VOLUNTEERS:
We still have many spaces to fill for Volunteers for the 3-week run of "Me Equals This + Happy Girl." (Oct. 22-Nov. 8th). Please contact Nina Mehta to sign up for Box Office, Ushering, Stage Managing, Tech help, etc. Please email thecollective9@gmail.com or directly to Nina at nina.m.mehta@gmail.com
FANCY NEW e-BLAST:
We signed our contract with Constant Contact, a high-quality e-blast service that will better assist us with promoting our company and shows. The e-blast for "Me Equals This + Happy Girl" is going out tomorrow. As Collective Members, it is all of our responsibility to forward that email to our personal contacts and networks. This is the way that we have reached over 1,000 contacts to this point, and now it's faster and easier to do so! Be on the look out for it October 1st, and forward away!
LIGHTING:
Both our usual lighting gurus (Sam Doerr and Alex Fabozzi) will be away during our tech day Oct. 19th. Please let us know if you or someone you know with lighting experience could come and help us out that day, approx 10am-6pm on Monday Oct. 19th. Let us know by emailing thecollective9@gmail.com or nina.m.mehta@gmail.com
ONE-ACT NIGHTS:
The deadline has been EXTENDED for submitting your ideas for One-Acts and short plays to perform during our rental at The Bridge Theater. Again, the idea is that there will be 3 groups (one per week) of One-Acts or short plays presented by our members to showcase their work. These 3 teams would each have a Wednesday night and Sunday afternoon performance; they will work together to promote their individual shows and work as run-crew or support for the other weeks' teams. You have until Sunday, October 4th to submit. Please send to thecollective9@gmail.com or to Nina at nina.m.mehta@gmail.com
POSTCARD DROP OFFS:
Brian Parrish is heading up the Promotional team for "Me Equals This + Happy Girl." He is coordinating where to do our Postcard drop-offs. Below is a link to a Google Document that lists high-visibility locations where we'll be placing our cards. Open the document and add locations to the list that you recommend or know. It is a google document so remember to "Save and Close" so it will save for all to see. Or send ideas directly to Brian Parrish at parrishbrian@hotmail.com
http://spreadsheets.google.com/ccc?key=0Am5XksNqsaradENtb1dlYzM3MjdWNnRmZnhIMnVCaHc&hl=en&invite=CPjgn_0M
KEEN COMPANY:
Our friends at Keen Company say THANK YOU to those who have already volunteered, and they would love some more Collective help with handing out postcards and/or ushering their Off-Broadway play "Such Things Only Happen in Books" that is about to open. FREE TICKETS to the show are yours for helping out for a couple of hours. Always let them know you are with The Collective when you volunteer. Email their Company Manager, Laura Braza, at Laura.Braza@gmail.com to volunteer and get more info.
Thursday, October 1, 2009
Friday, August 7, 2009
Casting – actual Honda owners for Honda commercial
Forwarded from Major Dodge:
Subject: Commercial for Honda Owners
I am currently working on a Honda commercial to be directed by Lenard Dorfman.
We are looking for a variety of people who are Honda owners.
It can be an old Honda or a new one, just as long as it’s a Honda vehicle.
If cast, this is a paying job. The commercial will be filmed in NYC, one day in August & the casting will be held next week.
If you are interested or know of someone that might be, please email me for further details.
Best,
Janine
janinemartel@earthlink.net
Subject: Commercial for Honda Owners
I am currently working on a Honda commercial to be directed by Lenard Dorfman.
We are looking for a variety of people who are Honda owners.
It can be an old Honda or a new one, just as long as it’s a Honda vehicle.
If cast, this is a paying job. The commercial will be filmed in NYC, one day in August & the casting will be held next week.
If you are interested or know of someone that might be, please email me for further details.
Best,
Janine
janinemartel@earthlink.net
Tuesday, August 4, 2009
Collective Mondays return August 10th
Time flies when we're having fun and working hard. Our 6-week summer break is almost over (less than 10 days to go!!) and we cannot wait to get back into the swing of Collective Mondays. What have you been working on? What scenes are coming in? It's been great to hear the updates from our members. Everyone seems to be busy rehearsing scenes, launching web series, meeting with the Collective Writers Group, traveling, performing, etc. We're looking forward to hearing more of what you've been up to next week. So without further ado...
The Collective Mondays docket is now open for your requests! Wait no longer to book your slot for our first meeting back on August 10th: 7-9pm.
The Collective Mondays docket is now open for your requests! Wait no longer to book your slot for our first meeting back on August 10th: 7-9pm.
Headshot offer with Melissa Ciesla/Catching Light Photography
From Melissa:
As the summer draws to an end I am finally starting to get my head shot business on its feet.
I shoot mostly outside around the City but am happy to do interior shots as well at my apt in NJ (10 min from the city) or at a studio in midtown. Sessions tend to run 1.5-3 hours in length with you changing into as many looks as you want (comp cards are an option for no extra charge if you want to try out even more looks). I will edit the shoot down to 150 pictures or so and you will have a CD in your hands within 3 days. I have two good friends who are Photoshop pros and can do any touching up you need for half the normal cost.
I am currently charging $400 for the session but want to offer all Collective members, Esper students and grads a $100 discount...making the session a mere $300! So if you're interested as the fall draws near and auditions start gearing up once again, feel free to get a hold of me via email:catchinglightphotography@yahoo.com or phone: 201-755-7210. For more of an idea of what I do check out my blog and see what you think.
catchinglightphotography.blogspot.com
As the summer draws to an end I am finally starting to get my head shot business on its feet.
I shoot mostly outside around the City but am happy to do interior shots as well at my apt in NJ (10 min from the city) or at a studio in midtown. Sessions tend to run 1.5-3 hours in length with you changing into as many looks as you want (comp cards are an option for no extra charge if you want to try out even more looks). I will edit the shoot down to 150 pictures or so and you will have a CD in your hands within 3 days. I have two good friends who are Photoshop pros and can do any touching up you need for half the normal cost.
I am currently charging $400 for the session but want to offer all Collective members, Esper students and grads a $100 discount...making the session a mere $300! So if you're interested as the fall draws near and auditions start gearing up once again, feel free to get a hold of me via email:
catchinglightphotography.
Tuesday, July 28, 2009
FREE Summer Improv Workshops led by Robert Grant
SIGN UP ASAP BEFORE AUGUST 3RD
--------------------------------
Summer fun on the agenda? Take this opportunity to explore improvisation, led by Robert Grant. Create scenes and characters and narratives from the simplest suggestions. Learn to trust your first instincts and play with abandon. Through warm-ups, exercises, games and scenes you will find new ways to access your imagination and translate that into commitment and connection to the story and your scene partners. Learn to say "yes, and..." and build on every offer. And, have fun!
Session 2 - AUGUST 4-27
Days of the week: TUES and THURS
Time: 7:30pm - 9:30pm
Place: midtown studio TBD
Cost: minimal charge to help cover cost of studio space (if necessary)
The plan is to meet twice a week for four weeks in August. But, we need a solid 8 people to make the workshop effective and fun. (No more than 12).
Please follow the link to the Doodle poll. Enter your name and indicate which of the proposed August days you are available to attend. The Doodle poll link to SIGN UP and indicate your availability:
http://www.doodle.com/qxiy8c5d4yet92x7
If you are only available for part of the workshop, you should still complete the poll. We may be able to modify the workshop days based on availability.
If you have questions about the time commitment or the structure or content of the workshops, contact Robert at robertzgrant@gmail.com.
Please respond ASAP before August 3rd.
--------------------------------
Summer fun on the agenda? Take this opportunity to explore improvisation, led by Robert Grant. Create scenes and characters and narratives from the simplest suggestions. Learn to trust your first instincts and play with abandon. Through warm-ups, exercises, games and scenes you will find new ways to access your imagination and translate that into commitment and connection to the story and your scene partners. Learn to say "yes, and..." and build on every offer. And, have fun!
Session 2 - AUGUST 4-27
Days of the week: TUES and THURS
Time: 7:30pm - 9:30pm
Place: midtown studio TBD
Cost: minimal charge to help cover cost of studio space (if necessary)
The plan is to meet twice a week for four weeks in August. But, we need a solid 8 people to make the workshop effective and fun. (No more than 12).
Please follow the link to the Doodle poll. Enter your name and indicate which of the proposed August days you are available to attend. The Doodle poll link to SIGN UP and indicate your availability:
http://www.doodle.com/
If you are only available for part of the workshop, you should still complete the poll. We may be able to modify the workshop days based on availability.
If you have questions about the time commitment or the structure or content of the workshops, contact Robert at robertzgrant@gmail.com.
Please respond ASAP before August 3rd.
Tuesday, June 30, 2009
Open Company Meeting – June 29th
The following items were discussed at our open company meeting held in Riverside Park.
Collective Mondays
The evening we have come to know as Collective Monday will resume meeting on Monday, August 10th, after a short summer break. The summer break is intended to allow members time to recommit, to seek out and prepare work for when our regular evening resumes. In the meantime, there is still plenty of business to be done to keep the company running and to prepare us to tackle year three.
Committees
Lisa K. distributed a sign-up/working list of current committees, including the writers workshop, Collective Mondays, e-publicity, Collective Comedy, readers group, etc. Please identify an area (listed here or otherwise) where you feel you can best serve your fellow members and The Collective. Shared ownership of a group means shared responsibility. Many of your peers have already stepped up. What will YOUR commitment be?
The Field
We are close to acquiring our Sponsored Artist status with The Field. This will allow us to accept tax-deductible donations over $250 (cash, goods or services), in addition to all the existing benefits afforded us through our association with them (not-for-profit, discounts, access to TDF Costumes, Materials for the Arts, etc.). Our Sponsored Artist status will also allow us to offer health insurance to interested members through Fractured Atlas (member fee and monthly premiums apply).
Calendar
There is a skeleton of a calendar which takes us through Winter. If you have projects that you would like to propose to The Collective for possible production/inclusion, please contact a Board member or email thecollective9@gmail.com.
There are four theatrical projects currently on the table: The Whales of Long Kesh (please read the play, if you haven't; there are two versions currently in circulation, and a third will be soon); Raised in Captivity by Nicky Silver; Collective Comedy; a festival of funny women in theatre.
Production Model
There was a point raised about getting shows up with long enough runs to be reviewed. We have not yet found the right production model for our current stage of development that allows productions to be self-sufficient. We came closer with the three weeks in May, but we still need to find the right combination of space, work and time.
Please constantly be on the lookout for relationships with theater spaces. Space rental has been about 70% of the total budget for our productions. If we can think creatively about alliances with theaters (who are currently desperate for bookings), maybe exploring the idea of becoming a resident company at an existing theater, or free spaces, or shared spaces...
Advisers
Please continue to network. The idea was raised that it would be useful to have people outside of The Collective whom we respect who are, perhaps, a few years further down the road in the development of their own production companies who we can consult for advice or reach out to for support. We have some of those relationships forming already, but YOUR connections matter.
Membership
Various members of the group continue to raise the issue of membership. It is not our goal to increase our numbers just for the sake of doing so. Our goal is to protect what we've built by inviting ONLY the people we would die to work with to be a part of our community. Individual talent as an actor or theatre/film professional is foremost, but the litmus test must be an individual's understanding and commitment to the process and philosophy of The Collective. These talented individuals must be willing to roll up their sleeves and invest time and energy in all aspects of developing and running a business, and all aspects of developing and producing shows.
Diversity is also important to us. So, as we continue to produce, we will reach outside of the group as needed until which point we can cast all roles from within.
We do not audition people to be a part of this group. Every member is invited by someone who was invited by one of the founding members. Each member needs to take personal responsibility for anyone he/she introduces to the group. We are each others' checks and balances. Participation in The Collective is not something to be bartered.
Be multi-disciplinary
Following the model of the LAB and others, challenge yourself to explore EVERY skill of production. Costumes. Lights. Sound. Front of house. Budgeting. Promotion. Directing. Stage management. Fund-raising. Everything. Be a well-rounded theatre professional, and an invaluable asset to The Collective, on stage and off.
Initiative
If you truly understand what you are a part of, then you also know that everything is possible with this group of people. Any project and any task can become a reality if YOU are willing to be its champion. You all have the names and contact info for the members of this group, and if you have a scene, an idea, a problem, anything that you feel passionately about that is in the best interest of The Collective and your fellow members, the people in this group will support you. Do not wait to be assigned a task or told what to do. Build committees... Partner with someone you respect... Start productions... Raise money... Write material... Ask someone to train you in an area you know little about... Get involved and contribute your skills and experience.
"I love Actors and by extension, the theater. I love the minutia that surrounds them both. I love listening and telling Green Room war stories. I love the onstage triumphs and yes, I love even the disasters. I love the adrenaline that shoots through every Actor onstage when something goes wrong, and the relief that sweeps thru when some heroic Actor saves the day...
...It has been said that an Actor must have the hide of a rhinoceros, the courage and audacity of a lion, and most importantly, the fragile vulnerability of an egg. It has also been said, and I'm not sure by whom, that the moment of not knowing is the moment that has the greatest potential for creativity. The professional and private lives of most Actors are filled to the brim with moments of not knowing."
--Robert Prosky
Collective Mondays
The evening we have come to know as Collective Monday will resume meeting on Monday, August 10th, after a short summer break. The summer break is intended to allow members time to recommit, to seek out and prepare work for when our regular evening resumes. In the meantime, there is still plenty of business to be done to keep the company running and to prepare us to tackle year three.
Committees
Lisa K. distributed a sign-up/working list of current committees, including the writers workshop, Collective Mondays, e-publicity, Collective Comedy, readers group, etc. Please identify an area (listed here or otherwise) where you feel you can best serve your fellow members and The Collective. Shared ownership of a group means shared responsibility. Many of your peers have already stepped up. What will YOUR commitment be?
The Field
We are close to acquiring our Sponsored Artist status with The Field. This will allow us to accept tax-deductible donations over $250 (cash, goods or services), in addition to all the existing benefits afforded us through our association with them (not-for-profit, discounts, access to TDF Costumes, Materials for the Arts, etc.). Our Sponsored Artist status will also allow us to offer health insurance to interested members through Fractured Atlas (member fee and monthly premiums apply).
Calendar
There is a skeleton of a calendar which takes us through Winter. If you have projects that you would like to propose to The Collective for possible production/inclusion, please contact a Board member or email thecollective9@gmail.com.
There are four theatrical projects currently on the table: The Whales of Long Kesh (please read the play, if you haven't; there are two versions currently in circulation, and a third will be soon); Raised in Captivity by Nicky Silver; Collective Comedy; a festival of funny women in theatre.
Production Model
There was a point raised about getting shows up with long enough runs to be reviewed. We have not yet found the right production model for our current stage of development that allows productions to be self-sufficient. We came closer with the three weeks in May, but we still need to find the right combination of space, work and time.
Please constantly be on the lookout for relationships with theater spaces. Space rental has been about 70% of the total budget for our productions. If we can think creatively about alliances with theaters (who are currently desperate for bookings), maybe exploring the idea of becoming a resident company at an existing theater, or free spaces, or shared spaces...
Advisers
Please continue to network. The idea was raised that it would be useful to have people outside of The Collective whom we respect who are, perhaps, a few years further down the road in the development of their own production companies who we can consult for advice or reach out to for support. We have some of those relationships forming already, but YOUR connections matter.
Membership
Various members of the group continue to raise the issue of membership. It is not our goal to increase our numbers just for the sake of doing so. Our goal is to protect what we've built by inviting ONLY the people we would die to work with to be a part of our community. Individual talent as an actor or theatre/film professional is foremost, but the litmus test must be an individual's understanding and commitment to the process and philosophy of The Collective. These talented individuals must be willing to roll up their sleeves and invest time and energy in all aspects of developing and running a business, and all aspects of developing and producing shows.
Diversity is also important to us. So, as we continue to produce, we will reach outside of the group as needed until which point we can cast all roles from within.
We do not audition people to be a part of this group. Every member is invited by someone who was invited by one of the founding members. Each member needs to take personal responsibility for anyone he/she introduces to the group. We are each others' checks and balances. Participation in The Collective is not something to be bartered.
Be multi-disciplinary
Following the model of the LAB and others, challenge yourself to explore EVERY skill of production. Costumes. Lights. Sound. Front of house. Budgeting. Promotion. Directing. Stage management. Fund-raising. Everything. Be a well-rounded theatre professional, and an invaluable asset to The Collective, on stage and off.
Initiative
If you truly understand what you are a part of, then you also know that everything is possible with this group of people. Any project and any task can become a reality if YOU are willing to be its champion. You all have the names and contact info for the members of this group, and if you have a scene, an idea, a problem, anything that you feel passionately about that is in the best interest of The Collective and your fellow members, the people in this group will support you. Do not wait to be assigned a task or told what to do. Build committees... Partner with someone you respect... Start productions... Raise money... Write material... Ask someone to train you in an area you know little about... Get involved and contribute your skills and experience.
"I love Actors and by extension, the theater. I love the minutia that surrounds them both. I love listening and telling Green Room war stories. I love the onstage triumphs and yes, I love even the disasters. I love the adrenaline that shoots through every Actor onstage when something goes wrong, and the relief that sweeps thru when some heroic Actor saves the day...
...It has been said that an Actor must have the hide of a rhinoceros, the courage and audacity of a lion, and most importantly, the fragile vulnerability of an egg. It has also been said, and I'm not sure by whom, that the moment of not knowing is the moment that has the greatest potential for creativity. The professional and private lives of most Actors are filled to the brim with moments of not knowing."
--Robert Prosky
Tuesday, June 16, 2009
Collective Monday – June 15, 2009
These were the items discussed at the top of our meeting:
Open Founders/Board Meeting
Last Friday, all members were invited to participate in an open Founders/Board meeting to discuss the direction of The Collective in year three. Some possible projects were discussed, as well as broader mission/vision topics. Some key items:
1. Committee heads needed
Please identify your areas of interest and step forward to get involved. In many cases with The Collective, 'if everyone is doing something, then no one is doing it.' We need to be able to delegate core tasks to active members. Specific areas in need:
--Internet communications (a team to manage our internet presence, from the web site to MySpace, Facebook and Twitter)
--Grant writing
--Festival submissions
--Fundraising
2. The Field
Most of you know that, although we are not a full non-profit ourselves, we have affiliated ourselves with The Field to be able to have access to discounts and benefits afforded not-for-profit companies. Within the next two weeks, we should have our application complete to become a "Sponsored Artist" with The Field. This means that we will be able to accept tax-deductible donations of money, goods and services (over $250). One additional benefit of being sponsored is that our members will be able to access affordable health insurance.
3. Collective Mondays
We renew our commitment to our Monday sessions. It is the place where all of our projects to date have developed. This means members are regularly bringing in prepared work. We are moving away from using the time for table reads. Work should be beyond the stage of making basic choices when it enters Monday. You should prepare your work thoroughly, to the best of your ability, and come in with a specific goal(s). It is not a performance, so there is room to fail and succeed. Discoveries will be made, and both the observers and those on stage should find value in the exchange. We are peers.
4. Writers' Group
This valuable resource will be further developed. Krista and Sam are going to lead the effort, and we will start with the four new plays developed through Ed Baker's intensive and then build the group with contributions from writers inside The Collective. We will develop a strategy for receiving and reading external submissions.
5. Calendar
We will plan to post, in the upcoming days, a calendar of proposed projects and group commitments.
Softball t-shirts
A few remaining softball shirts are available for sale, $20 each. We have a few larges, and one more medium. Those who would like a shirt, but need a different size should let Robert know. A re-order will be placed in the next few weeks to provide additional sizes.
Softball games continue in Central Park every Monday afternoon through the end of July. Please come out to support.
Improv workshop
Robert will once again be offering improv workshops this summer. The plan is to do two condensed sessions, meeting twice a week for four weeks in July, and then another session twice a week for four weeks in August. We would like to do an informal performance at the end of the Summer.
The feedback from the last session was very positive, but it was difficult to build momentum meeting just once a week. The goal is to structure the workshop so that a different improv concept will be covered each week, and so that there will be built-in opportunities to make up any nights missed.
Please email thecollective9@gmail.com ASAP if you are interested, along with your preference for days of the week, probably 7-9:30pm. There is no charge for the workshop (except a nominal contribution to cover any rehearsal space expense), but a commitment to attend at least one session per week is required. We need a solid 8-10 people in order to make it happen.
Open Founders/Board Meeting
Last Friday, all members were invited to participate in an open Founders/Board meeting to discuss the direction of The Collective in year three. Some possible projects were discussed, as well as broader mission/vision topics. Some key items:
1. Committee heads needed
Please identify your areas of interest and step forward to get involved. In many cases with The Collective, 'if everyone is doing something, then no one is doing it.' We need to be able to delegate core tasks to active members. Specific areas in need:
--Internet communications (a team to manage our internet presence, from the web site to MySpace, Facebook and Twitter)
--Grant writing
--Festival submissions
--Fundraising
2. The Field
Most of you know that, although we are not a full non-profit ourselves, we have affiliated ourselves with The Field to be able to have access to discounts and benefits afforded not-for-profit companies. Within the next two weeks, we should have our application complete to become a "Sponsored Artist" with The Field. This means that we will be able to accept tax-deductible donations of money, goods and services (over $250). One additional benefit of being sponsored is that our members will be able to access affordable health insurance.
3. Collective Mondays
We renew our commitment to our Monday sessions. It is the place where all of our projects to date have developed. This means members are regularly bringing in prepared work. We are moving away from using the time for table reads. Work should be beyond the stage of making basic choices when it enters Monday. You should prepare your work thoroughly, to the best of your ability, and come in with a specific goal(s). It is not a performance, so there is room to fail and succeed. Discoveries will be made, and both the observers and those on stage should find value in the exchange. We are peers.
4. Writers' Group
This valuable resource will be further developed. Krista and Sam are going to lead the effort, and we will start with the four new plays developed through Ed Baker's intensive and then build the group with contributions from writers inside The Collective. We will develop a strategy for receiving and reading external submissions.
5. Calendar
We will plan to post, in the upcoming days, a calendar of proposed projects and group commitments.
Softball t-shirts
A few remaining softball shirts are available for sale, $20 each. We have a few larges, and one more medium. Those who would like a shirt, but need a different size should let Robert know. A re-order will be placed in the next few weeks to provide additional sizes.
Softball games continue in Central Park every Monday afternoon through the end of July. Please come out to support.
Improv workshop
Robert will once again be offering improv workshops this summer. The plan is to do two condensed sessions, meeting twice a week for four weeks in July, and then another session twice a week for four weeks in August. We would like to do an informal performance at the end of the Summer.
The feedback from the last session was very positive, but it was difficult to build momentum meeting just once a week. The goal is to structure the workshop so that a different improv concept will be covered each week, and so that there will be built-in opportunities to make up any nights missed.
Please email thecollective9@gmail.com ASAP if you are interested, along with your preference for days of the week, probably 7-9:30pm. There is no charge for the workshop (except a nominal contribution to cover any rehearsal space expense), but a commitment to attend at least one session per week is required. We need a solid 8-10 people in order to make it happen.
Tuesday, June 9, 2009
Collective Monday – June 8, 2009
These are the items discussed at the top of our meeting:
Collective softball
Our coach, Sam Doerr, was not present at the meeting this evening due to his game ejection and league suspension for trash talking with the ump. Until Sam learns how to play nicely with others, he will, by extension, be suspended from ALL Collective functions until his league suspension is lifted, or until we tire of teasing him about it, whichever comes first.
We have games every Monday afternoon in Central Park through end of July. Please come support the team. Shirts are available for purchase (see below).
SEA LEGS – a field trip
Craig Butta's film "Sea Legs" premiered this past weekend at the Brooklyn Film Festival. There is one more screening scheduled for this Thursday, June 11th at 8pm. A group of Collective members are planning to attend to show support. See details in the previous post below.
Cursing at Strangers – the latest incarnation of Mike D's show
Below are details for the show and emerging documentary that have spun off from one of our favorite Collective Comedy headliners and our January UPRISING premiere. The Collective influence continues to grow: the seeds we helped plant cannot help but flourish!
Comedian Mike D., straight from his tour with Dennis Leary, has been trying different formats for his provocative and resonant material, so we don't know exactly what to expect, but we do know that you can't witness Mike without laughing and developing some new angles on everyday ideas. Come check out his latest incarnation Friday or Saturday and help develop the film that will be cut next month and submitted to Sundance in August.
Free admission for Collective members. Lisa K. also volunteered to handle logistics, and anyone interested in helping with a few light administrative tasks is welcome to join her; just drop her an e-mail.
Cursing at Strangers written and performed by Mike DeStefano
Addiction, Disease, Death: It's a Comedy
FRIDAY June 12 and SATURDAY June 13 ONLY, 8pm
Theatre 54, 244 W. 54 Street (floor 12), NYC
betw. Broadway & Eighth Ave.
Tickets: $12 at the door
E-mail mikedreservations@gmail.com for reservations or with inquiries.
May Play Series wrap-up
Congratulations to all who contributed to the success of our three weeks of work at Center Stage in May. As a group, we held our financial loss to about $1,500. We lost less in these three weeks than we did in one week in January during UPRISING, so that's progress. This means we still have money in the bank to apply toward future projects.
We increased our turnout week-on-week throughout the three weeks. At the end of it, we could have broken even had we been able to turn out a mere additional 6 audience members per show. We recognize that the short lead time was a challenge. Yet, this group has proven time and time again its ability to accomplish amazing things in all situations. We needed Clay's students and fans in that first week to help us close the gap, and we didn't get them.
Thanks to all who called in favors, bought tickets for themselves and friends/students, and donated their own time, skills, resources and money. The work was something of which to be proud. We won over a lot of people these three weeks and added almost 70 new email addresses to our contacts list.
Softball shirts
We have a few softball shirts left from our initial order that are available for purchase. The shirts are $20 each, and we have a few medium sizes and a few large sizes. If you want one in a different size, you can let Robert know. Once we have enough requests to place a re-order, we will. We can order small quantities, but in order to get the price down, we need to order in bulk.
Collective softball
Our coach, Sam Doerr, was not present at the meeting this evening due to his game ejection and league suspension for trash talking with the ump. Until Sam learns how to play nicely with others, he will, by extension, be suspended from ALL Collective functions until his league suspension is lifted, or until we tire of teasing him about it, whichever comes first.
We have games every Monday afternoon in Central Park through end of July. Please come support the team. Shirts are available for purchase (see below).
SEA LEGS – a field trip
Craig Butta's film "Sea Legs" premiered this past weekend at the Brooklyn Film Festival. There is one more screening scheduled for this Thursday, June 11th at 8pm. A group of Collective members are planning to attend to show support. See details in the previous post below.
Cursing at Strangers – the latest incarnation of Mike D's show
Below are details for the show and emerging documentary that have spun off from one of our favorite Collective Comedy headliners and our January UPRISING premiere. The Collective influence continues to grow: the seeds we helped plant cannot help but flourish!
Comedian Mike D., straight from his tour with Dennis Leary, has been trying different formats for his provocative and resonant material, so we don't know exactly what to expect, but we do know that you can't witness Mike without laughing and developing some new angles on everyday ideas. Come check out his latest incarnation Friday or Saturday and help develop the film that will be cut next month and submitted to Sundance in August.
Free admission for Collective members. Lisa K. also volunteered to handle logistics, and anyone interested in helping with a few light administrative tasks is welcome to join her; just drop her an e-mail.
Cursing at Strangers written and performed by Mike DeStefano
Addiction, Disease, Death: It's a Comedy
FRIDAY June 12 and SATURDAY June 13 ONLY, 8pm
Theatre 54, 244 W. 54 Street (floor 12), NYC
betw. Broadway & Eighth Ave.
Tickets: $12 at the door
E-mail mikedreservations@gmail.com for reservations or with inquiries.
May Play Series wrap-up
Congratulations to all who contributed to the success of our three weeks of work at Center Stage in May. As a group, we held our financial loss to about $1,500. We lost less in these three weeks than we did in one week in January during UPRISING, so that's progress. This means we still have money in the bank to apply toward future projects.
We increased our turnout week-on-week throughout the three weeks. At the end of it, we could have broken even had we been able to turn out a mere additional 6 audience members per show. We recognize that the short lead time was a challenge. Yet, this group has proven time and time again its ability to accomplish amazing things in all situations. We needed Clay's students and fans in that first week to help us close the gap, and we didn't get them.
Thanks to all who called in favors, bought tickets for themselves and friends/students, and donated their own time, skills, resources and money. The work was something of which to be proud. We won over a lot of people these three weeks and added almost 70 new email addresses to our contacts list.
Softball shirts
We have a few softball shirts left from our initial order that are available for purchase. The shirts are $20 each, and we have a few medium sizes and a few large sizes. If you want one in a different size, you can let Robert know. Once we have enough requests to place a re-order, we will. We can order small quantities, but in order to get the price down, we need to order in bulk.
Saturday, June 6, 2009
World Premiere of SEA LEGS, a film by Craig Butta
You are cordially invited to the World Premiere of
SEA LEGS
a film by Craig Butta
shot by Sean Williams
and featuring a cast of characters from Coney Island
The film will premiere as part of the Brooklyn International Film Festival
This year the festival will screen at the Brooklyn Heights Cinema
70 Henry Street, across from Cadman Plaza
Sunday June 7th @ 5pm
Thursday June 11th @ 8pm
For more information and to buy advanced tickets
http://www.wbff.org/films/detail.asp?fid=987
Thanks you for your continued support
This project has been a labor of love for many years and I am so proud to finally be able to share it with you.
Please forward it to anyone who you think might be interested in Cinema, Coney Island, or just supporting a local filmmaker.
See you at the theatre!!!
Craig Butta
Friday, May 29, 2009
Fly on the wall...
Major Dodge forwarded the following. Perhaps it underscores the importance of attending and working on Collective Mondays.
---------------------------------------------------------------------------
This was written by Todd Thaler:
May 19
Acting Classes and One Minute Monologues
A dear friend, wonderfully accomplished actor, and renowned and revered acting teacher, George DiCenzo, invited me to attend his acting class. I felt compelled to write about.
Unbeknownst to his students, I, (along with several other actors auditing the class), was invited to see each of his students perform a 1-minute monologue. The students were not told anything in advance, as a sort of ‘test’ to see how they would perform in this ‘pressurized’ situation (the situation being the attendance of a Casting Director and an ‘audience’ of other actors).
It was The Good, The Bad, and The Ugly.
The evening began with the news that other industry professionals, were invited and just didn’t bother to attend, after promising to do so. If I’ve learned anything over the past 25 years, it’s how to give back. Actors, (and the hardworking professionals who train them) depend on us, (Casting Directors, Agents, Managers). I, too, neglected to follow through on a promise to invite a colleague to join me and for that I am deeply sorry (especially after seeing how apathetic my colleagues were about fulfilling their promise).
Now to the work itself:
The first gentleman was older and clearly American. Yet he chose a piece that required him to speak in what, I think, was a Italian accent. It could have been German. I’m not sure. About accents: WHY? Who is going to hire you to play an Italian (or a German or any other nationality for that matter), when there are plenty of actors with US Passports or Green Cards or H1’s of O1’s with REAL Italian (or German) accents that we would hire long before an American speaking with a really bad foreign accent? Audition with your normal speaking voice. Period. End of story. This same gentleman also used some of his time to sing. SING? Singing has nothing to do with 1-minute monologues. Leave singing to musical auditions when asked of you. He used more than the allotted time and was asked to stop by the teacher. As it should be. 1-minute is 1-minute. Especially when there are 15 other actors waiting.
The next actor seemed incredibly inexperienced, nervous, and awkward. He delivered his piece standing in stiff, frozen, ‘poses.’ I would have suggested he just SIT DOWN! Quote me: ”The chair is your friend.” Use it.
The next was a spectacular older woman! Her work was lovely. So real. My only criticism was its’ ‘size’…at times a bit too ‘theatrical’ and ‘broad.’ Actors tend to ‘overwork’ their auditions. Don’t push. Don’t force. No need to ‘swing for the fences.’ A base hit is all that’s expected of you! Right? Just get on base.
The next woman arrived on stage (each actor came in from outside the room and left after their piece ended), with a cigarette in a rather long cigarette holder. It was the only thing I remember about the audition. It was that distracting. Bottom line: Props can be dangerous. Skip ‘em.
The next young man, Robert, was a wonderful actor. Great concentration, great focus. He, too, chose to work with an accent but it was so spot-on it wasn’t the slightest bit distracting. Hence: there’s an exception to every rule. Still would have preferred to see him do something in his own voice.
The next young woman chose to direct her entire piece to a ‘single listener’ (a fixed point on the far side of the room, sort of above our heads). I have alway found this to be unsettling. No one speaks to anyone without shifting your focus elsewhere (like a cuticle? a car backfiring out the window? a cockroach walking by?). Make sure that if you aren’t playing the real listeners in the room, you remember to shift your focus AWAY from the single listening spot every now and again.
The next gal was spot-on! Kate Hodge. Looks great. Sounds great. Confident without being cocky. Self assured without being self-possessed. The shortest sweetest monologue of the night. Real, honest, and FUNNY! Great body language! About the length of the audition: we know in seconds if we care or not. All the rest after that is overkill. As they say in musical auditions: “1/2 the song, 1/2 the dance, and OUT!” Good rule.
The next actress was the first to hit one of my ‘peeves.’ She chose a ‘you’ monologue. This is one where the unseen ‘scene partner’ is the focus of the piece. ’You’ did this to me,’ ‘You did that to me,’ ‘I hate you,’ ‘It’s all your fault.’ YOU YOU YOU YOU! Actors often ask if we, the listeners, want to be addressed directly. Some of us say ‘yes,’ others ‘no.’ I say ‘yes,’ but hate it when I’m suddenly the reason the auditioner is speaking! Who am I? What did I do? Why am I being addressed so hostilely, so accusatorially? Not the best way to win friends and influence people. Stick with ‘I’ monologues. ‘I remember when I was a little boy/girl,’ ’I was in the park and saw an old friend,’ ‘I tell myself over and over how strong I am.’ The next actress did a similar ‘you’ monologue. Only in her piece she told me to ‘fuck off,’ and ‘kissing you makes me sick’! WOW! Harsh. The next actress ALSO did a ‘you’ monologue. By then I was completely distracted and cannot remember anything she said.
The next fellow was an actor named Michael. Great work! Sat in a chair and just told me a story. A simple, honest, truthful, REAL story. Sounded like it had happened to him. Not some character he was enacting. Great body language too! Seemed so at home. Not the slightest bit self conscious or self-aware.
The next broad was great! And I say broad, because it is her stock in trade! Low to the ground with a great GREAT speaking voice. Raspy and gravelly! Only comment was that she overdid it! IF IT AIN’T BROKE DON’T FIX IT! It’s called GILDING THE LILY.
1. To adorn unnecessarily something already beautiful.2. To make superfluous additions to what is already complete.
The next young woman did a very emotional monologue. These are always dangerous to attempt especially when you’re not ‘feeling it’ that day. They always seem forced and pushed. Sometimes just simply saying the words without worrying about the scripted crying is enough to convey the deepness of the emotion. If you’re blessed with the ‘Meryl Streep Gene’ do these kinds of pieces. Otherwise, stick to easier fare.
The only thing I remember about the boyishly handsome next actor was his swaying. Again, SIT! Immediately absolves you of this concern.
The last fellow managed to provide another of my peeves. A monologue about acting. NO NO PLEASE PLEASE NO! On top of which it was delivered to big, to broadly, too theatrical.
A One-Minute Monologue should be nothing more than a moving snapshot of who you are. As close to who you REALLY are as possible. Not some circus act. Not some freak show. Not some foreigner if you’re American. Not some hostile accusatory meanie yelling at me. Just YOU. I. I am THIS. What you see is what you get. Take it or leave it. Preferably TAKE IT!
I cannot stress the importance of on-going scene study classwork for actors. It gives you the chance to keep your instrument in tune. It gives you the opportunity to see other actors work and learn from it (sometimes what NOT to do!).
---------------------------------------------------------------------------
This was written by Todd Thaler:
May 19
Acting Classes and One Minute Monologues
A dear friend, wonderfully accomplished actor, and renowned and revered acting teacher, George DiCenzo, invited me to attend his acting class. I felt compelled to write about.
Unbeknownst to his students, I, (along with several other actors auditing the class), was invited to see each of his students perform a 1-minute monologue. The students were not told anything in advance, as a sort of ‘test’ to see how they would perform in this ‘pressurized’ situation (the situation being the attendance of a Casting Director and an ‘audience’ of other actors).
It was The Good, The Bad, and The Ugly.
The evening began with the news that other industry professionals, were invited and just didn’t bother to attend, after promising to do so. If I’ve learned anything over the past 25 years, it’s how to give back. Actors, (and the hardworking professionals who train them) depend on us, (Casting Directors, Agents, Managers). I, too, neglected to follow through on a promise to invite a colleague to join me and for that I am deeply sorry (especially after seeing how apathetic my colleagues were about fulfilling their promise).
Now to the work itself:
The first gentleman was older and clearly American. Yet he chose a piece that required him to speak in what, I think, was a Italian accent. It could have been German. I’m not sure. About accents: WHY? Who is going to hire you to play an Italian (or a German or any other nationality for that matter), when there are plenty of actors with US Passports or Green Cards or H1’s of O1’s with REAL Italian (or German) accents that we would hire long before an American speaking with a really bad foreign accent? Audition with your normal speaking voice. Period. End of story. This same gentleman also used some of his time to sing. SING? Singing has nothing to do with 1-minute monologues. Leave singing to musical auditions when asked of you. He used more than the allotted time and was asked to stop by the teacher. As it should be. 1-minute is 1-minute. Especially when there are 15 other actors waiting.
The next actor seemed incredibly inexperienced, nervous, and awkward. He delivered his piece standing in stiff, frozen, ‘poses.’ I would have suggested he just SIT DOWN! Quote me: ”The chair is your friend.” Use it.
The next was a spectacular older woman! Her work was lovely. So real. My only criticism was its’ ‘size’…at times a bit too ‘theatrical’ and ‘broad.’ Actors tend to ‘overwork’ their auditions. Don’t push. Don’t force. No need to ‘swing for the fences.’ A base hit is all that’s expected of you! Right? Just get on base.
The next woman arrived on stage (each actor came in from outside the room and left after their piece ended), with a cigarette in a rather long cigarette holder. It was the only thing I remember about the audition. It was that distracting. Bottom line: Props can be dangerous. Skip ‘em.
The next young man, Robert, was a wonderful actor. Great concentration, great focus. He, too, chose to work with an accent but it was so spot-on it wasn’t the slightest bit distracting. Hence: there’s an exception to every rule. Still would have preferred to see him do something in his own voice.
The next young woman chose to direct her entire piece to a ‘single listener’ (a fixed point on the far side of the room, sort of above our heads). I have alway found this to be unsettling. No one speaks to anyone without shifting your focus elsewhere (like a cuticle? a car backfiring out the window? a cockroach walking by?). Make sure that if you aren’t playing the real listeners in the room, you remember to shift your focus AWAY from the single listening spot every now and again.
The next gal was spot-on! Kate Hodge. Looks great. Sounds great. Confident without being cocky. Self assured without being self-possessed. The shortest sweetest monologue of the night. Real, honest, and FUNNY! Great body language! About the length of the audition: we know in seconds if we care or not. All the rest after that is overkill. As they say in musical auditions: “1/2 the song, 1/2 the dance, and OUT!” Good rule.
The next actress was the first to hit one of my ‘peeves.’ She chose a ‘you’ monologue. This is one where the unseen ‘scene partner’ is the focus of the piece. ’You’ did this to me,’ ‘You did that to me,’ ‘I hate you,’ ‘It’s all your fault.’ YOU YOU YOU YOU! Actors often ask if we, the listeners, want to be addressed directly. Some of us say ‘yes,’ others ‘no.’ I say ‘yes,’ but hate it when I’m suddenly the reason the auditioner is speaking! Who am I? What did I do? Why am I being addressed so hostilely, so accusatorially? Not the best way to win friends and influence people. Stick with ‘I’ monologues. ‘I remember when I was a little boy/girl,’ ’I was in the park and saw an old friend,’ ‘I tell myself over and over how strong I am.’ The next actress did a similar ‘you’ monologue. Only in her piece she told me to ‘fuck off,’ and ‘kissing you makes me sick’! WOW! Harsh. The next actress ALSO did a ‘you’ monologue. By then I was completely distracted and cannot remember anything she said.
The next fellow was an actor named Michael. Great work! Sat in a chair and just told me a story. A simple, honest, truthful, REAL story. Sounded like it had happened to him. Not some character he was enacting. Great body language too! Seemed so at home. Not the slightest bit self conscious or self-aware.
The next broad was great! And I say broad, because it is her stock in trade! Low to the ground with a great GREAT speaking voice. Raspy and gravelly! Only comment was that she overdid it! IF IT AIN’T BROKE DON’T FIX IT! It’s called GILDING THE LILY.
1. To adorn unnecessarily something already beautiful.2. To make superfluous additions to what is already complete.
The next young woman did a very emotional monologue. These are always dangerous to attempt especially when you’re not ‘feeling it’ that day. They always seem forced and pushed. Sometimes just simply saying the words without worrying about the scripted crying is enough to convey the deepness of the emotion. If you’re blessed with the ‘Meryl Streep Gene’ do these kinds of pieces. Otherwise, stick to easier fare.
The only thing I remember about the boyishly handsome next actor was his swaying. Again, SIT! Immediately absolves you of this concern.
The last fellow managed to provide another of my peeves. A monologue about acting. NO NO PLEASE PLEASE NO! On top of which it was delivered to big, to broadly, too theatrical.
A One-Minute Monologue should be nothing more than a moving snapshot of who you are. As close to who you REALLY are as possible. Not some circus act. Not some freak show. Not some foreigner if you’re American. Not some hostile accusatory meanie yelling at me. Just YOU. I. I am THIS. What you see is what you get. Take it or leave it. Preferably TAKE IT!
I cannot stress the importance of on-going scene study classwork for actors. It gives you the chance to keep your instrument in tune. It gives you the opportunity to see other actors work and learn from it (sometimes what NOT to do!).
Monday, May 4, 2009
Collective Monday – May 4, 2009
These are the items we discussed at the top of our meeting:
May 09 productions
PRODUCTION NEEDS
- Set designer for 360
- Lighting designer for 360
- Stage managers
LOAD IN & TECH
Our official load-in and the tech for Clayscapes will be next Monday, May 10th at Center Stage. There is no set for Clayscapes and items yet TBD for True North and 360, so there is no current plan to have a mass of people show up for load-in. If lights and sound require assistance that day, we will notify you ASAP to see who is available.
Additional load-in and tech assistance may be required in subsequent weeks, depending what we can schedule with Center Stage. Please stay tuned for your opportunity to pitch in on those days.
PROMOTION
We are promoting these shows as three separate events. Each individual show has volunteers to head promotional committees. At the moment:
Clayscapes – Nick Marshall
True North – OPEN
360 – Mike Houston, Brian Parrish, Swann Gruen, and Jennie Sheffield
We have a student ticket of $12 (with valid ID), but if you have other ideas for promotions, we'd love to hear them. We are trying to finalize a "Buy 2 shows, get the third FREE" scenario, and will advise so that you can include it in your emails. We will also plan to offer a discount to people who attend Clayscapes to encourage them to return to see another show.
There are individual Facebook pages for each of the three events, and promotional emails will be drafted that you can forward to your own personal lists.
There are postcards now available (distributed at tonight's meeting) promoting all three shows. Please arrange to get a big stack and circulate them around.
Posters promoting all three shows are also available. If you need some posters, or have access to a color printer and can print some, please let us know ASAP.
Find blogs, free listings, web sites, any place to get the shows posted. Please contact the promotional committees to advise them where you have submitted the shows to avoid duplication.
Special Thanks
to Danny O'Shea and his connection to a last-minute space for our Collective Monday meeting this evening. Center Stage double-booked the theater and we got booted. Please support Danny's friend's space when you need rehearsal space or other small theater needs. We'll get his web site info and post it here for reference.
Attendance
We know: everyone's busy... but we only had about 14 people at the meeting tonight. There was some amazing work done tonight and we owe it to each other to be there to witness and share it. People are listening to your feedback and bringing back their work with astounding results. We've got an incredible thing going, but the curse to our blessing is that there is ALWAYS more work to be done. On the eve of three weeks of productions, we need people to check in and give whatever they can to the cause. Never assume someone else is taking care of it.
May 09 productions
PRODUCTION NEEDS
- Set designer for 360
- Lighting designer for 360
- Stage managers
LOAD IN & TECH
Our official load-in and the tech for Clayscapes will be next Monday, May 10th at Center Stage. There is no set for Clayscapes and items yet TBD for True North and 360, so there is no current plan to have a mass of people show up for load-in. If lights and sound require assistance that day, we will notify you ASAP to see who is available.
Additional load-in and tech assistance may be required in subsequent weeks, depending what we can schedule with Center Stage. Please stay tuned for your opportunity to pitch in on those days.
PROMOTION
We are promoting these shows as three separate events. Each individual show has volunteers to head promotional committees. At the moment:
Clayscapes – Nick Marshall
True North – OPEN
360 – Mike Houston, Brian Parrish, Swann Gruen, and Jennie Sheffield
We have a student ticket of $12 (with valid ID), but if you have other ideas for promotions, we'd love to hear them. We are trying to finalize a "Buy 2 shows, get the third FREE" scenario, and will advise so that you can include it in your emails. We will also plan to offer a discount to people who attend Clayscapes to encourage them to return to see another show.
There are individual Facebook pages for each of the three events, and promotional emails will be drafted that you can forward to your own personal lists.
There are postcards now available (distributed at tonight's meeting) promoting all three shows. Please arrange to get a big stack and circulate them around.
Posters promoting all three shows are also available. If you need some posters, or have access to a color printer and can print some, please let us know ASAP.
Find blogs, free listings, web sites, any place to get the shows posted. Please contact the promotional committees to advise them where you have submitted the shows to avoid duplication.
Special Thanks
to Danny O'Shea and his connection to a last-minute space for our Collective Monday meeting this evening. Center Stage double-booked the theater and we got booted. Please support Danny's friend's space when you need rehearsal space or other small theater needs. We'll get his web site info and post it here for reference.
Attendance
We know: everyone's busy... but we only had about 14 people at the meeting tonight. There was some amazing work done tonight and we owe it to each other to be there to witness and share it. People are listening to your feedback and bringing back their work with astounding results. We've got an incredible thing going, but the curse to our blessing is that there is ALWAYS more work to be done. On the eve of three weeks of productions, we need people to check in and give whatever they can to the cause. Never assume someone else is taking care of it.
Monday, April 20, 2009
Collective Monday – April 20, 2009
These are the items discussed at the beginning of our meeting:
Collective Comedy
The next Collective Comedy is THIS THURSDAY. This is our only source of fundraising, at the moment, and our last event was not well attended. It is imperative that we hustle however we can to get our friends and colleagues to this event. Our ability to produce our upcoming shows in May and ongoing are dependent on it.
Emails
Promotional emails are available to forward to your personal email lists. Or you can direct people to the web site for complete information about the event.
Your $20
We ask that Collective members also contribute their $20 to the event. We do not ask for dues, and only charge $5 on Monday nights to cover the cost of theatre rentals for our meetings. It costs us about $800 to produce Collective Comedy; so if every member contributes his/her $20, we cover our expenses and every person we get to the event goes right toward our next event.
Our email list
We need to focus on collecting email addresses at the event this week, too. With lots of people changing and/or losing jobs, many of the email addresses we have on file have been bouncing back to us.
The sketch
This month's sketch is co-written by Brandon Snider and Amy Schumer. It takes place in a living room at a birthday party. So, if you are able to provide any/all of the following items, please let us know ASAP:
birthday cake/candles
gift-wrapped packages
folding chairs
party decorations
plastic cups/plates/forks
Set-up
Call time on Thursday is 5pm. Please contact us with your availability so that we can assign people to tasks. We all know how to get this done, but we need to have all hands on deck to make it happen.
May productions (May 11-30)
Melissa Rindell has signed a contract with Center Stage NY for three weeks of productions in May. Week One will be a series of monologues written by Clay McLeod Chapman. Week Two will be two one acts written by Edward Allan Baker. Both of these playwrights will be working with the directors on these productions, and will be holding talk-backs after some of the shows. It is a great opportunity for The Collective to build relationships with these talented writers.
Week Three will be a production of an adaptation of La Ronde. Based on a 1900 German play, this adaptation will be developed through the improvised work of the Collective actors involved. In ten interconnected scenes, sexual relationships at all levels of society are explored. In the structure of "the round," at the end of each two-person scene one of the two characters remains and begins a pairing with a new character in the next scene. At the end of that scene, the new character remains and begins a pairing with another new character, and these pairings continue until the first character returns in the final scene.
The concept was most recently presented in David Hare's "The Blue Room" which featured Nicole Kidman on Broadway. Hare's adaptation was written with two actors playing all ten characters throughout the paired scenes. Rights to Hare's version were unavailable.
There will be needs at all levels of production, so please review your availability during these weeks in May and let Melissa know how you'd like to be involved. In particular, there will be needs with box office and other front-of-house duties for the 15 performances over the three weeks.
Promotional postcards and emails should be available within the next week.
This opportunity came out of the blue with some last minute space availability from Center Stage, so we all need to rally to make these productions successful. Although a short lead-time is not ideal, we know from past experience that when we pull together anything's possible.
Collective Comedy
The next Collective Comedy is THIS THURSDAY. This is our only source of fundraising, at the moment, and our last event was not well attended. It is imperative that we hustle however we can to get our friends and colleagues to this event. Our ability to produce our upcoming shows in May and ongoing are dependent on it.
Emails
Promotional emails are available to forward to your personal email lists. Or you can direct people to the web site for complete information about the event.
Your $20
We ask that Collective members also contribute their $20 to the event. We do not ask for dues, and only charge $5 on Monday nights to cover the cost of theatre rentals for our meetings. It costs us about $800 to produce Collective Comedy; so if every member contributes his/her $20, we cover our expenses and every person we get to the event goes right toward our next event.
Our email list
We need to focus on collecting email addresses at the event this week, too. With lots of people changing and/or losing jobs, many of the email addresses we have on file have been bouncing back to us.
The sketch
This month's sketch is co-written by Brandon Snider and Amy Schumer. It takes place in a living room at a birthday party. So, if you are able to provide any/all of the following items, please let us know ASAP:
birthday cake/candles
gift-wrapped packages
folding chairs
party decorations
plastic cups/plates/forks
Set-up
Call time on Thursday is 5pm. Please contact us with your availability so that we can assign people to tasks. We all know how to get this done, but we need to have all hands on deck to make it happen.
May productions (May 11-30)
Melissa Rindell has signed a contract with Center Stage NY for three weeks of productions in May. Week One will be a series of monologues written by Clay McLeod Chapman. Week Two will be two one acts written by Edward Allan Baker. Both of these playwrights will be working with the directors on these productions, and will be holding talk-backs after some of the shows. It is a great opportunity for The Collective to build relationships with these talented writers.
Week Three will be a production of an adaptation of La Ronde. Based on a 1900 German play, this adaptation will be developed through the improvised work of the Collective actors involved. In ten interconnected scenes, sexual relationships at all levels of society are explored. In the structure of "the round," at the end of each two-person scene one of the two characters remains and begins a pairing with a new character in the next scene. At the end of that scene, the new character remains and begins a pairing with another new character, and these pairings continue until the first character returns in the final scene.
The concept was most recently presented in David Hare's "The Blue Room" which featured Nicole Kidman on Broadway. Hare's adaptation was written with two actors playing all ten characters throughout the paired scenes. Rights to Hare's version were unavailable.
There will be needs at all levels of production, so please review your availability during these weeks in May and let Melissa know how you'd like to be involved. In particular, there will be needs with box office and other front-of-house duties for the 15 performances over the three weeks.
Promotional postcards and emails should be available within the next week.
This opportunity came out of the blue with some last minute space availability from Center Stage, so we all need to rally to make these productions successful. Although a short lead-time is not ideal, we know from past experience that when we pull together anything's possible.
Saturday, April 11, 2009
CHECK IT OUT...
UPDATE: COMP TIX for "KNIVES AND OTHER SHARP OBJECTS" (by Raul Castillo, directed by Felix Solis) this Sunday, April 12, 2pm matinee at The Public Theater
Seating is limited, but if you are interested, here is what you need to do:
-email Rebecca Sherman at: rsherman@publictheater.org
-let her know you are requesting comps for 4.12 at 2pm
-let her know how many comps you are requesting
-make sure your email is included.
-she will email you back to confirm that you are on the list.
This Tuesday night (4/14) at 7:30 - 'Humor Abuse' at the MTC stage II. Tix are $35 at the Box Office with playbill promo code ($41 online with same code). Heard great things about this one man show.
INDIVIDUAL TICKETS FOR TRIBECA FILM FESTIVAL GO ON SALE TO THE PUBLIC STARTING MONDAY 4/20!
Pheonix Adlabs - The ImaginAsian Theatre - '8x10 TASVEER' (Synopsis)
Quad Cinema - 'TOKYO SONATA' (Synopsis)
Seating is limited, but if you are interested, here is what you need to do:
-email Rebecca Sherman at: rsherman@publictheater.org
-let her know you are requesting comps for 4.12 at 2pm
-let her know how many comps you are requesting
-make sure your email is included.
-she will email you back to confirm that you are on the list.
REMINDERS:
This Tuesday night (4/14) at 7:30 - 'Humor Abuse' at the MTC stage II. Tix are $35 at the Box Office with playbill promo code ($41 online with same code). Heard great things about this one man show.INDIVIDUAL TICKETS FOR TRIBECA FILM FESTIVAL GO ON SALE TO THE PUBLIC STARTING MONDAY 4/20!-Tix are $15 at the box office
-Package tix are still available as well (starting at $225)
RECOMMENDED:
Pheonix Adlabs - The ImaginAsian Theatre - '8x10 TASVEER' (Synopsis)REASONS WHY - The Collective's Own PIA SHAH playing Sally Kohli!
Quad Cinema - 'TOKYO SONATA' (Synopsis)REASONS WHY - Performances of Teruyuki Kagawa and Kyoko Koizumi as Ryuhei and Megumi Sasaki as well as Koji Yakusho as the Theif, Intriguing insight into Japan's culture with regards to family life as well as the workforce
REASONS WHY - Admirable debut for director Steve McQueen, 15 minute single camera scene between Bobby Sands (Michael Fassbender) and Father Moran (Liam Cunningham), Good research opportunity with regards to "The Whales of Long Kesh"
REASONS WHY - Brilliant Story telling; specifically 'Shaking Tokyo' directed by Bong Joon-Ho, Performances by Teruyuki Kagawa in 'Shaking Tokyo' and Denis Lavant and Jean-Francois Balmer in 'Merde', Michel Gondry's signature storytelling film making in 'Interior Design'
REASONS WHY - Drivers side view into one of Italy's most notorious gangs; Camorrah, Uniquely shot by Matteo Garrone (almost as if watching a documentary), THIS
Check back often for updates!
Thursday, April 9, 2009
Casting Notice
From Krista Amigone:
My scene partner from the Network's One Act Festival freelances with a manager. This woman's name is Rita Silverman and she runs Leap Over It Management. I spoke with her and she is very nice. Right now she is submitting people for a television project -- but she couldn't go into detail.
She is specifically looking for woman with an age-range of 20's through 50's, preferably ethnic. (But I think she is open to seeing anyone as I am not terribly ethnic looking.)
Her phone numbers are 212-873-7183 and 212-787-4010. She only freelances-- so it's a win/win situation should the employment fairies hit you on the head.
When you call tell her I gave you the info so that she has a point of
reference.
My scene partner from the Network's One Act Festival freelances with a manager. This woman's name is Rita Silverman and she runs Leap Over It Management. I spoke with her and she is very nice. Right now she is submitting people for a television project -- but she couldn't go into detail.
She is specifically looking for woman with an age-range of 20's through 50's, preferably ethnic. (But I think she is open to seeing anyone as I am not terribly ethnic looking.)
Her phone numbers are 212-873-7183 and 212-787-4010. She only freelances-- so it's a win/win situation should the employment fairies hit you on the head.
When you call tell her I gave you the info so that she has a point of
reference.
Tuesday, April 7, 2009
Collective Monday – April 6, 2009
These are the items discussed at the top of our meeting (plus some editorializing):
Moderators
Those working each night should seek out the moderators at the beginning of the meeting to share goals for the work.
Please keep feedback concise, once the moderators have opened it up to the group. We have had wonderfully full dockets lately, and we want to be able to get to as much work as possible. Keep your comments focused on what you OBSERVE in the behavior. We are peers, not directors or teachers. If something is unclear or you have a question about the work, tell those working what you observed and let them choose how to address it.
As always, announced guests are welcome. We ask you to take responsibility for your guests, and we ask that they observe for their first few visits to see how the room operates before offering feedback.
Preparation/Prioritization
We have had a resurgence of requests for time to work. This is great. We have been able to accept requests and schedule them, more or less, on a first-come, first-serve basis.
We understand that there are cases where you may not have access to scripts, sides, etc. until last minute, and we will continue to make time for your urgent projects (auditions, etc.). However, for work that is not time-sensitive, please bring in the work AFTER you have taken the time you need to do your homework. Bring in work once you have SPECIFIC goals, not 'just to hear it out loud.' The group cannot be helpful if it is relegated to general feedback about doing your homework. We know that our colleagues can read... what we want to discuss week after week is the behavior; and it is more fully realized the further along in the process you are with your work. We want to learn what choices you've made, what problems you're tackling, and see it play out in front of us. Mondays should be generous and involving.
Blog/Performance Calendar
Please continue to check these online resources. They will be a repository for Collective goings-on.
The blog will continue to have important details from items discussed in meetings, and about upcoming projects. This will also be the place we will post casting notices sent to The Collective, and initiate discussions about what's happening in the industry outside The Collective bubble. (See "A Note from Mike Houston" below.)
The Performance Calendar will be a one-stop shop to get information about members' events and performances outside The Collective. To include your own performances in the calendar, just send an email to thecollective9@gmail.com with all the details. Support your colleagues and go see some shows!
In the Pipeline
Melissa Rindell has been in discussion with Center Stage about some unexpected rental availability they have for three weeks in May. She has proposed a series of works from Clay McCleod Chapman, Edward Allen Baker and Neil Labute. Production budgets, permissions and details should be finalized in the next few days. Once she has this hammered out, and we know what role The Collective will play, we will share the ways that Collective members can get involved in helping to make the series a success. The event is essentially one month away.
A Note from Mike Houston
So I've recently begun to take in more independent and foreign film, having been inspired by Lisa K. and all involved in setting up the 'Hunger' viewing, and thought the Collective blog would be a great way to reach out and make recommendations about films and theatre to see. Not writing reviews or anything, as I believe a person's response to an artistic experience is subjective; Some may love what some may not. But it's just a way to reach out and say, "Hey, you might want to check this out". If you have something you've seen and experienced, and want to put it out there to The Collective via the blog, just shoot me an e-mail (houston76@gmail.com) with the details (project name, location, maybe a brief synopsis) and I'll post it with the heading, "Check it Out". From what I've seen, it's pretty amazing what's happening throughout the independent and foreign film community (although I'm sure this has been true for quite some time) and it can't hurt to broaden the horizon.
Moderators
Those working each night should seek out the moderators at the beginning of the meeting to share goals for the work.
Please keep feedback concise, once the moderators have opened it up to the group. We have had wonderfully full dockets lately, and we want to be able to get to as much work as possible. Keep your comments focused on what you OBSERVE in the behavior. We are peers, not directors or teachers. If something is unclear or you have a question about the work, tell those working what you observed and let them choose how to address it.
As always, announced guests are welcome. We ask you to take responsibility for your guests, and we ask that they observe for their first few visits to see how the room operates before offering feedback.
Preparation/Prioritization
We have had a resurgence of requests for time to work. This is great. We have been able to accept requests and schedule them, more or less, on a first-come, first-serve basis.
We understand that there are cases where you may not have access to scripts, sides, etc. until last minute, and we will continue to make time for your urgent projects (auditions, etc.). However, for work that is not time-sensitive, please bring in the work AFTER you have taken the time you need to do your homework. Bring in work once you have SPECIFIC goals, not 'just to hear it out loud.' The group cannot be helpful if it is relegated to general feedback about doing your homework. We know that our colleagues can read... what we want to discuss week after week is the behavior; and it is more fully realized the further along in the process you are with your work. We want to learn what choices you've made, what problems you're tackling, and see it play out in front of us. Mondays should be generous and involving.
Blog/Performance Calendar
Please continue to check these online resources. They will be a repository for Collective goings-on.
The blog will continue to have important details from items discussed in meetings, and about upcoming projects. This will also be the place we will post casting notices sent to The Collective, and initiate discussions about what's happening in the industry outside The Collective bubble. (See "A Note from Mike Houston" below.)
The Performance Calendar will be a one-stop shop to get information about members' events and performances outside The Collective. To include your own performances in the calendar, just send an email to thecollective9@gmail.com with all the details. Support your colleagues and go see some shows!
In the Pipeline
Melissa Rindell has been in discussion with Center Stage about some unexpected rental availability they have for three weeks in May. She has proposed a series of works from Clay McCleod Chapman, Edward Allen Baker and Neil Labute. Production budgets, permissions and details should be finalized in the next few days. Once she has this hammered out, and we know what role The Collective will play, we will share the ways that Collective members can get involved in helping to make the series a success. The event is essentially one month away.
A Note from Mike Houston
So I've recently begun to take in more independent and foreign film, having been inspired by Lisa K. and all involved in setting up the 'Hunger' viewing, and thought the Collective blog would be a great way to reach out and make recommendations about films and theatre to see. Not writing reviews or anything, as I believe a person's response to an artistic experience is subjective; Some may love what some may not. But it's just a way to reach out and say, "Hey, you might want to check this out". If you have something you've seen and experienced, and want to put it out there to The Collective via the blog, just shoot me an e-mail (houston76@gmail.com) with the details (project name, location, maybe a brief synopsis) and I'll post it with the heading, "Check it Out". From what I've seen, it's pretty amazing what's happening throughout the independent and foreign film community (although I'm sure this has been true for quite some time) and it can't hurt to broaden the horizon.
Tuesday, March 31, 2009
Collective Monday – March 30, 2009
These are the items we discussed at the top of our meeting:
Web site updates
1. Performance calendar added
If you are performing somewhere live, your film is being screened, or your episode of that TV show is airing, please let us know so that we can add it to the NEW Collective Member Performance Calendar. It is a place for us and the general public to find out where our members are working outside The Collective.
2. Member blog
If you are reading this, you are already one of the people who knows to check the blog for updates and reminders. The idea is not to absolve members from attending or coming on time to meetings, but to distill, summarize, provide detail and/or remind members what's happening.
Moderators
Those working on Mondays should be sure to check in with the moderators to identify specific points for discussion.
Moderators will initiate the post-work discussion and then open up the discussion. Please try to keep feedback focused on what you OBSERVE in the behavior, and not on directorial notes, acting lessons, or suggestions for different choices YOU would have made. Ask a question about what you observe, if you have one, but let the actors working decide how to address the issues raised. We are peers, not directors or teachers.
These are NOT performances, they are work sessions. As such, those working should feel empowered to do what they need to create the right environment. If you need to start over, do it. If you need more time for your prep, take it. If you need a line, call for it. If you need a drink of water, get it. YES, we expect those working to be prepared, and we have had consistently full dockets with a lot of work to get through, BUT if it takes a few extra minutes to improve conditions to facilitate the work, then it is worth it. We ALL learn from the process.
Work opportunities
1. Off the Hook
See last week's blog entry for details about this volunteer opportunity for actors and directors. The program is still in need of a couple female actors and directors. And, people with skills in stage management, lighting, sound, etc. are also needed. We all understand what it takes to produce a stage production, so please volunteer to help with this project if you are able.
2. Nyquil commercial casting
This was forwarded to me from a fellow actress.
-------------------------------------------
Hey everyone we are casting a new print job for Nyquil and it's a pretty fun one. We are looking for attractive men and woman between the ages of 25 and 45 who have something a little unique or quirky about them that gives them character.
For example:
We are looking for someone who might have a broken nose, think Owen Wilson.
Someone who has slightly crooked teeth like singer songwriter Jewel or has a gap between their teeth like Madonna.
Are you sporting an afro? Do you have a big mop of curls like Orphan Annie, the bigger better!
We are looking for someone who has a ton of freckles on their face, or lips that put Angelina Jolie's to shame.
Do you have wild eyebrows, or a great big smile with braces?
Do you have really small eyes or crazy long nose hair.
If so we would love to take a quick photo of you and submit you for Nyquil's upcoming print ad.
If interested please email me a recent photo of yourself, preferably a close up that shows your face and hair to nefertitijones@yahoo.com
I will be putting people on camera Tuesday and Wednesday this week in the Union Square area. It will only take five min. I will be there between 10:00-6:00
If you are selected the shoot date is April 6th so you must be available in order to audition.
The Photographer is Olaf Blecker
Pay Rate: $1,500.00 for the shoot date and an additional 1,500.00 if you end up in the Ad.
This is for print and internet use only, it will not be seen on TV.
Usage 1 year.
Thank you,
Nefertiti Jones
www.jonesbonesproductions.com
--------------------------------------------------
Shout outs
Great to see founding member Brian Bannan (a.k.a. The Champ) back in NYC. Brian has kept us all motivated from his satellite office up North, and we love to see him back, even if it's only a few days at a time.
Best wishes to Joe Kathrein, who is heading home to Michigan for a while. We know that members are able to contribute from a distance (see also: Bannan, Brian), so we hope that we will continue to hear from Joe and see him back in NYC from time to time.
Congratulations and welcome to those who continue to make their Collective Monday work debuts.
Web site updates
1. Performance calendar added
If you are performing somewhere live, your film is being screened, or your episode of that TV show is airing, please let us know so that we can add it to the NEW Collective Member Performance Calendar. It is a place for us and the general public to find out where our members are working outside The Collective.
2. Member blog
If you are reading this, you are already one of the people who knows to check the blog for updates and reminders. The idea is not to absolve members from attending or coming on time to meetings, but to distill, summarize, provide detail and/or remind members what's happening.
Moderators
Those working on Mondays should be sure to check in with the moderators to identify specific points for discussion.
Moderators will initiate the post-work discussion and then open up the discussion. Please try to keep feedback focused on what you OBSERVE in the behavior, and not on directorial notes, acting lessons, or suggestions for different choices YOU would have made. Ask a question about what you observe, if you have one, but let the actors working decide how to address the issues raised. We are peers, not directors or teachers.
These are NOT performances, they are work sessions. As such, those working should feel empowered to do what they need to create the right environment. If you need to start over, do it. If you need more time for your prep, take it. If you need a line, call for it. If you need a drink of water, get it. YES, we expect those working to be prepared, and we have had consistently full dockets with a lot of work to get through, BUT if it takes a few extra minutes to improve conditions to facilitate the work, then it is worth it. We ALL learn from the process.
Work opportunities
1. Off the Hook
See last week's blog entry for details about this volunteer opportunity for actors and directors. The program is still in need of a couple female actors and directors. And, people with skills in stage management, lighting, sound, etc. are also needed. We all understand what it takes to produce a stage production, so please volunteer to help with this project if you are able.
2. Nyquil commercial casting
This was forwarded to me from a fellow actress.
-------------------------------------------
Hey everyone we are casting a new print job for Nyquil and it's a pretty fun one. We are looking for attractive men and woman between the ages of 25 and 45 who have something a little unique or quirky about them that gives them character.
For example:
We are looking for someone who might have a broken nose, think Owen Wilson.
Someone who has slightly crooked teeth like singer songwriter Jewel or has a gap between their teeth like Madonna.
Are you sporting an afro? Do you have a big mop of curls like Orphan Annie, the bigger better!
We are looking for someone who has a ton of freckles on their face, or lips that put Angelina Jolie's to shame.
Do you have wild eyebrows, or a great big smile with braces?
Do you have really small eyes or crazy long nose hair.
If so we would love to take a quick photo of you and submit you for Nyquil's upcoming print ad.
If interested please email me a recent photo of yourself, preferably a close up that shows your face and hair to nefertitijones@yahoo.com
I will be putting people on camera Tuesday and Wednesday this week in the Union Square area. It will only take five min. I will be there between 10:00-6:00
If you are selected the shoot date is April 6th so you must be available in order to audition.
The Photographer is Olaf Blecker
Pay Rate: $1,500.00 for the shoot date and an additional 1,500.00 if you end up in the Ad.
This is for print and internet use only, it will not be seen on TV.
Usage 1 year.
Thank you,
Nefertiti Jones
www.jonesbonesproductions.com
--------------------------------------------------
Shout outs
Great to see founding member Brian Bannan (a.k.a. The Champ) back in NYC. Brian has kept us all motivated from his satellite office up North, and we love to see him back, even if it's only a few days at a time.
Best wishes to Joe Kathrein, who is heading home to Michigan for a while. We know that members are able to contribute from a distance (see also: Bannan, Brian), so we hope that we will continue to hear from Joe and see him back in NYC from time to time.
Congratulations and welcome to those who continue to make their Collective Monday work debuts.
Tuesday, March 24, 2009
Collective Monday - March 23, 2009
These were the items discussed at the top of our meeting:
Moderators
We will continue to review the purpose and function of the moderators at each meeting.
Those working should seek out the moderators at the top of the meeting to review with them specific points for discussion.
Announced guests are welcome at our Monday meetings. We do ask that you take responsibility for your guests and request that they merely OBSERVE for their first few visits before offering comments.
Comments should be concise, and focused on the discussion points raised by the moderators. We are peers, not teachers or directors. Please comment on what you OBSERVE in the behavior, and not on directorial notes or suggestions about different choices you would make. Do not make assumptions about what the actor's choices are. Pose a question, if you have one, and let the actor decide how to address it.
Hunger, a film by Steve McQueen
Those who have seen this film have been truly affected. It is only playing through Tuesday, March 24th at IFC. This film centers on the 1980s hunger strikes in Ireland, and is the same material about which the play "The Whales of Long Kesh" is written. The play was given to The Collective and subsequently submitted to the NYC Int'l Fringe Festival for consideration. If you have the chance to catch the film, it would be a great way to get more familiar with the subject. Notification of acceptance by the Fringe should come by end of April. Anyone who wants to read the play can request a copy via the gmail account.
Off the Hook project
A fellow actress is part of a company named Falconworks Artists Group in Red Hook, Brooklyn. Her company runs a youth theater program called "Off the Hook" which takes 6 kids (aged 11-15) from the neighborhood through a 13-week workshop series where they learn how to act and how to write a play. The plays they write are original, unedited scripts based on whatever their hearts desire to express. Once the plays are done, they get professional actors and directors to work directly with the budding playwright to bring their play to the stage. It's an incredible and kind of whirlwind process.
Are any of you actors or directors interested? It's about a 6-7 day volunteer commitment. It's definitely gratifying work. Proposed schedule is below.
Anyone interested can contact Robert (info@robertzgrant.com) for the email contact to the project.
-----------------------------------------------------------------------
Rehearsals: (lunch provided)
Saturday, April 25, from 11:00 am until 5:00 pm (Directors arrive at 11:00 am for orientation; actors arrive at 12:00 noon for meet and greet brunch; rehearsal begins promptly at 1:00 pm)
Saturday, May 2, from 1:00 pm until 5:00
Production Schedule
May 4, 5 or 6: Tech Rehearsal (1 ½ hour between 5:30 pm and 10:00 pm)
Thursday, May 7: Dress Rehearsal 6:00 p.m. until 10:00 pm
Friday, May 8: 7:00 pm Presentation (6:00 pm call)
Saturday, May 9: 3:00 pm Presentation (2:00 pm call)
Moderators
We will continue to review the purpose and function of the moderators at each meeting.
Those working should seek out the moderators at the top of the meeting to review with them specific points for discussion.
Announced guests are welcome at our Monday meetings. We do ask that you take responsibility for your guests and request that they merely OBSERVE for their first few visits before offering comments.
Comments should be concise, and focused on the discussion points raised by the moderators. We are peers, not teachers or directors. Please comment on what you OBSERVE in the behavior, and not on directorial notes or suggestions about different choices you would make. Do not make assumptions about what the actor's choices are. Pose a question, if you have one, and let the actor decide how to address it.
Hunger, a film by Steve McQueen
Those who have seen this film have been truly affected. It is only playing through Tuesday, March 24th at IFC. This film centers on the 1980s hunger strikes in Ireland, and is the same material about which the play "The Whales of Long Kesh" is written. The play was given to The Collective and subsequently submitted to the NYC Int'l Fringe Festival for consideration. If you have the chance to catch the film, it would be a great way to get more familiar with the subject. Notification of acceptance by the Fringe should come by end of April. Anyone who wants to read the play can request a copy via the gmail account.
Off the Hook project
A fellow actress is part of a company named Falconworks Artists Group in Red Hook, Brooklyn. Her company runs a youth theater program called "Off the Hook" which takes 6 kids (aged 11-15) from the neighborhood through a 13-week workshop series where they learn how to act and how to write a play. The plays they write are original, unedited scripts based on whatever their hearts desire to express. Once the plays are done, they get professional actors and directors to work directly with the budding playwright to bring their play to the stage. It's an incredible and kind of whirlwind process.
Are any of you actors or directors interested? It's about a 6-7 day volunteer commitment. It's definitely gratifying work. Proposed schedule is below.
Anyone interested can contact Robert (info@robertzgrant.com) for the email contact to the project.
-----------------------------------------------------------------------
Rehearsals: (lunch provided)
Saturday, April 25, from 11:00 am until 5:00 pm (Directors arrive at 11:00 am for orientation; actors arrive at 12:00 noon for meet and greet brunch; rehearsal begins promptly at 1:00 pm)
Saturday, May 2, from 1:00 pm until 5:00
Production Schedule
May 4, 5 or 6: Tech Rehearsal (1 ½ hour between 5:30 pm and 10:00 pm)
Thursday, May 7: Dress Rehearsal 6:00 p.m. until 10:00 pm
Friday, May 8: 7:00 pm Presentation (6:00 pm call)
Saturday, May 9: 3:00 pm Presentation (2:00 pm call)
Monday, March 2, 2009
Collective Monday - March 2, 2009
Thanks again to Sam Doerr for booking us in the lovely Laura Pels Theater ON BROADWAY!! Many of our members made their unofficial Broadway stage debuts tonight. Very exciting. We were also pleased to be able to offer this opportunity at no cost to those in attendance-- the usual $5 contribution was waived this evening.
These are the topics we discussed at the top of our meeting:
Collective Comedy wrap-up
Thursday night's event was the most unbelievable line-up to date-- Todd Barry, Judah Friedlander, headliner Patrice Oneal, terrific debuts by Prescott and Khamil, and a hilarious new sketch from our own Amy Schumer. Only down-side is: our attendance was at about HALF our previous Collective Comedy events. Our members still performed beautifully when it came to the set-up and strike of the event, and pitched in to do whatever needed to be done. It all went really smoothly, logistically speaking.
Financially, our goal was to recoup our $2,900 loss from UPRISING. We fell short of that goal due to low attendance, and will net a profit of about $900. Considering that Collective members contributed about $450 of that, we will need to return to our attendance numbers from previous shows in order to warrant continuing Collective Comedy. It is an important (and our only current) source of revenue for our company. The success of Collective Comedy relates DIRECTLY to our ability to produce more opportunities for our members to get on stage.
We spent some time discussing some of the factors:
1. Not publicizing specific names of comics
Some noted that the show was a tougher sell because they could not attach a specific name to it. Although, it was also suggested that publicizing the list of comics that showed up THIS time around WOULD impact attendance for the next show. These comics are performing in our show as a personal favor to Amy, so we have to respect the choice to release names or not. It is also partly about weighing the "surprise" nature of an unannounced line-up against the disappointment of publicizing big names that then cancel last-minute.
2. End of the month date
Some suggested that perhaps having the event earlier in the month when people may have more disposable cash may increase attendance. We have held this event fairly consistently in the third week of the month and have managed to draw big crowds, so timing may not be a real factor.
3. Student discounts
Consider using discounts to get some of the Esper community who is aware of the event, but just doesn't feel comfortable dropping $20.
4. Use a ticketing service or donation site (PayPal)
It was proposed that giving people a way to donate when they are unable to attend may add some revenue. We will continue to pursue our not-for-profit tax status as a way to increase donations overall.
5. Too close on the heels of our last event
Some raised the concern that they had gotten their friends to come see shows during UPRISING, and met with some resistance getting friends to come to another event two weeks later.
6. Too heavy on the FREE BEER angle
It was suggested that we may be able to send alternate emails to appeal to our increasingly broad email base. Shouting about the free booze seems to make the event feel like a drink-fest and only speaks to a portion of our total audience.
7. More listings
Everyone should continue to get the show listed in Time Out, Comedy Central, and any other listings we can come up with. Submit to any free listing service you know (newspapers, magazines, online, etc.)
8. The overall economic picture
Despite the incredible entertainment and value Collective Comedy provides, it is not recession-proof. Lower attendance is surely attributable, in part, to a universal wallet-tightening.
Role of the Moderators at Collective Mondays
We will continue to define and refine this important task at Collective Mondays. Moderators are there to initiate specific feedback requested by those working that night, and then to facilitate the discussion by opening it up to the larger group. We will not be able to hear from everyone, and as always, we ask that your invited guests only OBSERVE for their first couple of visits to Collective Mondays before offering feedback. It is important that we develop a common language that honors our objectives of truthful behavior and the reality of doing, and that we do not compromise the trust we have built in that room.
We will continue for the next several meetings to review the format of the work and the feedback. Some common ideas to keep in mind:
--Please remember to keep comments brief and on topic.
--We are developing a separate writers' forum, so feedback on Collective Mondays should be limited to OBSERVED BEHAVIOR as actors, not about script content or playwriting.
--Those working should speak to the moderators to advise specific points for discussion.
--These are NOT performances. We are all working on our craft.
--We are not directors or teachers. We are peers. Please avoid giving directorial notes, or notes on acting technique. Instead, focus on observed behavior. Look for unclear, non-specific or inactive choices (or perceived lack of a choice) and address them without providing your own personal suggestions for alternate possibilities. Let the actor who is working decide how to address any issues raised.
--Do NOT apologize for using meeting time for your work. If you have done your homework and share our collective goals of realizing truthful behavior, then this is YOUR time. Don't tarnish the work worrying about whether your fellow members are losing interest or that your scene is 'too long'. It is up to those in attendance to invest as much in your work as they would their own. Moderators will do what they can to manage the evening's schedule to accommodate as much work as possible and to keep feedback concise.
These are the topics we discussed at the top of our meeting:
Collective Comedy wrap-up
Thursday night's event was the most unbelievable line-up to date-- Todd Barry, Judah Friedlander, headliner Patrice Oneal, terrific debuts by Prescott and Khamil, and a hilarious new sketch from our own Amy Schumer. Only down-side is: our attendance was at about HALF our previous Collective Comedy events. Our members still performed beautifully when it came to the set-up and strike of the event, and pitched in to do whatever needed to be done. It all went really smoothly, logistically speaking.
Financially, our goal was to recoup our $2,900 loss from UPRISING. We fell short of that goal due to low attendance, and will net a profit of about $900. Considering that Collective members contributed about $450 of that, we will need to return to our attendance numbers from previous shows in order to warrant continuing Collective Comedy. It is an important (and our only current) source of revenue for our company. The success of Collective Comedy relates DIRECTLY to our ability to produce more opportunities for our members to get on stage.
We spent some time discussing some of the factors:
1. Not publicizing specific names of comics
Some noted that the show was a tougher sell because they could not attach a specific name to it. Although, it was also suggested that publicizing the list of comics that showed up THIS time around WOULD impact attendance for the next show. These comics are performing in our show as a personal favor to Amy, so we have to respect the choice to release names or not. It is also partly about weighing the "surprise" nature of an unannounced line-up against the disappointment of publicizing big names that then cancel last-minute.
2. End of the month date
Some suggested that perhaps having the event earlier in the month when people may have more disposable cash may increase attendance. We have held this event fairly consistently in the third week of the month and have managed to draw big crowds, so timing may not be a real factor.
3. Student discounts
Consider using discounts to get some of the Esper community who is aware of the event, but just doesn't feel comfortable dropping $20.
4. Use a ticketing service or donation site (PayPal)
It was proposed that giving people a way to donate when they are unable to attend may add some revenue. We will continue to pursue our not-for-profit tax status as a way to increase donations overall.
5. Too close on the heels of our last event
Some raised the concern that they had gotten their friends to come see shows during UPRISING, and met with some resistance getting friends to come to another event two weeks later.
6. Too heavy on the FREE BEER angle
It was suggested that we may be able to send alternate emails to appeal to our increasingly broad email base. Shouting about the free booze seems to make the event feel like a drink-fest and only speaks to a portion of our total audience.
7. More listings
Everyone should continue to get the show listed in Time Out, Comedy Central, and any other listings we can come up with. Submit to any free listing service you know (newspapers, magazines, online, etc.)
8. The overall economic picture
Despite the incredible entertainment and value Collective Comedy provides, it is not recession-proof. Lower attendance is surely attributable, in part, to a universal wallet-tightening.
Role of the Moderators at Collective Mondays
We will continue to define and refine this important task at Collective Mondays. Moderators are there to initiate specific feedback requested by those working that night, and then to facilitate the discussion by opening it up to the larger group. We will not be able to hear from everyone, and as always, we ask that your invited guests only OBSERVE for their first couple of visits to Collective Mondays before offering feedback. It is important that we develop a common language that honors our objectives of truthful behavior and the reality of doing, and that we do not compromise the trust we have built in that room.
We will continue for the next several meetings to review the format of the work and the feedback. Some common ideas to keep in mind:
--Please remember to keep comments brief and on topic.
--We are developing a separate writers' forum, so feedback on Collective Mondays should be limited to OBSERVED BEHAVIOR as actors, not about script content or playwriting.
--Those working should speak to the moderators to advise specific points for discussion.
--These are NOT performances. We are all working on our craft.
--We are not directors or teachers. We are peers. Please avoid giving directorial notes, or notes on acting technique. Instead, focus on observed behavior. Look for unclear, non-specific or inactive choices (or perceived lack of a choice) and address them without providing your own personal suggestions for alternate possibilities. Let the actor who is working decide how to address any issues raised.
--Do NOT apologize for using meeting time for your work. If you have done your homework and share our collective goals of realizing truthful behavior, then this is YOUR time. Don't tarnish the work worrying about whether your fellow members are losing interest or that your scene is 'too long'. It is up to those in attendance to invest as much in your work as they would their own. Moderators will do what they can to manage the evening's schedule to accommodate as much work as possible and to keep feedback concise.
Wednesday, February 25, 2009
Collective Monday - February 23, 2009
These are the items that were discussed at the top of our meeting:
Collective Comedy
The event is THIS WEEK. All Collective members are called at 5pm on Thursday at The Actors Temple, unless you have been instructed otherwise by your committee lead.
1. Sign Ups
Lisa K. passed a sign-up sheet for specific tasks. If you did not sign up, please contact us via email to let us know how you would like to participate on Thursday, and to confirm that you will be there.
2. Finances
It costs us about $800 to produce one night of Collective Comedy. Every member is asked to contribute his/her $20 admission, whether you are working the event, and whether you are drinking or not. If every member contributes, we will cover our production costs, which means that all the admission fees for our guests will go straight into the bank for our next production. See the box office to put in your $20 and get your hand stamped.
3. Hustling
Our goal is to recoup the loss from UPRISING of about $3,000. That means everyone needs to hustle their people to come. Personal goal should be at least FIVE people. GET YOUR PEOPLE THERE. It is a great night, a great value, and has a direct impact on how soon we can produce another show.
4. After party
Nick has made arrangements with The Gaf again for our after party. Drink specials are available with your Collective Comedy hand stamp.
Collective Mondays
1. Guests
We had quite a few guests, which we anticipated following UPRISING. People are interested and excited about what we are doing. That's a good thing. Guests you have personally invited are welcome at our meetings. Please continue to send an email to thecollective9@gmail account to alert us that you will be bringing a guest.
Please take personal responsibility for your guests, and ask that they observe for their first couple of visits. We want to be sure people understand our philosophy and methodology before offering comments. There is a level of trust that is compromised when new faces are in the room. We want feedback to be targeted and useful, and this is more certain from people who have taken the time to witness our process. Moderators will not generally call on guests to comment.
2. Feedback
Remember that we are not directors or acting coaches. We are peers who are learning from each other. Please limit feedback to what you observe in the behavior, and refrain from making comments about different choices YOU would have made, or referring to the work as any kind of performance. These are NOT performances. (I (Robert), personally, have an issue with applauding at the end for that reason.) Beware of making assumptions about what the actor is doing or thinking. If moments of the work are unclear, address it. Perhaps even ask about the specific choice. But do not make suggestions (e.g. 'try it like this', or 'the last time I saw someone do this part...', etc.) or decisions (e.g. 'I would do THIS...', etc.) for the actor who's working. Let the individual doing the work decide how to address any issues raised. If you are familiar with a particular piece, please feel free to offer insights on the material without trying to coax a specific performance you remember.
Those who are bringing in work should speak to the moderators before they work, and try to be as specific as possible about the areas of the work that you want feedback. Requests for comments on 'anything' often lead to meandering discussions.
Major Needs Actors for a Project - March 17th & 18th
Please contact Major Dodge if you are interested to participate in a web project. The job is non-jurisdictional, and there is some pay. It is a spoof of an existing commercial which will be shot at Bowlmor Lanes over two half-days. Actors are needed for background (spend the time bowling, $75 cash), plus three women for featured roles ($200 cash). Contact him ASAP for more info.
Collective Comedy
The event is THIS WEEK. All Collective members are called at 5pm on Thursday at The Actors Temple, unless you have been instructed otherwise by your committee lead.
1. Sign Ups
Lisa K. passed a sign-up sheet for specific tasks. If you did not sign up, please contact us via email to let us know how you would like to participate on Thursday, and to confirm that you will be there.
2. Finances
It costs us about $800 to produce one night of Collective Comedy. Every member is asked to contribute his/her $20 admission, whether you are working the event, and whether you are drinking or not. If every member contributes, we will cover our production costs, which means that all the admission fees for our guests will go straight into the bank for our next production. See the box office to put in your $20 and get your hand stamped.
3. Hustling
Our goal is to recoup the loss from UPRISING of about $3,000. That means everyone needs to hustle their people to come. Personal goal should be at least FIVE people. GET YOUR PEOPLE THERE. It is a great night, a great value, and has a direct impact on how soon we can produce another show.
4. After party
Nick has made arrangements with The Gaf again for our after party. Drink specials are available with your Collective Comedy hand stamp.
Collective Mondays
1. Guests
We had quite a few guests, which we anticipated following UPRISING. People are interested and excited about what we are doing. That's a good thing. Guests you have personally invited are welcome at our meetings. Please continue to send an email to thecollective9@gmail account to alert us that you will be bringing a guest.
Please take personal responsibility for your guests, and ask that they observe for their first couple of visits. We want to be sure people understand our philosophy and methodology before offering comments. There is a level of trust that is compromised when new faces are in the room. We want feedback to be targeted and useful, and this is more certain from people who have taken the time to witness our process. Moderators will not generally call on guests to comment.
2. Feedback
Remember that we are not directors or acting coaches. We are peers who are learning from each other. Please limit feedback to what you observe in the behavior, and refrain from making comments about different choices YOU would have made, or referring to the work as any kind of performance. These are NOT performances. (I (Robert), personally, have an issue with applauding at the end for that reason.) Beware of making assumptions about what the actor is doing or thinking. If moments of the work are unclear, address it. Perhaps even ask about the specific choice. But do not make suggestions (e.g. 'try it like this', or 'the last time I saw someone do this part...', etc.) or decisions (e.g. 'I would do THIS...', etc.) for the actor who's working. Let the individual doing the work decide how to address any issues raised. If you are familiar with a particular piece, please feel free to offer insights on the material without trying to coax a specific performance you remember.
Those who are bringing in work should speak to the moderators before they work, and try to be as specific as possible about the areas of the work that you want feedback. Requests for comments on 'anything' often lead to meandering discussions.
Major Needs Actors for a Project - March 17th & 18th
Please contact Major Dodge if you are interested to participate in a web project. The job is non-jurisdictional, and there is some pay. It is a spoof of an existing commercial which will be shot at Bowlmor Lanes over two half-days. Actors are needed for background (spend the time bowling, $75 cash), plus three women for featured roles ($200 cash). Contact him ASAP for more info.
Wednesday, February 18, 2009
Collective Monday – February 16, 2009
These are items discussed at the top of our meeting this week. Please read all the way through, as this one is loaded with important information. In particular, there are preliminary details about next week's Collective Comedy.
The Collective UPRISING Series post-mortem
Most of the first hour of the meeting was dedicated to reviewing the positives of the UPRISING week, a financial update and review of the week, and a discussion of missed opportunites and learning points for future events.
Lots of Good Things
– We succeeded in our promise to provide at least a monthly performance opportunity.
– We produced six original works in seven days.
– More than 30 of our actors appeared on stage during the week.
– Although we went 20% over budget, if we produce a successful Collective Comedy this month we should be back to the same financial state we were BEFORE the UPRISING Series.
– Many remarks were made about the wonderful moments of people in the group pulling together to overcome crises, large and small.
– There is a renewed vigor and sense of commitment to our mission.
– Special shout out to Mike D who went above and beyond in hustling his people to come see the shows. Many of his invitees were on a comp list and STILL donated generously to The Collective, often times MORE than the price of a ticket.
– The management and staff of The Abingdon Theatre Arts Complex and the cast and crew of "Freudian Slips" (who were performing their quick-change farce in the theatre opposite ours) were all impressed and pleased with the way we handled the small shared space.
– Several of our members made their New York stage debuts.
Financial Update
It is important that all of our members renew their understanding and commitment to financial responsibility when it comes to The Collective. Every choice you make for The Collective about spending money and using resources comes directly back to the well-being of the group. You may think that taking a bottle of water or a glass of wine from the concessions is a minor thing; but your action needs to be multiplied by forty members. During UPRISING these small details added up to several hundred dollars of additional expenses and lost revenue.
Some facts about producing an event like this that you may or may not know:
– It costs us $3,500 to rent a theater in NYC for one week. And, we STILL have to share it with other companies and the owners/managers. Every additional usage is tacked onto the base price (a projector, extra rehearsal time, any special request, etc.). If we do not leave the space in as good or better shape than we find it, we risk losing a $1,500 deposit.
– It cost us almost $8,400 to produce ONE WEEK of shows during UPRISING. Although we did generate $5,700 through ticket sales, the Holiday benefit and bar revenue, this still leaves us with a $2,700 LOSS for the week. The Collective ran out of cash BEFORE the week began, and Robert put $3,000 of his own money into the production to get us through the week.
Let's change the way we think about these events, financially: If we assume $8,000 to produce an event like UPRISING, and we assume there are 40 active members of The Collective, that means EACH of us is responsible for a MINIMUM of $200 for the production. So, your responsibility as a member of this group is to help us find ways to generate $200 worth of income (ticket sales, merchandise, donations, etc.) AND/OR reduce expenses (bring your own bottled water, use less resources, material donations, donate your time and skills, help find cheaper venues, ask for favors, etc.). Understand your PERSONAL responsibility for each event we all generate as The Collective. Your future performance opportunities depend on whether the group can afford to produce more events.
– Although we had three "sold-out" nights during the Series, overall we only sold about 55% of our capacity for the week. That means we missed out on a potential to sell nearly HALF the available seats for the week, and could have added up to $4,600 if those seats had been sold. There was a sense that because so many people were involved in the events that individuals didn't need to hustle. If the question is ever "do we have to hustle?" the answer is ALWAYS "yes".
– We missed opportunities to generate revenue through concessions/merchandising.
a) We wanted to provide wine and water as a courtesy for our guests and only charge enough to cover our costs. Next time, we will raise the prices of wine.
b) Mike D was kind enough to give us the opportunity to sell his books for $10 each and let us keep the sales revenue. We sold a disappointing six books total. We all need to be salespeople and seize these opportunities.
c) Because of cast and crew dipping into the wine, we did not have supply to sell on our final night. Mike D's people were ready to drink, and we had nothing to offer. These events are NOT Collective Comedy where the beer is donated– if you drink it, pay for it.
d) We had beautiful paintings to promote and sell. Talk about them with people when you're in the room. If it doesn't lead to a sale, at least our fellow artist may get some exposure from it.
– We missed opportunities to creatively sell the 3-Pack and Series Passes. Even if people are only planning to come see one show, why not encourage them to buy a pass as a way to make an extra donation to The Collective? A $30 ticket is a reasonable request. We only sold six passes for the week.
Additional Learning Points
– Don't forget about the intangibles:
a) Encourage people to give us their email address. Networking is EVERYTHING for the growth of this group. We only collected 19 emails from the entire week of shows. Getting people there in the first place is a challenge, so let's not blow our chance to get them back.
b) Comps are there to get the right people in to see the shows. We only had about 6 industry people reserved to see shows during the week. More than half of the cast did not use their personal comps. Why not use those comps to get people to come see a show that may not sell out, even if it's not the one you're performing in?
– If you had a chance to perform this time around, be prepared to get involved behind the scenes for the next event.
Collective Comedy
The next Collective Comedy event is only a week away, Thursday, February 26th. Same venue, same price, same sponsor and same deal. Schumer has commitments from some kick-ass comics, so HUSTLE, HUSTLE, HUSTLE. We have promotional pages on Facebook. You can send people to our web site. There is a promotional email which you can personalize and forward to your own lists.
Sign-up sheets will be sent around in the next few days. We need your help, as always, to make this event YOUR event.
It will cost us about $800 to produce this event. We still request that those members who attend the event (to work or to watch, or both, to drink or not) contribute your own $20 cover. We do not ask for dues to be a member of The Collective, and this is not a pay-to-play organization. BUT, please think of it like a Collective Monday-- the donation you make goes DIRECTLY toward the expenses for the venue and the event. If we assume 40 active members, $20 a piece means we meet our $800 expenses and the rest of our guests bring the gravy. We need to generate at least a $2,700 PROFIT to put us back where we were before UPRISING. Get YOUR five people to the event and we're on our way.
If anyone has a creative idea about generating buzz and getting people to the event, please speak up. Let's knock this one out of the park. Speaking of...
Collective Softball
Captain Sam Doerr has organized our team and a sponsor to cover the entrance fee. Thank you, Dive Bar. If you are still interested in joining the roster, please contact Sam. At this point, the only expense individuals will be responsible for is:
- your uniform (TBD)
- your glove
- throw some business to Dive Bar after the games (food and drink)
Balls and bats will be provided.
There will be a couple of practices in March, and the season starts first week of April and runs through end of July. Games are Monday afternoons in Central Park. If you don't want to play, please come show your support.
NY FRINGE Festival Submissions
Two original plays were submitted this weekend to the New York International FRINGE Festival for consideration: "I'm Gonna Shoot Bob Dylan" by Brian Leider (appeared in The Collective UPRISING Series as a reading called "The Naughts"); and "The Whales of Long Kesh" by Matt K. Weiland (a 17-character play – a fictionalized account of the 1981 hunger strikes). If you would like to read "The Whales of Long Kesh," email The Collective account and we'll send you a copy.
The Collective UPRISING Series post-mortem
Most of the first hour of the meeting was dedicated to reviewing the positives of the UPRISING week, a financial update and review of the week, and a discussion of missed opportunites and learning points for future events.
Lots of Good Things
– We succeeded in our promise to provide at least a monthly performance opportunity.
– We produced six original works in seven days.
– More than 30 of our actors appeared on stage during the week.
– Although we went 20% over budget, if we produce a successful Collective Comedy this month we should be back to the same financial state we were BEFORE the UPRISING Series.
– Many remarks were made about the wonderful moments of people in the group pulling together to overcome crises, large and small.
– There is a renewed vigor and sense of commitment to our mission.
– Special shout out to Mike D who went above and beyond in hustling his people to come see the shows. Many of his invitees were on a comp list and STILL donated generously to The Collective, often times MORE than the price of a ticket.
– The management and staff of The Abingdon Theatre Arts Complex and the cast and crew of "Freudian Slips" (who were performing their quick-change farce in the theatre opposite ours) were all impressed and pleased with the way we handled the small shared space.
– Several of our members made their New York stage debuts.
Financial Update
It is important that all of our members renew their understanding and commitment to financial responsibility when it comes to The Collective. Every choice you make for The Collective about spending money and using resources comes directly back to the well-being of the group. You may think that taking a bottle of water or a glass of wine from the concessions is a minor thing; but your action needs to be multiplied by forty members. During UPRISING these small details added up to several hundred dollars of additional expenses and lost revenue.
Some facts about producing an event like this that you may or may not know:
– It costs us $3,500 to rent a theater in NYC for one week. And, we STILL have to share it with other companies and the owners/managers. Every additional usage is tacked onto the base price (a projector, extra rehearsal time, any special request, etc.). If we do not leave the space in as good or better shape than we find it, we risk losing a $1,500 deposit.
– It cost us almost $8,400 to produce ONE WEEK of shows during UPRISING. Although we did generate $5,700 through ticket sales, the Holiday benefit and bar revenue, this still leaves us with a $2,700 LOSS for the week. The Collective ran out of cash BEFORE the week began, and Robert put $3,000 of his own money into the production to get us through the week.
Let's change the way we think about these events, financially: If we assume $8,000 to produce an event like UPRISING, and we assume there are 40 active members of The Collective, that means EACH of us is responsible for a MINIMUM of $200 for the production. So, your responsibility as a member of this group is to help us find ways to generate $200 worth of income (ticket sales, merchandise, donations, etc.) AND/OR reduce expenses (bring your own bottled water, use less resources, material donations, donate your time and skills, help find cheaper venues, ask for favors, etc.). Understand your PERSONAL responsibility for each event we all generate as The Collective. Your future performance opportunities depend on whether the group can afford to produce more events.
– Although we had three "sold-out" nights during the Series, overall we only sold about 55% of our capacity for the week. That means we missed out on a potential to sell nearly HALF the available seats for the week, and could have added up to $4,600 if those seats had been sold. There was a sense that because so many people were involved in the events that individuals didn't need to hustle. If the question is ever "do we have to hustle?" the answer is ALWAYS "yes".
– We missed opportunities to generate revenue through concessions/merchandising.
a) We wanted to provide wine and water as a courtesy for our guests and only charge enough to cover our costs. Next time, we will raise the prices of wine.
b) Mike D was kind enough to give us the opportunity to sell his books for $10 each and let us keep the sales revenue. We sold a disappointing six books total. We all need to be salespeople and seize these opportunities.
c) Because of cast and crew dipping into the wine, we did not have supply to sell on our final night. Mike D's people were ready to drink, and we had nothing to offer. These events are NOT Collective Comedy where the beer is donated– if you drink it, pay for it.
d) We had beautiful paintings to promote and sell. Talk about them with people when you're in the room. If it doesn't lead to a sale, at least our fellow artist may get some exposure from it.
– We missed opportunities to creatively sell the 3-Pack and Series Passes. Even if people are only planning to come see one show, why not encourage them to buy a pass as a way to make an extra donation to The Collective? A $30 ticket is a reasonable request. We only sold six passes for the week.
Additional Learning Points
– Don't forget about the intangibles:
a) Encourage people to give us their email address. Networking is EVERYTHING for the growth of this group. We only collected 19 emails from the entire week of shows. Getting people there in the first place is a challenge, so let's not blow our chance to get them back.
b) Comps are there to get the right people in to see the shows. We only had about 6 industry people reserved to see shows during the week. More than half of the cast did not use their personal comps. Why not use those comps to get people to come see a show that may not sell out, even if it's not the one you're performing in?
– If you had a chance to perform this time around, be prepared to get involved behind the scenes for the next event.
Collective Comedy
The next Collective Comedy event is only a week away, Thursday, February 26th. Same venue, same price, same sponsor and same deal. Schumer has commitments from some kick-ass comics, so HUSTLE, HUSTLE, HUSTLE. We have promotional pages on Facebook. You can send people to our web site. There is a promotional email which you can personalize and forward to your own lists.
Sign-up sheets will be sent around in the next few days. We need your help, as always, to make this event YOUR event.
It will cost us about $800 to produce this event. We still request that those members who attend the event (to work or to watch, or both, to drink or not) contribute your own $20 cover. We do not ask for dues to be a member of The Collective, and this is not a pay-to-play organization. BUT, please think of it like a Collective Monday-- the donation you make goes DIRECTLY toward the expenses for the venue and the event. If we assume 40 active members, $20 a piece means we meet our $800 expenses and the rest of our guests bring the gravy. We need to generate at least a $2,700 PROFIT to put us back where we were before UPRISING. Get YOUR five people to the event and we're on our way.
If anyone has a creative idea about generating buzz and getting people to the event, please speak up. Let's knock this one out of the park. Speaking of...
Collective Softball
Captain Sam Doerr has organized our team and a sponsor to cover the entrance fee. Thank you, Dive Bar. If you are still interested in joining the roster, please contact Sam. At this point, the only expense individuals will be responsible for is:
- your uniform (TBD)
- your glove
- throw some business to Dive Bar after the games (food and drink)
Balls and bats will be provided.
There will be a couple of practices in March, and the season starts first week of April and runs through end of July. Games are Monday afternoons in Central Park. If you don't want to play, please come show your support.
NY FRINGE Festival Submissions
Two original plays were submitted this weekend to the New York International FRINGE Festival for consideration: "I'm Gonna Shoot Bob Dylan" by Brian Leider (appeared in The Collective UPRISING Series as a reading called "The Naughts"); and "The Whales of Long Kesh" by Matt K. Weiland (a 17-character play – a fictionalized account of the 1981 hunger strikes). If you would like to read "The Whales of Long Kesh," email The Collective account and we'll send you a copy.
Monday, January 26, 2009
Collective Monday - January 26
These are the items discussed at the top of our meeting:
The Collective UPRISING Series
This exciting week of events is NEXT WEEK. We need everyone pulling out all the stops to make this a success. It is YOUR Series.
Every event is a double-bill. The first piece will start at or close to the scheduled start time (in most cases 7pm), and the second piece will follow, after a 15-20 minute intermission.
TICKETS
1. $15 individual tickets, $30 3-Packs (any 3 events during the week), and $50 Series Passes (any or all events during the week) are all available.
2. Please encourage people to get tickets in advance through SmartTix.
3. Shows are all searchable by title, and will lead patrons to the UPRISING events page.
4. The published "discount codes" for the 3-Pack and Series Passes are not actually necessary. Have patrons click on the appropriate links on the SmartTix event pages to buy the passes.
5. COMPS:
We WANT people to see you work.
a. Industry comps – you may request as many as you need. Please provide a name, a street address and an email address, if possible. Please notify us in advance, whenever possible, so that we can put your request into the SmartTix system to guarantee seats.
b. Personal comps – each member of the creative team (actors, directors, designers, etc.) is entitled to TWO personal comps. We ask that you use them judiciously, since we would like to SELL as many of the seats as possible. Notify us in advance by email the name and number of comps, and which performance.
STAFFING:
1. Please provide your availability to work events Feb 2-8.
Feb 2 will be our load-in day, starting at 9am, and continuing til late.
Feb 3 will have tech/dress rehearsals beginning at 1pm, and the Series opens that night.
Feb 4-7 we'll need staff to run the events (box office, concessions, ushers, floaters, etc.) starting at about 6pm.
Feb 8 we'll need staff to run the day's events beginning at about 2pm. Our load-out will begin at about 9pm (right after Mike D's last show).
2. We will slot people into specific tasks in the next few days, and notify you by email. If you have told us you are available, we are counting on you to be there.
PROMOTION:
1. Flyer/posters are now available and were distributed at the meeting. Those in need of flyer/posters should let us know ASAP. We will also have flyers at the load-in next Monday.
2. An email will be circulated Tuesday to The Collective mailing list, which you can also send to your personal mailing list.
3. The Collective is promoting the Series. Individual shows are promoting themselves as PART of the Series. So, if you send personal promotions for a particular show that you are in, please be sure that you identify it as "part of The Collective UPRISING Series" and at least promote the show that is appearing on the bill with yours.
CONCESSIONS:
1. We intend to provide wine and water before the shows, and during intermission. The theater does not have a liquor license, so wine will be provided with a suggested donation to cover our expenses. Water will be available at a fixed price.
2. If anyone has wine (or water) connections, please make yourself known ASAP.
THE THEATER:
1. There will be another show in the smaller theater on the same floor as our events. That means we are sharing the common spaces and bathrooms with another show. Please be prepared that the venue will be crowded, particularly on the nights of GATED, and actors will likely need to wait in the theater's lobby/bar during the first show.
2. There is little soundproofing. ACTORS AND ANYONE OUTSIDE THE PERFORMANCE SPACE MUST BE SILENT. We can hear you talking, and we can hear you walking around.
3. Treat the space with care. We are under contract, and want to leave the place in the best shape possible (or we don't get our deposit back).
PROGRAMS:
1. If you are performing in one of the events/readings, please submit your name and a short bio (70 words or less) to your event leader by Wednesday the 28th.
COSTUME NEEDS:
Please contact Krista ASAP, if you can provide any of the following:
1. Mens pastel-hued solid or patterned shirts.
2. Mens golf cap
3. Mens pastel-hued argyle socks
4. Mens golf knickers, or plaid or patterned twill pants.
5. Mens pastel-hued argyle sweater
5. Ladies boa
6. Ladies garter
7. Ladies knit cap (snood style to tuck hair up)
SET NEEDS:
Think of simple, modern furnishings that would decorate a model home in Las Penas Hills. IKEA-esque.
1. Couch (neutral coloring, very good condition, not worn, highend, like in a model home)
2. Two side boards (blond wood, modern simple style)
3. Side table (to match)
4. Coffee Table (to match)
5. Large Frame (for paintings behind couch)
6. Connection with large print company...need to print large images for paintings
7. Large area rug (neutral color)
8. Putting Green (roll out Price is Right style)
9. Two Benches to represent Pews
10. Two Chairs (simple basic style)
11. One table (doubles as desk and bar table)
12. One platform
Collective Mondays
We are descendants of the Group Theatre. Our goal is the reality of doing... truth in imaginary circumstances. We are not teachers or directors. We are peers. And feedback should be structured accordingly.
MODERATORS
1. We are continuing to define this important task. The goal is to be a bridge between the actors working on stage and those observing. The moderators will discuss desired feedback with the actors working, and then initiate and guide the discussion to follow.
OBSERVERS
1. We ask that observers wait to be acknowledged before offering feedback. Moderators may limit feedback at their discretion.
GUESTS
1. Guests are welcome. We encourage guests to observe our working style a few times before offering feedback.
The Collective UPRISING Series
This exciting week of events is NEXT WEEK. We need everyone pulling out all the stops to make this a success. It is YOUR Series.
Every event is a double-bill. The first piece will start at or close to the scheduled start time (in most cases 7pm), and the second piece will follow, after a 15-20 minute intermission.
TICKETS
1. $15 individual tickets, $30 3-Packs (any 3 events during the week), and $50 Series Passes (any or all events during the week) are all available.
2. Please encourage people to get tickets in advance through SmartTix.
3. Shows are all searchable by title, and will lead patrons to the UPRISING events page.
4. The published "discount codes" for the 3-Pack and Series Passes are not actually necessary. Have patrons click on the appropriate links on the SmartTix event pages to buy the passes.
5. COMPS:
We WANT people to see you work.
a. Industry comps – you may request as many as you need. Please provide a name, a street address and an email address, if possible. Please notify us in advance, whenever possible, so that we can put your request into the SmartTix system to guarantee seats.
b. Personal comps – each member of the creative team (actors, directors, designers, etc.) is entitled to TWO personal comps. We ask that you use them judiciously, since we would like to SELL as many of the seats as possible. Notify us in advance by email the name and number of comps, and which performance.
STAFFING:
1. Please provide your availability to work events Feb 2-8.
Feb 2 will be our load-in day, starting at 9am, and continuing til late.
Feb 3 will have tech/dress rehearsals beginning at 1pm, and the Series opens that night.
Feb 4-7 we'll need staff to run the events (box office, concessions, ushers, floaters, etc.) starting at about 6pm.
Feb 8 we'll need staff to run the day's events beginning at about 2pm. Our load-out will begin at about 9pm (right after Mike D's last show).
2. We will slot people into specific tasks in the next few days, and notify you by email. If you have told us you are available, we are counting on you to be there.
PROMOTION:
1. Flyer/posters are now available and were distributed at the meeting. Those in need of flyer/posters should let us know ASAP. We will also have flyers at the load-in next Monday.
2. An email will be circulated Tuesday to The Collective mailing list, which you can also send to your personal mailing list.
3. The Collective is promoting the Series. Individual shows are promoting themselves as PART of the Series. So, if you send personal promotions for a particular show that you are in, please be sure that you identify it as "part of The Collective UPRISING Series" and at least promote the show that is appearing on the bill with yours.
CONCESSIONS:
1. We intend to provide wine and water before the shows, and during intermission. The theater does not have a liquor license, so wine will be provided with a suggested donation to cover our expenses. Water will be available at a fixed price.
2. If anyone has wine (or water) connections, please make yourself known ASAP.
THE THEATER:
1. There will be another show in the smaller theater on the same floor as our events. That means we are sharing the common spaces and bathrooms with another show. Please be prepared that the venue will be crowded, particularly on the nights of GATED, and actors will likely need to wait in the theater's lobby/bar during the first show.
2. There is little soundproofing. ACTORS AND ANYONE OUTSIDE THE PERFORMANCE SPACE MUST BE SILENT. We can hear you talking, and we can hear you walking around.
3. Treat the space with care. We are under contract, and want to leave the place in the best shape possible (or we don't get our deposit back).
PROGRAMS:
1. If you are performing in one of the events/readings, please submit your name and a short bio (70 words or less) to your event leader by Wednesday the 28th.
COSTUME NEEDS:
Please contact Krista ASAP, if you can provide any of the following:
1. Mens pastel-hued solid or patterned shirts.
2. Mens golf cap
3. Mens pastel-hued argyle socks
4. Mens golf knickers, or plaid or patterned twill pants.
5. Mens pastel-hued argyle sweater
5. Ladies boa
6. Ladies garter
7. Ladies knit cap (snood style to tuck hair up)
SET NEEDS:
Think of simple, modern furnishings that would decorate a model home in Las Penas Hills. IKEA-esque.
1. Couch (neutral coloring, very good condition, not worn, highend, like in a model home)
2. Two side boards (blond wood, modern simple style)
3. Side table (to match)
4. Coffee Table (to match)
5. Large Frame (for paintings behind couch)
6. Connection with large print company...need to print large images for paintings
7. Large area rug (neutral color)
8. Putting Green (roll out Price is Right style)
9. Two Benches to represent Pews
10. Two Chairs (simple basic style)
11. One table (doubles as desk and bar table)
12. One platform
Collective Mondays
We are descendants of the Group Theatre. Our goal is the reality of doing... truth in imaginary circumstances. We are not teachers or directors. We are peers. And feedback should be structured accordingly.
MODERATORS
1. We are continuing to define this important task. The goal is to be a bridge between the actors working on stage and those observing. The moderators will discuss desired feedback with the actors working, and then initiate and guide the discussion to follow.
OBSERVERS
1. We ask that observers wait to be acknowledged before offering feedback. Moderators may limit feedback at their discretion.
GUESTS
1. Guests are welcome. We encourage guests to observe our working style a few times before offering feedback.
Thursday, January 22, 2009
The Collective UPRISING Series
From the UPRISING production front:
TICKETS
We sold our first pair of tickets to the Series yesterday!! We may be underestimating our potential turnout, so please encourage people to buy tickets in advance online to be sure they get seats. We have about 700 seats available for events throughout the week.
PROMOTION
Flyers arrived today, and will be available to The Collective members at next Monday's meeting (Jan. 26). If anyone wants flyers/posters before then, please let Robert know and we can make arrangements. We are only producing promo materials for the Series-- which means individual productions should feel free to promote their own show however and to whatever extent necessary.
For continuity across promotions, please always refer to your show as "premiering as part of The Collective UPRISING Series" and put our web site "www.thecollective-ny.org." And, please mention the other show on your double-bill, since every event consists of two performances/readings. We can provide The Collective logo, as well. If you need support with promo materials, please don't hesitate to ask.
We will draft a blast email before Monday's meeting, as well, so that we can start sending that to our mailing list and members/participants can send it to their own lists. It will essentially recap the information that is already available online at our web site, on our Facebook event pages, and on the SmartTix website.
STAFFING
We are assembling a staffing schedule, of sorts, for the week. We have had interest from various members, with varying availabilities, which is great. Now, we need to lock down who's doing what to minimize problems covering the needs of each event.
PROGRAMS
Please begin assembling your lists of credits/names/thank you's and collecting SHORT bios (70 words or less) from the people involved in your events. We would like to provide a simple program to each of the events. We cannot promise, at this point, whether or not it will simply be a list of names or if bios will be included. It will depend on timing and layout limitations. Deadline for this information will be next Wednesday, January 28th.
TICKETS
We sold our first pair of tickets to the Series yesterday!! We may be underestimating our potential turnout, so please encourage people to buy tickets in advance online to be sure they get seats. We have about 700 seats available for events throughout the week.
PROMOTION
Flyers arrived today, and will be available to The Collective members at next Monday's meeting (Jan. 26). If anyone wants flyers/posters before then, please let Robert know and we can make arrangements. We are only producing promo materials for the Series-- which means individual productions should feel free to promote their own show however and to whatever extent necessary.
For continuity across promotions, please always refer to your show as "premiering as part of The Collective UPRISING Series" and put our web site "www.thecollective-ny.org." And, please mention the other show on your double-bill, since every event consists of two performances/readings. We can provide The Collective logo, as well. If you need support with promo materials, please don't hesitate to ask.
We will draft a blast email before Monday's meeting, as well, so that we can start sending that to our mailing list and members/participants can send it to their own lists. It will essentially recap the information that is already available online at our web site, on our Facebook event pages, and on the SmartTix website.
STAFFING
We are assembling a staffing schedule, of sorts, for the week. We have had interest from various members, with varying availabilities, which is great. Now, we need to lock down who's doing what to minimize problems covering the needs of each event.
PROGRAMS
Please begin assembling your lists of credits/names/thank you's and collecting SHORT bios (70 words or less) from the people involved in your events. We would like to provide a simple program to each of the events. We cannot promise, at this point, whether or not it will simply be a list of names or if bios will be included. It will depend on timing and layout limitations. Deadline for this information will be next Wednesday, January 28th.
Monday, January 19, 2009
Collective Monday - January 19
Items discussed at the outset of our meeting:
The Collective UPRISING Series:
SCHEDULING
1. The week schedule is now finalized. Each performance slot is a double-bill, consisting of TWO shows or readings. For example, Mike D's show may start at 7pm, followed by GATED at approximately 8:30pm, after a short intermission. We are hoping to share our audience this way, and increase exposure to the breadth of offerings from the week.
PRODUCTION
1. We are still in need of the following key appointments for the week:
-Stage Manager to run the shows nightly
-Assistant Stage Manager(s) to help with the run each night
-Lighting Designer to set a basic plot that will accommodate all shows during the week.
2. We have confirmed a Sound Designer and are in talks with a possible Set Designer.
3. We will need all hands on deck during the week of Feb 2-8, so please make your availability/interests known.
4. Please review set/prop lists to advise if you have any items to contribute.
PROMOTION
1. Web site has current details of the week, plus a flyer for circulation.
2. Promo flyers/posters will be available at next Monday's meeting (January 26th)
3. A promo email will be distributed this week for circulation to your own contacts.
4. Facebook groups and event pages are there for you to use to help promote the event.
5. Individual tickets are now available through SmartTix for $15 each. $30 three-packs and $50 weeklong Series passes will also be available online in the next few days.
Collective Mondays:
1. We will continue to define and develop the role of the moderators. These assigned people will facilitate and lead the discussion each week.
2. Those who are getting up to work during the session should touch base with the moderators to advise them of any special concerns or feedback requests.
The Collective UPRISING Series:
SCHEDULING
1. The week schedule is now finalized. Each performance slot is a double-bill, consisting of TWO shows or readings. For example, Mike D's show may start at 7pm, followed by GATED at approximately 8:30pm, after a short intermission. We are hoping to share our audience this way, and increase exposure to the breadth of offerings from the week.
PRODUCTION
1. We are still in need of the following key appointments for the week:
-Stage Manager to run the shows nightly
-Assistant Stage Manager(s) to help with the run each night
-Lighting Designer to set a basic plot that will accommodate all shows during the week.
2. We have confirmed a Sound Designer and are in talks with a possible Set Designer.
3. We will need all hands on deck during the week of Feb 2-8, so please make your availability/interests known.
4. Please review set/prop lists to advise if you have any items to contribute.
PROMOTION
1. Web site has current details of the week, plus a flyer for circulation.
2. Promo flyers/posters will be available at next Monday's meeting (January 26th)
3. A promo email will be distributed this week for circulation to your own contacts.
4. Facebook groups and event pages are there for you to use to help promote the event.
5. Individual tickets are now available through SmartTix for $15 each. $30 three-packs and $50 weeklong Series passes will also be available online in the next few days.
Collective Mondays:
1. We will continue to define and develop the role of the moderators. These assigned people will facilitate and lead the discussion each week.
2. Those who are getting up to work during the session should touch base with the moderators to advise them of any special concerns or feedback requests.
Monday, January 5, 2009
Welcome to The Collective member blog
This password-protected blog will be a way for you to tap into on-going conversations about current and upcoming projects within The Collective. This can be your first stop whenever you have questions or need updates about our work. Feel free to leave us your comments, too, so that we can make this a useful communication tool.
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