Ensemble Diaries:TSP Managing Director Erin Cronican

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. To start, the Seeing Place asked each of its members 3 questions which they could answer via text or video:

1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?

We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!



"WHY I SELF-PRODUCE" BY ERIN CRONICAN

When I was younger I never had any aspirations of being a director or a producer. I was an actor - there was no way I’d overwhelm my life with other things. It was, “Be an actor” or nothing at all.

The last few years in my hometown of San Diego I worked for an amazing organization called the Actors Alliance, a non-profit that helps actors have all of the resources they needed to be professional artists in San Diego. One of our projects was our actor-driven Festival of Short Plays, which would allow actors to sit into the producer’s seat and have a chance to create work for themselves. What was so amazing about co-producing this event is that each year I was able to feel the pulse of the community and curate content that a) our audiences would appreciate and b) would inspire our artists. And all of the sudden a day job which once simply supported my efforts as an actor became a training ground for what would be a life-altering jump into the abyss as a Managing Director of The Seeing Place.

Erin Cronican
(headshots with new hair coming!)

I’ll be honest - when Brandon approached me in 2009 and said, “Hey, I’m starting a theater company, and you’re going to start it with me,” I said no. I’d known Brandon for years, from back in our mutual hometown of San Diego where he worked with me in my final year producing the Festival. I assumed that all he wanted was my producing acumen rather than my skills as an actor, and I wasn’t having any of that! But he wore me down with a promise that we were going to do something different. Actors who led the company would have choices. They would have a voice, an opportunity to have a real say in the art they created. And how can you turn down a promise like that?

So many people describe productions that actors self produce as “vanity projects” and I find that term so disheartening. Where is that distinction when a writer produces their work, or when a director finds a script they love and have a vision to bring it to life? I think that what “vanity project” actually refers to is when someone creates something for their own good or use with no regard for their audience. People fear that actors only want to perform because they like to show off or want personal accolades. But thinking that way does actors a great disservice, and we at The Seeing Place are fighting to return the name of ACTOR to their rightful place as Living Historian - a position that, in the past, held great reverence. Actors are the conduit that allows an audience to see themselves and learn something about the world around them.

A thank you Erin received from Judy Shepard
of the Matthew Shepard Foundation

What is most inspiring to me about being an actor who produces is that I don’t just have a voice in the roles I play - I also have a voice in the organizations we partner with, the audiences I help to develop, and the issues that I’m burning to shed light on. When we did THE LARAMIE PROJECT (2014) I got to dream big about how I wanted to make a real impact, and we were able to partner with the Matthew Shepard Foundation, Tectonic Theater Project (who wrote TLP with Moises Kaufman) and multiple other organizations who put humanity over hate. When we did A LIE OF THE MIND I was able to coordinate talkbacks on traumatic brain injuries and violence against women, and our dramaturgy sessions help educate our cast about the very real issues surrounding abuse that is passed down through families. Can you imagine how inspiring it is to be able to make a difference not only on stage in bringing a human being to life, but also off stage with our audiences and our members where the real difference is made?

So when you donate to The Seeing Place, you do more than give us money so that we can act. You are funding a company that teaches its members how to give back to society. You’re enabling our producing staff to mentor dozens of actors to be conscientious self-producers, the way I was mentored back in San Diego. And best of all, you’re a partner in creating art that makes a real difference for its community, which means you’re an artist, too.


Learn more about Erin at www.erincronican.com

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To help create new work with Erin and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com

Ensemble Diaries:TSP Ensemble Member Autumn Mirassou

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. To start, the Seeing Place asked each of its members 3 questions which they could answer via text or video:

1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?

We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!


"DEAR TSP AUDIENCES: WE LOVE YOU!" BY AUTUMN MIRASSOU

Something wonderful happens between the ensemble and audience during a show with The Seeing Place. It's palpable, real and radically transparent, but somehow also mysterious. The actors don't know what's coming next, outside of a series of well-written lines, to be said in a certain order. It's exciting and feels a little dangerous—thrilling at the very least, because the actors are experiencing the production for the first time, too. It's a quality that The Seeing Place's returning audience members know and love. You can feel it in the whispers buzzing around the theater's house pre-show. There's an anticipation and an expectation that they'll see this play in a way it has never been done before. Numerous people come back to the same show repeatedly, excited to see a different show every time.

While managing the Box Office and understudying for THE PILLOWMAN this last fall, I got to see first hand some of the extensive work that goes into rehearsals and back stage. But what struck me most was the way audiences were reached by The Seeing Place. They came out of a show and rather than leaving in a rush, desperate to shut the city out again, they opened up to the actors who were humbly waiting & ready to talking to them. Night after night, people stuck around to share stories from their own lives that resonated with the plot and relationships in our two shows. I quietly observed handfuls of people offering their own stories of loss in response to GIDION'S KNOT, and people so shocked and horrified by the treatment of Katurian in THE PILLOWMAN they continued speaking to the cast members as if they were their characters, chastising them. Students from an all boy's school on a class trip hung back for an hour just to hear how the actors' work in GIDION'S KNOT was made and share what touched them about the play they saw. The fact that these generous patrons stayed and chatted to share their own stories reveals so much about TSP's audience dedication to the company and the work that emerges from it. The company strives to spark the conversation in the surrounding community—a trait which audiences have welcomed with open arms.

Audiences chat with the cast and our talkback speaker
after a performance of "Love Song"

And if the way people come to the theater is any indication of how an audience respects it, you'd find our audiences are in love. Working Box Office, I was surprised to learn one woman trekked by bus and a walk with a handicap three hours just to see our last two shows three times. Another such amazing indication of the excitement this company generates was an evening colored by Murphy's Law--everything that could go wrong, did. There were behind the scenes struggles no one could let on about or even fix - the lights wouldn't operate even though the light board appeared operational. As we worked to restore power we had to open the house late, starting the show much later and not even lit by a complete set of work lights, but incandescent clamp lights.  In apology we offered our audience timely explanations and complimentary wine - and not a single audience member left, not one person complained. Nothing could deter them from seeing the show that night. They stuck it out and responded. They had more to say afterwards to the actors. And one generous audience member, a theater maker himself, offered to help us find the source of our electrical challenges. That guy is a hero.

I am so proud and grateful to be a part of a theater company that does so much to generate such excitement in its patrons, solely based on the quality of the work. It starts from the moment they get wind of the shows to several days afterward as we continue engaging them about their experiences. The Seeing Place cares deeply for its audiences, and its audiences are loyal and generous in kind on a level that's deeply humbling. My greatest hope as an actor and theater maker is to have a tangible, positive impact on our community. Dear TSP Audiences, you make that possible and give me a lot of hope for a future in the theater. Thank you! I'm looking forward to seeing you out there again soon.


3 Questions

1. Hometown: Silicon Valley, CA
2. Dream Role: Clara in "The Light in the Piazza"
3. Last time I gave: I gave money to another small theater company. I felt really good :)

Learn more about Autumn at www.autumnmirassou.com.

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To help create new work with Autumn and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com

Ensemble Diaries:TSP Board Chair Margarette Connor

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. We asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!

"WHAT THE SEEING PLACE MEANS TO ME" 
BY DR. MARGARETTE CONNOR, Board Chair of The Seeing Place

Our favorite patron and advisor, Margarette Connor!

When Erin asked me to write a blog post about what The Seeing Place means to me, I jumped at the chance.  I also thought it would be easy. But when I sat down to actually get some thoughts on paper, I realized that this was going to be a lot harder than I thought. It’s not that I don’t know exactly what this theater company means to me, but how could I get the depth of my love down on paper without sounding like world’s biggest theater geek or downright crazy? For me, The Seeing Place embodies what theater is about.

I come from a long line of show people. I grew up in metro New York and have being going to theater for literally as long as I can remember. Mom would take us to Broadway, off-, off off, community theater, everything. My grandmother, a retired singer, would “volunteer” to do costumes and make-up for shows done by the Catholic school run by her best friend’s sister, Sister Anita Rosaire. (The quotes are there because sisters ask, but refusal is useless.) She’d do the same for community fundraisers and whenever her grandchildren had class plays. She’d whip up costumes, as well, as she’d always done her own. Being backstage with her are some of my happiest memories.

While I have done turns onstage myself, I’m happier as a teacher of drama, a director and occasional playwright. I love working with college students, many of whom have dreams of stardom, some who just want to have fun. So for me, theater is community, family and where love is. It is also a sacred space, quite literally. In the hushed dark, watching the drama unfold, I understand why the ancients saw theater as a form of worship. Theater is about emotions, the things that make us human, and when my emotions are stirred, I feel closer to my god than anywhere else.

Four or five years ago I found my way to The Seeing Place, not for one of their productions, but a one-man play by Aaron Calafato about for-profit colleges. As I was working for one, I was intrigued. Their old venue, in a former cop shop in Hell’s Kitchen, beguiled me with its quirkiness. The play was great, and afterwards Aaron was in the small lobby, very accessible, ready to talk. Soon, a bubbly blonde came over, and I met Erin. Little did I know the Light that had entered my life.  Like many who teach and perform, I am actually an introvert, but Erin made me feel welcome.

That was the beginning of a love. Years later, I’ve been to many Seeing Place productions. Some have made me laugh; a number have made me cry. All have made me think. I love how they bring the best modern plays to the stage, addressing important issues facing our communities as well as stage classics, presenting them with an intimacy and freshness that brings them to bold life. One example, I don’t know how many Hamlets I’ve seen, but seeing it almost close enough to touch the characters made this iconic piece more personal. Pairing it with Rosencrantz and Guildenstern Are Dead, with the actors playing the same roles in each highlighted the brilliance of Stoppard’s play. It was also the funniest production of this very difficult play I’ve ever seen.

I love how The Seeing Place nurtures talent, allowing actors to experiment and grow. Organic storytelling brings plays to brilliant life. Because many plays cast ensemble members, I’ve seen actors growing in their craft, going from strength to strength. I’ve gone to productions that have included actors I know through my son, an actor, and I can see how working with The Seeing Place in workshops and rehearsals has honed their already strong craft.

As someone who knows that art heals, art teaches and art changes lives, I love that The Seeing Place works hard to keep its ticket prices reasonable and donates tickets to senior centers, low income housing and ticket clubs. I’ve seen first-hand the faces of people who have attended their first play. They are transformed.

Finally, I love the passion that Brandon and Erin bring to The Seeing Place. While many people make up the company, these two are its heart and soul. I had gotten to know Erin after plays, but I didn’t get to really talk to Brandon until Erin asked if I might be interested in serving on the board of directors. At a meeting, Brandon spoke of his earliest ideas for a company through to his future vision; I realized then that I was listening not only to someone who was incredibly passionate about theater, but to a visionary, as well. The two of them work incredibly hard to not only keep their now-shared dream alive, but growing and vibrant. I learned that both Brandon and Erin are Lights in this world, fueled by Love, determined to change things for the better through the healing and teaching power of art.  Little do they know, but they are heroes to me, inspiring me to keep on my own path.

I knew then that these two were part of my tribe. They collect around themselves other people, some who stay, some who pass through, but all part of my extended tribe. I had found fellow travelers, kindred spirits, family, Love. All together, for me, these things are the Sacred.  And that’s what The Seeing Place means to me. It is community, family, catharsis, sacred, a home to return to when possible. My biggest regret is that my peripatetic life does not allow me to be as involved as I’d like. I’ve left New York, and am now in Tennessee by way of Dubai. I wish I could be there to more actively support this wonderful company. Someday I’ll be back in New York, and all I can hope for now is that I can at least see their shows on a regular basis.

Learn more about Margarette on Twitter. 

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To help create new work with Margarette and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com

Ensemble Diaries:TSP Company Member Logan Keeler

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. To start, the Seeing Place asked each of its members 3 questions which they could answer via text or video:

1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?

We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!


"DRAMATURGY- WHY ALL THE FUSS?" BY LOGAN KEELER

Company Member Logan Keeler

As the story goes, when Steven Spielberg approached Daniel Day-Lewis for the role of Lincoln, which later won Day-Lewis his third Oscar, the actor looked it over and said, “Ok, but I’ll need a year.” And you know what? They gave it to him. Now you might ask why anyone would need a year to discover a character. Take a few weeks to get the lines down, rehearse with a cast, sure. Take a month, fine. Sequester yourself in a cabin in the woods and delve into the desires, fears, behaviors, physicality of the character. Yes, this seems reasonable, even by today expedited Shoot It, Cut It, Sell It rigor of Hollywood. But a year?! Sure enough, one year later Day-Lewis came back to Spielberg after reading over 100 books on the famous president among personal accounts from the man himself, arguably surpassing the research of Tony Kushner himself, who wrote the biography of which the film takes its name.

Call Daniel Day-Lewis neurotic, over-excited and extreme in his methodology. But you could never call him careless. You could never call him rash. You could never call him unprepared. He took the precautionary measures to learn- historically, mind you- how Abraham Lincoln spoke, how he walked, the clothes he wore, the shoes he wore, the health conditions he was subject to, the sleep he had or had not, the pressures put upon him by not only the Civil War at home but relations abroad, age, relations, everything of the time and everything of the man. Lincoln’s mother-in-law didn’t appear in the film but you know that he had an opinion on her!

I bring this up today, because as necessary work that the actor must do, dramaturgy should not only be seen as pivotal but yearned by the actor. What a profound opportunity to find oneself in, to bring a character off the page to life. As one might expect upon seeing our shows at The Seeing Place Theater, we have our standard four weeks of rehearsal preceding it. What’s not so known to the theatergoer is that this rehearsal period is itself preceded by three or so weeks of a dramaturgy period. This time is spent in round table discussion asking the pivotal questions of the who, what, where and why. Every story we tell exists in a world larger than the stage you see from the house and all this is taken into consideration. Each decision of the character is questioned and discussed and the story behind the story is collectively written before we even hit the rehearsal room.

The Seeing Place ensemble find the humor in 
this lively dramaturgy session for OTHELLO

The purpose is simply this- to get the story and all its pesky details out of the way so that the actor may be free to explore it. Imagine entering your bathroom to brush your teeth only to find the light is out. You could probably go about the task with surprising ease. The cabinet is this far away, the toothpaste lies here, the faucet is exactly here. By Day One of rehearsal the goal is to know the story, understand the character and embodied the lines as much as to have the openness and freedom to move about the space as freely as you would reach for the toothpaste in the dark. The only real question now is how to go about it.

From my own personal experience, I can easily become trodden down by the tedium of research. This is different though. As objective as dramaturgy begins, naturally over time, I find, the character, without prompting, begins to flesh itself out. As Day-Lewis himself said, “Whilst you are learning you are not necessarily staying objecting.” The tedium is lost when we learn that dramaturgy is not about research at all, but discovery. We are not surveyors, we are archeologists.



3 Questions

1. Hometown: Falmouth, Maine
2. Dream Role: George from "Who's Afraid of Virginia Woolf"
3. Last time I gave: I dropped a few bucks to Doctors Without Borders. I generally am hesitant giving to individuals that I don't know personally know but the organization and their goals I respected. I knew that my contribution would go far.

The learn more about Logan, visit www.logankeeleractor.com.

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To help create new work with Logan and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com

Ensemble Diaries:TSP Ensemble Member Danny O'Shea

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. To start, the Seeing Place asked each of its members 3 questions which they could answer via text or video:

1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?

We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!



"THEATER SAVED MY LIFE" BY DANNY O'SHEA

I was raised in The Queensbridge Housing Projects (the biggest housing project in the United States) by my Mother who for most of her life suffered from chronic and severe venous leg ulcerations. I never saw my Father (they separated before my birth and divorced when I was two ) but there was much talk of him and none of it good. I was an okay student, an altar boy and like all of my friends loved sports of any kind. As I reached my teens the one thing I was consistent with was getting in trouble and daydreaming.

I was a 17 year old dropout, shooting pool one day at my local community center. The activities coordinator invited me to join her and a group of local seniors to see a show on Broadway. I said sure. I had nothing to do. All my friends were in school. Off I went with some new friends to a matinee performance of DRACULA. This was the first show I ever saw on Broadway- come to think of it, it was the first show I ever saw. I was overcome by the power of the theater.

Danny O'Shea

Not long afterwards I went back to school (sort of) and decided to be an actor. I was fortunate to be able to study with the great Herbert Berghof who taught me that the theater is a sacred place that must always be socially relevant. Dear Herbert - from whom I learned so much - the least of which was acting. In the final analysis, Herbert taught me (eventually) how to be a human being, how to stand on principle and that being smart and gentle is the epitome of cool. He even taught me how to be a better flirt.

I was lucky enough to also study with and audit classes offered by other magnificent teachers like Uta Hagen, Carol Rosenfeld and Earle Hyman among others. One teacher (it was a woman - who exactly I forget) was giving some feedback after a scene I did and she told me, "The energy you're giving this piece is violent and staccato like Stravinsky but it needs a light, flowing legato touch almost like Schubert." I looked at the teacher like a cow that had, just moments before, been prodded by a stun gun. She asked, "Surely you know who Stravinksy and Schubert are ? " "No." I replied. Her response was a pained, "Ohhh..." which in itself was a lesson in subtext. She didn't have to tell me the disgust and disdain she felt for me at that moment- it was expressed loud and clear.

This was just what I needed  I spent hours at The Library For The Performing Arts at Lincoln Center listening to Stravinsky (who I loved) and Schubert (who I liked.) I listened to everything. I went to museums. I read voraciously. An actor (if they want to be any good) spends a great deal of time researching epochs, history, culture, painting, enlarging our psychology and looking at other points of view. I read Hemingway, Fitzgerald, John Donne, Balzac, Salinger- one of my all time favorites Saul Bellow.

Danny on the set of "Boardwalk Empire"

Here I was, a young man that HATED school work and was forever in trouble. Now I had no time to get in trouble I was too busy. Plus I had other people who were now counting on me (directors, cast mates, scene partners) who I couldn't let down. And now, my wife is a lover of the arts and that's one of the things that binds us so closely together.

Many of my childhood friends did well but so many fell victim to crime and ensuing incarceration, alcoholism, drug addiction and oftentimes death. I was following that path of self destruction but the theater saved my life.

Theater is a life affirming, life saving art form. As an actor and an audience member I am constantly required to employ empathy and to listen and weigh out other people's points of view. This in turn increases a person's capacity to feel and also enlarges ones imagination. Theater takes on the challenge of giving meaning and context to our lives, to our values and morals (or lack thereof) through narrative and metaphor. Theater "holds the mirror up to nature" so we might see our lives objectively for the purpose of examination, enlightenment and let's not forget entertainment. Theater is one of the last art forms to not be totally consumed and taken over by technology. And at The Seeing Place Theater we pride ourselves in telling stories in an organic, simple and compelling way.


Learn more about Danny at www.actordanieloshea.com.

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To help create new work with Danny and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com

Ensemble Diaries:TSP Ensemble Member Carla Brandberg

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. To start, the Seeing Place asked each of its members 3 questions which they could answer via text or video:

1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?

We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!


"ENSEMBLE EQUALS TRUST" BY CARLA BRANDBERG

Carla Brandberg

The stage lights are bright and warm; people gathered in the darkened theatre to watch a writer’s story. A story that can inform, move, educate, enlighten, entertain... shared by the actors. You may laugh, you may cry, you may see yourself or others... you may be moved to make a change... you may learn.

Energy flowing between actors and audience - an interdependent relationship - human beings sharing with human beings together in that special place, the theatre. It truly is magical.

At the age of 20 I first experienced the unique nature of working in an ensemble – the trust that is inherent allowing the freedom to fail as well as to soar. I also learned about the quality of work that can only come from training and working together in such a way. The experience has stayed with me all my life and has served as the one to which I measure all others.

To bring high quality works of importance and relevance to New York City theatregoers and to be a part of a company committed to doing so is an honor. To be a member of an ensemble with the level of dedication, artistry, skill, attention to the craft, professionalism and talent of The Seeing Place is to be certain that when our work is presented – when the house lights go down and the stage lights come up – the audience will share in the magic of The Seeing Place.


3 Questions

1. Hometown: St. Louis, Missouri.
2. Dream Role: Gosh, one dream role? If I had to pick just one it would be Lorraine in A Lie of the Mind by Sam Shepard.
3. Last time I gave: Covenant Ballet Theatre of Brooklyn. To know that I helped in keeping the mission of this fine school and everything it offers alive makes me feel awfully good.

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To help create new work with Carla and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com

Ensemble Diaries:TSP Ensemble Member Lisa-Marie Newton

The Seeing Place Theater is thrilled to announce its 2016 Fundraising Initiative. As a part of the initiative we want you to give you a chance to get to know our members, so we gave them a little challenge. To start, the Seeing Place asked each of its members 3 questions which they could answer via text or video:

1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?

We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!



"IN THE MOMENT" BY LISA-MARIE NEWTON

Many years ago, I was just starting my journey as a performer and I had what I thought was a miraculous experience. I was playing Christine in “Phantom” by Maury Yeston (NOT the Andrew Lloyd Webber version, thank you), and we were in the middle of a 6-week run. On Friday night, we had all witnessed the 2 lead men have a truly remarkable performance. They were both extraordinarily talented guys most of the time, but this particular night, they were on fire – singing and acting with a passion I hadn’t seen before. They both told me that they hadn’t known where it came from, they just went with how they felt.

So, as a joke, on Saturday afternoon, I told the woman playing Carlotta that if Friday was a night for the boys, Saturday should be for the girls. And somehow, from the moment I stepped onstage, a miracle occurred. I honestly had no idea what was going to happen next. I was somehow genuinely surprised by everything that happened during the show. I sang every note correctly, said every line correctly, but it was completely spontaneous and in the moment. I don’t think I even really understood that phrase at the time, but it was how I described it. I also realized that after emotional scenes, I walked offstage and was completely unfazed, whereas I would normally take some time to stop crying offstage. It was fun, it was glorious, it felt like I was flying! And for the first, and only, time during the run of that show, the audience held their standing ovation until I walked out for my curtain call.

Lisa-Marie Newton

Afterwards, the director came to me and said “I don’t know what you did out there tonight, but the show should have been called Christine!” I, of course, had no idea what had happened either. But I have spent the past 18 years trying to find that again. It was honestly a highlight of my life, and I want more than anything to have that experience again. I think most actors could tell a similar story. For most of us, that is the reason we do this: there is a complete and utter high that is felt when you are in the moment. It is why people meditate. It is why people take drugs. Being completely in the moment is the meaning of life – and most of us don’t have a sure-fire way of getting there.

I have found that moment a few times since then, and I’ve found some tools that help get me there. But it is always what I am hungering for when I act.

When I first saw BOY GETS GIRL at The Seeing Place, I had a very similar experience. I didn’t know the play, but I was absolutely on the edge of my seat – feeling everything the woman at the heart of the story goes through. It was thrilling. It was what made me want to join The Seeing Place. It seemed to me that the performers onstage were flying. They were living in the moment of the play – they weren’t merely speaking lines, or emoting feelings, or trying to reach the audience, they were simply behaving in the actual moment of the play.

Lisa-Marie in NEXT TO NORMAL

Since joining the ensemble of The Seeing Place, I have begun to understand why this happens on their (now our) stage. The amount of intricate understanding of each moment, and the amount of genuine honesty in each moment from each performer is astonishing, and is precisely why their productions feel so full of life. The founders of the company tell each incoming member that they don’t use set blocking for productions (other than fight choreography), which scares a lot of performers, but it totally set me free. There is a ton of intricate work that goes into understanding a play and a character – a ton of work being genuine and truthful in that character and play – and then there is the freedom to simply behave in the moment.

Even in our weekly workshops at The Seeing Place we do this sort of work, and I can feel how freeing it is. As we do readings of plays, we are always encouraged to be simple and truthful and genuine – to truly talk with each other, rather than reading lines. And I have felt how different that is from other groups I have read with – to have a full (scripted) conversation with another human being. I saw it in both THE PILLOWMAN and GIDION'S KNOT (two shows that closed The Seeing Place's last season) because I watched them multiple times. Each performance was a full story on its own. A Friday night GIDION'S KNOT was a very different experience from a Sunday afternoon GIDION'S KNOT. Because the actors were fully in the moment.

I cannot tell you how excited I am to be a part of this ensemble and how looking forward I am to performing with them. I’m extremely proud to be a part of The Seeing Place, and I hope you will join us as we all learn to be in the moment.

Learn more about Lisa-Marie at www.lisamarienewtonactor.com.

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To help create new work with Lisa-Marie and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com