HowlRound: I have been in show business for over twenty years. Because I’m not rich and/or famous, that true statement should be accompanied with a stinky cigarette and a cynical, weathered demeanor. But I quit smoking years ago and my skin has held some elasticity thanks in part to disciplined moisturizing and an unreasonable sense of optimism.
8 comments:
I think fringe festivals are great! I also think the title of this article is a litle hefty, with the "career" word being used, but I don't deny that they are a fantastic jumping off platform for all artists. They present a rare opportunity to workshop a growing piece with an audience. Feedback is one of the most vital portions of theatre arts - as we tell these stories in an attempt to engage an audience and create a reaction - but, sadly, at times it seems difficult to garner interest for fresh works. This is where these festivals come into play. Viewers are genuinely interested in the types of pieces they are seeing, and directors and designers can get a firmer grasp on what works and what doesn't.
Good for you for quieting smoking. I know its not easy but its possible. Thanks for sharing.
Fringe festivals are incredible opportunities for anyone working in the theatre. Of course, it is a great platform to put up a new work and gain an audience. What may be most important though, is that during the festival whichever town the festival is in fills up with people who are passionate about their craft. These festivals are one of theatre's biggest networking mixers. Everywhere you look is someone you can meet and who you can make valuable connections with. Because they are such concentrated environments, its easy (and likely) to stumble upon other opportunities. Not to mention Fringe festivals are incredibly fun and very inspirational.
I really want to do Fringe. I like small, almost bare-bones shows that are truly that way (not some facade put on by a well-to-do theatre company). You can only truly get that by performers that are not great already, rather trying their best. I also admire his attitude regarding bar shows. No alcohol means a better show. Except for comedy.
As someone who worked as a stage manager for a small fringe show.... it's rough. It is an absolutely rough few weeks. Constant advertising and handing out flyers on the street. Scrounging for reviewers to attend your shows. Trying for every media connection you can get. The point of fringe festivals is to maybe make 50 bucks in ticket sales for one night. It's a crash course in everything. Fringes are definitely a place for new and experimental material. Also, a lot of upcoming comedians use fringe festivals, though their material and style isn't always "new". To find success at fringe festivals requires a good theatre location (you can perform in a hovel with no running water, but as long as it's next to a big tourist attraction in a city, you'll be fine). This man is very lucky to have found his niche in fringe festivals, once you've found success in them, they are the opportunity of a lifetime.
What I found most interesting about this article was the fact that, while he was writing about his singular experience as a performer, his experience is relatable to a lot of other aspects of the performing arts. There are so many different events, arenas, ideas, and philosophies encompassed in the words "the performing arts", and what I find most often is that a vast majority of people think that success in the performing arts means you've made it to Broadway. Everyone I meet, when I say I'm a stage and production manager, automatically says "oh, so you want to work on Broadway someday." Not that there's anything wrong with that, but maybe I don't want to go to Broadway. There are so many other options in the performing arts, and this performer has found one of them.
What I really took away from this article is that you should never turn down a small opportunity (like a fringe festival performance) if you can help it. You never know what big opportunity that one small opportunity can lead to. It's great to see Kevin (the author) reflecting so honestly on where he is in his career. It's important for anyone in a creative field to be able to step outside of themselves and figure out what they've done well and what they can change- or rather where they can fit in without having to change. In this case, Kevin is very aware that he might need a new arena for his work. The great thing is that there are so many arenas out there for him to jump into. I've always been set on what I want to do after graduation, but I know that's not necessarily realistic and that I should make myself open to different opportunities, because you never know which path will lead you to the big opportunities.
I think his comment about living for the "25%" is particularly inspiring. The fear of failure is something that haunts me as well, but the truly great work (the 25% he refers to) can only occur with great risk. I also think it's interesting how he talks about the distinction between "developing an act" and developing "something never before seen." I don't know that there is a "right" way to go--if you have a niche, why not try to perfect it? But I do understand an audience's frustration at seeing similar pieces from the same performer year after year.
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