Category Archives: Performing

A Really Satisfying Snickers Thanks on this Halloween to The Frisky!

So psyched over being featured at THE FRISKY for our web series LISA’s ADVICE! It’s a Halloween treat for sure.

“LISA’s ADVICE is like every conversation you’ve ever had with your BFF”

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Cannot wait for the chance to make more LISA’s ADVICE as we have so many ideas for these characters and their world!

LISA’s ADVICE — Official Selection at The 100 Word Film Festival

Three episodes of LISA’s ADVICE will be screening at The 100 Word Film Festival (@100wordFF) in Charlotte, North Carolina on November 22nd!!

So grateful to the fest for covering our accommodations and proud to participate as a panel speaker on women in comedy and independent filmmaking!

One of our favorite (and timely) episodes of LISA’s ADVICE– What to Be for HALLOWEEN!

LISA’s ADVICE on What to Be for Halloween

And for more LISA’s ADVICE, tune in here:

LISA’s ADVICE YouTube Channel

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My Little Old Japanese Lady

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For the past two nights I’ve been communing with/voicing this little old Japanese lady. Isn’t she so sweet? I wrote this copy a while back for an agency read at CESD. Last night I did a vocal workout at Voice Trax West with Artt Butler and warmed her up again, and tonight I stood in the booth for another agent (awesome guy who I want to sign me!) and pretended I was her again. Seeing an image of a character really helps me connect to their energy. It was a smaller audience tonight but the reaction to her was the same; they felt like there was a little old Japanese lady standing in the booth! This made me so happy.

I think back to doing mask work with Per Brahe, in a loft somewhere in Soho, where we used images he randomly distributed to a room full of actors — to create scenes. Tonight, watching Ken Burns’ THE ROOSEVELTS, I thought about how powerful photos are, especially in storytelling. I think it was some Native American tribe that believed every time you are photographed, you lose a bit of your soul.

I found this woman’s photo via a Google search. Whoever she is, she helped me create something that felt real, believable. I am grateful for her. And I love how I feel when I’m pretending to be her. She has such grace and wisdom. A smaller lung capacity than I do. Poorer eyesight. Her hands are wrinkled but they are deft, capable. She claps when something amuses her. She loves when people come to visit. She is an excellent judge of character. She is My Little Old Japanese Lady.

Working on BECKY’s NEW CAR by Steven Dietz

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Marilyn suggested I work on the character of “Becky” from the play BECKY’s NEW CAR and gave me the play to read.  It’s a great and funny ride that was first commissioned by ACT Theatre in Seattle in 2010.  The character of Becky is a few years my senior, but the part is perfect for me.  Becky is a pleaser, sunny and upbeat, and speaks to the audience as she tries to navigate her family and job, spaces that become increasingly difficult once she begins to lie about who she is and what she spends her days doing.  It’s a delicious ride that starts with what is definitely now one of my favorite monologue pieces (next to “Rachel” in RECKLESS, another piece Marilyn had me tackle).  

I’ve done Becky’s 5 page monologue three times in class — once on-book, once total improv (my favorite mode), and once memorized using some basic props.  This past week Victor and I rehearsed the scene in the dealership where Becky meets Walter Flood, the eccentric millionaire and recent widower who mistakes Becky for a widow.  We put the scene up on Monday and it went well — we are so comfortable on stage together having worked on REQUIEM FOR A HEAVYWEIGHT and it felt so good to be off-book, running it and then having Marilyn give us pieces of direction and then running it again.  She told me I could play this role in any regional theatre and compared me to Julia Louis-Dreyfus (love her!!!) and we talked about my choices…I told her how I can hear the comedy in the lines and how it’s hard not to go for a beat or a moment and she said that’s part of my gift as a comedienne, and not to worry about feeling those instincts, but to work towards holding onto my given choice tenaciously and staying with it as something to hold onto.  

It sounds abstract to put into words but I LOVE the way she directs; she really sees me and is so loving and honest that you end up feeling so free to be real.  She asks these tiny questions, these small little fluttering queries that enter my head and heart.  Questions like:  “what are you doing?”  Which seems general but when Marilyn asks them, they open doors.  She knows just where to take a scene from, when a moment is shifting and she wants you to be more fully engaged.  She often talks about not wanting actors to have to recharge or reboot during any given scene, to stay with a choice that can shift and arc but one that will keep you so focused on the other person and also keep you vital and alive on stage.  It’s been over a year in her class and I’m so grateful to have rediscovered what I knew as an adolescent acting in plays.  

There is nothing like being on stage.  The danger of it, the freedom of it.  Part of what I think I fell in love with and still love is how justified you can be up there.  No apologies.  No explanations needed for the world about who you are and what you believe.  You have someone else’s life to inhabit with what you know yourself about what life can do and how it can feel.  It’s like some kind of invisible cloak you get to put on, that imaginary ‘what if,’ that protects you from the outside world and let’s your truth shine.  It’s like a magic carpet of sorts.  If you allow yourself to stand on it, to plant your feet on it, it will transport you and others with you.