Looking Through The Kaleidoscope #500: Being a Bully is a Statistic...The News is Making Me Sick...

It's my 500th post! Or 16th if you are counting. The "#500" just seemed cooler. What's in a number?

I'm used to the idea of bad news being on the news all of the time. What I am still not used to is the fact that a good chunk of this bad news has to do with bullying. To be more precise, the tragic end-results that are coming from it. How many more child suicides do we have to have before the hammer falls?

Many times Jamie has spoke about her very poignant and important experiences with bullying. I have only mentioned mine briefly in Kaleidoscope's public forum. Like Jamie, I was bullied as a child, however I feel it was never to the same extreme as her. I was constantly picked on for being skinny, and in that sense smaller than other people. Being tall didn't exactly help matters. I was still skinny, and therefore considered weak. I don't think I'm weak, and I think a part of me back then felt the same way back then. But according to bullies, the stick-like arms don't lie. I don't think I ever was able to move past this until my first year of college. I was once again an outsider, being one of two Rhode Islanders in my freshman class, but everyone was an outsider. Even those who lived in the Berkshires were embarking on a brand new experience, and all they could bring to the table was themselves, or at least who they chose to be at that particular time.

I've actually explored this a bit not too long ago. I took part in a solo-performance class while pursuing my MFA. This class focused on varying aspects of the craft, and ultimately led to an autobiographical show that we put together. Right away, I knew who I wanted to model my show around in terms of format: the late, great Spalding Gray. For the theatre kids reading this, Google him. He paved the way for a lot of solo theatre that is around today, and his work holds up strong. Now came the content, and with only 26 years under my belt, this autobiography is not much of a read. I didn't feel that there was something in my life (at least the span of my life being observed) that warranted much of anything. It's been a mixture of ordinary in the sense that not much has happened, and in the same way blessed that I haven't had much experience with trauma (knock on wood). So what do I talk about?

Part of the process was recollecting and observing our own memories, and through this process I was able to string together some themes. I found repeating patterns in my life that revolved around various things, but one of the aspects that really stuck out was this sense of social hierarchy in our younger years, and the fact that we don't make the decisions in terms of this hierarchy. Someone else makes the decision for us. The frustrating part is that I couldn't find out who this someone (or group of someones) was. The self that I explored knew two things for sure: someone made the decisions, and I wasn't that someone. And at that point, I had my show. I sat at a table, had a few props, and told my stories. Through these stories, I tried to paint a picture of a hidden society within our childhood, and most of us our peasants. If you wanted to know where your place was, just look at where you were sitting at lunch. If you even had a seat.

When I think about who Kaleidoscope is trying to reach right now, it made me think of this show. It also made me ask this question: if every bullying victim's experiences are unique, then how can we reach all of them in one message? It's like I said before, both Jamie and I were bullied, but the experiences, on the outset, seem like night and day. The dawn was thankfully the same: we both came out stronger in the end. So where is the constant? Where is the constant within all of these victims?

If I had to guess, I would say it is control. The victim only has so much of it. They have a degree of control in how they respond to the bullying (I say "degree" because I don't think some reactions are made rationally or by "choice"). With bullying, I believe that the constant is that, at the end of the day, whether we can take the punishment or not, we feel that someone else is in control of our lives.

Maybe the message should be something along these lines: you are in control of who you are. It is your identity, and no one has the right to tell you that it is wrong or against the laws of nature. Yes, we may feel that certain sides of us aren't ready to blossom, but that's alright to feel that way. Somewhere, there will be someone we can trust in, and we can bloom for them. It might take a while, but it will happen. No question. If you feel the need to hide, hide in plain sight. What I mean to say is don't let the ignorance of others constitute your identity. Just because one person can't accept something doesn't mean that everyone else will follow their lead. I am fully aware that there are many factors in this very sensitive subject, and we can only do so much at a given time. But whatever we are allotted to do at that given time, give it everything you've got.

Don't let bullying take your identity. Take it back.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #15: When In Doubt, THROW IT IN!

Kaleidoscope recently had a trip to New Jersey for a three-show run of Mother Goose at the Kelsey Theater. Trips to New Jersey always prove to be pretty interesting. I had gone to the Kelsey with the gang in the past, and those trips also have some fun memories. Some of the fun was a bit more dangerous than the rest. For instance, I don't think you are allowed, by law, to stop on the highway and contemplate a situation. Don't get me wrong, stopping to observe your surroundings is good now and then, but when your surroundings include heavy, metal-encased vehicles of death, swerving around you at 70 mph, the roses will just have to wait. On a related note, the death vehicles don't like it when you start backing up.

This trip wasn't as deadly, but it is the longest overnight I have done with the company so far. We left on a Thursday evening and came back to RI Saturday evening/Sunday morning, depending on how you want to look at it. Regardless of the length of the trip, it went smoothly. I was lucky enough to be in the "quiet" van for most of the trip. With many long trips at Kaleidoscope, there are usually two vans. One van is the "We're young, we're excited, let's sing Glee the whole trip" van, and the other is the "Shut up and sleep" van. Glee is all well and good, but I felt very fortunate to be in the latter of the two vans, being able to use my new hat (which is getting a surprising amount of approval, if I may say) as a makeshift sleep mask. Between the sleep and a trusty iPod Touch (loaded up with music, an episode of Criminal Intent, and The Sting), I was certainly occupied for the six-hour trek. It should have taken four, but with so many people to deal with at once, delays are bound to happen. I will take this time, however, to say that I was in the noise box on four wheels on the way back, at the helm as it were, and all I will say is that at least there was no danger of being asleep at the wheel.

I have to say that one of the more interesting things to happen on this trip was the meeting with the infamous New Jersey Bridge Troll. She isn't a real troll, however she could be for all I know, seeing that she was hidden from the world in her toll booth. This wasn't a normal toll booth, mind you. This was a $1 booth, however you needed change. The attendant was not even visible. She was in fact hidden behind a sliding screen door that was shut. From what I understand, the lead van (U.S.S. Noisebox) was scrambling for change when they got there, until the attendant yelled to them "Just give me the dollar! If you do this again, I'm giving you a ticket!" How would she? She has to present herself to do so.

Now our van gets there, and Bob, who is driving, doesn't notice the change receptacle. I tell him we need change, but he can't seem to find any either. Finally we here a "THROW IT IN" echo from the bowels of this toll booth. This voice painted an image of a disgruntled toll worker, who perhaps lived in the booth very comfortably with her HD television and Wi-Fi, and here we were disrupting Days of Our Lives. All this time I thought trolls were eunuchs with fun hair.

The shows themselves went very well, and a good deal of that credit needs to go to the Kelsey. The folks there are really wonderful to work with and are very knowledgeable in their craft. Our audiences were good as well. Friday was pretty full, mainly because there were schools coming in the see the show. The two Saturday shows had modest audiences each, so all together it was pretty good. One child in particular got to steal the spotlight a little during the second Saturday show. As the Knave, I have a speech that I do right after the intermission. In this speech, I mention that the king's birthday cake has been stolen. After saying this during the second Saturday show, a young kid shouted at me "It was probably you!!" at the top of his tiny lungs. I couldn't just ignore this statement, particularly because it echoed throughout the whole theater, so I responded with "What do you know?" It got a good laugh.

It's funny that this happened in a children's theatre production, however I wonder if the old "theatre code of conduct" would discourage it. By definition, children's theatre has little to do with the content of the shows. Yes, they usually play for younger audiences, however what truly makes children's theatre is the idea that it is teaching young children the conventions of the theatre. Good children's shows encourage participation and response, however they also encourage it when it is deemed appropriate. On the other hand, if we considered what theatre could be in our society, then this kid is on the right track. I think what I was able to witness that day was someone not stuck in the Deadly Theatre that Peter Brook talks about. This child was not fully aware of the social conventions that are placed in are theatre (for better or worse), and therefore he reacted from his gut. He reacted in a way we should all encourage when we go to the theatre. Sure, we could get into a discussion about respect for the actors and the other patrons, but if the theatre is not a place for all parties to express themselves, then what good is it? However we choose to look at it, I'm glad I got to experience that moment.

All in all, a good trip. But it's always good to come home.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #14: At Least I'll Pull Off The Hat (I Hope)

Summer is just about upon us. The weather is starting to warm up, school is ending for us college folk and will be ending soon for everyone else, and I already had the task of lugging the clunker of an AC into my living room. Summer also means the ending of school touring for Kaleidoscope, as well as the beginning of the annual summer tour. For me, this is where Kaleidoscope is at home. Don't get me wrong, the school touring shows have been doing very well, and in a way they are the crux of the theater's business, but when I think of Kaleidoscope, like many other people who grew up with the company in its thirty-plus years, they think of going to places like the Warwick Musical Tent to see their favorite fairy tales come to life through fun performances and music. I remember seeing Alice in Wonderland when I was very young, probably at the Warwick Musical Tent. All I remember was that it was in the round and there was a guy running around singing "Smile". I think at the time I didn't even realize it was Alice in Wonderland, or at least that is how memory serves me now.

Everyone will always have a favorite show with Kaleidoscope, or at least one that is dear to them, but there was always something about Cinderella. The creme de la creme of the summer tour. If any fairy tale has stood the test of time, it is certainly the one with the fair girl, her mean old mother, the ugly stepsisters, the prince among princes, a fairy godmother, and one very particular slipper. There is something about the tale itself that makes every little princess in New England and beyond want to be Cinderella. Sure, there are a few Snow Whites and Belles, maybe a Sleeping Beauty here and there. But you could toss a magic wand in the air at one of our shows (available at the Kaleidoscope concession stand, just ask for Bob) and it will probably land near a tiny Cinderella. Here at Kaleidoscope, there are fairy tale musicals, and then there is Cinderella. The glass slipper stands alone.

This summer, I get the honor of playing the Minister in Cinderella. Of all the parts in the play, this is one I can really sink my teeth into. There is a lot of room for creating a unique character, there are some great scenes that the character is involved in, and last, but certainly not least, great actors to work with directly who have done their respective parts for some time. Many of the scenes with the Minister and the King are real crowd pleasers, and I do not intend to do anything less than what I've seen in the past.

That's probably the biggest difference between the other shows I've done with Kaleidoscope and my upcoming work with Cinderella: the pressure is on! Without a doubt, this is going to be the toughest character to pull off. Not to knock any of the other shows I've done, or any of the other shows for that matter, but I know the workload is going to be the greatest with the Minister. I can handle the idea of this being a show with high expectations in itself, however I know I'm going to be very tough on myself when it comes to meeting those expectations.

If anything, this show is going to test my singing like nobody's business. Character voices won't cut it this time around. This part takes a serious singer, so I'm going to have to start thinking like one. I've got past recordings of the parts I need to do. Now I need to listen, practice, listen, practice, listen, and practice until I can, and am, singing this in my sleep. This is nerve wracking, it's exciting, and it's all going to come together in a matter of time.

Welcome back to summertime at Kaleidoscope.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #13: Sometimes You Have to Go Back to Go Forward

I was looking through my Twitter today (yes, I tweet) and I was extremely pleased to see that Kaleidoscope's very own Amber Rose Johnson took first prize at the Poetry Out Loud National Finals, earning both a pretty penny for herself as well as a stipend for Classical High School to purchase poetry books, which is an idea I am fully behind. On top of that she got to meet John Leguizamo and have Garrison Keillor as one of the judges. It sounded like a fantastic experience all around.

Perhaps it is just me, but it feels like a good time to be creative. Theatre is in a very interesting place this day in age, and I believe the limits that might have surrounded it at one time are slowly loosening their grips. We are living in a time (again) where we are getting down to the basics. We are going back into a place where the theatre is once again about the performer and the empty space, as Peter Brook might put it. Forget the set, don't worry about the props, just give us a place to do the show and we're good. Sure, we still have the glamor of the Broadway musical, but even they are going back to their own golden age with the amount of revivals that have come out in the last few years. The owners of the Rogers and Hammerstein estate are probably doing pretty well in the royalties department. But I think we might be coming back to a time where we are willing to ask the most important question in theatre: "What are you doing?"

The question might sound harsh to the novice theatre performer, but it isn't meant to be. It's not a "What are you doing, for goodness sake, and whatever it is STOP" kind of thing, but more like an awareness of what our actions on stage are. We need to remember that it is action that will always drive a theatrical work. The center of theatre will always be people, and the good plays are going to showcase people in effect.

Whether this be a new wave or old news, I think Kaleidoscope should jump on board. Creatively, I see the company in a good place. There is a good variety of talent, good people at the helm, and the right opportunities are presenting themselves. Consider this: one of the hottest topics in the news right now is bullying. There have been several commentaries on the subject on public radio alone, and this national crisis (yes, crisis) will continue to get attention. Here we have Kaleidoscope with not one, but two anti-bullying shows, both with a strong message, and both with recognizable accolades. I'm surprised there aren't more bookings of this show.

From what I can see, Kaleidoscope has several doors it can step through. The anti-bullying program, the creation of new works like Magic of Story Time and Alice Through the Kaleidoscope, the thirty plus year lineage that it has woven in this community. We are well in our means to do more, and we should. We have a real opportunity not only to continue what we do, but to create great theatre. The theatre is all about the big picture, and Kaleidoscope can absolutely widen its canvas.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #12: School's In

I'm not even sure if people even remember these blog entries. Something is convincing me to resuscitate this poor being of a mini-blog.

Busy seems to be the key word lately. From a personal standpoint, I've been busy putting together an MFA project in order to graduate, but things seem to be busy on the KScope front as well. Most recently the company has been in the midst of the RI Home Show, where our newest show, The Magic of Story Time, has been making its magical mark. In general, this show is in pretty good demand. Having been part of a performance way back in its early stages, I can see why it is so popular. There is a lot of enthusiasm and talent behind the simplicity.

My work with Kaleidoscope has been on and off as of late. There are times where I am heavily involved with the shows, followed by periods of inactivity, and then more work. If you had asked me a year ago, I never would have thought that I would be involved with the school touring shows in the capacity that I have been in.

A little while ago I was able to do a performance of I'm Special, You're Special, KScope's show that focuses on the inclusion of individuals with down syndrome, specifically inclusion in a public school setting. Up until the few rehearsals I had, I didn't have a lot of knowledge about the show. The main reason for my involvement was due to the fact that we were short on people to play the father/gym coach in the show. I realize I'm a bit on the young side to play such a character, however we were able to pull it off because our ages sort of lined up. It wasn't like I was playing opposite to someone older than myself. So, roll up my sleeves, put on some glasses, and I'm a dad.

I had a good time with this show. We had done two performances, both of which went over without a hitch. The children were extremely attentive, which tells me that young children not only have the capacity to understand a concept such as inclusion, but are also willing to move in the right direction. I think we take this understanding for granted. As we get older, a great deal of people in our society seem to stray from the idea of inclusion. Something in our brain will change how we view people, and we start to become more cynical. We could chalk that up to personal experiences, but we fail to see how easy it is to accept when we are young. It has nothing to do with naivety. I think it has to do with the fact that the more things that we realize, the more things we have to question. Perhaps, once in a while, we can just tell ourselves to save the questions for something else. Once in a while, maybe we should just be able to accept someone for who he or she is, merely because we are all the same in the grand scheme of things. Keep the bad eggs in mind, but don't put that title on a person before you know them. I think its time for us to let us make the decisions for ourselves and not let society tell us how to think of someone because they are different. Treat people as people, not delicate beings who will shatter in our hands. The kids get it. We can get it.

The big thing in school touring right now is still BULLY, but this season it has been the new incarnation of the show, High School BULLY. The show is still in its infant stages, but the crawl is slowing progressing to a walk.

The show has revealed one of the biggest obstacles in theatre, which is speaking to a younger audience. The high school period of our lives is sort of like an age of reality. We are figuring out the truth of who we are, who are the important people in our environment, what is our purpose, and so on. It is an age where we turn off the willingness to imagine, especially with the theatre. We are able to simply believe something is real on stage as a child because it is simply there. We regain this ability as an adult because we understand the nature of the theatre. As for high school, we seem to like to point out the sparks of reality that are subtle enough to not break the image on stage, but potentially could if they were to reveal themselves. It's a tough audience. And this is a tough show being delivered to a tough audience. The show is tough in the sense that we are educating, and the last thing a high school student wants is an education. Sounds silly, yes, but there is truth behind it. Educating ourselves as adults seems more natural because now we are free to be curious about the world and actually go out and satisfy those curiosities. In high school, we'll tell you what to be curious about. Got it, slick?

Some of the difficulties involved in the show are certainly coming from our end as well. Don't get me wrong, it's a good show. However I think there are still instances where we are taking our audience for granted. We need to be able to communicate our message effectively, however we need to either meet the students on their level, or we need to exceed it. Either way, we are paying the students the respect they deserve as people of the theatre. I specifically will refer to them as "people of the theatre". They may not go to the school plays, they may not have an interest in the craft, but the fact of the matter is that once they walk into the theater, they are deserving of our best as performers. But the problem doesn't lie in the talent of the people on stage. We have it. What we need to focus on is whether we are offering a work that is appropriate to our audience, in this case high school students. Many times, I would say the work finds the audience, and we should not have the audience in mind when creating. This show is an exception. However we aren't going to reach our goals by changing what we do on stage. We need to look at what we are giving. Theatre is about doing. We go out there, we do, and we reach who we are going to reach. We need to refine what we are doing via the content.

As someone who has performed in a production of High School BULLY, I think we are on the right track. I think we still have important work to do as well. The show has gained a lot of notoriety already, but I say we can't pat ourselves on the back just yet. Let's see what we can do to make a great thing even better. Theatre isn't just the act of doing on stage, it is the act of doing in the creation process. We aren't done working yet, nor should we ever be done working.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #11: What Did You Expect? They're Owned By GM...

Sorry it took so long between this post and the last one. Once again, time got away from me, as it does with many of us.

As I mentioned last time, this blog would be about the Chevrolet Center in CT. First, a little background. So as they say in Lee Falk's The Phantom, "for those who came in late..."

Kaleidoscope has been bringing their summer series to the Chevrolet Center since it was known as Oakdale Theatre. I've only known it as the Chevrolet Center in the three years I've been with the company (you can check out a previous blog about the the Chevrolet Center here).

If you haven't been to the Chevy, it's huge. The theater itself seats somewhere in the realm of 6,000, and in addition there are two room used for our "character lunches", where all of the actors meet with the audience and sign posters as they have lunch. In most cases, it's a bigger than any other performance we do. That is, it was.

This summer, we only did one show at the Chevy. The economy has hit the place hard, as it has other venues, and the theater cancelled the rest of our season. Just like that, we were gone. There are two main reasons for this, which go hand in hand:

Chevy is a union theater, meaning that they have a lot of people they have to make sure get paid no matter what. From an actor's point of view, it means that someone else will put your costumes in place, install the drops, and put the set in place. Spill something and you are likely to hear "DON'T TOUCH THAT!"

Here's where the other hand comes in. Being so huge, Chevy has to fill as much of the theater as they can in order to make a profit. So while 2,000 people in the audience is great for a performer, it's not so great for a venue like Chevy. Because of the economy, it's harder to fill seats. Not to mention that most of Kaleidoscope's audience was comprised of summer camps, which were extremely beneficial for everyone. We got our audience and Chevy got its profit. But there are less camps this year because of (DA-DADA-DA!) the economy.

There is a little more to this that I hesitate to go into...

But I will!

Many people were upset by this. Kaleidoscope had received many calls from people hoping to see our shows at Chevy, none of them good. They have ranged from "we were looking forward to this" to "well, if you cancel there, who is to say you won't cancel with us?" Let me assure you all that we did not cancel the season. We, in fact, were willing to do just about anything to at least save part of the season. Yet people were under the impression that we were the ones that pulled the plug, when in fact it was another party I am not sure I should mention (hint: vroom vroom).

Now, this experience got me wondering: how would the fairy tale worlds that we portray handle such a situation? With that, I present:

Kiss it, Obama!

So what would the fairy tales of this summer's season do in such an economic crisis? Here are my theories (for your consideration, additional references have been added thanks to Wikipedia):

Snow White - This is an easy one: layoffs. That way when I ask if everyone is ready for "Snow White and the Three Dwarfs", I'm not lying.

Cinderella - The Fairy Godmother can only afford to give Cinderella a fiberglass slipper.

Beauty & the Beast - These people are already down on their luck...but things get worse when the Beast cannot let Belle live in luxury and wear fine clothes. All he can offer is a "My Dad Stole a Flower, Made Me Live With This Furball, and All I Got Was This Lousy T-Shirt" shirt.

The Frog Prince - You think we can afford to give such nobility to a frog?!? Bring on "The Frog Duke".

Aladdin - I know what you are thinking: there's a Genie that can fix it all. Right? WRONG! With everyone cutting corners, there is now a 10 rupee surcharge with every wish.

Goldilocks & the Three Bears - If no one can afford a house lately, bears certainly can't.

"I'm so tired. Oh, what a cute little...cave?"

Little Red Riding Hood - We've already got one sponsor plug ("Oooh, Neiman Marcus"), so let's get in some more.

"Now, go straight to Granny's house to give her the Pepto-Bismol, for her nausea, heartburn, indigestion, upset stomach, and diarrhea."

"I will, mother. And if I get tired, I can snack on these Honey Nut Cheerios, which can help lower my cholesterol. Honey Nut Cheerios: be happy, be healthy."

And finally...

Sleeping Beauty - Naturally, the spinning wheel will be made by IKEA. And what is this Party of the Year business? You think that we can put together a celebration so great that it will be better than anything else that year? We can't afford such gusto. Music, please!

"The Party of the Month!
The Party of the Month!
The costs are low, I guess we'll go,
to the Party of the Month!
My goodness what will I wear?
My goodness what will we wear?
Dress casual, it's acceptable,
at the Party of the Month!
And bring drinks for you see, it is BYOB,
at the Par-ty, of, the, Month!"

Those shows should do just fine, right?

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #10: That Time Of Year Again

It's the tenth addition of Looking Through The Kaleidoscope! I'd be more pleased about that if I hadn't only done nine entries since August of 2008. But hey, how much do you expect out of a one-year old?

Summer is here after a spring of school touring and some fairy tales. We've gotten through the B.U.L.L.Y.ing and trips to New Jersey as best as we could, and if I may say so, we did a pretty good job. But now it's July, which means Kaleidoscope is doing what it does best, which are fairy tale musicals. It's only unfortunate that the bulk of our work went on an "economic diet".

There are certainly some up-sides to this summer for both the company and myself personally. This summer marked the return of Aladdin after years off the road. The show went through a rather big overhaul, which ranged from three brand-new drops and a "change of location". I was very eager to try and get on board for this occasion and was lucky enough to be a part of it. Of course, this means something that I've done so many times in the past: audition for David.

This audition almost didn't happen, however. I had come down to the company audition, which was held during late spring, and noted that I was interested in auditioning for Aladdin. My first choice for who to audition for was the Genie. I knew it was a smaller part compared to the others, however my initial thoughts were that I could have some fun with it. However, David was interested in finding someone imposing, where as his description for me was, and I quote..."scarecrow". Apparently he wanted people to be able to see the Genie if he or she was ever in profile (nyuck nyuck). I should have told him that good actors seldom stand in profile, but I am sure he would have then made a crack at my acting. Those who know me in the company best know that I am much, much to sensitive for that kind of (as William "Father Mulcahy" Christopher would say) jocularity. That's me...Mister Sensitive. No joking here.

With this in mind, it had appeared that the only part I could possibly fit was the Vizier, however there wasn't ample time to go over it and actually audition for it. We were going to try and set something up for another day, however before that could happen our good friend Chris Schultz, who played the Vizier before, was available for the part. At that point, I figured that perhaps I would tag along one show and take pictures or help with sound.

Some days later Nikki asked if I would be interested in auditioning for the Sultan, to which I jumped at the chance. David didn't jump so much, however, as he wasn't sure if I could play someone significantly older. Ironically, the first character I ever played in the company was an old man! Still, circumstances were a bit different and it was going to take a good audition. Besides the potential age problem, also working against me was the fact that the Sultan was always played by someone bigger than me. He was never the Skinny Sultan. The best I could do was find my own spin on the character and at the time I had about three minutes to accomplish this. I guess it was a good three minutes because I got the part.

Aladdin has since opened and the response has been positive, which is extremely gratifying seeing that the show is extremely big. Big cast, big music numbers, big everything. Another words, a big job to tackle. But tackle it we did for audiences at RIC and Chevy, and soon we will be doing one more show in Saugus.

And then there is that "diet" I was talking about. There is no doubt that times are tough for everyone. The economy is in very rough shape and everyone in the country has collectively tightened their belts. One big swoop to the next notch. It's good to see that Kaleidoscope is trying to keep the belt where it was last summer, though. We haven't raised ticket prices in hopes that folks will still spare the extra cash to come and see us. But while the company has bit the theatrical bullet, other places haven't been so lucky. Regular venues such as Melody Tent and South Shore were unable to take full seasons. We did get some new venues, however they are only taking between one and three shows each.

And then...there's Chevy. Oh, Chevy...you're a special one, so you get your own entry. Probably sooner rather than later. So soon the draft might be already started by the time this is up.

Until then, in the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #9: More Fun Than A Swirlie

Greetings fellow friends of Kaleidoscope. Sorry I've been a stranger on the blog for a while, but as they say, life happens.

I've been grateful to be so busy with Kaleidoscope lately. Usually my stint starts and ends in the summer with the touring, with the exception of a show thrown in once in a while throughout the year. However I've been trying to make myself more available to the company when it comes to shows and am trying to audition more often. This month, I've been involved with showings of Little Red. Our first one was in Saugus, MA just last Sunday and we are gearing up for the big haul to New Jersey this Saturday. More on that next time.

I've also been doing some productions of B.U.L.L.Y. as of late. B.U.L.L.Y. is a very different animal in the Kaleidoscope Zoo. For those of you who do not know, we take this one out on the road during the school year and perform at various schools around the area. We were actually at two schools earlier today, in fact, and I know that there are more performances on the way. It's not just the scheduling that makes the show so different, but the nature of the show as well.

David has always made a point to have some lessons to be learned in the fairy tale musicals, both on and off the moral playing field. Little Red, for example, encourages the kids to not play around with real guns and not go anywhere with strangers, as well as present the fact that you don't need the nuclear "mom-dad-child" combo to be a family (Little Red's mother mentions how she doesn't understand Grandma needing a man around the house, to which Little Red responds "that's just silly"). B.U.L.L.Y. is based around morality, specifically the growing problem of bullying in our schools. As with a fairy tale musical, B.U.L.L.Y. makes clear statements on what the right thing to do is, but also it encourages the audience of youngsters to relay information back, primarily specific incidents of bullying.

To me, the idea that David wrote such a show is wonderful, and I know for a fact that it has gotten numerous praise from all over. This is exactly what theatre is supposed to be doing; it is a tool for social commentary and expressing the situations that face us today. Sometimes people don't truly understand the world around them until they see something happening in front of them. One might argue that the theatre may be showing things through an exaggerated lens. Perhaps its the fact that actors have to be "bigger" on stage in order to translate well to the audience, or perhaps it is a preconceived notion on the part of the audience. In truth, the stage is willing to face the tougher issues in a way nothing else can. Kaleidoscope has done just that by facing the reality of bullying in our schools.

Performing in this production has a special quality to it because it carries such an important message, and what works so well is that it doesn't feel like a PSA. The children are always into the show and get very excited very easily. More often than not they are attentive, and there are always interesting questions and comments coming from them. The fact that the teachers have just as positive a response to the show is a plus. In a way, it's because of the adults that the show even exists. It was the parents and teachers of our audiences that suggested a show be done concerning bullying. The fact that the show is successful is one thing. It means so much more that we are able to fulfill the request of our audience and offer them what they truly want to see.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #8: Me & Mr. Jones

While I realize that this isn't a traditional entry from me, I still thought this would be a great forum for what I have to say and that the Kaleidoscope family would appreciate something of this nature.

As some of you might have heard, music producer Quincy Jones was quoted in saying that the next conversation he has with our soon-to-be President Obama will be to beg him to have a Minister of the Arts as a government position, which is otherwise known as a Minister of Culture in other countries.

Obama has made it pretty clear that he supports the Arts in his platform, which is not necessarily good for just Kaleidoscope but as a nation as a whole. From what I understand, Obama is supporting the Arts through three main tactics:

1. He wants to expand public/private partnerships between schools and arts organizations.
2. He wants to start Artists Corps, which is, from what I can tell, a sort of art-focused Peace Corps.
3. He is publicly championing the importance of arts education.

Already I am glad with what President Obama intends on doing and I hope it gets down. Support of the arts on a national level would hopefully mean support for Kaleidoscope in the long run, meaning Kaleidoscope could continue to serve the community in the many ways that it does. If the President-elect is a serious about the arts as he claims he is, then I think having a Minister of Culture/Arts would be something extremely worthwhile. Our nation is facing a lot right now and Obama is certainly going to be working hard, yet it is hard to say how high of a priority his Arts platform will be. Having a Minister of Culture/Arts might be just the thing to get things rolling for the Arts and still be able to focus on more prominent issues. In fact, I think there is almost a need to have things happening simultaneously because the Arts have helped our nation in the past and if utilized properly they can help our nation again. For a little history lesson, look up the Federal Art Project, which supported artists during the Great Depression.

The main thing I want to get at here is that Quincy Jones' remarks have sparked an online petition to get a Minister of Culture/Arts into our government. I think signing it would be very worthwhile and I hope everyone in the Kaleidoscope family agrees and will do so.

Here's a few links for you:

The Petition: Please consider signing.

Obama's call to arts: For those interested in Obama's Arts platform, here is an article from The Christian Science Monitor.

Thanks to all in advance who sign the petition. I wouldn't have asked you all if I didn't think it was important. I promise to get blogging about more Kaleidoscope stuff soon, including:

• Upcoming work on school tours
• Some more fairy tale musical performances, and finally (dun dun DUN)
• working on an audio script for Cinderella! That's right, David and Bobby liked my idea from my last post.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #7: For Your Ears Only

Happy holidays to the Kaleidoscope family and its friends. It's getting to be that time of year where families big and small come together, we all feel the chill of a New England winter, and David and Bobby migrate along with the geese. Yet Kaleidoscope doesn't really stop and this year I am starting to understand that first-hand. My experiences so far have been those of the summer touring, but now I am getting a glimpse of what happens when the weather isn't so hot.

I'm looking at my short-term calender and am realizing that I am lucky enough to be doing more with the company. I'm going to get to do Goldilocks for the very first time as the narrator, and if I am lucky I will be involved with B.U.L.L.Y, which would be my first non-fairy tale show at Kaleidoscope (not that I mind the fairy tales). I've seen B.U.L.L.Y once when I helped film a production of it about a year ago and it's a very different animal in theatrical terms. The interaction is very different with the kids; it is much more personal and there is a particular level of importance in getting the message out to them. I can see why David has such pride in that show and I hope my schedule works out.

But first things first. In the near future I will once again be playing the Huntsman in Little Red Riding Hood's Christmas for a school performance. For those of you who don't know, it's very much like the normal show except two numbers are different and we say "Christmas" a lot more. Looking towards the future and that performance, I remember the first time I was in Little Red.

I believe I mentioned before that I played the Huntsman last summer for one show in Connecticut. That show was particularly fun as I got to work with both my girlfriend and people I had gotten to know well through the company. Plus the shows at Chevrolet usually mean a character lunch, so there is that to look forward to. This particular lunch was interesting because some kids either recognized me from Snow White or had mistaken me from another show. Most of my responses involved a handsome twin.

What stuck out for me the most with that show was this idea that popped into my head while waiting backstage. Once I was done with my lines and such in the first act, I was able to wait backstage in one of the dressing rooms, where a monitor was set up and I could listen to the show. One of the first things that came to my mind was radio drama and that it would be extremely neat if Kaleidoscope did audio versions of their shows.

For those of you who don't know, I am a big fan of radio, particularly radio drama and dramatic readings. One of my favorite parts of the weekend is A Prairie Home Companion, a variety show that has been around thirty some-odd years and is hosted by Garrison Keillor, who also writes wonderful books as well as contributes to the Chicago Tribune. You may not know what he looks like, but his voice is one that clings to you. Along those same lines, one of my favorite television shows from the sixties has been given the audio treatment now and again, the result being sort of like a staged reading except there is linking narration throughout in order to fill in some gaps.

Kaleidoscope has ventured into audio before. You can usually find CDs of Cinderella at the concession stands for any show. Yet something made me think "wouldn't it be so neat to do a whole show on a CD?" I think it would be neat at least, as well as effective. Kaleidoscope fairy tales are pretty much based in the music, and I would think the music is part of the reason families keep coming back every summer. While seeing a Kaleidoscope show is bound to be special for any family, I would like to think listening to one can be just as wonderful. Maybe it is just me, but I know I would have a blast performing a show for radio. For something like this, though, I'd want to be a narrator for any of the shows. Again, it is just a fun idea that I am throwing out there, which anyone with significant pull in the company is free to steal from me. Just remember: linking narration.

As things begin to pick up for me, I'll be sure to fill you all in.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #6: Loss

I realize this next post is digressing a bit. It is not about what I said it would be about last time. I also think it might be digressing a little because it has been some time since our good friend Larry has passed. I had wished to touch on this earlier when it might have been more prevalent, but there were many thoughts stirring about this.

When one becomes involved with the theatre, it is very easy to become part of an extended family. As I've posted before, Kaleidoscope is certainly no exception to this. It is a very welcoming community that is always open to a few more faces. And it is also very tough when one has to come to the realization that there is a face that you will now only revisit in memories and pictures.

I didn't know Larry very well. I only have small bits of imagery and information readily available, but it is enough to paint a detailed picture of this man. I know that he loved to make music. His love of music was something him and Debbie shared closely.

I remember finishing up a show at RIC last summer and we were loading up the van at the back of the auditorium. As I was bringing in some of the equipment, I saw Larry over by a piano that was set up near one of the other performance spaces. He stood at one corner of the piano, his cane in one hand, and lightly playing the keys in the other. There was something about it that was flowing and effortless. A sort of grace that just came from him naturally as opposed to years of study. For some reason that image stays with me the most: a man and a piano, making music out of silence.

From what I had seen between Larry and Debbie, I could tell how much they loved each other. Despite his illness, Larry would travel with Debbie to every Snow White performance last summer. Something as debilitating as cancer couldn't keep Larry from being there. I'm almost ashamed to say this, but just before a performance at Cape Cod Melody Tent, I had been backstage to get something from my bag and came across Larry and Debbie just holding each other. I moved quietly as to not disturb them in this tender moment. But that's just what it was. This one image of a man and woman holding each other spoke more about their relationship than any number of words could say. And I hated the idea of disturbing this, but frankly the room could have caved in and they would still be sheltering each other in their arms. There was something very powerful about this moment that I know I shouldn't have been a part of but am almost thankful that I was.

I attended the wake. Debbie and her family stood in the line, greeting friends and family. There was a certain kind of strength that I could see in her. It wasn't necessarily fighting the tears back, but rather it was that the love that she had for Larry was still there, as it should be. As I stood in the line, I heard her tell someone "wherever he is now, he's rejoicing." I could see in Debbie's eyes that no matter how far away Larry now seemed, the love and the music were not going to leave her. As I eventually said my goodbyes, I told Debbie that she had a whole other family to take care of her. She responded in such a way that I didn't even need to reassure her.

I offer a portion of a poem by Mary Sarton:

Who will remember you when I have gone,
My darling ones, or who remember me?
Only in our wild hearts the dead live on.
Yet these frail engines bound to mystery
Break the harsh turn of all creation's wheel,
For we remember China, Greece, and Rome,
Our mothers and our fathers, and we steal
From death itself its rich store, and bring it home.

We will always remember Larry and he will always be in our hearts and homes.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #5: I Suppose You Can Call It Typecasting

It has been quite some time since I have made a post on the blog, for which I apologize. Things have been extremely busy as of late. But seeing that the newsletter mentioned the blog, I figured I should oblige again. I wouldn't want to newsletter to be accused of libel.

For me, I had expected certain things to happen with Kaleidoscope. My main expectation was that I was going to play The Huntsman again for Snow White, which I did. I relatively try and keep modest when it comes to theatre and think of every new show, even one I've done before, as a clean slate, meaning I was prepared for the idea that someone else might play The Huntsman instead. However I did have assurance from others that I would get to rejoin the cast and I was happy to do so.

For those of you who may have only done a particular show for one run with Kaleidoscope, getting to do a second run has a particularly good feeling. Because of the atmosphere that this particular theatre company already creates, going in to revisit a show with familiar faces is extremely welcoming. The first rehearsals usually begin with enthusiastic greetings between people who haven't seen each other since last summer. In my case, these greetings were with a great deal of children, who seem to have grown in one way or another since the summer before. I see certain faces and think of how glad I am that they are part of the show again and hope that they could stay small forever. However I think the parents would protest to that last part. Otherwise when would they move out? Never the less, seeing a familiar cast is always special. The rehearsals also run pretty smoothly because, as I said before, doing a Kaleidoscope show is a lot like riding a bike: you do it once and then you never really forget.

As I stated, I had certain expectations for the summer with Kaleidoscope. I expected to go to certain venues, my particular favorite being Melody Tent. I expected experiencing the fury of a character lunch and lots of time in a van. What I didn't expect, however, was to do another show.

I was told by Jamie that the company was looking for someone to perform in Little Red Riding Hood playing, surprise, The Huntsman. I figured "how different can one huntsman be from another?" Turns out there is quite a difference between the two, particularly that The Huntsman sings in Little Red. My gut reaction was that this could pose a problem. But at the same time, I sang at my first audition, I can try again at this next one.

For the second time, I made my way down to Kaleidoscope's office and was about to audition for a new part. I never would have guessed that this would be the easiest audition of my life thus far. I kid you not. I'm not saying it was due to this Broadway-caliber barrage of talent practically glowing out of my being, especially since that factor of myself doesn't exist. It was David who made this audition easy and he was only there for a total of seven seconds.

Jamie and I were going over The Huntsman's song a few times in preparation for David to get there and officially hold the audition. David came in while I was in the middle of singing, said "I didn't know you could sing...OK, you've got the part" and proceeded to leave. That was it. I didn't even know I could sing, but if David said I could who was I to argue? The man runs the company, for pete's sake! Don't hassle him about your insecurities of your own talent. He's got bigger fish to fry.

So for two times this summer I would play The Huntsman, albeit for only one other performance. That story will be for next time, plus how a monitor can cause sudden bursts of inspiration.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #4: It's (Un)official

For those of you who have read the first entry of this blog, you might remember that I referred to my job as a cameraman for Kaleidoscope as official/unofficial. It was probably one of the easiest jobs I have ever gotten because I didn't even ask for it.

It all really started when I bought a camera. I had been working full-time and was saving money regularly, so I decided to get a nice camera. Not necessarily a professional camera, but a small one that was good quality. I picked up a Nikon Coolpix, which at the time was one of there latest models. Very sleek and small, it was certainly worth the money and I was excited to use it.

I had brought it with me during the summer run of Snow White, particularly when we had started touring Melody Tent and South Shore. The kids were all over it. They were constantly wanting to get their pictures taking and striking a variety of poses to their own amusement. Another particularly fun feature with this camera was that it could take short video clips. I decided to utilize this as well and would constantly be filming some "behind the scenes" footage. I would film the sound checks, the song rehearsals, and mostly interviewing my fellow performers and asking for their thoughts on the show.

I don't think I realized how noticeable this was until I was taking a video of Tommy using his phone as a mock piano. Tommy, having a lot of musical experience, had his phone keys set to "piano", which made each number a different piano key. I filmed Tommy playing an impromptu tune, completely perplexed, when all of a sudden David comes over saying "I finally get to be in the famous Ryan videos." The famous Ryan videos? Not only did I not realize that I had videos named after me, but that they were famous. Famous to Kaleidoscope at least. To me the videos were just fun to do and when I started uploading them to YouTube I remember the company being appreciative.

I remember when Cinderella Too! began Jamie invited me to come down to RIC and see the premiere. I decided to at least make myself useful and did a series of videos covering the event. Besides the usual backstage interviews and sneak peaks, I had the opportunity to interview parents and kids about the show while they were in the autograph line. This was at the request of David and it made the task seem more official and like an actual job. This "job" actually allowed me to travel with the cast of Cinderella Too! to their touring venues and document everything, which was extremely fun. While I loved the cast of Snow White, traveling with the Cinderella Too! cast was very different because everyone was similar in age. The times we spent backstage and in the van were probably some of the best times I have spent with the theater. All of us got along extremely well and these people were some of the best people to travel with.

It didn't occur to me to actually take pictures and video during an actual show because I wasn't sure if David and the others would want me to. In truth they did want me to and the first show I did show photos for was Cinderella. I was up in the balcony during a full house and tried to stay out of the way of the public as much as possible, but the camera held up very well and got some great shots. I would have to say that was my first official/unofficial job as the Kaleidoscope cameraman. I didn't have to do it but I was happy to.

Since then I have mainly done pictures at RIC. I went to just about all of the remaining shows for my first summer and got pictures. As for this summer, I did miss a couple of shows but they were shows I had gotten the year before. All of the shows I attended this summer were new to me and I got plenty of photos and videos along the way.

Probably the most daunting task is uploading everything. It isn't difficult to do, but it is time consuming. The photos would usually go up relatively quickly, but videos took forever because at first I could only upload one at a time to YouTube. I had discovered this past summer that there was a multi-video uploader available and the job became much easier. If you want to know just how much easier it was, let me put it this way: just as many videos that went up this summer were from last summer. I felt bad taking so long to get them up but I am glad I finally did.

The videos have also evolved a lot since last summer. The sense of responsibility motivated me to make the videos look a little more professional. The latest ones have the company logo as a title screen, a watermark of the logo in the corner, and then an ending screen with the website. I lose a little video quality in the process, but everyone seems to think that they are still good and worth the additions.

While this job is on a volunteer basis, I can't deny the perks. I've become much closer to a wonderful company, I've seen great performances, and I've traveled with great friends. And despite the company getting a photographer with professional equipment, I was invited to the Party of the Year to take pictures. Perhaps I will talk about that some time.

Next time, however, I think it would be only fair to contemplate this past summer.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #3: How Magical Is A Fairy Tale At 5:30 AM?

We are all well aware that summer is a big season for Kaleidoscope. Having just finished up this year's season of fairy tale musicals, we all look on to the future and what is yet to come. Except me and this blog, of course. Like I said last time, I would like to reflect on my first summer show with the theatre, that show being Snow White.

I remember being excited about actually getting into the show. I wasn't so certain that I would be asked to do it despite having done the dinner show. I could tell how much more there was to the fairy tale musicals. It was extremely clear how much the company put stock into these shows. When you think of Kaleidoscope Theatre and its thirty years of existence, you think of going to a venue during the summer and watching fairy tales that you knew and loved being put to music and surrounded with colorful characters. I had vague memories already of seeing Alice in Wonderland, although I didn't make the connection until some time after I joined the company.

It was also a big deal because Jamie was playing Snow White for the first time and she had wanted to play the part for a number of years. It's kind of surprising that she didn't play it before because she practically looks like the character come to life, right down to the short, dark hair. If she had the birds flying around her at all times then she literally would have been Snow White. But there were no birds, which was just as well because I am sure she would have freaked out a little.

The Queen was being played by a woman named Alyce, who has been with the theatre for some time. In fact it is the very same Alyce who makes all of the 3-in-1 Dolls for the concession stands. I had met Alyce already from the dinner show. Our Prince was another new actor by the name of Dan, who I remember being very shy and maybe a little nervous around me. He had picked up on the fact that Jamie and I dated and made it clear that he was nervous about kissing her in rehearsals. One time he actually wiped his mouth clean after the kiss thinking I would be offended. I was, of course, but it was because he wiped his mouth as if he had just kissed a soggy log in the woods. This year he was much more comfortable around the cast and there was no more mouth wiping, which I suppose means he no longer found Jamie disgusting.

Of course, it isn't Snow White without the dwarfs. Seven little kids in one room dressed as little old men. All of them very energetic yet surprisingly well behaved when it came to rehearsing. I understood that they already had some rehearsals when I came in, but if I remember correctly only one "dwarf" had done the show before, who was a young boy named Max. Max and I got to know each other right away as we were assigned to introduce each other to the cast. But I got to know all of the kids, all of which are amazing talents. That's one thing I truly credit Kaleidoscope for; they seem to have this uncanny ability to find very talented young children.

These talented kids, however, all seemed to be scared of me, or so I thought. All of them of course would flock to Jamie, who became sort of a mother figure. Jamie was extremely good with the kids and had worked with children before. At first, I think they saw me as the really tall guy with the beard. Later I think I worked my way up to the crazy uncle. I remember specifically looking at each of them as they rehearsed and if Max caught me looking at him he would say "why are you staring at me?" As you read on, you will see that he warmed up to me quick.

With nerves having to be cast aside, the show soon went up. We started out at Rhode Island College as the company usually does. We then moved on to the Chevrolet Theater in CT. I remember walking in and looking around in complete awe. The place was absolutely huge and you can't see the top of the fly system. We also did a character lunch, which can be completely chaotic. But I was starting to get a feel for touring and liking the idea.

What I remember most about those shows were the ones at Cape Cod Melody Tent and South Shore Music Festival. By now, the kids were as comfortable around me as they were with Jamie. Proof of this was Max willingly jumping on my legs and latching on for dear life as well as all of the kids wanting me to shoot pictures and videos of them with my camera.

Another bit of proof was that the kids would bombard me with choruses of "Jamie and Ryan sittin' in a tree" at a moments notice. This was a bit surprising because Jamie and I thought we should be professional around the kids and be kind of hush-hush about it around them. Here's the thing about kids though: they are very observant and will figure it out. This was only proof of that theory.

One of the other most outstanding things about traveling with these people were the parents that travelled with us. They were some of the most supporting people I had ever met. None of them were like the overbearing "stage moms", which was a blessing in itself. All of them were extremely polite and friendly, coming to every show and driving kids to the venues all the while. One couple, the Thalers, were very nice enough to invite everyone down to their house on the Cape after the show at Melody Tent. Everyone was treated to food, sun, and water tubing. If you haven't been water tubing, either go while the weather is still warm or hope that next summer you do a show with a Thaler child.

Touring can be a wonderful thing with Kaleidoscope. Shows are always fun to do, but I've come to realize that a lot of the fun can be in getting there.

Next time, earning my official/unofficial job with the company and how some of the most fun on a summer tour involves the shows you aren't in.

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #2: Who's The New Kid?

As I mentioned previously, my first shows with Kaleidoscope Theatre were Dial M for Matrimony and Snow White. The dinner show came first and I thought it was something that was right up my alley. What I didn't realize, however, was how fast this company moved. By the time I found out I was in the dinner show, it was about five minutes to call.

OK, it didn't happen that fast, but it felt like it could have. We only had a few rehearsals and if I remember correctly I wasn't able to be at every one of them. I know I made at least two, but that was it. Thankfully my part did not have a lot of lines. For those of you unfamiliar with Dial M for Matrimony, the part of Pasqualie/Peccarino requires mainly two things: when you play Pasqualie you're old and when you play Peccarino you're annoying. Younger, but annoying. But I already had in my head how to do these characters. The most intimidating part was probably the fact that everyone else knew what they were doing, or at least they were extremely talented actors who made it look like they knew what they were doing.

But fast-paced takes on a new meaning at Kaleidoscope and I think it is especially apparent anytime the company does something other than the fairy tale musicals. While the musicals are perhaps the backbone of the company, the actors and actresses can change over a course of a short time. This has nothing to do with the talent of these actors and actresses, but rather the fact that the shows require very young people in some instances and as much as we might want these kids to stay young forever they do in fact grow. Throw in a couple of years and you might find that "Doc" is a little too tall to be a dwarf now. But we always have such wonderful young talent and I know that the company works very hard to keep as much of these kids as possible. So it wouldn't be fair to call Kaleidoscope the "Menudo" of the theatre world.

With the dinner shows, it can be like "getting the band back together". Here we have a wide range of performers, most of which have been with the company for quite some time. It's a lot of the people that have seen the company grow over the course of thirty years and now we've put these people in a room and told them to have fun. That is where the "fast-paced" comes in. Doing the show is like getting back on a bike for most of the performers. Just give them a minute and every line and movement will come flooding back. This is no longer a rehearsal, it is a jam session. Chaos usually ensues pretty quickly. But its a good kind of chaos. And its a chaos that one can actually step into and not get hurt because this regime is in fact a family. Kaleidoscope isn't a company made up of employees or volunteers but members of a family. You can see it very quickly when you step into the performance space and go over your part for the first time while most of the others have done their respective part many times before. And despite the fact that they know what they are doing, they are very willing to see what you bring to the table.

For those of you reading, I ask you to consider this: going out into the acting world may not always be welcoming. You might run into a group that are only concerned about reputation, fame, and money when it comes to theatre. Those people may only choose to work with you on a strictly professional level. In other words, it will never be about the goofs during rehearsal, or the long tech nights, or get-togethers after a show. Not that the whole theatre world is that grim, but parts of it can be. But once in a while, you find a place like Kaleidoscope and you can be a part of a greater thing. Something that surpasses the standing ovations and autograph lines. It is the ability to become a family and the ability to keep people in your heart for years to come. For those of you fortunate enough to become a member of this family, no matter what happens, remember that you can come home anytime.

Next time, Snow White and seven kids that will climb on you like a jungle gym, all the while singing songs of you and your significant other showing public displays of affection in a nearby red maple (aka "Jamie and Ryan sittin' in a tree...").

In the words of Garrison Keillor, "be well, do good work, and keep in touch."

Looking Through The Kaleidoscope #1: How Singing "Happy Birthday" Will Get You A Job In Theatre

Hello all. This is Ryan and if you read the Kaleido-News lately, then you know what I am doing on this blog. If you don't know what I am doing here, Kaleidoscope was nice enough to make me a contributor for the blogs and I am using the opportunity to write entries about summer experiences as an actor for the company. I thank Nikki and Mia for giving me the inspiration for this.

While this summer has come to a close and these experiences won't necessarily by "live", I am hoping my memory will serve me well and I can reflect on the past two summers with the company. One thing I certainly remember well is how I got started with Kaleidoscope.

While I realize now that I had seen Kaleidoscope shows when I was a young child, I was formally introduced to the theater in 2007 by Jamie Dellorco, who most people know by now is my girlfriend. Before I go on, I want to stress that Kaleidoscope does offer auditions on a regular basis and you are not required to take anyone out to dinner and a movie in order to work with them. Whether that will improve your chances or not, I don't know.

Nevertheless, I had come to learn that Jamie had worked with Kaleidoscope for some time now. Jamie told me, and I say this at the risk of embarrassing her, that children's theatre, specifically Kaleidoscope, helped keep her involved with the arts and acting. She had been starting to stray from the stage until she worked with children and realized that this was what she wanted to do. No matter what kind of ups and downs she would face, Jamie could always call Kaleidoscope her home.

Jamie knew that they needed someone for a dinner theatre show, Dial M for Matrimony, and possibly a Huntsman for Snow White during the summer season. She suggested and encouraged me to audition. There was one thing, however, that I knew would get in the way of a successful audition: I did not sing. Kaleidoscope is a place of music. Music plays such a vital role in all of their productions. What would they do with a non-singing, out-of-college actor? What would anybody do with a non-singing, out-of-college actor? Seriously. Not only did I not sing but I had no kind of vocal training at all. Doing children's theatre for a summer seemed like fun, but to me the likelihood didn't seem high. Jamie assured me, however, that if I did Snow White that I would not have to sing as The Huntsman. In the end, I decided to give it a shot.

The fateful night of the audition I met David Payton for the first time, who was very polite in greeting me. We made our way into the performance space and got right down to business. As my luck would have it, David asked me to sing. My song: "Happy Birthday". It's one of those songs that you just sing without thinking about it. It's something ingrained in the brains of every individual. It's some person's birthday, so you sing. I gave the song a shot and David said, to my surprise, that it didn't sound too bad. Didn't sound bad? This can't be. Hanleys don't sing. It's a rule. But that's what David said. He suggested I try and listen to myself more when I sing. I tried again, this time attempting to make an effort to listen to my own voice, which isn't easy for a non-singer. But David thought I did better the second time around. If he's happy, I'm happy. I was then asked to read a portion of Dial M for Matrimony. With this I was more comfortable and had a great time coming up with voices for the characters. Eventually, I was offered the part of Pasqualie/Peccarino in Dial M for Matrimony.

I'm not posting this to gloat, I assure you. Modesty is an important policy all people should keep. Besides, I still don't think I can sing. In any case, I have come to realize that even in a theater full of musicals, there is a place for someone who is musically illiterate. No matter what you think a theater is looking for, there is no reason not to give it a try. For all you know, it might end up that they were looking for you.

Next time, I would like to share my first show experiences with you if you would be so kind to read them.

In the words of Garrison Keillor, "Be well, do good work, and keep in touch".