The One That Got Away

I've been traveling a lot lately:

I made it to the Reel Women International Film Festival in Los Angeles in early March, where my film A FORK IN THE ROAD, was an official part of the student film program within the festival line-up. That was an amazing experience, meeting and networking with industry professionals committed to bring films made by or about women to the screen.

The L.A. trip was smack-dab-in-the-middle of several "mini" excursions to New York City to take part in the Advanced Scene Study Class at Stella Adler Studios with Stella Technique pro Patrick Quagliano. I recommend returning to a learning and growth environment for every actor, whether just beginning or advanced, as it allows you to push your inner envelope and get more out of your talents and skills with every new scene being studied.

And now, I find my self in Michigan, home of the Purple Rose Theatre -- Jeff Daniel's Equity theater located in the heart of Chelsea, lead by Artistic Director Guy Sanville, with aplomb.

I just auditioned for the "Rose's" 2008/2009 theatrical performance season and do hope to be recognized for callbacks. But I'm also energized by the opportunity to step on stage there, again, and show what I've learned in the last year.

Tomorrow, it's back to Schenectady, New York, home of Proctor's Theatre, where I will most likely check out the New Plays Festival.

That, my Dears, is the one that got a away.

I had auditioned for the New Plays Festival over two months ago and was called back to read for the part of Desdemona in General Desdemona. I received an email that I should be there by 6 p.m. only to get a call at 3:30 p.m. from the producers asking me why I was late. "I was not to go on until 6 p.m.," I panicked. "Don't worry," they said, "we'll wait for you."

And so, I rushed, no make-up on, frazzled, and panting heavily--I so wanted that role! Kevin McGuire, the Festival Director, was more than generous and did his best to calm me down. I auditioned and he praised my work.

But I certainly was not as calm, cool, and collected as I had been the first time around. And I left feeling a bit let down.

Alas, I did not get the role.

And though I can't help wondering what might have happened if the time from the producer on the email would have been correct (3:30 p.m. rather than 6 p.m.), in the end, all you can do is write it down in your journal as an experience and realize that the one that got away is the one that was not meant to be...

I'll keep on moving, keep on learning, keep on auditioning until I get the part that is right for me.

"Maggie" -- alias Barbara Coven-Ellis

One of the best things about working and training as an actor, prior to beginning directing, is that you understand what the actor goes through, you know better how to communicate with the actor to "pull" out the performance you desire, and -- especially for film -- you have a list of friends and colleagues with whom to work

Such is the story behind my working with Barbara Coven-Ellis, a professionally trained, extremely accomplished and talented actor in the Michigan area.

I first met Barbara while understudying for the play "Honus and Me," directed by Guy Sanville, at the Purple Rose Theatre this past summer. Barbara had a major part and was on-stage six days a week, two times a day. A true professional -- with a big heart. As it was my first time working with an Equity theatre, I was quite nervous. But Barbara gave me helpful advice on acting, professionalism and life in general on numerous occassions. And, most importantly, when I told her that I was going to be going to film school in the fall, she didn't laugh at me.

Thus, I called her up when I wanted to take a crack at my first 1 minute 16mm short. She said, "yes." And, as I had hoped, was the consumate professional and supportive actor -- showing up early, completely prepared, and ready to stun the camera. She did.

So it seemed second-nature to call Barbara up when it came time to finding the lead female role for "Maggie," the dramatic and high strung, yet loving and sacrificing mother, in my 16mm 20-minute short, A FORK IN THE ROAD (which, by the way, has been officially registered at the Writers' Guild of America; I received my certificate today). Thank Heavens she accepted.

I couldn't picture a finer actress for the part.

Barbara has always treated me like a true professional. I'm stretching toward the stars to not disappoint her.