enough to recognize my problems. Grateful to realize that I'm likely not alone.

"The 14 shows of 2013 to prepare for 2014." or "What I've learned in the past year."

As a final blog entry for the year 2013 or what has ended up being the first post of 2014, I thought I would review what I’ve learned over the course of the past year.  Oddly, there were 14 shows this year that I was either involved with, been asked to be part of, or had auditioned for and didn’t get.  I figured that it would be interesting to look back at the past year and comment on all the opportunities I had and reflect upon them.  Not just the nine shows I was fortunate to perform in, but the might have beens too. Forgive the cliches and the obvious lessons.  But it's my blog and it's my way of being grateful.

Sweeney Todd – Title Role - Dec/Jan

There are times for being selfish and times for being selfless. Plan accordingly.

• It’s interesting how sticking to your priorities and beliefs can pay off.  I had originally auditioned for the title role back in July/Aug of 2012 for the October 2012 production, but had a conflict on the last Saturday of the performance schedule.  It certainly was something I could have changed, but it was important to me and my relationship that I put my girlfriend first.  I don’t know whether I would have been offered the role had I been willing to change my conflict, but I knew that I had sacrificed important people and relationships in the past and I didn’t want to repeat mistakes.  I don’t regret that choice, and I think I earned the respect from the Director for sticking to my principles.  As things would turn out, the show was a success and was remounted for an additional run in Jan 2013.  As things would also turn out, the lead couldn’t meet all the performance dates in January.  So I was called.  I re-auditioned and accepted the role on the condition that I would have guaranteed performances.  And so began the two week process of learning the title role of Sondheim’s most recognized work.  The second run was a sell-out success, and I got to put a check by my #1 bucket list role.  It's not crossed off yet, because I’m not done with it.  I surprised myself in this production. Firstly, I was scared shitless that I wouldn’t learn the role in time and that I couldn’t meet the vocal demands of the show. Or worse: I’d be a flop.  Thankfully, I had a ton of support and brought everything I had to the performances.  I had a few bumps, but nothing noticeable and I finally found my voice again after years of struggling.

Next to Normal – Dr. Fine/Dr. Madden - March

There are shows you want to do and shows that you have to do. Learn the difference.

• This was a show that I “had” to do.  Some shows just speak to you and this show screamed to me.  Suffice to say, I’ve lived this show and knew all too well the emotions that this show would invoke.  I knew that Dan Goodman was the role I had to play.   I was confident in many things going into the audition process, but the voice I found in Sweeney was gone……..or at least misplaced.  Regardless, I still got the callback, but then it just got worse.  After the callback, I waited two weeks; no communication save for the production posting for more men to audition.  After a few messages back and forth, I was told I was no longer being considered for the role of Dan, and that was that.  Except it wasn’t.  I was asked to re-audition and despite feeling I would be able to “bring it”, I didn’t. In the end, I accepted the roles of Dr. Fine/Dr. Madden.  Like I said before, I had to do the show.  It was a very good production, and we had great reviews.  I was proud of my performances and received praise for this being some of my best vocal work.    Still, it was a difficult show to perform, and not because of the emotions I had to deal with from the show’s subject matter.  I learned from this production that your heart has to be 100% invested.  I certainly didn’t shirk my responsibilities in this production, but I can certainly attest to how hard it is to be part of a show and watch someone else perform “your” role.  I know now that should I be put in this position again, I’ll have to work extra hard to embrace the role I’m offered or pass on the production all together, regardless of how much the show screams at me.

Violet –  April

Respect requests to audition.  Even if you are unable to accommodate, show some courtesy.

• I probably could have done this show, as it would have worked within my schedule, but sometimes time just runs out and things don’t happen.  I didn’t audition for this show as I wanted to be available for the first show of Super Summer Theater, Music Man.  Still, I was contacted by the production to audition and did, and might have had the role, but ultimately didn't.  Not sure what the reasoning was, but “potential conflict” was likely the cause.  No hard feelings by either party.  It is what it is.  I will say that I will always honor requests to audition.  You never know what else may be down the road. 

Guys and Dolls – Benny Southstreet - March 29th

Sometimes you make exceptions for your friends and for the benefit of the show.

• I think this is the role that solidified the rumor that I was in every show, as it was only March and I was already doing another production.  Yet it was also another show that I didn’t audition for; as I wasn’t interested in doing just one performance.  I value my time, and didn’t want to spend a couple of months rehearsing to perform just one night.  Rude?  Maybe. Honest?  Absolutely.  Regardless, the director was in a bind and called me to help him out.  Four other actors had dropped the role of Benny Southstreet, and he wanted me to step in.  From what I knew, I wouldn’t have a lot of lines to learn, but a fair share of singing.  I also knew that with the show less than three weeks out, I would have to bust some ass. We worked my schedule and I had four nights of rehearsal plus two tech days of availability.  Game on.  It was a crap shoot, but we had a great show. And despite my qualms about a one night stand, it was cool to perform on the same stage as Elvis and in front of a 1,000 people.  Of course it's always cool to help a friend.

Tony and Tina’s Wedding – Father Mark - April (ongoing)

Sometimes the business is slow.  Things are only done when you stop.

• Three years and five callbacks later, I finally get cast in the perennial strip show, Tony and Tina’s wedding.  I never thought I’d get the call, especially since the role I was cast for had three performers already, but scheduling and timing worked in my favor and during the summer I finally got to perform in my third strip show.  Portraying Father Mark was short lived and anti-climactic, but I enjoyed putting the Improv chops back to work.  I’m still in the cast, but with the show down to two days a week, I’m not likely to see much stage time.  Still, I believe desire and persistence pay off.  In this case, literally.

Music Man – June

When your best isn’t good enough, don’t overthink it.  The Director just went in a different direction.

• There are the old sayings: “a bird in the hand is worth two in the bush” and “don’t put all your eggs into one basket”.  This show was a little of both for me.  Initially, I had been asked to audition for Urinetown and then for Violet, but I had my eyes set on portraying Harold Hill.  So I had one bird, maybe a second bird, but instead I put all my eggs in an Iowan basket.  Or at least I was Iowa Stubborn.  I had my heart set on playing opposite my real-life girlfriend and recapturing some of the summer theater magic from when we met two years ago.  Murphy’s Law won out and I ended being without any show.  I have no regrets.  I gave a great audition and had a better call back, but in the end I wasn’t what the director was looking for.   Thick skin is needed in this world, and if you dwell on all the roles you didn’t get, it’s likely you’ll miss other opportunities.  General rule: If you don’t think you’re good enough, how can you expect anyone else to?

Urinetown the Musical – Officer Barrel - May 

Make the best of every opportunity.  No one remembers mediocrity.

• So as it turns out, I didn’t audition for Urinetown and yet the Director still contacted me after a cast member dropped out of the show.  The director was looking to see if I knew anyone that would be willing to step into the role of Officer Barrel, and since I wasn't doing Music Man, I volunteered.  He didn’t expect me to offer myself, and I think he was surprised that I’d be willing to take a small role.  I had three weeks before curtain and not a whole lot to learn, but I still took advantage of the opportunity to work with Nevada Conservatory at UNLV.  I made a lot of new contacts and did a lot with what would normally just be considered a “featured ensemble” role.

How To Succeed in Business Without Really Trying -  July

Yeah…..you’ll never succeed without trying.

• Not much to say on this one.  Went in, auditioned, got called back, went back in and that was it.  I never got a bad feel on this one, but that’s how it is sometimes.  Things just happen.  That’s show business.  It’s cliché, but true. That’s why it’s cliché.

Sudoku [the musical] - Clint - June

Put yourself out there.  The risk is great, but the reward is greater.

• An unforgettable show.  I describe it as a two hour show in a 30 minute bag.  An original musical with an emotional story.  Since I wasn’t doing either of the first two shows of SST, I thought I’d audition for a show in the 4^th annual LV Fringe Festival.   I’d been asked about a couple of other entries, but I was curious about one in particular: an original…..world premiere…...a challenge.  I got the challenge right away with the entire production.  I was working with a new director, new music director, a rock-style score and a stage partner that I was really intimidated by.  Two months later, I walked away with some of the best lessons I’ve ever learned from being on the stage.    I found my voice in a way that I hadn’t before.  I learned that when you share the stage with someone, anyone, you have to rise beyond any expectations or limitations and tell the story.  This show gave me new vision and energy and was worth every second.  Sadly it was over too soon, but this is the show that will stay with me forever.  It wasn’t about the sell-out performances or about winning “Best of Fringe”. Those things were great, but what was best was the feeling I felt after every performance that the audience was with us for the journey.

Legally Blonde – August
Show respect, get respect.  No one will fault you for your professionalism.

• This would have been a fun show to do.  And there was a part of me that considered putting myself up for the role of Prof Callahan.  My girlfriend was up for a good role and the pressure to do a show with her was mounting.  We had tried three other times and this could have been the show.  Regardless, I knew I was being considered for a role in the fourth Super Summer Production, The Producers, and I really wanted it.  I was contacted by the director to come to the auditions, but I explained to him that I was auditioning for the next show.  Still, I got a call back from him and he wanted me to consider the role of Callahan.  I’ll admit, I thought about it.  It would have been a juicy role and I could have spent a lot more time with my girlfriend.  But I passed.  Don’t get me wrong, I love being offered roles without having to audition, but I prefer to work for the roles I want.  

Raiding the Rock Vault – Nash Freeman - July (ongoing)
You’ll always miss 100% of the shots you never take.

• The irony of theater hit hard on this one.  I found out about the casting of this project months prior; before the show ever came to Vegas from its previews in LA.  I was told I was too old for the part of the show’s narrator.  The person who told me this was in no way involved with the project, but I believed him.  I didn’t think much of it then, but when auditions were called for understudies, I realized that his opinion didn’t matter so I set out to prove him wrong.  This was a fairly big deal as it was for a show at the Hilton (LVH) and paid really well.  I knew who I would be going up against, and when all was said and done, I beat out all the others.  All of them younger than me and some half my age.  I would jump at the chance to do this show nightly. It’s one of those shows that feel like opening night every night.  I doubt it will happen, but I’m always excited when I’m called in for the show.  I try not to have regrets, but I do wish I’d had more faith in myself and auditioned for the role in the first place.  Glad I do now.

The Producers – Roger De Bris - September
If you’re expected to bring it, you better damn well bring it.

• So I waited over year to audition for this show and I had both the luxury and curse of knowing that the role was mine to lose.  I say that a bit tongue in cheek as nothing was guaranteed.  Had I blown my audition, I am sure I never would have been offered the role.  Still, I had worked with the director twice before, and I knew that when he told me months before to look at the role, that I had a shot.  Needless to say, I put everything into the audition and eventually into the role.  Very proud of my performances, especially after totally my car two weeks before opening and wiping out on my motorcycle during the second week of performances.  Supposedly I stole the show…….and according to the review, the show within the show.  Heil Myself!

Line – Dolan - November
Enjoy the ride and pay attention.  There is always something to learn.

• This one came out of the blue.  I hadn’t auditioned for the show, and honestly didn’t even know about it.  UNLV’s Nevada Conservatory Theatre and Cockroach Theatre were both celebrating their 10^th anniversaries, and it was decided to do a collaborative production to commemorate the event.  As it turns out, Line was the first production done by Cockroach and to bring it full circle, it would be directed by one of the former cast members.  I was contacted by the director and offered the role of Dolan without audition.  Oddly, it was the same character he had portrayed ten years ago, so it was kind of cool to be considered.  I accepted knowing little of the show, but I trusted the director as he was the director of Sudoku.  I was the only cast member that was not a student of UNLV, and for that matter the only non-UNLV affiliate in the entire production.  Still, it was great to work with hungry actors.   I got to see myself in their eyes and remember some of the earlier years.  Let's hope I carry that with me for the next production. ......Master of the House????? Fingers  crossed.

Ready For My Close-up

So I've been shifting gears with acting the past month.  Less theater and more film.  It's not that there hasn't been the opportunities to do more theater, but I have to prioritize my time. Even before "The Producers" finished I'd been offered no less than three roles.  I hadn't even auditioned for the shows, but offers kept coming. I'm eternally grateful for the confidence bestowed upon me and I'm continually amazed how far I've come in my craft.  To know that I'm desired is a great feeling, and I value every role and production I'm in. But unfortunately, it comes at a cost; emotionally, financially and spiritually.  Most of what I do is unpaid, and although I enjoy every aspect of the process, I am usually spending my own money for the shows I do. I can't do that forever.  I also can't continue to sacrifice my relationships simply to be in a show.  Of course I look forward to the next show, but I can't just jump from one production to the next without factoring in the effect(s) on me.  Lately I've been wondering, "To what end will that role benefit me?" It's horrible that I would be so shallow, but if I want to advance in my career, I have to be more selective with the roles I choose to accept.  When it comes down to it, I can't give three months of my life to ensemble work.  Not here at least.  I've paid my dues here, and unless I'm being paid, I have to choose shows and roles that either speak to me on a personal level, or in all honesty, look good on my resume.  I know that there will be the occasional exception, but I also know that those favors will be returned.  I'm trying my best not to be so selfish and conceited, but I honestly believe I've reached a level here in Vegas that requires me to either move forward or concede to theater just being a hobby.

That's why I'm trying to do more film.  I have a very limited reel when it comes to the big/small screen, and if I want to move to the next level, I need to add more to it.  Pretty simple.  Of course it's a relatively new realm for me. The process is completely different and the timing is tough.  Perhaps that's why I haven't focused on film as much in the past.  I can't just take a week off of work to be an extra on a major motion picture in hopes of getting a bump to a speaking or featured role.  That means it's the Independent and Student film run for me. I have to start somewhere, right?  I actually am enjoying the experience so far.  Not that I haven't done films in the past, but they've been so spread out before that each time almost felt like the first time.  At present, I've had four auditions for local and student films in the past two months and I've been cast in three so far. Plus I've been asked to be in two others based on past work.  Not too bad.  Of course I had to back out of one due to scheduling conflicts and another may fall to the wayside for the same reasons.  Still, I'm thrilled for the offers.  The biggest issue is the fact that the productions are low/no budget, so their respective schedules are always in flux.  Of course, I try to be flexible, but you can't just say to me, "Hey! We're filming tomorrow. We need you for 15 hours." Since I'm not seeing any $$ and I'm not under any contract, I can't be expected to drop everything for some student film maker when his mom lets him borrow the\ car for craft services. I would hope that they would have their shit in order by the time they begin casting, but.....you know......  Again, it's a learning experience for everyone, so I expect some bombs and some wasted time. As I'm building my reel, I will forgo these issues, much in the same way I did when I first started doing theater.  I suppose I'll post again to bitch about that later.

All told, I believe that the strong theater foundation I've developed over the years will help push my progress in film that much faster.  It may take some time to actually get enough footage to produce a solid reel, but I'm in for the long haul.  I guess the proof will be when I move to a bigger market, or the bigger market comes to me.  Till then, I'll be humble and professional and grateful.

Charmed I'm Sure.

I restarted this blog as a means to assist my depression therapy and while I find the process cathartic, I also find it beneficial to share pearls of wisdom.......or at least what I find helpful to artists reading these posts.  Of course, if you notice, I haven't been too prolific as of late.  Not my fault! I swear!  I've been busy.  Between work, rehearsals and shows, I've hardly enough time to maintain proper hygiene, let alone write in my blog. Still, there are moments of clarity that prompt me to share.  I find that if I take note of the positive things and deposit them here, I'm likely to remember them and keep applying them to my career and my life in general.

So the past month has been full of experiences that have re-invigorated me and have given me the drive to push forward.  Some of the opportunities were of my own doing, some were a result of something else I'd done and then there were some despite my own doing.  The Recap:


*The Producers:  Super Summer Theater - Sept 2013 - Roger De Bris
I'll start with this one since it goes back the farthest.  I was cast a few years back in The Rocky Horror Show and impressed upon the director my acting/comedic/singing talent.  That led to him asking me to play the role of John in Oleanna.  That performance received some critical acclaim and praise.  Fast forward to a couple of months ago.  He's directing The Producers and wants me to audition. My confidence is much higher than in years past, but I still have to bring it.  The role was mine to lose.  The show opens in five weeks.  I'm loving it.

*Raiding the Rock Vault:  Las Vegas Hotel - Summer 2013 - Nash Freeman (host)
This one has the most impact.  Never let anyone tell you to not audition for a role. If you think you have a shot, then go for it.  So it was when the original call for actors came on this rock concert style show.   I was told by a fellow actor not to audition.....I was too old.  I trusted the individual as a peer and much to my chagrin should never have even considered his opinion. Whether or not I would have been cast is irrelevant.  The fact remains that I was cast as the understudy for the exact role I was told I was too old for.   Two additional notes: 1-I was recommended by a friend to audition.  There were not public notices. 2-I was the only one that bothered to memorize the lines for the audition and the call backs.

*Caesars Entertainment: Training Video - Filming first week in August

Another instance of being cast without an audition.  Having impressed upon my director for Sudoku the Musical at the LVLT Fringe Festival, he recommended me for the shoot to the production company hired to do the shoot.

*Los Acusados: Independent Film - Filming Late August

Yet again, cast without an audition.  I was actually planning on auditioning for this production, but couldn't get out of work.  The director got my name from another short film I'd done about a year ago.  The director of that recommended me.  

I think you see the trend here.  The work you do now may have residual effects months even years later. If you are professional and prepared, it will be noticed.   If you believe in yourself, you can overcome assumptions and misconceptions.  Even if you don't land that desired role, if you show who you are and give your best, someone will remember you.  Be honest and true.  Give respect to the process and the process will work for you.

Now those of you actually following my sporadic posts know that I've been lucky with having a number of recent casting offered to me without auditioning.  While that may be true, I didn't get cast in just as many. And I passed on ones that I didn't see myself doing.  The difference here is that I'm moving in a direction where $$ is playing a factor.  So much so that had I gotten the LVH gig from the get go, I'd be banking more for 15 hours a week than I do for 40 at my day job.  I'm still about the craft. But Damn!  It's nice to be paid.

So as a reminder to myself.  Don't let the discouragement prevent you from being great.  Don't let the opportunities be wasted with half-hearted effort.  Don't allow others to determine your path.  The worst anyone can say is "No".  But even that "No" can lead to a yes later on.  Some very positive feelings here.

I didn't add the week I spent at Faith Lutheran H.S. for the annual Mellow Dramatists camp. I think that deserves its own post.  I also didn't mention the permanent hiatus of the Radio Show, Curtain Call either. More on that to come later as well.  Don't let me forget.

A Super Summer

The summer theater in Las Vegas is in full swing and despite the frustrations one would typically feel with all the auditions, call backs, rehearsals or rejections, I'm feeling pretty good.  That's another trend that I'm enjoying lately.   Knock on wood.

The Music Man opened Wednesday at Spring Mountain Ranch, and I'm over the frustration of not getting cast as Professor Harold Hill.  I'm also over not getting cast as J.B. Biggley in the July production of How to Succeed in Business Without Really Trying. I didn't even audition for the August production of Legally Blonde, but based on current casting needs, may have had a good shot at Professor Callahan.   Blah Blah.  Don't get me wrong, I would have been thrilled to be in any of those productions and would have enjoyed working with the directors and my friends. Things happen for a reason though and I can't complain.  I won't complain; at least not much. And if I do, stop me.  I've been fortunate and honored and humbled the past year with the roles I've been cast in and so, I will always defer to the directors' choices: good or bad.

So tonight, instead of trying to swindle River City, Iowan's out of their money, or being in one rehearsal or another, I get to be on stage in a short but very rewarding musical.  The 4th annual Las Vegas Fringe Festival  closes tonight with the "Best Of" encore performances of three shows; Sudoku [the musical] being the one I'm in.  Four judges cast their votes for the two best shows and Sudoku had the highest number of votes with two others being tied for second.  It's not billed that way as 1st, 2nd.....etc, but I wanted to take a little pride here in my therapy session to gloat.  Albeit, the scores were very close.  Still!  This is my blog and I can state it here with somewhat immunity.  And done.

I love when theater experiences transcend venue and money and all the other trappings of an actor's fragile sense of ego.  Sudoku was and is a groundbreaking experience for me.  This show, and the people involved with it have pushed me and my talent to a new level.  I feel stronger as both a vocalist and actor and owe a lot to the expectations this show required.  By expectations, I mean the writer, the lyricist, the composer, the director and my co-star.  All of whom trusted me without question and gave me the confidence to believe in myself.  No small feat.

So tonight and tomorrow night I get to solve the puzzle again and enjoy the triumph of "Theatre of the Heart".   And so I say again, "Things happen for a reason."  Had I been cast in Music Man, or H2 Succeed, or even Xanadu (maybe not as there were others in Fringe from this one), I would not have even auditioned for Sudoku. This is the first year I could have even auditioned for Fringe. I've been asked to in the past, but couldn't as I was committed to other shows.  I haven't even done a new works festival or any kind of festival since 1997 when I was just starting out in Pittsburgh.  

So I humbly thank everyone that has supported the project by coming to see it.  Sold out every performance but the last one, and we were close on that one.  I feel renewed and energized and ready for the next challenge.......which I am already prepping for........The Producers.  And I'll need that strength since I'll be playing Roger DeBris, the Director of Springtime for Hitler and inevitably the lead in Springtime for Hitler as Hitler.  And did I mention he's as gay as a three dollar bill?  Heil Myself!!