2016 in Review

I grew a lot as an actor this year – more physical, playful, artistic, vocal and comfortable in chaos. I also made a big distinction toward the end of 2016 that really changed my perspective, and subsequently, my outlook for 2017: there’s a huge difference between struggling and being in the struggle. The latter includes acceptance, it’s active, and it’s empowering. Before I kick 2017’s ass, here’s a look back:

Professionally

Pilot Season Prep

I took AdlerImprov Acting Studio‘s Pilot Season Prep class, taught by Rob Adler and Amie Ferrell, to kick off my 2016. By watching how other actors approached each week’s script, I realized there really is no right or wrong way. Instead, there’s your interpretation of the character and how you communicate the circumstances. There are certainly better, more active choices one can make that better serve the story, but relieving the pressure to “get it right” really changed my approach and, ultimately, freed me up to make more artistic choices.

Two plays

A good friend from Chicago, Jason “The Dragon” Markoff, invited me to perform a Christopher Durang monologue in the middle of two one act plays he and another Harvard grad, Rushi Kota, were putting up to showcase their talents. Having enjoyed my experience working with Jason on episode 7 of Platoon of Power Squadron, I jumped at the chance to work with him again. I also played a cowboy in the second one act. Both characters required dramatically different physicality and vocal dynamics. I had so much fun bringing those characters to life. It reminded me why I started acting in the first place.

The second play was Bootleg Theater’s original work, The Stand-In, written by Pete Monro and Alicia Adams and directed by Ric Murphy. This was a tremendous opportunity and I’m extremely grateful I got to work with and watch some fantastic actors and see their process. I played three different characters, each with a different physicality. The beauty of Ric’s direction is that everything is measured by what it communicates to the audience. The choices aren’t necessarily good or bad, but rather communicate or don’t. Two examples in particular. As one character, I came out futzing with a belt. The action pulled my head upstage so the audience couldn’t see my face. A brief second, but it didn’t work. I scrapped it. The second was a regimented walk and turn as a soldier. A fairly standard choice. On closing night, Ric suggested I play with communicating the environment’s temperature (it was cold) rather than the regimented walk. The result – a blow of both hands to warm them up and a deep breath. A complete change of character and a heightened chilling affect on the scene.

Two shorts

Mike Stutz is a writer, director, actor and producer. He wrote and produced a short called Fat Lamb (directed by Rob Adler), which asked the question, “What if instead of ascending to heaven in a blaze of glory Jesus just sorta…stuck around?” In it, I played a suicide hotline operator. This was a hoot and the lines in the final cut were completely improvised.

Mistress Jane is a short written and directed by Roberto Roquer. It’s a story about a mistress who lets down her guard and falls in love with her sub. I play the sub. I’ll share the final cut with you when it’s available.

Content Creation

The same Mike Stutz mentioned above taught a six week writing class at AdlerImprov Acting Studio. The beauty of this writing class was that it was physical. All the writing takes place in the space, not in the head. You’re on your feet most of the time, letting distance, gesture, movement, and ultimately, your body, inform the writing.

The Pool

iO West puts together a team of graduates to perform the Harold in a show called The Pool. Six weeks of rehearsal with a coach and four performances. Doug Sarine was our coach and often pushed us to keep it simple and emotionally vulnerable. And the group was extremely supportive and willing to take risks. What a great experience!

Commercial Technique Intensive

Amie Farrell is a commercial booking machine and she shared her tips and tricks with us over a weekend intensive at the AdlerImprov Acting Studio. The big takeaway from Amie’s class was camera awareness and environment, and using both to keep my face in the screen early and often.

Deb Barylski

Deb Barylski is an Emmy award winning casting director with monster comedy credits on her resume: Arrested Development, The Middle, Home Improvement, Just Shoot Me! This workshop offered insight on type and worked several scenes. Deb champions actors and pushes them to offer the best versions of themselves in auditions. She is specific with her feedback and generous with her time. Highly recommend taking her workshop if you have the opportunity. Unfortunately, she’s a St. Louis Cardinals fan, but I digress.

Commercial Agent

My previous commercial agent and I parted ways and I signed with DPM Talent just before the holidays. Daniel has been a commercial agent for almost two decades and tells it the way he sees it. He’s a no bullshit guy. Unfortunately, he’s a White Sox fan, but I digress. I’m looking forward to this partnership.

AFI

At the tail end of the year, I had the opportunity to work with 30 or so up and coming directors in the American Film Institute‘s directing program. The teacher, Rob Spera, an accomplished director, studied with Sanford Meisner and teaches the Meisner Technique to his students to help them craft deeper emotional stories and better understand the process actor’s go through to deliver their performances. He invites a handful of actors to demonstrate the technique and share their experiences with the students. I’ve participated in this program twice and loved every second of it. Special thanks to my friend and talented actor, Katie Adler, for sharing this opportunity with me.

Ongoing study

I continued studying with with Rob Adler, Ric Murphy and Amie Ferrell at the AdlerImprov Acting Studio throughout 2016, taking the Sunday Advanced AdlerImprov and On Camera Scene Study classes. It is my artistic home and I continue to cherish the time I spend there and the work I create there. The space has enriched my work and the artists who work there continue to challenge, inspire and motivate me to achieve and do more.

Personally

Got healthy

At the end of 2015, I wasn’t in great physical shape and it affected me emotionally. I stopped working out for the last quarter of the year and, as a result, I was depressed. I felt sluggish. After stepping on the scale at my mom’s house for the holiday break, I knew I needed to make a change. Since then, I’ve worked out at least four times per week. I weigh about the same as I did last year, but it’s muscle. And as a result, I feel more vibrant.

Therapy

I started seeing a therapist to figure out my blocks and the behavioral patterns holding me back. I’m an analytical person and I tend to focus on hypothetical outcomes, which ends up draining a lot of mental energy and creating a lot of unnecessary worry. I also tend to avoid. After two months, I’m already seeing the benefits. I started making more active choices. I started using my words. I talk to myself in a more positive, healthy way. And I’m less stressed. I look forward to reaping the fruits in 2017.

Breaks

I took more breaks in 2016. I went for walks. I hiked. I napped. Taking a break freed me up to brainstorm and ponder. Naps recharged me. It’s easy to get caught up in the grind of LA and the idea that constant motion is necessary. That’s draining. And to quote a popular line in The Princess Bride, “Get some rest. If you haven’t got your health, you haven’t got anything.” In 2017, I want to chew my food literally and metaphorically by enjoying the world around me.

That was my 2016. I have aggressive plans for 2017. But I’ll share those in a different post. Wishing you continued success on your path and health and happiness in your life. Embrace the struggle.