Stage Kisses: Is it possible for them to be any more awkward?!

This is for all you high schoolers out there. A stage kiss can either be that one thing you've waited years for or that one thing you have dreaded ever since the cast list came out. But, are there any ways to make stage kisses more bearable? What tips are actually myths?

1) It's not awkward unless you make it awkward.

That is a true fact, another fact is you two are going to kiss. But also, your characters are going to kiss, unless your character makes it awkward, it CANNOT be awkward. If you're nervous tell your scene partner, bets are that he or she is nervous too! Just be honest and open.

2) Practicing kissing offstage will definitely make it more natural.

This can be true. Communicate to your scene partner on how you want to do the kiss, if you two need to practice, practice! Build your chemistry, become friends, there is nothing worse than seeing a show and just not seeing the chemistry on stage.

3) What if they take it a little too far?

Especially in high school, when a kid gets nervous during a stage kiss, it gets wet and fast. If there is tongue or it is way to twisty and wet, let your scene partner go. It'll a whole lot better if you stay honest and communicate however you feel, even if it's awkward to say "Hey, so during our kiss it was a little fast and I don't want to have to wipe my mouth afterwards." It is okay, your scene partner will learn and so will you!

4) What if the thought of kissing makes me want to vomit?

It happens, you're cast with your arch enemy and you have to kiss them, what could be worse? A lot could be worse actually. Just remember the fact that it is not you kissing them, it's your character. And the character you're playing wants to kiss them, so imagine it's Aaron Tveit and get through it.

5) If you really don't feel comfortable kissing someone, how do you talk to your director about it?

People, in general respect someone who is honest. If you really do feel incredibly uncomfortable in the kiss, it would be better for you to let the director know.

6) So, what do I do with my tongue?

If it is just a plain old kiss, you better keep your tongue in your mouth. However, if it is a make out then just see what is comfortable. If the chemistry is there between the two of you, it will happen naturally, I promise.

7) Is it embarrassing that my first kiss was a stage kiss?

Absolutely not. A kiss is a kiss, you are not a kissing virgin anymore. Woohoo!

So here's what you should take from this: Communication is key, and being open and honest will make it not awkward.

Pucker up, kids.


Alie
@Campbellalie - Twitter

Musical Playlist for Getting Pumped Up!

“Candy Store”- Heathers: The Musical

“Sugar Daddy”-Hedwig and the Angry Inch

“The Bitch of Living”- Spring Awakening

“It’s All Happening”-Bring It On: The Musical

“Loud”- Matilda the Musical

“Raise the Roof”-The Wild Party (Lippa’s)

“The World According to Chris”-Carrie: The Musical

“Let’s Be Bad”-SMASH

“Rock Star”- Bloody Bloody Andrew Jackson

“Hold Me Bat Boy”- Bat Boy: The Musical

“Hey Good Lookin’”- Dogfight

“In The Heights”- In the Heights

“Bring on the Men” – Jekyll & Hyde

“Show Me How You Burlesque”- Burlesque ( I know it’s not a musical, but it sure pumps you up)

"Strongest Suit"-  AIDA

"Forget About The Boy"- Thoroughly Modern Millie

So you want to pursue theatre in college...

You're finally an upperclassman in high school, and you spend all of your free time doing theatre whether it is at school, in a community theatre, taking acting, voice or dance classes and your parents ask the question of the year: “What do you want to be when you grow up?” Suddenly thoughts flood your mind of waking up everyday and doing what you love everyday, no math, no science, and no more history. But, how do you know that you're really cut out for majoring in a theatre degree? Here are some questions you should ask yourself.

1. Can you imagine yourself doing anything else?
   Picture yourself being a nurse, could that make you happy? Try and imagine yourself being a teacher, could you be happy there? If you can see yourself doing something other than theatre, maybe pursuing theatre isn't the best idea. Why? Being in a theatre career is hard, there is no such thing as a stable job, the money is not great, it is a cut throat industry and in college your major is your life. So if you could see yourself doing something else, save yourself the time and money and try the other non-theatre thing first.
2. Do I have what it takes?
   Most people have will or they have skill. To have what it takes you'll need to have both, the will provides your motivation; to audition, to keep challenging yourself and never stop learning. The skill comes in when you have to get into college theatre programs, it is what sets you apart from the other 2000 kids auditioning. If you, and only you believe that you have both, then you have what it takes.
3. How do I start looking for college theatre programs?
   This is the hard part, there are hundreds of college theatre programs, some have only acting, some have acting and musical theatre and some have specific majors like a contemporary theatre degrees. Some are Bachelor's of Fine Arts, some are certificate programs and some are a Bachelor's degree of arts. What you need to do is research every program, just find out what the school's offerings are.

These are just the beginning questions of starting the long process. If you have any questions comment or find us on Twitter at @TheActorProbs.

Rock on.

Alie

@Campbellalie

Cast connections

There's a special relationship between a cast that is unique to any other relationship. Personally, I find that my theater friends who I do shows with are closer to me than others. There's a level of trust I give to a cast that I don't give to anyone else. 

Making friends is the first step to becoming a united cast. Often directors are really annoying and separate friends groups at the first rehearsal to force people to make new friends. This, of course, does not work. Theater people don't do well with forced interaction. We will sit around looking at each other rolling our eyes. 

The first friends you usually make in a show are those you're in a scene with. Because you will have more rehearsal together, your desire for interaction will lead you to interact with those you see often. This is good. The better friends you are with them, the better chemistry your scene will have. 

Most of the time, I find myself making the most friends during tech week. Suddenly these people I've spoken to once or twice are all gathered in a space much too small for us and sometimes most of us are half naked. This of course is another example of desire for interaction. And you'll find yourself becoming friends. 

Beyond that, you need to trust your cast to know what they're doing onstage, to not screw up, to not distract you, to make the show as great as it can be. As actors, we make ourselves so vulnerable up onstage for anyone to see, no matter the outcome. We are forced to put so much trust in these people you may not even like. And by the end of the show, the friends you went on with are even closer to you, and the ones you didn't like you have more respect for. Maybe you'll even walk out of a show with a new best friend. 

How to tell if you're too invested in community theater

Community theater cliques are nearly impossible to get into. But if you work your way in, you can make some of the best friends you'll ever have. Here's some ways to tell you're IN. 

1. You and your community theater friends have been in at least 3 shows together

You've known each other since your parents have been dropping you off at churches and middle school auditoriums every day all summer. Your friendships used to take long pauses during the school year, only to pick right back up again when you see each other at callbacks. 

2. You're friends with the accompanist for the auditions. And you totally practice with them ahead of time. 

Don't lie. we're all guilty of this. No questions asked. 

3. You can precast the show and you already know your competition. 

Auditions haven't even happened yet and they might as well post the cast list. Everyone knows who's getting cast and who is playing what. 

4. Your theater inside jokes are amazing

You glance at each other across a completely silent rehearsal and laugh because you're all thinking of the same thing. 

5. You and your friends are most likely the "trouble makers" of the company

"Where's the teenagers?"

Probably outside on the playground in the rain. For fun. 

If there's fun to be had, you're doing it. 

6. You've done way too much tech for the company. And you're not a techie. 

"I'll bring in a prop to use for now" turns into "I'll just do props for the whole show" in the blink of an eye. 

7. You've made some of your best friends. 

Yeah, you may not see them very often, but you've gotten so close to them you have no secrets. It's what doing a show does to a cast. Brings them closer together. And with the amount of shows you've been in together, you're bound to be friends for life. 

Spotlight: You Can't Take It With You

It's closing night for me, so what better way to celebrate than to talk about the show that I am in? Probably not the best way, but I'll try.

YCTIWY first opened in 1938, with a revival in the 80's, and a current revival as well. The show is zany and eccentric, with a lot of humor and heart.

The show runs in three acts, with a variation that is only two acts.

The story is based in New York. The show opens with the main family going about their daily lives. Penny Sycamore is writing plays on their typewriter, Essie Carmichael, Pennt's daughter, makes candy while practicing ballet. Paul Sycamore creates fireworks with help from a former iceman, Mr. de Pinna. Ed Carmicheal works on his printing press and plays the xylophone. The help, Rheba and Donald, who are also in love, set up for dinner. Grandpa, Penny's father, Martin Vanderhof, has just returned home from the commencements at Columbia.

Everything goes along in its strange manner until Penny's second daughter, Alice returns home from work. She informs the family that she has been called upon by a Mr. Anthony Kirby Jr., the vice president of the company she works at. She goes upstairs to get ready and tells everyone to call her when he arrives.

No sooner does the doorbell ring. Enters a man who everyone thinks is Tony, but rather a man named Henderson, who has come to collect twenty four years of income tax from Grandpa. Fustrated with his stubbornness, he leaves in a rage. The door bell rings again and this time it is Tony. Everyone oohs and awws over this new boy, and Alice cones down in a gorgeous blue gown. Just then, Boris Kolenkhov enters, a Russian who is also Essie's ballet teacher. Alice tells them they are off to the Monte Carlo ballet, and Kolenkhov proclaims he hates it. Alice and Tony leave and the rest of the family, including de Pinna and Kolenkhov sit down to dinner.

Later that night, Alice and Tony return from the show. After playful flirting, they are interrupted by different members of the family. Alice says they are the reason that they shouldn't be together, but Tony insists they are fantastic and proposes to Alice. Tony must leave but promises to spend every other moment he can with her.

In the next act, based a week later, Alice is preparing for the Kirby family, who will be coming for dinner the next night. Meanwhile, Penny is entertaining an actress who has come to tead one of her plays. After she becomes unbelievably drunk, she passed out on the couch. De Pinna come up from the basement with a painting. It is of home, in a Roman costume that Penny painted. Penny vows to finish the painting tonight. Kolenkhov enters to give Essie her ballet lesson. He discussed with Grandpa for a bit about random things and the Soviet government before Essie comes down.

Penny is painting De Pinna. Ed plays his xylophone while Essie and Kolenkhov dance. Grandpa throws darts. Rheba comes from the kitchen to answer the door. And then enters the Kirby's, who have showed up on the wrong night!

How does it all go down? Well, there's some turmoil, an innocent game turned ugly, and everyone's arrested. Oops. But it all calms down in the third act when Grandpa reminds Mr. Kirby that all the power and money he has doesn't matter because you can't take it with you. 😉

A great show that's been around since almost the start of The Great White Way, it's humorous and lighthearted, with cookiness to go around!

Comment below if you have a question, comment, or a show we can talk about next! Find us on Twitter as well!

Kendall

Voice lessons

Finding voice lessons that fit for you is a tough but important part of making a career out of performance. When finding voice lessons, remember a few things:

Recommendations. Ask friends where they take lessons and if they like their coach. Friends are always a good source for things like this. 

Style. If you want a Broadway voice, don't pick a voice teacher who specializes in opera, and vice versa. You wouldn't want a French teacher teaching you algebra, so this should be no different. 

Comfort. First thing first, never pick a teacher who makes you feel uncomfortable or you wouldn't want to embarrass yourself in front of. Because, odds are, you will. You want to get the most out of your lessons. 

Try a sample session. Maybe the way they teach just doesn't work for you. That's okay. Keep looking, don't give up. 

Scheduling. Keep in mind how much time you have. Maybe you would benefit from weekly lessons. Maybe you need to find a teacher who is okay with you only coming in when you have an audition of a show coming up. Maybe you only need 30 minute lessons or maybe you'll go with 45. Find what works best. 

Overall, find whatever you need for you. No two people are exactly the same. Best of luck! 

•do theatre, not drama•

~Sierra