FREEHOLD FORUM JANUARY 2008 ISSUE

 




    FREEHOLD FORUM 2008 JANUARY ISSUE


 

This month we are pleased to feature the following:

  • John Jacobsen. Find out what John Jacobsen considers an essential fallback strategy for every actor.

  • Sara Lerner. Follow along with Sara as she describes how learning about shaking out tension and horse-neighing in her Voice class helped her with her work at KUOW.

  • Norman Bell. Read Norman's reflective spoken word poem generated in Daemond Arrindell's Spoken Word and Performance Poetry Class.

  • Freehold News. Keep up-to-date with all of Freehold's news.

  • Freehold Faculty and Student News/Shows. Get the most current news about the upcoming performances (and get them on your schedule now!) that Freehold faculty and students are performing in locally, nationally and internationally.

We always appreciate your input. Please feel free to contact us at (206) 323-7499 x14 or kate@freeholdtheatre.org with story ideas, upcoming shows of Freehold students and articles that you would like to see highlighted.  

 



    Acting for the Camera by John Jacobsen

 


Sydney Pollack and John Jacobsen

John Jacobsen has written, directed, and produced feature films in Los Angeles, worked on and off Broadway in New York, directed commercials all over the world, but lives here in Seattle. He founded TheFilmSchool, www.thefilmschool.com, with the actor Tom Skerritt, and has taught at UCLA and many renowned institutions across the country. John will be teaching Directing and Acting for the Camera at Freehold this winter quarter.

I am often asked to teach classes with titles such as "Acting for the Camera", but on the first day of class I often find myself having to explain that before you can act in front of a camera, you have to know how to act, period. This seems obvious to me, but since everyone is determined to be on the next episode of Three's Company (let's pray they are not reviving this show), or whatever the next hot episodic is, they are determined to get in front of the camera come hell or high water, as if just putting in a few hours in front of the camera or learning the few basic things needed will get them cast.

Good luck with that. I wish you the best. But unless you are the next incredibly beautiful thaing, perfectly 20 years old in every way, you are probably going to have to have a fallback strategy and I suggest that fallback is the ability to act.

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    FREEHOLD NEWS

 


Amy Thone and Hans Altwies performing a scene from Macbeth

BENEFIT FOR FREEHOLD THEATRE THANKS!

Thank you to all who turned out to support Freehold at our Benefit.

The sold-out event was a huge success and lived up to its promise that it was a night you didn't want to miss!

Whether it was being amused by Matt Smith's improv asides, watching Robin Lynn Smith, George Lewis and Annette Toutonghi's hilarious scene, Gin Hammond's stunning performance, Daemond Arrindell's powerful spoken word poems, Geof Alm's and Brynna Jourdan's funny and masterful stage combat wizardry, Amy Thone and Hans Altwies' sensational showstopping Shakespeare brilliance or Lauren Weedman's moving and hilarious reading of her work (who can forget her comical comment as she was about to read from her book ... "It's great to follow the Shakespeare piece ... now you can see what great writing is REALLY like."), the evening performances reminded us all how lucky we all are to have such talented artists as part of our community.


Robin Lynn Smith and George Lewis at George's Bon Voyage Party

Bon Voyage George

Thanks also to those who came out to wish George Lewis Bon Voyage as he heads off on his adventure to Buenos Aires. A huge thanks to George for the over 16 years of dedicated service, hard work and inspiration at Freehold.

Annual Fund For Freehold

Thank you also to all who have been contributing to Freehold's Annual Fund. Your donations are very much valued and will be of great assistance to Freehold as we head into the coming year. As a reminder, your donations are eligible for tax deductable! Any questions, call us at Freehold, (206) 323-7499.

Winter Quarter at Freehold is soon to begin!

Want to work on your accents? Improve your singing? Hone your acting, playwriting, or directing skills?

Whether it is Singing and the Alexander Technique, Accent Study or Spoken Word and Performance Poetry, winter is the perfect time to invest in a class and yourself! Go to www.freeholdtheatre.org to look at a listing for all of our acting, directing, playwriting, singing, spoken word classes. Sign up now to ensure you have a space!

Performance and Rehearsal Spaces Available at Freehold

Freehold has two spectacular performance spaces: The East Hall Theatre and The Ground Floor Studio Theatre and two additional rooms, Walt and Workspace, for rent. The East Hall Theatre is a 92 seat theatre and is a popular performance space for long and short runs and also good for large group rehearsals and photo shoots. The Ground Floor Studio Theatre is an inviting and spacious venue with 16 foot ceilings and a 49-seat Black Box theatre. It has everything you will need for your upcoming production ... a new sound system, new seats, and new design for a price beyond affordable! Rental rates include an additional roomy dressing room. For more information, contact Jason Gorgen at Freehold: (206) 323-7499 x13 or email at rentals@freeholdtheatre.org.

Odd Fellows' Hall Update

Freehold does not have any additional news to report regarding the sale of Odd Fellows' Hall and our location plans for the future. We are still checking out lots of options and weighing our choices. We hope to have something new to report in the February Newsletter.

Thank you for your continued interest and support of Freehold!




    My Voice Discoveries by Sara Lerner

 

Sara Lerner works at KUOW, www.kuow.org, as an announcer, newscaster and producer. She produces Speaker's Forum, a weekly local lecture series, and works with the news staff producing spot news reports and occasional feature stories as well as filling in for Morning Edition and All Things Considered. In 2007, she received a regional award from the Society of Professional Journalists for her report on bicycle pie jousting. Sara continues to produce stories for national programs such as Day to Day, Weekend America, Studio 360, Voice of America and Justice Talking. Sara took Gin Hammond's Voice Class at Freehold this past summer which Gin will be teaching again this winter quarter.

I'm sitting in the classroom. It's the first day. We brought our yoga mats. The teacher is perky. But this is the great kind of perky. There is nothing remotely annoying about her. No, she's perky like you just want her to keep talking. And you'd like to maybe give her a hug, too.

I'm comfortable. I'm not questioning the yoga mat factor. I mean, I have no idea what kind of weird movements we're going to do but I suppose voice is attached to the body. So ... this is going to make sense soon. Plus - I'm into yoga.

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    Pepper Shaker by Norman Bell

 

Norman Bell generated the following poem in Freehold's Spoken Word and Performance Poetry class this past summer. Norman took his first class at Freehold a dozen years ago. Since then, he has gone on to act, write, and direct and perform on stage and in film. To see some great local spoken word, Seattle Poetry Slam produces a slam every Wednesday night at 8:00 p.m. at TOST in Fremont. To listen to some spoken word on the web, go to the Seattle Poetry Slam website, www.seattlepoetryslam.org, or to www.spokenwordart.com. Freehold is offering a Spoken Word and Performance Poetry class this winter with Daemond Arrindell, Seattle Slammaster and producer of the Seattle Poetry Slam, the longest running weekly show in Seattle.

Pepper Shaker

Mom is a flowery porcelain pepper shaker
On the front, green stem, green leaves,
Blossoming, red tulip petals

There's some grace, some beauty,
some sweetness there.
Some colorful conversation
Peppered with bursts of loud laughter
Some long, involved, heartfelt, flavorful stories
About the neighbor's beautiful flower gardens
About a great bargain she got through her mail-order catalog
About the family.

At her best, she flavors bland meals,
Spices up bland moments.

But then, without warning,
In the middle of it all, sometimes,
She shakes pepper in your eyes

And you're caught squinting, reeling
Blind, blinded, blind-sided

And then, with little warning,
The little plastic pour hold
on the bottom falls out of the pepper shaker
And pepper pours out
All over everything
Spills out into every nook and cranny
Until all you can taste is pepper.

Pepper like sand coats the tongue
Pepper like dust storms the eyes
Pepper you find under your finger nails
For days and days after.

But
I have to admit
when the plastic plug is in,
and she sprinkles her pepper in moderation,
life can sometimes be more colorful
with a little pepper.




    Freehold Faculty/Alum Shows and News

 

FREEHOLD FACULTY NEWS

Geof Alm is doing fights for The Breach at Seattle Rep www.seattlerep.org, Hamlet at SCT, Info: www.sct.org at Seattle Children's Theatre, and Pagliacci at Seattle Opera www.seattleopera.org.

Daemond Arrindell. Every Wednesday night at ToST in Fremont, The Seattle Poetry Slam hosts a spoken word extravaganza. 8 p.m., $5 cover, 21 & over IC required, go to www.seattlepoetryslam.org.

Gin Hammond will be directing The Westerbork Serenade at Odd Duck Studio running January 13, 14, 20, 21, 27, 28 at 7:30 pm with a free performance Monday, January 7th at 7:30 p.m. For tickets, www.brownpapertickets.com.

Elizabeth Heffron wrote the play Foxy Populi which will be part of Annex Theatre's next mainstage show called "Keep The Light On" which includes three short plays set in the future, after an apocalypse and all energy needed to power the show (lights/sound/etc) will be generated by a couple actors on bicycles. It will be playing at Annex Theatre, for more information, www.annextheatre.org. It opens February 8th and runs through March 8th.

Tim Hyland will be appearing in The Neverending Story at Seattle Children's Theatre, www.sct.org, opening December 7 and running through January 29th.

John Jacobsen just completed his screenplay adaptation of E. Nesbitt's "House of Arden" for a Los Angeles production company and is starting research for a studio feature, a film based on the infamous WWII battle in Huertgen Forest. He is also scheduled to start production in '08 on "Sweat", a PBS documentary on the history of the famous saunas and spas around the world.

Paul Mullin will be doing a reading of his play The Ten Thousand Things in Hollywood on January 21 at the Theatre inside the Ford Amphitheatre at 7:30 on Monday, Jan. 21. His play, The Don Juan Cult Concertos will have its world premier at North Seattle Community College on Feb. 22. Paul's latest play The Ten Thousand Things will be playing at WET running May 23 - June 16, directed by Braden Abraham My Name is Rachel Corrie. For more information, www.washingtonensemble.org.

Matt Smith can be seen in the recently nationally released feature film "Outsourced" produced by local film company Shadowcatcher. For more information, go to www.outsourcedthemovie.com.

Amy Thone will be seen in Hamlet at the Seattle Children's Theatre running January 25th through February 24th, for information go to www.sct.org.

FREEHOLD STUDENT/ALUM NEWS

Evan Gackstatter is part of Dr. G and the funky recovery. For more information about the band, go to www.famecast.com/drgandthefunkyrecovery.

Colby Bradley, Lori Stein, Andy Clawson, Ben Cournoyer, Trina Harris, Timmi Harrop, Kirsten McCory and Robert Walker will be starring in a staged reading of All About Eve, script by Joseph L. Mankiewicz. Directed by Precious Butiu. Rendezvous' Jewel Box Theatre, 2320 2nd Avenue, Monday, February 4th at 6:30 pm. One Night Only. Donation only, please.

Sachie Mikawa will be performing Birthday Surprise on March 7th at Spin the Bottle at Annex Theatre, www.annextheatre.org.

Kate Parker will be performing January 4th and 5th at CHAC, 8:30 p.m. and 10:30 p.m. as part of 14/48 The World's Quickest Theater Festival, www.capitolhillarts.com.

Louise Penberthy will be playing Mildred Peake in Spider's Web by Agatha Christie with Valley Community Players. It plays February 1 - 17, www.valleycommunityplayers.org and has a staged reading of her play Just That One Nice Evening at Freehold, January 11 & 12. Scenes from the first act of this play were workshopped in the Studio Series last January. www.wonderworks.com/newplay/.

Andy Peters will be performing for his first stand-up dvd taping on Wednesday, January 9th at Chop Suey in Capitol Hill at 9:30 p.m. For more information, www.chopsuey.com.




    Freehold Theatre Guild

 

Freehold Theatre Guild

The Theatre Guild is composed of a group of Freehold students and alumni who have shared in the unique Freehold experience. Freehold Theatre Guild's (FTG's) stated mission is "To help members of the Freehold Theatre Guild make the transition from student to active participant in the greater theater community". For those interested in joining Freehold's Theatre Guild, email Andy Tribolini at atribolini@hotmail.com with your desire to join. You will receive confirmation of membership by receiving notices about monthly meetings and activities in which you are strongly encouraged to participate. The Theatre Guild would love to have you be a part of the group!

 

 



    Yahoo Your Way to Help Freehold Using www.goodsearch.com!

 

Here is a free, quick and painless way to contribute financially to Freehold using Goodsearch.com!

GoodSearch is a search engine (www.goodsearch.com) which donates 50-percent of its revenue to the charities and schools designated by its users. It's a simple and compelling concept. You use GoodSearch exactly as you would any other search engine. Because it's powered by Yahoo!, you get proven search results. The money GoodSearch donates to your cause comes from its advertisers - the users and the organizations do not spend a dime! To support Freehold, on the "Who do you search the web for?" type in Freehold and search away! Every time you do a search, money gets added to Freehold's account. Make "goodsearch.com" your home page and encourage your friends to do the same by going to: http://www.goodsearch.com/MakeHomepage.aspx.

Thank you for your continued support!




    About Freehold

 

A group of artists, who after years of professional work felt that the full potential of the theatrical event had yet to be realized, founded Freehold Theatre in the summer of 1991 when two prominent actor studios-the Pasqualini-Smith Studio (est. 1985) and the Mark Jenkins Actors' Workshop (est. 1985) joined forces. The founders, Robin Lynn Smith, Mark Jenkins and George Lewis, among others, are professional actors and directors whose credentials include recognized work on and off Broadway, as well as in major films, television, and regional theatre. They formulated the following mission: Freehold engages artists of all levels in training and experimentation so that they may become more innovative and heartfelt in generating theatre that has a lasting impact on the community we serve.

As a center for the development and practice of theatre, Freehold Theatre is committed to art that embraces the full range of human experience and that inspires performers and audience to connect more deeply to themselves and to each other. We move toward this goal in four ways:

  • Our Studio provides a place for actors, from inspired novices to working professionals, to train.
  • Our Theatre Lab provides a forum for mature artists to research and develop new work and to re-interpret classics.
  • Our Engaged Theatre Program reaches out to culturally under-served communities.
  • Our rehearsal and performance facilities in the Oddfellows Bulding on Capitol Hill comprises of four rehearsal and performance studios, including a fully equipped 92-seat black box theatre. The facilities and equipment are available for rent at very reasonable rates.
Here we strive to provide our artists with the tools necessary to make a deep and lasting impact on the community based on organic esthetics. Freehold has become an integral part of Seattle's thriving theatre community, having gained a reputation as the place for serious young artists to train and take the leap into performing and creating original work.

In 2003 we developed an Engaged Theatre program in which we reach out to culturally under-served communities. The program comprises an annual tour to organizations that represent culturally under-served populations and a four-month residency at Washington Corrections Center for Women, in which the women create, rehearse and perform a theatre production. This year for the first time, George Lewis has developed a similar pilot program at the Monroe Correctional Center for Men.

For more information about our programs and services see our website: www.freeholdtheatre.org.




    What is the Freehold Forum?

 

The Freehold Forum E-Newsletter was born out of our desire to respond to requests from you, our Freehold community, to hear about the innovative and powerful work being done at Freehold Theatre by our incredibly talented and diverse faculty and alumni. The Forum will provide you with a wealth of information that will serve you in your work as an artist. The monthly Freehold Forum will include insightful interviews with talented actors, directors and playwrights, compelling articles on a wide array of topics to assist you in your artistic growth, cutting edge news on upcoming Freehold Faculty and alumni performances, highly newsworthy articles by Freehold's Theatre Guild and Freehold Calendar Highlights showcasing upcoming must-see Freehold Calendar events.




    Become A Part of the Freehold Community!

 

Freehold is always looking for people interested in joining our team of committed and enthusiastic volunteers. Whether you have time, wisdom, strength, money, a desire to be involved in your community, or any combination thereof, we would love to have you join in our efforts. Here are some ways you can participate in our work at Freehold:

Volunteer Opportunities

Volunteers are highly treasured at Freehold!! We rely on and appreciate the invaluable and diverse skills our volunteers contribute which enable us to further our mission. We are currently seeking volunteers to help us with our administrative functions, staff performances and fundraising events!! If you have the desire to be part of a committed group of staff and other volunteers, please give us a call at 206-323-7499.

Donations

Freehold is a 501(c)(3) non-profit organization. We rely on philanthropic donations from the community to help us continue to be a part of the theatre community and to keep the cost of our classes affordable.

Donations may be sent to: Freehold Theatre, 1525 10th Avenue, Seattle, WA 98122.

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Acting for the Camera by John Jacobsen

For an actor, there is no camera on the set. One does not act for the camera anymore than one acts for the audience. There is only the reality and truth of the scene. When a director asks you to "open up to the camera, baby", the best response, really, is "What camera and please don't call me 'baby'" because you can't play the scene truthfully, where emotional honesty is the goal, and pay attention to the mechanical device and crew of 80 sitting behind it. There is only the character in front of you and all the given circumstances involved with that. The givens do not include a camera or a director or the makeup girl.

OK, experience in front of a camera does help. Cameras can be terrifying, for some reason, and inexperienced actors often show their worst self-conscious behavior when placed in front of a camera. Probably because they are afraid it will catch and preserve their bad acting for posterity and it will come back to haunt them after they've become a big television star on Three's Company, the Film. But really, you'll get past your jitters in time by just being in front of the camera and learning it does not bite (unlike some of the acting the poor camera must often witness...), and by remembering a couple basic rules that take about 5 minutes to learn and practice:

  • Hit your marks (marks are the taped positions the film crew will place on the floor telling you where to stand) and while in film the actor has to be very specific about movement, hitting your mark is not rocket science;

  • Don't be obvious about hitting your marks (it's fun to watch young actors staring at the floor as they cross a room making sure they hit their marks);

  • As the great architect Ludwig Mies van der Rohe said, "Less is more." The camera catches everything, so the actor in one sense needs to show less. But I might argue that always doing "just enough" so that the moment is played honestly is always the goal. There is no 'less' and there is no 'more' - there is only the right choice. And the camera will see that right choice just as it will see the wrong one. By learning to act, I promise you will make better choices.

    Does it help you to know what a Master Shot is? Or that a long lens compresses action when compared to what a short lens does? Or that a Best Boy is not a plaything but a member of the electrical team? No, not one iota.

    What will help you is to learn to act and as you do so, you will gain confidence in yourself and your craft, and that self-conscious behavior, in time, will disappear. And that is what we generally work on when I teach an "Acting for the Camera" class - how to break a scene down to beats, how to assign playable and interesting tactics to each moment, how to build a character, how to play the givens, etc... the same stuff any good acting teacher would focus on ... except in this case there's a camera recording every moment. In time we always see progress as the acting student learns that it is craft that will set him free.

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    My Voice Discoveries By Sara Lerner

    I'm excited. I know that this class also involves a monologue at some point. That's a first for me. I'm not an actor. I've never acted. I'm for sure not a good singer. When I was a kid I would volunteer to do lights instead of act in a play. I was fine with that. If I do have any concern personally, it's about my love of chit chat. I'm thinking I'll try not to talk too much this week. I mean, yeah, asking questions of your teacher is good. But you sure as hell don't want to dominate. You gotta let other people talk, too. Ha. That's funny. Aren't actors supposed to be loud and wanting the spotlight all the time? I sound like an actor!

    Anyway - I do have another, heavier concern: what exactly am I here for? Okay. I know I'll learn more about my voice. I want to understand it better. I want to know how to manipulate it to do what I want with it. But hold on. That's the thing. All I want to do with it, all I am constantly working on, is sounding like myself. That's the big goal. Don't sound like you're the "Voice of God" newscaster. Don't sound like you're a shock jock. Sound like you are talking to a friend and telling her what's up. "Hey! Jade! You want to know the weather? Oh. It's 46 degrees outside and still cloudy. Jade - did you hear what happened? Want to? The King County Housing Authority has completely banned smoking in three of its properties."

    So. I want to be sure our teacher knows that I don't want to act too dramatic on the air. I don't want her taking my news copy and turning it into Shakespeare. Oh but that's funny to think about now. That's not the idea of the class at all. It's more like an anatomy class. Well, one where people are constantly making the most ridiculous noises. And I did learn how to manipulate my voice. But it makes sense. I can simply make it function better. I can relax my body so my voice is relaxed! And I can love and respect my voice, like my arm or knee or toenails. Sleep helps the voice. Cream hurts it (before going on the air, that is.) Tension in the body creates tension in the voice. Shouting loudly at a bar hurts it. And not just for a day! It can be permanently damaged from one rager of a night!

    So mostly, I learned a thousand ways to prep before I go on the air. Sigh, relax, shake out the tension. I especially latched onto two methods. One is pushing your tongue all the way out and reading your copy through that way. Try it. It sounds beyond goofy. But then you go back and read like normal and it's smooth - like butter. And my all-time favorite now: horse-neighing. You push your lips out and exhale so the lips vibrate a little. It's tough to describe. Let's stick with horse-neighing. It helps me relax my face. And now I'm so aware of tension in my face that I sometimes walk around the street doing the horse-neighing.

    I don't consider talking on public radio acting but it is certainly performance. It's a strange little box of performance, where you want to be yourself yet not totally yourself. But when I did the monologue in the class I got to dabble with "real" acting. And who knew? I'm crazy for it. I had no idea! I was so into thinking about the character and figuring out who she is and what she likes to eat and what her siblings are like and what she wears. I never before had thought of acting as the ultimate way to walk in someone else's shoes. So who know? If I can carve out some time, maybe I can try it out a little more. Maybe this is the beginning of my new life. Hmm. Probably not. But it is fun. Incredibly fun. And I already know how to horse-neigh.

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