Company member Rebecca Rich, a professional actor with extensive New York City and regional credits, chronicles life as a member of the brand new Temple Repertory Theater (photo by Ryan Brandenberg/pictured is TRT cast member Kate Czajkowski).
A SEAT AT THE TABLE
by Rebecca Rich, TRT Acting Ensemble Company Member
with Melissa Poll, TRT Company Member
When I was nine years old, I watched auditions for the movie version of Annie on “Entertainment Tonight!” I remember the long lines of little girls, all vying for their turn in the spotlight, screaming, crying and kicking their way onstage. Most of them wanted to be Annie. I just wanted to be included in the group.
When I was researching grad school programs, Temple quickly moved to the top of my list because of Dan Kern’s proposal to start a repertory company. As an MFA Acting candidate, I knew I had something unique to offer from my experience at The Barter Theatre. I was hired to work at The Barter Theatre in Abingdon, VA, in their 1997 summer-stock musical season. Barter has a great reputation in the regional theater world, and was a much sought after gig because they offered a three month contract – which is fairly long as stock contracts go. I was cast in Camelot and in a new musical called Alice Through the Picture Tube.
That summer was a pivotal professional experience for me. I was artistically challenged by the material, and introduced to a community of artists and theatre professionals. The summer repertory company consisted of over 75 individuals, actors, technicians, designers, directors, choreographers, musical directors and interns, not including full-time administrative and producing staff working at Barter year-round. We all worked toward the global good of the community at large. The ensemble was well cast and masterfully led by Producing Artistic Director, Richard Rose. Moreover, educational outreach was (and remains today) a large part of Barter’s work, with dozens of school groups attending, many students experiencing live professional theatre for the first time. It was a wonderful arena in which to prosper creatively.
After the summer contract of ’97 ended, I went back to NYC and started auditioning. In late September, Richard Rose called, asking if I would be interested in joining the “new” Barter Resident Acting Company in February of 1998. There hadn’t been a resident company in place for a few years at that point, and it was a big deal – economically and artistically – to be starting one. This was a huge decision for me: it would mean committing to being in Abingdon, VA for almost a full year – away from the buzz of New York City and the allure of the Broadway spotlight. I’d been booking work consistently in the few years since finishing my BFA degree, had an agent, and a really good & cheap sublet apartment! It was the kind of job offer an actor begs for – not having to deal with the grind of auditioning for at least a year. In effect, there was job security, which is scarce in the professional theatre world. I accepted the gig. I knew I would be there for a year; and I also knew if the resident acting company was a success and I did my job well, I’d very likely be asked to stay on for another contract.
As per my hopes, the resident acting company did extremely well! In fact, it’s still running and has grown from ten core actors in 1998 to nineteen today. Nonetheless, I decided to leave at the end of that first year contract. Intriguing decision, right?
Now, with more than ten years perspective, I can honestly say that accepting the contract is, to date, one of the best decisions I’ve made. On the other hand, my decision to leave after that first year is one that baits me from time to time. I can’t help but imagine the “magic if” scenarios if I’d stayed for another year contract – would I still be there today? I wonder…Why did I choose to leave? Lack of experience and fear of giving up a Broadway dream left me unequipped to overcome the seductive obstacles of fame and greed. To this day I joke that I’ll write a memoir and title it: Because I Wasn’t in Annie; or I Could Have At Least Played Pepper! It took me another few years of pounding the pavement in New York City, experiencing rejection, and gaining Off-Broadway and Television cult show success to understand that fame, no matter how long it lasted, would only sustain me for a moment in time. A career spanning the areas of arts education and repertory work was and is a dream that could sustain me for a lifetime.
Since the inception of the Temple Repertory Theatre in May, the meaning of “ensemble” has been at the forefront of my thoughts. The start-up of any company is a mammoth undertaking. There’s so much at stake – so much heart, hope and promise on the line! You have a responsibility to deliver not only for yourself, but also for the entire group. You must have open communication in order for the endeavor to survive. You must pursue communicating truth. These principles were present in my Barter Theatre experience, and are emerging at Temple Rep, as well.
Constantin Stanislavski, 19th/20th century Russian actor-director whose acting methodology continues to inform performers today, often talked about the importance of ensemble in his teachings. He believed that ethics of the actors in an ensemble was of tremendous significance to the success of theatre. He said that, “even very talented actors should be sacrificed if they could not contribute to the harmonious atmosphere of the group. Since the art of the theatre is collective work, it is essential that everyone in the group work for the benefit of the whole performance and not solely for himself. Ethics, high morale, and stern discipline are indispensable in such a group” (Sonia Moore’s The Stanislavski System-Professional Training of an Actor, pg. 4). Stanislavski conditioned his actors with ensemble exercises, encouraging them to cooperate fully with one another, not letting ego or ambition dominate the work. To achieve truthful communication he had actors alternately play lead and minor roles.
What I learned from being a part of the Barter and Temple companies is this: no matter where you’re placed in an ensemble, when you’re lucky enough to be a member of a well-working one, you always have an excellent seat at the table. The seat is custom-built for you. You are your own master builder. As long as you act responsibly, ethically, and value your chair as much as you value the chairs of others, you are welcomed to sit at the table.
I feel blessed to be cast in two fantastic roles in the TRT shows: Natasha the domineering sister-in-law in Three Sisters and Abhorson a dominatrix executioner in Measure for Measure. I am supported in my efforts to assemble, sand, soften, stain, and finish my Natasha and Abhorson characters in the rehearsal room and onstage. Both characters were great fun to create and are gratifying to play. But none of my efforts – how I relate to all the other seats/characters, where I move in space, what I sound like, how I am decorated and illuminated – exist without the full cooperation of all the other players at the table.
Temple Repertory Theatre is in its nascent year of development. We have every bit of potential and vision to mature into an organization that challenges and enriches our Philadelphia community artistically and educationally. TRT could employ a resident acting company, as well as a larger artistic and production staff all year round, and they have a deep desire to develop strong education outreach programs. I can only hope that my first time experiences with the Barter Repertory and Resident Acting companies are available long term for actors and artists entering the arena here in Philadelphia. I am exceptionally proud to be a member of the TRT ensemble. I trust our company’s ensemble and leadership to foster endless possibilities for growth and development.
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A Seat at the Table
Company member Rebecca Rich, a professional actor with extensive New York City and regional credits, chronicles life as a member of the brand new Temple Repertory Theater (photo by Ryan Brandenberg/pictured is TRT cast member Kate Czajkowski).
A SEAT AT THE TABLE
by Rebecca Rich, TRT Acting Ensemble Company Member
with Melissa Poll, TRT Company Member
When I was nine years old, I watched auditions for the movie version of Annie on “Entertainment Tonight!” I remember the long lines of little girls, all vying for their turn in the spotlight, screaming, crying and kicking their way onstage. Most of them wanted to be Annie. I just wanted to be included in the group.
When I was researching grad school programs, Temple quickly moved to the top of my list because of Dan Kern’s proposal to start a repertory company. As an MFA Acting candidate, I knew I had something unique to offer from my experience at The Barter Theatre. I was hired to work at The Barter Theatre in Abingdon, VA, in their 1997 summer-stock musical season. Barter has a great reputation in the regional theater world, and was a much sought after gig because they offered a three month contract – which is fairly long as stock contracts go. I was cast in Camelot and in a new musical called Alice Through the Picture Tube.
That summer was a pivotal professional experience for me. I was artistically challenged by the material, and introduced to a community of artists and theatre professionals. The summer repertory company consisted of over 75 individuals, actors, technicians, designers, directors, choreographers, musical directors and interns, not including full-time administrative and producing staff working at Barter year-round. We all worked toward the global good of the community at large. The ensemble was well cast and masterfully led by Producing Artistic Director, Richard Rose. Moreover, educational outreach was (and remains today) a large part of Barter’s work, with dozens of school groups attending, many students experiencing live professional theatre for the first time. It was a wonderful arena in which to prosper creatively.
After the summer contract of ’97 ended, I went back to NYC and started auditioning. In late September, Richard Rose called, asking if I would be interested in joining the “new” Barter Resident Acting Company in February of 1998. There hadn’t been a resident company in place for a few years at that point, and it was a big deal – economically and artistically – to be starting one. This was a huge decision for me: it would mean committing to being in Abingdon, VA for almost a full year – away from the buzz of New York City and the allure of the Broadway spotlight. I’d been booking work consistently in the few years since finishing my BFA degree, had an agent, and a really good & cheap sublet apartment! It was the kind of job offer an actor begs for – not having to deal with the grind of auditioning for at least a year. In effect, there was job security, which is scarce in the professional theatre world. I accepted the gig. I knew I would be there for a year; and I also knew if the resident acting company was a success and I did my job well, I’d very likely be asked to stay on for another contract.
As per my hopes, the resident acting company did extremely well! In fact, it’s still running and has grown from ten core actors in 1998 to nineteen today. Nonetheless, I decided to leave at the end of that first year contract. Intriguing decision, right?
Now, with more than ten years perspective, I can honestly say that accepting the contract is, to date, one of the best decisions I’ve made. On the other hand, my decision to leave after that first year is one that baits me from time to time. I can’t help but imagine the “magic if” scenarios if I’d stayed for another year contract – would I still be there today? I wonder…Why did I choose to leave? Lack of experience and fear of giving up a Broadway dream left me unequipped to overcome the seductive obstacles of fame and greed. To this day I joke that I’ll write a memoir and title it: Because I Wasn’t in Annie; or I Could Have At Least Played Pepper! It took me another few years of pounding the pavement in New York City, experiencing rejection, and gaining Off-Broadway and Television cult show success to understand that fame, no matter how long it lasted, would only sustain me for a moment in time. A career spanning the areas of arts education and repertory work was and is a dream that could sustain me for a lifetime.
Since the inception of the Temple Repertory Theatre in May, the meaning of “ensemble” has been at the forefront of my thoughts. The start-up of any company is a mammoth undertaking. There’s so much at stake – so much heart, hope and promise on the line! You have a responsibility to deliver not only for yourself, but also for the entire group. You must have open communication in order for the endeavor to survive. You must pursue communicating truth. These principles were present in my Barter Theatre experience, and are emerging at Temple Rep, as well.
Constantin Stanislavski, 19th/20th century Russian actor-director whose acting methodology continues to inform performers today, often talked about the importance of ensemble in his teachings. He believed that ethics of the actors in an ensemble was of tremendous significance to the success of theatre. He said that, “even very talented actors should be sacrificed if they could not contribute to the harmonious atmosphere of the group. Since the art of the theatre is collective work, it is essential that everyone in the group work for the benefit of the whole performance and not solely for himself. Ethics, high morale, and stern discipline are indispensable in such a group” (Sonia Moore’s The Stanislavski System-Professional Training of an Actor, pg. 4). Stanislavski conditioned his actors with ensemble exercises, encouraging them to cooperate fully with one another, not letting ego or ambition dominate the work. To achieve truthful communication he had actors alternately play lead and minor roles.
What I learned from being a part of the Barter and Temple companies is this: no matter where you’re placed in an ensemble, when you’re lucky enough to be a member of a well-working one, you always have an excellent seat at the table. The seat is custom-built for you. You are your own master builder. As long as you act responsibly, ethically, and value your chair as much as you value the chairs of others, you are welcomed to sit at the table.
I feel blessed to be cast in two fantastic roles in the TRT shows: Natasha the domineering sister-in-law in Three Sisters and Abhorson a dominatrix executioner in Measure for Measure. I am supported in my efforts to assemble, sand, soften, stain, and finish my Natasha and Abhorson characters in the rehearsal room and onstage. Both characters were great fun to create and are gratifying to play. But none of my efforts – how I relate to all the other seats/characters, where I move in space, what I sound like, how I am decorated and illuminated – exist without the full cooperation of all the other players at the table.
Temple Repertory Theatre is in its nascent year of development. We have every bit of potential and vision to mature into an organization that challenges and enriches our Philadelphia community artistically and educationally. TRT could employ a resident acting company, as well as a larger artistic and production staff all year round, and they have a deep desire to develop strong education outreach programs. I can only hope that my first time experiences with the Barter Repertory and Resident Acting companies are available long term for actors and artists entering the arena here in Philadelphia. I am exceptionally proud to be a member of the TRT ensemble. I trust our company’s ensemble and leadership to foster endless possibilities for growth and development.