The school newspaper where I teach sent a student reporter out to write about the upcoming production of Que Sera, Giant Monster. Here's an excerpt of the article below:
Exes and Monsters take the stage at SE Campus
SE students Lily Clouse and DaShaun Ellis rehearse for the SE play “Que Sera, Giant Monster,” opening on Nov. 16 at 7:30 p.m. | Joel Solis/The Collegian
HOPE SMITH
The Collegian | campus editor
Thursday, November 10, 2022
It is convenient that two exes end up in the same craft brewery on the same night, just as a large monster is terrorizing the city just outside of it.
That is exactly what happens to the main characters Katherine and Charles in “Que Sera, Giant Monster” drama production, written and directed by Brad McEntire. Set to debut November 16-18 at 7:30 p.m. at the SE campus.
The production is described as both serious and humorous by SE student and actor Lily Clouse who plays the role of Katherine.
McEntire, an adjunct in the SE drama department teaching mainly cinema and theater classes, wanted the play to reflect certain theatrical aspects.
“It’s a little bit autobiographical in some places, and it’s a little bit of the kind of things I like to see on stage,” he said. “I like to see broken people try to figure stuff out, I like misunderstandings, I like people giving other people a hard time. So that kind of stuff, the stuff that I like to see onstage, is what I have tried to put into this play.”
"The characters are people trying to get by," McEntire says. "They are trying to figure out and navigate their lives, trying to understand themselves as well as the people around them."
“A lot of the trouble that we get into in our lives is because we don’t understand what we’re trying to do and we don’t understand what the people around us are trying to get from us and what they really want,” he said. "At least that is my observation."
Because of that, the characters felt relatable to the cast. For instance, Clouse, who’s character is a waitress and aspiring musician, acknowledged she sometimes empathized with Katherine's perspective.
“At the start of the show, she has just worked a double,” Clouse said. “She’s tired, she’s fed up, she doesn’t have time for anybody’s crap, and you know what? I feel that.”
The production process had the cast focused on learning more than just acting. Some of the cast members were tasked with picking up a new skill set or two. For instance, Isara Al-Hilo, a SE student who plays Beth in the play, acquired a useful new skill.
“I learned how to box a little, like, actual boxing techniques,” said Al-Hilo, adding with an ironic smile, “Put me in a ring, I’ll be fine.”
Clouse was given the task of learning a song on the guitar for the play, something she noted as a bit of a challenge.
“I wasn’t surprised, but I did not know how quickly time would fly and how difficult the guitar is,” she said.
Que Sera plays November 16–18 at 7:30 p.m. at the Roberson Theatre on the TCC Southeast Campus, 2100 Southeast Pkwy., Arlington, TX 76018. Tickets are Pay-What-You-Can and the box office opens 1 hour before show time.
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Funny and booming Brad McEntire, playwright and artistic director of Audacity Theatre Lab, came in with a character I won’t soon forget in Robert’s Eternal Goldfish—a ranting gent who told us (repeatedly) how much he hates “so many things.” Frankly, he seemed to enjoy it, tracing it all back to boyhood, and being abandoned alone in the ocean when the snorkel boat left him behind. And somehow, that long-ago event does feel connected to the dreadful curmudgeon he’s become, and to the goldfish he almost-accidentally buys in an oddball pet store. McEntire keeps this fishy story swimming along as Robert tries (and fails) to deep-six his new pet. His dreams only get weirder night after night, and (gasp) he’s forced to interact with other humans. To know more…buy a ticket.
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Theater program performs an original audio only TCC production
JOSE ROMERO | campus editor | The Collegian
For first time, SE Campus will host a free audio production of a TCC original play, “A Blast in Kranesville” from Dec. 2-9.
The play is about the fictional rural town of Kranesville, Texas. A mysterious factory explosion creates a chemical mist that triggers a lockdown of the town’s residents, leaving the citizens in disarray. The story is told from the perspective of the citizens of Kranesville.
Most school productions are performed in front of a live audience, but this semester required a different approach.
“Once we knew our Fall 2020 Drama courses would be online, we knew our creative project would need to be quite different than presenting a play on the Roberson stage,” director and actor Drew Hampton said.
Hampton realized that a monologue structure in which actors devise the story from scratch would be the most fitting route to take the production. Performing audio-only play turned out to be more difficult than anticipated. During the summer, actor Jesse Humphreys practiced the format, realizing the challenge that doing a podcast would provoke.
“In live settings, actors have both their physicality and their vocals to rely on in order to convey different emotions,” Humphreys said. “With an audio-only play, the actors have to convey that same level of emotion and intensity with purely their voice.”
Theater director Angela Inman sees going the podcast format as an opportunity to further develop the abilities of the cast and crew. She took the pandemic as a chance to further educate aspiring actors on pivoting depending on circumstance. “This project provides our students with an important lesson beyond basic performance skills,” Inman said. “It illustrates the need for theatre artists to persist in the face of adversity and to use their craft to make sense of circumstances.”
Brad McEntire, another director of the project, shared Inman’s optimism about how the project will allow students to get out of their comfort zones and try something new.
“I am very pleased to have been a part of the project and proud of what the students came up with,” McEntire said. “They [students] really stepped up to this unique moment in their growth and education and showed themselves to be professional, flexible and wonderfully imaginative.”
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Jeff Swaeringen in Daylan Hillis In Space by Audacity Theatre Lab
FIT Festival Series, Part 1: Audacity Theatre Lab presents "Daylan Hillis in Space"
By Cristee Cook
For the first time in Dallas’ Festival of Independent Theatres' 22 years of operation, the FIT Festival will be virtual. Streaming on-demand October 8 – 31, this year’s program offers 6 performance companies in a variety of genres including dance, comedy, drama, and new work.
Dallas Art Beat was approached about a media partnership for the festival, and we were excited for the opportunity to highlight new, independent works in Dallas. We’ll be offering short, get-to-know-you featurettes with each company in the festival in a 6-part series throughout the month of October.
First up, here's a fun chat with Brad McEntire from Audacity Theatre Lab. Co-written by McEntire and Jeff Hernandez, Daylan Hillis in Space is about a security guard who feels underappreciated in his job at a top-secret government facility. When a normal, mundane shift is interrupted with strange intruders, Daylan Hillis gets a chance to prove what he’s really capable of. Directed by McEntire, this “digital theatre” piece features Jeff Swearingen.
Can you give us some background on your project for the FIT Festival?
We were approached by [FIT Festival Producer] David Meglino about the idea of a Virtual FIT. I suggested we'd be interested, but only if we could create a purpose-built project - essentially, online and recorded. He agreed, and we started brainstorming ideas. I came up with an idea involving a security guard with insecurity who is leaving webcam reports for his boss. The idea kind of grew from there. I brought in co-writer Jeff Hernandez and we fleshed out a script. The idea was to use the limitations of the webcam approach and see how far out we could push it. That idea finally became Daylan Hillis in Space.
What positive changes have come out of the pandemic time in regard to your work - creating what is traditionally live performance for a virtual audience?
This has been tricky. First, we had to acknowledge that we are, technically, no longer doing theatre. Without a live audience watching live actors onstage in real time in the same location, it is, by definition, no longer theatre. But if that is the case, what is it? It isn't necessarily film or video. It is not simply a recording of a stage performance (thank goodness). It was interesting to work in this new space, creating this weird little hybrid project. I mean, it kind of oozes through the cracks of any easy categorization. Then actor Jeff Swearingen came on board, and suddenly it was like getting the old band back together, which has been positive in this time of social distancing. We did a lot of catching up before we got down to work.
Why do you want to tell this story now?
The silver lining of the current situation is that it offers different opportunities, like FIT. During normal times we would be working onstage, with the usual hustle. Now, we have a chance to question the form and break out of old patterns. We have a chance to engage audiences in new ways, even if it is only temporary. If it wasn't for the hot mess that the world has become recently, I doubt this project or anything like it would have even been on the creative radar here at Audacity. In a way, we are creating art that speaks to the times we are living in.
I know watching "theatre" online is not for everyone. There will, however, be those that dig this sort of thing and will like our show. For those that watch and this show blows their hair back, I say thank you. And your hair looks better now anyway.
How are you keeping yourself sustained during this time of uncertainty?
As far as day to day living, I am an adjunct college teacher. I teach theatre and cinema classes. Everything has moved online and looks like it will stay that way until at least next summer. Working from home is a mixed bag of pros and cons. The teaching is not quite as fun, but the commute is better. Now that the weather has stopped being so oppressive, I have returned to my budding midlife crisis activity of hiking and camping. I try to get outdoors as much as I can. That is keeping me sane.
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Audacity Theatre Lab’s Daylan Hillis in Space by Brad McEntire and Jeff Hernandez is available for streaming (on-demand) October 8-31, 2020 as part of the 22nd Annual Festival of Independent Theatres.
Purchase a two-show block for $12, or a festival pass with access to all shows for $30. Find the complete program listing, tickets, and more visit: festivalofindependenttheatres.org.
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Nice interview in VoyageDallas as part fo their "Hidden Gems" series. Read the whole thing... HERE
Meet Brad McEntire of Audacity Theatre Lab in Carrollton
Today we’d like to introduce you to Brad McEntire.
Brad, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
I am a theatre artist. I work mostly as a playwright, performer, director and producer. I run a small company called Audacity Theatre Lab. Here’s how that came about…
I studied theatre as an undergrad at the now-sadly-defunct College of Santa Fe in New Mexico and then later earned a Master’s degree at Texas Woman’s University. I had grown up around Dallas and after brief stints living in London and New York, I returned to the area. In 1999, I started a small theatre group called Audacity Productions. That lasted until 2006 when I left to work overseas and the company dissolved. We were sort of this scrappy, little garage-band sized company that performed in found spaces, local festivals and outdoor amphitheaters. We did a lot of new works by emerging playwrights around the country. We had a satellite sketch comedy troupe called Mild Dementia that was pretty active. It was a rollicking time. I wore many hats and the whole thing was a lesson in learning by doing.
In 2008, I restarted the company with the name Audacity Theatre Lab. The mission shifted to an emphasis on small, personal, original projects exclusively created in-house. We strive to support the artists first and their ideas. The artist, in turn, can then serve the community directly. Over the last few years, we’ve become known for supporting and developing one-person shows. Since 2014 Audacity has produced an annual solo performance festival called Dallas Solo Fest, bringing performers in from around the country along with local and regional performers.
Despite a few years as a commercial actor, I have seldom really been a traditional jobbing actor around town. I don’t audition for outside projects that often, though I will sometimes accept acting or directing gigs at theatres around town if they call.
Nowadays, I am one of the core members of the company, still serving as Artistic Director of Audacity Theatre Lab. I develop my own work and often direct and act in those pieces as well. Throughout the year, I travel around North America to various venues and “fringe” theatre festivals performing one of the quartet of solo shows I’ve developed through Audacity over the last decade.
I recently became a parent (my wife and I have a nearly three-year-old toddler) and my priorities have changed a bit. My theatre activities have slowed a bit over the last few years, but also deepened. A lot of my recent work has been more personal, more bold and more idiosyncratic than it was before I became a dad. I have been concentrating lately on further developing my own voice as a theatre artist and trying to create a lasting body of work.
We’re always bombarded by how great it is to pursue your passion, etc – but we’ve spoken with enough people to know that it’s not always easy. Overall, would you say things have been easy for you?
I would not say it has been smooth and it definitely has not been linear. There have been setbacks and roadblocks all along the way. I am naturally restless and I seem to stick my fingers into many pies. Because of this, I have a very wide scope of interests and skills, but I am not terribly specialized. I have noticed, over the years, that the result of this generalized approach is that my career has moved at more of a glacial pace than if I had picked and then stuck with a single discipline. After years of work in my field, in my town, I am extremely, painfully aware of being a “hidden gem.”
As I moved from acting into playwriting, directing, producing and so forth, I stumbled quite a bit, trying to figure things out. I still stumble sometimes. Again, a lot of my journey has been learning by doing.
I have had some wonderful help along the way. My good friend and fellow theatre artist Jeff Swearingen was a great collaborator, especially in the early days. My friend Grant Knutson, who runs an outfit called Minion Productions out of Seattle has served as Associate Producer of the Dallas Solo Fest and has been a wonderfully helpful colleague. And my wife, Ruth, continues to be a supportive presence. There have been many more who have helped nudge me onward in large ways and small. I am supremely grateful for them.
So let’s switch gears a bit and go into the Audacity Theatre Lab story. What should we know?
Audacity Theatre Lab is a scrappy, fiercely independent theatre collective. Started, in its current iteration, in 2008 Audacity has developed its own intimate, subversively sophisticated, all-original approach. The troupe stays small, with just a few members at any given time. The members of the theatre write and perform their own original stories that are often small in scale, but epic in scope. Sometimes bizarre, sometimes dark, sometimes silly. The plays created by the artists of Audacity are all produced with simplicity, determination, and honesty. Using an economical means of production for a variety of original projects, the aim of the company has evolved over time to encompass one clear goal: make deeper and deeper, rather than larger and larger, works for the stage.
The mission of Audacity Theatre Lab is to exist as a platform for the imaginations of a collective of individual theatre artists. The artists of ATL are empowered to use the company as an outlet for the creation of new theatre projects, be they bold re-imaginings of existing works or the incubation and exploration of completely original works for the stage.
Has luck played a meaningful role in your life and business?
I think luck comes to those that are ready to recognize opportunities when they arise. If a person isn’t ready for it, he or she probably won’t even see it as a potential adventure. But if one is prepared, that person might just see an amazing path open up before his or her eyes.
For me, this has shown up in many ways. I have uncovered some great collaborators who were undiscovered gems when I first encountered them. Because I have kept my theatre company small and flexible, we have been able to leap on certain opportunities when they’ve arisen.
The times where luck has worked against me are usually times when I did it to myself. Those were times when I didn’t listen to my instincts. I guess I could consider it ill-fortune, those times when I couldn’t quite see or wasn’t quite prepared for what was to come.
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My friend and colleague Grant Knutson of Minion Productions conducted a pretty nice little interview with me over on TheSoloPerformer.com website. I'm reposting it here. Explains a lot about me and my solo shows...
Guest Contributor Grant Knutson of Minion Productions offers a brief Q-and-A with solo performer and producer Brad McEntire.
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I'm excited that I get to introduce Brad McEntire: solo performer, festival producer and founder of this very website, TheSoloPerformer.com. He is the founding director of the Dallas Solo Fest and will be participating as a performer this year.
I've been working on the Dallas Solo Fest since it began in 2014, but Brad and I first met nearly a decade ago when he was performing his show Chop at the (now sadly defunct) New Orleans Fringe Festival.
Since then, he's been kind enough to bring his shows to several events I've produced on the West Coast. And I've been lucky enough to travel with him a few times as he performs at festivals around North America.
Unlike some solo performers, Brad's various shows are widely different in style. In fact, he has this sort of restlessness that pervades both of his work and his personality. What ties his shows all together is that they present big ideas that make you think, but with an understated delivery that makes it feel as natural as a conversation.
Let's dive right in...
Q: Please give us a little bit of background? How did you get involved in the theatre?
A: I was always interested in the arts. When I was a little kid, I liked to draw and I thought for a long time I’d be a graphic designer or fine artist when I grew up. I have also been a voracious life-long reader. I fell into theatre in high school because I had a crush on a girl in one of the theatre classes. In college, I got a theatre scholarship, so the plan was to study theatre, but major in art. I got totally hooked by that time and ended up getting my BFA in Theatre and Performance Arts (emphasis in Acting).
I went to a wonderful, sadly now-defunct university called the College of Santa Fe. It was such an isolated place, but I had fantastic teachers there. They really equipped me to tackle the theatre by the time I was done. While in college, I indulged in pursuing all kinds of things. I played the clarinet (badly), wrote horrible poetry, directed, edited and acted in little student movies – both on film and on video - and did everything there was to do in the theatre. I built sets, costumed, directed, acted, designed lights and swept the stage. It was like a little wonder world of chances to play both in and around the theatre.
After college I spent time living, working and being poor in New York and London. I started the precursor to the theatre I now artistic direct. I ran a suburban public high school theatre department for a few years. I lived in Hong Kong for a year teaching high school kids ESL through drama games. I eventually got my Masters degree in theatre (with an emphasis on playwriting). I became an adjunct theatre teacher at community colleges. That’s my sort of “day job” nowadays.
Artistically, I rolled from one thing into another continually curious and continually working. I studied clowning – both American circus style and Eurporean - and was a birthday party clown for a short while. I got into sketch comedy, which lead to improvisation. I did children’s theatre for a while. I did murder mysteries on a river boat. I acted in a lot of things across the board, from very traditional theatre to crazy experimental stuff. I put in my 10,000 hours, so to speak.
I have built up a unique skill set. Now, I still act from time to time (mostly in my own stuff), direct on occasion and produce. My scope of experience allows me to understand and converse with a lot of different kinds of other artists. I consider myself that old term one doesn’t see much anymore, “a man of the theatre.”
Q: What event or desire brought you specifically into the world of solo performance?
A: At the tail end of my time in Hong Kong, I began tinkering on a one-person show that eventually became my first proper touring production, Chop. It is about isolation, culture shock and the romance of the unknown. I came back to the States and continued working on it with a great director friend of my, Andy Merkel. He helped me shape it into a real show. I started doing the fringe circuit for real back in 2010.
I was particularly drawn to the DIY and personal nature of solo performance. In an ensemble show, ideally (though I will admit this isn’t always the case), the emphasis is on trying to make as tight a final product as possible. The emphasis is on perfection. The cast, crew, designers and director are working to all get on the same page and make the show - the end result - as good as it can be. The goal is to bend the collaborations and interpretations into a coherent whole and to make it as impactful as the playwright or director means it to be.
Solo performance is not a format that lends itself to the strive towards perfection. The aim it to be as idiosyncratic and as novel as possible. I wrote an essay about this years ago. This little excerpt says it well.
The Collective works, ultimately, towards perfection. My idea of an Individual working in the Theatre is different. The goal is not perfection. The Individual Theatre-maker (such as a solo performer) is working ultimately for the most personal outcome. Originality trumps perfection.
Q: Could you tell us about some of your particular kind of solo work?
A: Sure. Like the rest of my works for the stage, my solo shows are a mix of weighty thematic explorations together with fluffy retro/pop-culture weirdness. It has been called “kitsch with significance.”
So, though the backbones of many pieces involve the search for identity, place, love, respect, revenge and other substantial age-old thematic universals, the plays are also filled with chupacabras, rocket packs, time travel, carnival barkers, dinosaurs, robots, unkillable goldfish and so on.
That play I mentioned above, Chop, is a darkly comic gothic love story about an extremely isolated and lonely man finding his place in the world. That place just happens to be at the center of an amputation fetish group.
Brad McEntire's show Chop
Q: Could you tell us about some about the show you are currently touring?
A: Sure. I am currently, for the summer, touring and performing my show Cyrano A-Go-Go. It is the closest thing I have to a TED-talk/Spalding Gray/ Mike Daisey style monologue show. What I mean by this is that I essentially play myself, talking to an audience that is playing an actual audience. Most of my other shows are structured more like narrative plays, with me playing fictional characters. This makes it my most personal work, too.
The show traces my development in the theatre and in life from the time I read my first play Cyrano de Bergerac by Edmond Rostand. I also tie in a lot about the themes of that play, a behind-the-scenes look at its history and touch on the real-life historical figure of Cyrano de Bergerac.
My hope is that my show is jam-packed with just as much action, poetry and tragic romance as the swashbuckling play that serves as the subject of my exploration.
Q: What inspired Cyrano A-Go-Go?
A: I have been a sort of armchair scholar obsessed with Rostand’s play for years. It also struck me that a lot of how I perceive theatre comes from Cyrano, such was the impression it made. You know how your first encounter with something affects your views of that thing. Remember the first time you went a certain place for vacation, or the first book in a certain genre? The first song from a certain band?
I was also deeply influenced by TJ Dawe’s fringe show Totem Figures. He talks about the influences on him growing up and the things that would be in his “personal Mt. Rushmore.” I only ever heard a recording of it, but I totally deconstructed it to see how he had put it together and I tweaked that structure to put this show together. Before hearing Totem Figures, I was dead-set against doing a talky monologue show where I play myself onstage. Up until then, I usually found autobiographical shows kind of narratively weak and overly confessional. Hearing him set up thematic ideas and then compound on them was a light bulb moment for me. It was like hearing a theatrical essay. Though we have never met, I owe him a great debt for the inspiration.
Brad McEntire in Cyrano A-Go-Go
Q: What inspires you to keep going and how do you keep yourself motivated?
A: Solo performance actually brings me joy. I am not sure about other people, but I hear that advice to do what makes you happy and I always think, “Okay, great, but I don’t know what makes me happy.”
The list of activities and experiences that bring me actual, genuine joy is very, very short. Honestly, and I know this sounds horrible, but I really just tolerate most things. Many things in the world bother or upset me. At least of the things I can actively identify that make me happy (and that can be done publicly, in front of other people), creating and performing solo shows is near the top of the list..
I genuinely love crafting and then touring my one-person shows. I enjoy the travel and networking and sharing my work with far-flung audiences. I enjoy the intimate nature of it. You don’t need a huge audience for a one-person show (I’m not against that, by the way, but it is not a deal-breaker). You just need a cozy room full of folks who listen and who you can engage with.
The whole thing still has a veneer of romance to it and I am, sadly, seldom romantic about anything anymore. Age has given me a pervasive cynicism. And this romance appears despite how incredibly difficult the work itself is. I sometimes say, when faced with a ridiculously absurd or challenging situation, "If it were easy, it wouldn't be any fun." For solo performance, the non-ease is actually one of the things I really like about. And it is never easy. At least, not for me.
The making of the work is always difficult and challenging and I always feel like I have to venture into the belly of the beast to craft something worthwhile and entertaining and original. And when I am waist-deep into creating a new piece, I sometimes want to give up, but then I remember that out of all the hardships of life, I chose this particular struggle. I chose to make this thing. Choosing to do something difficult is a special thing. The world hurls difficulty at us right and left and usually gives us very little choice in the matter, but getting to choose your struggle, that is sort of a sacred, wonderful thing.
And when I complete a show, at least enough to show to people, I feel an immense sense of achievement. I had to work for it. A lot of things these days offer only shallow instant gratification. Making a one-person show is not one of those things.
Q: Besides TJ Dawes, who are some of your influences on your work?
A: As far as solo performers go, I like the work of Bremner Duthie. I like the energy that Martin Dockery gives to his pieces. I like the archival recordings of Ruth Draper.
In the theatre, I am a die-hard Peter Brook fan. His books (particularly The Empty Space) have been hugely influential on me. I like the playwrights Samuel Beckett, George S. Kaufman, Sarah Ruhl and Mickle Maher. I like some of Dan Dietz’s plays and some of Sheila Callaghan’s work. I like Shakespeare, of course, and some Goldoni. I like some of Oscar Wilde. I like the work of my friend Lin-Manuel Miranda. And, of course, Rostand’s Cyrano de Bergerac.
I know this sounds like a horrible mish-mash, but I take inspiration from wherever I can get it. It all goes in the mix and adds to the fodder of my imagination.
Brad McEntire in his show Robert's Eternal Goldfish
Q: What prompted you to start this site, TheSoloPerformer.com? A: As a solo performer, I was looking for resources online about solo performance back in 2010. Back then, there just wasn't much on the internet yet about solo performers, their processes, clips or shows and so on. There are a lot more resources now and a lot more performers have individual websites. Since I couldn't find as much as I wanted back in 2010, I just decided to start this little Blogger site and just started compiling stuff. It has become a place to put essays and opinions, opportunities and profiles. In 2013 I was interviewed by Adam Szymkowicz for his wonderful website I Interview Playwrights. He did the whole thing over email and the format he used became a sort of an inspiration. I began doing a silimiar thing with solo performers here on this site. TheSoloPerformer has just been a side hobby, but nine years in, it has become a neat little compendium of information on the world of solo performance.
Q: How do you bridge the gap between the creative and the business side of solo theatre?
A: Not great yet, but I’m learning. It took me a long time to realize, like everything else, marketing and PR are things that could be learned. It would take time, but I was not powerless to acquire the skills and knowledge I needed to sell my shows. I have only really put a lot of focus on it since starting the Dallas Solo Fest back in 2014.
I have slowly embraced the administrative side of things as inevitable and that they should, in fact, be done as well as the artistic side of things. To do otherwise is a disservice to your show.
Live performance is a unique thing to market nowadays. It is location dependent and time-sensitive. A lot of what the internet has to offer, doesn't work for marketing theatre. But there's tools still to be found in social media, email, websites and the like. It has been a slow trudge, but I am getting better at it a little at a time.
Q: This is a good time to talk about the Dallas Solo Fest. How’d that come about?
A: I envisioned an intimate, “boutique” fringe-like theatre festival in Dallas to showcase a curated collection of local and national solo artists presenting full festival-length pieces. My li’l theatre company was in an interesting place back in 2013-2014. We had a cheap, accessible space with about 80 seats and I saw that here was an opportunity to finally make the idea a reality.
A lot of getting things done in life, I believe, is recognizing opportunities when they arise. So, I put together the kind of festival that I’d want to go to. It has stayed small and personal on purpose. I’ve had a small, flexible, wonderful crew. The technician, Shea Smith is just a great, solid dude. And you [Grant] were instrumental in helping me get it off the ground, supporting the festival behind the scenes every year. Thank you for all your help. This year, my friend Erin Singleton is coming in to work box office.
Q: How has the Dallas Solo Fest been received?
A: Mostly positive. The artists who have participated have mostly had positive experiences. A lot of that has had to do with who has been selected for the festival. Most of the performers come in with warm, open and enthusiastic attitudes. And we have tried to make southern hospitality a real thing.
The audiences have been very enthusiastic and audience attendance has grown over the years, but only incrementally. We have had sell-out crowds and we have had audiences of as little as three people. It has been horribly uneven. I have yet to figure out the tipping point/ force multiplier to really launch audience attendance. It is the single most frustrating thing. At the rate DSF is currently growing, it would be years before it becomes the draw that I’d like it to be.
The growth of the DSF has paralleled the decline of print media and, really, just arts coverage in general. My media list is much shorter than it used to be. And though a few bloggers and amateur arts journalists have sprung up, they do not have the reach and readership to counterbalance the disappearance of arts coverage at mainstream newspapers and websites. And those mainstream papers and websites that are still around are now harder than ever to grab the attention of. On tp of this, they don't have the sway they use to possess. Potential audiences get their information from some many different places nowadays. So that, too, has been a challenge.
It could be that festivals have a shelf-life. Maybe the demand really is not what I think it is. That has to be take into consideration. The only way to know is to try as hard as possible to put on a great fest, then sell the festival to audiences. Then we'll see who and how many show up. It is a hard process, but I try to stay optimistic and I keep good books. I genuinely hope the DSF will be embraced in the cultural landscape.
On a personal note, I hugely enjoy getting to know both new artists and the audience members who attend the fest. If it starts to really take off, then I could see keeping it going, and continuing to refine it, for another five or even ten years.
Q: Since 2014, the Dallas Solo Fest has featured around 30 different individual solo shows, with eight more about to be presented this year. Of the shows you've seen to date, which DSF show has most surprised you or been different than you expected?
A: Ooooh, good question. I have seen all of them, sometimes more than once. I am going to leave off from this answer any shows that were surprising because they were less than expected (sadly, that has happened a few times).
One of the shows that made me laugh the most was David Mogolov's Eating My Garbage. He has set me against eating Subway sandwiches since. One of the most heart-felt pieces in the DSF was Bremner Duthie's show'33: a Kabarett. I was overwhelmed at the depth of his show and the performer's talent as a singer.
Q: What do you see for the future of solo performance and for you personally as an artist?
A: I am not sure what the future of solo performance holds. Though it has been a thing for ages, I feel it is just in the last decade or so become a true legitimate format. Unfortunately, it is often still viewed as a narcissistic showcase thing. Or is mixed up with other one-person formats like stand-up comedy (this is not helped by stand-up's recent sneaky co-opting of solo performance, such as Hannah Gadsby’s Nanette).
Since the financial crisis of 2008-2009, theatres around the United States seemed more and more were willing to give solo performance a chance since the production costs are comparatively low for one-person productions. Arts Centers around the country continue to “round out” their subscriber packages by programming solo performers… if those performers have a bit of a name.
I used to consider solo performance as nothing better than a stepping stone to another career. Famed soloists of the past like Lily Tomlin, John Leguizamo, Whoopi Goldberg, Eric Bogosian, Anna Deveare Smith and even Spalding Gray leveraged their solo performance fame into film and TV roles. And then kinda stopped there.
One of the most successful solo performers in a long-term sense has been Hal Holbrook with his ever-adaptable show Mark Twain Tonight! He has been performing that show for half a century. It is an institution by this point. But again, Holbrook is a film and television actor mostly. The draw to his solo show is his marginal fame as a commercial actor. And he has traded variety (by having just the one solo show) for depth. It is a good trade-off, in my opinion, but a trade-off nonetheless. Mike Daisey continues to experiment with the form, mostly testing the limits of time duration in his storytelling, but I am not sure what his end goal is. Beyond its use as a stepping stone to other industries, I am not really sure what the mountaintop looks like in solo performance. I mean, there is a support structure for sustaining it with fringes fests and independent venues scattered around, like a less formal and more contemporary Chautauqua circuit or vaudeville circuit. But what is the highest achievement to be had? In the past Ruth Draper gave a command performance for King George V at Windsor Castle. That was cultural power.
I do hope solo performance catches on enough in mainstream theatre - or hell, just with the mainstream in general – to maybe fill large theatres or even stadiums and get Netflix specials someday. I think that would be great, but to be honest, even if stuff does go that way, it will be a long way off.
For me, I am not sure what my own end-goal is, either. I will continue doing what I’m doing as long as I feel it has significance and I am enjoying it. I have, at least, a few more solo shows in me waiting to be created, toured and performed for audiences all over the place.
Q: Shout outs or links?
Sure thing…
Come see my show Cyrano A-Go-Go at the Dallas Solo Fest (or later this summer at the Elgin Fringe).
