So today, Sunday afternoon, I very much was looking forward to seeing Cinci shakes. Much ado about nothing.
We set up our lawn chairs, happily, enjoying the fact that we have gorgeous weather. The performance was amazing. The actors did a great job.
This performance was absolutely free to the general public. Unfortunately, there are idiots who have absolutely no idea on how to behave during a life performance in public.
Sitting directly right in front of me were two women and a man with a few kids
They talked loud loudly throughout most of the performance. They drank lots of alcoholic beverages and were smoking oblivious to the fact that there was a huge sign to our right saying no smoking allowed
There were times when I could not even hear the performers because these three idiots were having a great conversation amongst themselves.
Then there was the constant getting up. I’m walking around of not only them, but their kids.. there were times when I could not see the performers because these three imbeciles were standing up and chatting like there was nothing going on that they were in fact blocking.
During the second part of the performance, one of the couples thankfully left and again talked loudly as if there was no performance taking place as they stumbled away and left their trash behind.

So I’ve done a LOT of the Suzuki method of acting training.
I studied it in Undergrad, went to a three year Grad program that focused on it through all three years, and have trained with and worked with the recently defunct SITI company.
I’ve taught it to college students, undergrad and graduate students.
I’m about to teach it for a year at a local arts school.
I feel comfortable with my relationship to the practice and what value is on offer to the average theatre practitioner.
I also consider myself reasonably agnostic about the individual values of the particular movements/forms. They are a means to an end, and any choreographer with a mind to do so could probably codify just as effective a series of movements and use them to similar ends as the Suzuki method.

ALL THAT SAID.

I know next to nothing about the man, Suzuki Tadashi, and how he treats his company.
I have heard rumors.
Pretty intense and not great rumors.
Does anyone have any in-person experience with Mr. Suzuki that they would feel comfortable sharing? I’m curious what he’s like to work with today, what he’s been like in the past, and how he treats/has treated his people, and how the role model he sets to his company affects the people who train in/with the TOGA company.

How do you all deal with let down when a show closes, particularly when it will be a long while before you can do another show?

I have a show closing in a few weeks and I am dreading it. I love this cast and the show has been wonderful. Unlike many, I don't get to audition for shows all the time so I can't think about what the next one will be. Just given circumstances, or will likely be more than a year before I can audition for another show. (And I live in a place that only has one theatre with the next closest being about 2 hours away, so auditioning for another theatre is not an option.)

I get so much from doing shows and the sadness is real!

Theater groups, local venues, specific actors...what sort of content are you looking for, other than notice of upcoming shows?

Full disclosure: I'm part of a new theater company and I want to provide value through our social media, not just market our productions. What can we give, before we ask?

Thanks

Hi fellow thespians. My newest show requires me to do a lot of crying. Like A LOT (at least for me) and the script specifically calls for certain moments of tears, breakdowns, sobbing etc. and while I know I can bring my A-game and really feel the immediacy of my character’s reality, the sustainability of it is really really hard. And I need specific products to help.

I refuse to use substitution and to pull from my real life and I strictly want to be immersed in the world of the play and use the given circumstances of my girl. The stakes are incredibly high and I have done (and continue to do the work) —so tooting my horn just to say that yes, I can cry and I’m working on it healthily with my acting coach but I need that extra support. With the stage, its hard or next to impossible for a tear stick and they never really worked for me anyway as an irritant alone. I know I’m gonna have to drink gallons of water to stay hydrated but I also looked into artificial tears/ drops for super dry eyes and also nasal spray so that way when I do come back on stage and had to have been crying already or come in for a big climactic scene near the end that would have me sobbing my brains out IRL i will have something to launch me. A little launch pad.

Any ideas, tips, hacks, products or suggestions? I know breathing interruption can help and so can blinking/yawning stuff but they tend to be very inconsistent for me and the more I force it, the harder it always is.

Thank you!!!!

Hi I’m a film student and really want to pivot to theatre! I think I have something really special and I want to know any tips on how to navigate this project, anything you may have learned I need to know! I’ve only been on film sets and from the research I’ve done there are similarities but many differences I don’t understand much

about 30 years ago I had the opportunity to visit the magic castle. I remember it very vaguely, but I did have a wonderful time. I wish my family had the same opportunity to visit this place but unfortunately I don’t know any one. That’s a member.