Showing posts with label working life. Show all posts
Showing posts with label working life. Show all posts

Jun 20, 2018

My play will be read at the 2018 Texas Playwrights Festival


Playing July 26-29, 2018 at 
Stages Repertory Theatre, 3201 Allen Parkway, Suite 101, Houston, TX 77019

Que SerĂ¡, Giant Monster 
by Brad McEntire 
Charles is having a very rough day. It only gets worse when he runs into an ex who is, herself, having a ridiculously rough day. The giant monster destroying the city doesn’t bode well, either.
  • Thursday, July 26, 7:00 p.m.
  • Saturday, July 28, 2:00 p.m.
Three plays, each given two readings with an audience talkback and a day in between so the playwright may revise. All by Texas Playwrights! I will be joining playwrights Ben Schroth and Stephen Brown who will also be presenting new works.

Produced by Wordsmyth Theater Company 
Hosted by Stages Repertory Theatre
Tickets... HERE
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Dec 30, 2017

Looking Back at 2017

For the last several years I've been using this website as a kind of portfolio to collect together my creative projects (to be honest, that's pretty much the only point of this website). I have also been doing a little year-in-review deal over for a while (here's 201220132014, 2015, 2016). So, here’s what happened in 2017...


Most of 2017 was occupied with my new role as parent. My wife and I brought a beautiful baby boy into the world on December 30th of last year. Obviously, adapting to my new role as a dad took priority over any creative pursuits. So here's a slimmed down look at the handful of theatre and other artistic things I managed to fit in.

In February, I released my play Raspberry Fizz on Kindle. It is the final work in a trilogy of ebooks of short stage plays that I now have on Amazon. Perhaps someday I will collect them together into a paperback edition.




The bulk of the year was just being cozy and domestic. Not until the fall did I get back on the map, so to speak.

In early August I had two plays in the One-Minute Play Fest produced by Kitchen Dog Theater. I went to see them. They went over pretty favorably.

I took my show Robert's Eternal Goldfish to Fresno, California for a two show weekend at an event organized by my friend Grant. It was titled Seattle-to-Fresno Mini Fringe. I had an epic beard.


Me performing Robert's Eternal Goldfish in Fresno

In September, for my birthday, I started a podcast called the Cultivated Playwright. I released nine episodes over the rest of the year ranging from reflections on Sir Peter Hall, minimalism, Dan Harmon and improv comedy to how Thor Ragnarok fits Goethe's Three Questions of Criticism.


In December I participated in Nouveau 47 Theatre's A Very Nouveau Holiday (my fifth time in as many years). This time I had a ten-minute play about a bear that refuses to hibernate and instead works in a coffee shop. It was called Langdon, The Seasonal Barista. It went over very well.

Emily Faith, Robert Long and Monalisa Amidar in Langdon, The Seasonal Barista

I directed Langdon as well as Jonathan Kravetz's Mr. Crispy. Kravetz's play was a sci-fi tear-jerker that deals with a failed screenwriter endlessly reliving his final night with the song-writing friend he had an infatuation with, through the use of a mail-order robot. It had a great premise, but definitely was not in line with the current zeitgeist, with a controlling male protagonist who self-indulgently manipulates a "female" robot to replay one of his memories/fantasies over and over again. 

It was fun to get a chance to direct again, especially my own work.


Charles Ratcliff and Cameron Casey in Mr. Crispy

That's about it. 2017 was a slow year for the ole theatre career, but exciting in a larger sense. I love being a dad, though it has caused a great amount of reflection on where I want to go from here on out and what I genuinely want to accomplish. 2018 should, hopefully, be filled with more balance and more creative endeavors.



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Aug 24, 2017

Robert's Eternal Goldfish heading to Fresno


I will be performing my solo show ROBERT'S ETERNAL GOLDFISH next month as part of an event called Seattle-->To-->Fresno, a sort of mini-fringe satellite of the Rogue Fringe Festival. I have been invited out to Fresno, California by Seattle-based Minion Productions.

I am excited to bring ROBERT'S ETERNAL GOLDFISH to California. It is not as well-travelled as CHOP and CYRANO A-GO-GO. It is my least technical solo show as well as my shortest, regularly clocking in around 50-52 minutes. And it is fun to perform, since the protagonist, Robert, is such a grouchy curmugeon. 

Here's a blurb and some details. If you find yourself in Fresno in mid-September, head out to see me.

Robert J. Roberts has a huge problem with the world. In particular he really dislikes people. All people. One day he becomes the unlikely custodian of a magical goldfish and Mr. Roberts' misanthropic view of the world is seriously challenged. Can a person be frustrated into being a better human being?


Performances on:
Saturday, Sept 9th @ 8:30 pm
Sunday,.Sept 10th @ 4:00 pm 

Performing at MIA Studio & Gallery
Fresno's Tower District
620 E Olive Ave., Fresno, CA 93728

Tickets $10... available HERE

Info about my show in particular... HERE

Facebook event page: https://www.facebook.com/events/1435099753225763/

More info at the Minion Productions website




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Aug 19, 2017

Back in the saddle


After a lengthy absence from the scene for the last several months, I have lately returned to the fold. Over the last several weeks I have completed a full-length play that involves a giant monster attacking a city, two "one minute" plays about my city and have begun a ten-minute one-act about a bear working at a coffeeshop. 

Creating for the theatre is a joy for me, but also a huge challenge. In fact, writing what I consider a "good" play from scratch, is one of the most difficult things I do in life. And the thing is, I willingly chose to struggle with it. In life, we are confronted with so many challenges that we don't ask for. Playwriting for me is one of those few things that is hard that I purposefully opt-in to.

Anyway, its good to be back.



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Perhaps you would be interested in adding more excitement and romance, adventure and intrigue to your life. If that's the case, I don't know what to tell you. But I would suggest you subscribe to my newsletter. I mean, who knows? Life is full of surprises. I only send stuff out occassionally, but it is good stuff. Hit the button below...




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Sep 10, 2016

Off the Grind...


I have retreated a bit from the grind. The grind is what I call the ever-present need to keep getting work in front of people, to keep my name out there, to try to move the ball that is my career further down the field ( a very crowded, continually difficult, and perpetually younger field).

I am now nearly a year into my 40s and my wife and I are expecting our first kiddo this coming winter. I feel a change in my perspective, a shifting in my outlook and ambitions. I look back on the last 25 years of making theatre and realize I have accomplished some of the things that I really wanted, some things I thought I really wanted and a lot of just wheel-spinning achievements that ultimately didn't really move me very far in the direction I wanted to go.

And part of that dilemma is that I never really settled on what direction I actually wanted to go.

Starting out I just wanted to do. I wanted to make stuff, particularly theatre, of any kind, as most young artists do. Then, after some time, I wanted to see what I could pull off. I pushed hard against the limits of myself. The trick wasn't to do something of super high quality or of super high originality, but just to do it. To actually pull it off.

As I began to develop an original voice and explore different directions my artistic bent would take me, I leaned towards things I began to wear as badges of identity... solo performance, weird plays with kitsch factors, long-form improv.

Since the new year, I have produced two projects. I co-wrote (with my friend Jeff), designed, directed and produced a full-length play called NIGHT OF THE TARANTUBEARS. It ran for two weekends, had a great cast of actors that I genuinely enjoyed working with, was reviewed by one media source (positively) and was seen by very few people. It will probably not go anywhere. The other project this past June was the 3rd Annual Dallas Solo Fest. I brought in eight solo performers from around the country showcasing a variety of different kinds of one-person shows. It was marginally successful. Some shows kicked ass, some not so much. It had a solid opening weekend and then a pretty over-looked second weekend. It lost money. I will do it again next year... mostly out of spite. I refuse to end the DSF on a note of semi-failure.

As far as the amount of activity I have turned out, on average, year after year for the last two decades, this past year has been paltry. Paultry in the extreme.

I have one 90% finished play I wrote last year that was commissioned by a local theatre. I pulled it after the first few production meetings. It was too big for the organization, which was partly my fault for not keeping the scope of the organization in mind and partly their fault for not having their shit together. I don't know quite what to do with the play (except, you know, fine tune it and do some readings somewhere). I think about producing it myself for my small company Audacity, but I fear another world-premiere being overlooked again (i.e. in playwriting circles this means "wasted").

This summer I completed two other plays. I attended a writing retreat and worked up a full-length reboot of the first play I ever wrote, a one-act from 1996 called ARSENIC & ROSES (this new version doesn't have a name yet). It, too, is about 90% complete. Again, I'm not sure what to do with it. The other play is a ten-minute piece for a collection of holiday shows a tiny theatre group does every year. I've had a piece presented in it for the last three years. It is a fun, easy, low-stakes thing. There's a chance it won't be selected this year, but I hope it is.

I have two ideas that I will develop into works for the stage percolating in my brain. One a solo piece and the other a contemporary full-length tragedy. The tragedy has the potential to be part of the New Play Circuit, since it will tackle race, class, and other social-economic things that theatres seem to salivate over nowadays. It might be great or it might be crap. If it is great, it may put me on the map, or it might just be another in a long line of things I create that make absolutely no impact on the larger cultural landscape. 

This raises the question: do I want to be part of the larger cultural landscape? I have been playing the "maverick theatre artist" so long, I can't even see the cultural mainstream any longer. I can't see why it is valuable, why I should go after it. 

The thing is, I can't see any growth on the indie level any longer. I have practically self-exiled myself away from the bigger game. I have the chops now and the knowledge of my craft, but I'm tired of making things that make no ripples. But without getting in the game at all, I'm just that guy who "used to do stuff." 

I'll just be on the sidelines, with all my chops and knowledge, not even using it.

I wish I knew what other theatres artists did, particularly playwrights. How and why they decided to enter the arena of American Theatre. Was that the goal, or was it a stepping stone to ultimately being a show runner for television? How'd they get an agent? How'd they get into residencies? Did they all go to Yale or Brown or Columbia? Did they all do the route of South Coast Rep, Playwrights Horizons, New Dramtists and so on? If so, how'd they get on that route?

Most of all, I'd wanna ask them, was it fulfilling? Did adding plays to the world, even if they are done Off-Broadway, Regionally or even on Broadway itself (they still do that, right?), did it give them the feeling that they were actually making a difference?

I can't tell anymore.

So, I'm taking this time to reflect, to settle under myself, to reformulate what I want to do in the theatre. What direction do I want to go? 

I can't stay where I am.

I'm sure I'll get restless again. I'll get that itch to create, to get out there. I'll jump back into the grind. Until then, Imma just gonna try to figure some stuff out...


Aug 30, 2016

Kathy George Indie Artist Residency

An ambience conducive to creativity

A few weeks back (August 12-19), I served as the first theatre-artist-in-residence at the Kathy George Indie Artist Residency in Ashford, Washington. Sponsored by Seattle's Minion Productions, this week-long retreat offered me a chance to get away from my regular routine and concentrate on my writing in the isolated and idyllic setting of Ashford, Washington, right next to Mount Rainier National Park.

Grant Knutson of Minion Productions offered me a great cabin. Tucked a bit off an access road in dense woods, it was a perfect place to focus. Just me, alone, with the work that needed to be done. I went up specifically to finish a full-length play. The play in question is a reboot of the first play I ever wrote, Arsenic & Roses.

I wrote the one-act Arsenic & Roses in 1996 while I was in college studying acting. It had its first production at the College of Santa Fe in the tiny Weckesser Studio black box. I directed it myself. Over the years the play has been presented a number of times. With every production I tweaked it and tried to make it better.

As the 20 year mark approached (geez, I've been writing plays now for 20 years!), I wanted to stop fiddling with Arsenic and Roses. But I was not happy with it. Like most early works, it falls so far short of the current work I do. So, I figured I'd just rewrite the thing. From scratch.




Sitting down in the tiny A-frame cabin the first full day I was there was so difficult. After staring at the void for nearly forty minutes, I gradually began to put words to page, then to keyboard and screen. I wrote the first few pages and then let the piece take me forward. Everyday, I would tally the page count. Some days I only created 7 pages. On one particulalrly prolific day during the week, I completed 15 pages.

I would alternate two roughly two or three hour work sessions each day with walks outdoors, or the occassional cigar on the deck out front. It was really kinda nice once I settled into a routine.


Afternoon walk

The goal wasn't perfection, only completion. And it worked. After a full week, I had a 62 page, full-length reboot. I might rename it Que Sera, Giant Monster. I will, of course, keep working on it.

This was the first arts residency/retreat I have been a part of. It was hugely beneficial. Much gratitude to Grant at Minion. I will be taking a second pass at the first draft I completed at the cabin later in the month and then begin the arduous task of play development readings and workshops, submissions and then eventual productions. I will rename this new version of the play (I just don't know what yet).



Jul 27, 2016

New place to get work done


Found a great little coffee shop in my neighborhood. Good place to get some work done. # WritersLife



Jan 10, 2016

How Two Childhood Friends Turned a Bar Joke into a Stage Play

Childhood buddies Brad McEntire and Jeff Hernandez


“As ideas hatched in a bar go, this one wasn’t horrible,” says Dallas-based playwright Brad McEntire

He is referring to the concept of tarantubears – half spider, half bear monsters – that take center stage in his and Jeff Hernandez’s new play Night of the Tarantubears.

McEntire recalls going out for drinks after his childhood friend Jeff Hernandez came to see him perform his show Dinosaur and Robot Stop a Train at the Festival of Independent Theatres in 2013.

"Hernandez came up with the idea." McEntire says "It is very much the kind of joke that forms over beers when you are on your third round."

"Usually those in-the-moment jokes just fade away, but in this instance, Brad threw out the suggestion that we make it a play," Hernandez adds, "So, I said, okay. So, we did."

Hernandez and McEntire have been collaborating on projects since they met in the fourth grade. They found out they lived on the same street and ended up walking home from elementary school together most afternoons.

Throughout their school days they stayed pretty close.

“We use to walk over to the outdoor court at the local junior high and play basketball in the evenings. We’d just joke around and come up with schemes the whole time,” says McEntire. “We would dream up movies we would make, comic books we would someday draw.”

Hernandez attended Southern Methodist University after high school and earned a degree in art while McEntire headed off to the College of Santa Fe in New Mexico. He got a degree in theatre and from there to began a decade of wandering. He lived in London, New York, and eventually Hong Kong before coming back to the Dallas area.

Hernandez and McEntire picked up the creative scheming right where they left off.

They wrote, directed and performed children’s theatre together at Plano Children’s Theatre and co-wrote a one-act called Pens And Strings back in 2009. It played as part of Austin’s FronteraFest.

Another inebriated conversation at a bar back in 2012 led them to start a podcast together. They ended up calling it Bike Soccer Jamboree, after a game they use to play on the street where they grew up.



Night of the Tarantubears follows the rabbit hole of a rather bizarre “what if?”

A genetic experiment surfaces as a seemingly harmless viral internet sensation. Part bear, part spider hybrids are the latest trend. But what happens when our passing fascinations grow and things begin to go horribly horribly wrong? Five survivors hole up in an abandoned theatre as the city is overrun by genetic monstrosities.

“Hernandez is way more into social media than I currently am.” McEntire says. “I love the internet, but I view it more as a tool. He uses it more as entertainment. He gives me a hard time about geeking out over things like theatre history and playwriting. I rib him constantly about his affinity for Twitter and YouTube. This play kind of embraces both of our obsessions.”

The two drew on their overlapping interests of genre comedies, pop culture references and internet sensations.

Though Jeff Hernandez and Brad McEntire co-wrote the piece and McEntire directs, they both quickly point out how fortunate they feel to have an excellent team around them for the production.

“I’m working with a group of actors I’ve wanted to collaborate with for years.” McEntire says. “All good sports. They have been great about keying into the weird little world Jeff and I have created.”

The cast includes  Miller Pyke, Whitney Holotik, Dani Martin, Kasey Tackett and Brian Witkowicz.

McEntire’s wife, Ruth, is creating the “tarantubear” effects for the production.

“The rehearsals have been a blast,” McEntire says, then adds, “It is nice to be working with friends.”

Produced by Audacity Theatre Lab, Night of the Tarantubears opens at Margo Jones Theatre January 21, 2015 at 7:30 PM. Plays January 21 – 31, Tuesday thru Thursdays at 7:30 PM, Fridays and Saturdays at 8:00 PM and Sundays at 5:00 PM. Tickets $15 and available at the door or online. Information/ reservations at: (214) 888-6650 or via email at: audacitytheatrelab@yahoo.com . The Margo Jones Theatre is located within the Magnolia Lounge, Fair Park, 1121 First Ave., Dallas, TX 75210. For more information visit: www.AudacityTheatreLab.com


Oct 15, 2015

In Praise of Book Throwers | Histrionic Kablooie



A book is casually tossed, taken home and read, and it changes everything. Usually, the influence itself is the important part of the transaction, but what about the person that threw that book? 

Someone presents you with an opportunity, an introduction, some sort of connection. These are the things that help one form a career. Here, through another installment in my Histrionic Kablooie series, I explore this metaphor of "book throwers" and how hard it is to keep track of the "books" we throw and the ones we catch. 

Please subscribe to my YouTube channel at... http://www.youtube.com/dribblefunk


Mar 23, 2015

The Actor as a Freakin' Entrepreneur - FREE Workshop


I am teaching a special FREE workshop on Easter. Come and learn some stuff after you've gone to church and hunted for eggs that afternoon.

"The Actor as a Freakin' Entrepreneur"

A career as an actor is not the same as it once was. The contemporary actor has to apply fresh professional thinking to a traditional field. This new breed of actor is lean and flexible in his or her approach to carving out a career, as well as way more entrepreneurial in spirit.The contemporary actor is not merely an interpretive, passive artist but an active instigator in the industry and art form.

In this fun workshop Brad McEntire offers a short and sweet overview of the side of performing that is NOT performing (marketing, networking, organizing, email lists, web presence, playing to one's strengths, etc.). The focus will be on what will help you get both attention as an actor and help you begin to carve out your own freakin' purposeful career.

Where: S.T.A.G.E., 1106 Lupo Dr. Dallas, TX 75207 [map]

When: Sunday, April 5, 2015

Time: 5:00 PM to 8:00 PM

Details: w/Brad McEntire

Cost: FREE to S.T.A.G.E. members, $25 for non-members

Please call to reserve your spot... 214-630-7722

Info... HERE


Mar 20, 2015

Yeah I got skills... I run a theatre company...

[Credit: How to Playwright]

A friend on Facebook posted a link to an article recently. The article was about how high school students going into theatre programs in college actually acquire a hellalotta skills, regardless of whether or not they make it to Broadway (or to whatever level they assume means "success" in the theatre when they come out of high school). 

I was thinking about this today and I realize that not just studying theatre, but specifically running a theatre company has afforded me a skill set that makes me very competitive in the contemporary marketplace (and not just me, but anyone who runs a theatre group, big or small, in today's world).

For instance, as a person that runs a theatre comapny I know how to...
  • coordinate meetings, rehearsals, and appointments
  • handle the scheduling and managing of disparate personalities
  • dutchman a flat
  • program a lightboard
  • set up a microphone
  • find contact info on people who don't offer it up freely
  • research among vast reserves of theoretical, historical, philosophical points of interest
  • edit, format and post online videos, audio, documents, photos, etc.
  • design websites
  • maintain mailing lists
  • keep track of "brand" aesthetic
  • keep on message
  • accept criticism in context and, often, gracefully
  • Forge my own path of progression where none is laid out before me
  • enforce my own standards of excellence
  • communicate to the press and media
  • create my own press and media
  • write everything from blog posts, to tweets, to media pitches, press releases, and so on
  • get a physical object such as a set piece or article of costume from one location to another
  • keep track of countless details
  • be on time and prepared
  • be courteous in follow-up (including sending thank you cards or shout outs on FB)
  • work under pressure (Tech Week!)
  • rest when necessary, work harder when necessary
  • celebrate when necessary
  • grow a following
  • make something from scratch where it previously wasn't even imagined!
Notice these skills are up and beyond simply playwriting, directing, and performing... (that one can do that stuff and do it well is a given). 

Sometimes, because theatre is not always profitable in the cold economic terms of the marketplace, it is believed to be easier. The artists involved are sometimes thought to be "unfit" for "real work." Nothing could be further from the truth.

I run a theatre company. As a market force, then, I am actually something to be reckoned with.




Jun 1, 2014

Method and Madness Playwriting Panel

Elle VerneĂ©, Laura Lundgren Smith, me, Steven Young
During the panel discussion, I covered Kevin Kelly's "1000 True Fans"


Earlier this weekend, I had the opportunity to participate in a playwriting panel with the Denton Community Theatre's 3rd Annual Method and Madness Playwriting Competition and Festival at the PointBank Blackbox Theatre in Denton, Texas. I was in excellent company with fellow playwrights Elle VerneĂ©, Steven Young and Laura L. Smith. Organized by the very energetic and enthusiastic Mandy Rausch, the panel turned out to be a lot of fun. 

What struck me was with four different playwrights in the stage, each of us had different goals, different working methods, different preferences and so on. There was practically no overlap between us as artists, but were all courteous and friendly and engaging as people. Just goes to show there are as many ways to do things as there are people out there to do them.

In fact, I think this was  a plus for the small audience listening. They were definitely exposed to multiple points of view.

Also, in the same weekend, my friend and colleague Tashina Richardson of Sundown Collaborative Theatre teamed up with Mandy to lead a Staged Reading Workshop. They used my early play Arsenic and Roses as the demo script. Hopefully someone got some pics.

Mar 25, 2014

Hearts Not Eyeballs

Show Your Work!
[via: http://www.flickr.com/photos/deathtogutenberg/ ]
Earlier this week I finished Austin Kleon's new book Show Your Work!: 10 Ways to Share Your Creativity and Get Discovered It is an excellent collection of many of the ideas he has previously discussed on his blog and tumblr. It is filled chock-a-block full of ideas large and small about getting your work out into the world.


One of the headings caught my attention right away. 

Last year, I posted about how a friend of mine gave me unsolicited advice about courting press in order to increase the butts-in-seats ratio at all costs. This led to a heated discussion where I tried my best to explain my long-term outlook on not growing an audience, but nurturing a community of supporters and patrons.

I was delighted to get to the part in Kleon's book shown above. He starts off by writing...
"Stop worrying about how many people follow you online and start worrying about the quality of people who follow you."

I'm mentioning it here because it totally reaffirms my quality over quantity approach to evolving a network of patronage. Kleon is referring to people following online, but the sentiment is similar. And it doesn't just apply to patrons. In includes colleagues, poterntial employers, and a myriad of other supporters. 

Hearts not eyeballs, indeed.

If you are creative person who produces some sort of art, then the book is totally work taking a look at.