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SallyPAL
by Sally AdamsDiscussions about Creating Original Performances for a Live Audience!
Copyright: Copyright 2020 All rights reserved.
Episodes
A. Rey Pamatmat and an Opportunity to Lead
9m · Published
Episode 41 – Stage Managing Immersive Opera with Cynthia Hennon Marino
33m · PublishedI’m your SallyPAL podcast host, Sally Adams. And every week I talk to people about creating original work for a live audience. Send an email anytime to [email protected] . Because your ideas keep great conversations coming every week.
Check out sallypal.com/join for a cool free theatre resource called the Creator’s Notebook. You can also be a Sally ‘pal’ just by joining. There are other good reasons to join. Members get theatre cartoons, inside scoop on fresh productions, and entry into a larger creator community.
Stage Manager Cynthia Hennon Marino hit the ground running after getting an MFA in Stage Management from the College-Conservatory of Music . She went to New York and got hired almost immediately. She became a production assistant on the Broadway production of Equus starring Richard Griffiths and Daniel Radcliffe in 2008 .
Cindy's journey started when she and her identical twin, Stacy Hennon Stone, did props for the musical Anything Goes their freshmen year of high school. The two now host a podcast called Twins Talk Theatre. The show is a series of great convos about working backstage.
Sister Stacy is a professional technical director in Long Beach, California. But neither twin planned on becoming a theatre professional. Cindy started by pursuing a degree in math. Stacy started in the business school. But theatre has powerful magnetic pull.
Each Hennon sister graduated from a different college with a theatre degree. Cindy’s sister headed to Southern California. Cindy followed when she found work with Palos Verdes Performing Arts .
Cindy and I talk about Long Beach Opera , the opera, Nixon in China , the LA opera, Hopscotch , and Portland Opera. She currently stage manages the opera, Faust, with the Oregon company. This latest venture features 3-D projections based on the work of sculptor John Frame .
The projections and projection mapping are a collaboration among designers Frame, Vita Tzykun , David Adam Moore , and Duane Schuler . It’s received a lot of attention from a previous reveal with Lyric opera in Chicago . Opera Wire called this production “a visual feast for the ages.”
But Portland’s production isn’t the most progressive thing Cindy’s done this year. In March, she and a small contingent with Opera Omaha embarked on a rare journey. The work they created is unique.
The Wreck is an immersive devised opera created in only 10 days. The Wreck borrows music and other bits from Slavik mythology and mermaid folklore. It features the writings of Anne Sexton , Alice Walker , and Adrienne Rich . It also floats on the music of Donizetti , Schubert , and Von Bingen . Ukrainian composer Mariana Sadovska adds new music creating an eclectic, otherwordly piece set in Omaha… sort of.
I know you’re going to enjoy what Cynthia has to say about stage managing and opera. There’s plenty of fresh ideas in the world of live opera performance. I can’t wait to see what she does next. Be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.
Concise Advice from the Interview 7) Stage manage a show as opposed to a genre of theatre 6) Help the designers make a safe working environment for the performers 5) Focus on the show and focus on the people and everything else will fall into place 4) Go see opera! 3) Use physical cues to show you are open to a conversation 2) Experiment and have fun! 1) Think outside of the box
Thank you for following, sharing, subscribing, reviewing and joining. And thank you for listening. Download the SallyPAL podcast and listen on your drive to work. Or fall asleep to my recitatives like my sister does. Just be sure to let me know you’re out there.
Storytelling through plays, dances, opera, and other types of performances is the most important thing we do as a culture. That’s why I encourage you to share your stories. You’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers.
I want to help you tell your stories. All the stories ever expressed once lived only in someone’s imagination. Now… Think outside the box!
Show UpDate and a Chance to Contribute
3m · PublishedHi Friend!
Darian Silvers is a multi-talented young man on a mission to change performing arts. He has been accepted to a summer Julliard program for young adults who plan to use art and collaborative skills to contribute to their home communities. The problem is funding. We can work together to fulfill Darian's goal to bring theatre arts to rural communities. Please join me in funding Darian Silvers' goal! https://www.gofundme.com/get-darian-to-juliard
Here’s Darian’s message:
Hello lovely supporters, thank you so much for visiting my page. I was one of 50 applicants across the nation to be accepted into the Artist as Citizen Conference at Julliard this June. All I need is a little financial help for the conference and the plane ticket! If you know me, you know I'm a local director, artist, and fashion designer working in Houston. The AAC Conference teaches lessons on artistry, entrepreneurship, and activism. I've often considered myself a multi-faceted artist who hasn't quite found his niche, but this conference gives me the opportunity to marry my love of telling stories with my passion for helping people who need it . Any amount is a huge help!
https://sallypal.podbean.com/mf/web/syumuk/Darian_Silvers.pdf
Episode 40 –Writer’s Block and Refueling the Creative Tank
32m · PublishedEpisode 39 – From Okmulgee to the Big Time with LoJoWERKz Tim Long and Jerome Johnson
39m · PublishedHi Friend, Welcome to Episode 39 of Sally’s Performing Arts Lab Podcast. Today you’ll hear my long-awaited talk with the multi-talented founders of LoJoWerkz, Tim Long and Jerome Johnson. I’m Sally Adams, your SallyPAL podcast host.
Every week I talk to people like the LojoWERKz team about creating original work for a live audience. We talk about practical matters such as finding a great stage manager, scheduling for a show, and booking the right venue. My guests and I also explore social issues such as "open writing" and inclusion, women's voices, and celebrating "otherness". Check out the show notes on the blog to get links to the things we talk about and see photos of my guests. Send an email anytime to [email protected]. Your ideas keep great conversations coming every week.
Check out sallypal.com/join for a cool free theatre resource. It’s never too late to sign up and have access to the Creator’s Notebook. I’m interested in knowing what creators need as a performing arts resource. If there are things you want included in the Creator’s Notebook, let me know by sending an email to [email protected]. I read them all. Be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.
LoJoWERKz Graphic Arts Version of Jerome and Tim at Work
LoJoWERKz Tim Long and Jerome Johnson met in 1991 at Okmulgee High School in Oklahoma when Tim was a young substitute teacher doing music and art on the side and Jerome was a high school kid into street dancing. Today the pair form the foundation of LoJoWERKz productions. The innovative stage and screen entertainment company blends hip-hop culture with traditional genres and has garnered some very high level attention. Tim’s companion art label, TuTchT IMAGING, creates graphic art featuring models of color.
Before collaborating on their first full book musical, A Song of Greenwood, in the late 1990s, the two LojoWERKz founders collaborated on projects for the church they both attended. Higher Dimensions Church in Tulsa, led by Carlton Pearson, encouraged the pair’s creative expression and led to a working partnership.
The Cast of "Roofless" from the 2016 Table Reading
LoJoWERKz' current project, Roofless, started as a dance concert directed by the inimitable Tyrone Wilkerson for American Theatre Company in Tulsa. They worked the Roofless script into a full-blown musical and were awarded a place in 2004 into the ASCAP Foundation/Disney Musical Theatre Workshop. When they were accepted, Michael Kerker, Director of Musical Theatre for ASCAP, told them Wicked composer Stephen Schwartz was really impressed by their work.
Tim and Jerome have been mentored by Kerker and Schwartz since 2004. In 2005 they won the Harold Arlen Musical Theatre Award. Since that time the show has been called “groundbreaking”, “genius”, and “the future of the musical” by people who know what they’re talking about.
Tim has a background in film. He’s a 1988 graduate of the famously innovative CalArts. And he and Jerome have been working on a new approach Roofless. They gave SallyPAL an exclusive reveal of what’s next for this amazing show and it’s going to expand the musical form on many levels.
Tim and Jerome already have some experience creating a blend of new and old they both love. In the short film HotFoot, Jerome choreographs famous hip-hop dance artist Lil Buck in a silent movie that also features Jerome’s eight-year-old son Sage.
I’ve followed Lojowerkz for a few years and it’s really great to see this pair experiencing the success they deserve. They're just good people and there’s more ahead for both of these extraordinarily talented friends. They talk about a lot of exciting new things happening in the worlds of musical theatre, film, and hip-hop, including Lin Manuel Miranda’s works, In the Heights and Hamilton, and the work of artists like Lil Buck. You’ll hear Jerome’s son, Sage, in the background. Also, his wife, Tyff, makes a brief appearance.
If you listen to the podcast, be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.
Concise Advice from the Interview:
9) Being an outsider can be an advantage. Use it.
8) Keep moving forward and surround yourself with smart people, you’ll eventually get where you need to go.
7) Listen to critique for the grain of truth but take advice from people who know what they’re doing.
6) Don’t try to reshape what you have to fit the marketplace, but do get in the system to get to the caliber of advice you need.
5) Submit your work once it’s performance ready.
4) Get into legitimate circles to hone your voice and your craft.
3) A great idea won’t leave you.
2) Know your voice.
1) Keep putting your foot on the gas and go.
Check out the blog, SallyPAL.com, for articles and podcast episodes. You, too, can be a SallyPAL. Sign up for a FREE Creator’s Notebook insert at SallyPAL.com/join. Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. Thanks to Hannah for emailing me, it was awesome to hear from you!
If you’re downloading and listening on your drive to work, or falling asleep to my doobadooba fubar like my sister does, let me know you’re out there. You need to share your stories. Storytelling through plays, dances, music, and other types of performances is the most important thing we do as a culture. I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. All the stories ever expressed once lived only in someone’s imagination. Now, keep putting your foot on the gas and go!
Episode 38 - Venues
17m · PublishedEpisode 37 - SallyPAL Clip Show 1
34m · PublishedDarian & Will take a Selfie with Sally
Will Inman and Darian Silvers had some things to say in Episode 2 about why it’s important to reinvent existing works. They also mention why storytellers need to collaborate. You’ll hear them share about “Animal Farm”. This version of an existing show is a revamped musical performed in Houston in 2017. (2:33-Will) Reinventing the Work; (3:50-Darian) Making Something New; (4:17-Darian&Will) Collaborating Daniel at The Folger with the Bard In Episode 3, Daniel Bowers highlights the fun and excitement of building a reality on stage. (6:29) Telling a Story on Stage; (7:31) Building a Reality on StageEmile, Becket, and Sally Talk about Theatre
Emile Adams confirms that feeling in Episode 4 while discussing her original play, “Fever Dream”. (8:08) When the Lights Come up on Your ShowTV Writer Jana Sees a Funny World
Jana Hunter is the executive producer with her husband Mitch of the ABC show, “The Middle”. In Episode 10 she talks about storytelling to a broad audience. (8:45) Storytelling to a TV Audience;InAngie and The Spontaniacs!
In Episode 14 Angie Mitchell expresses the fun of developing new forms or games in improvisational comedy. (10:34) Developing new Forms (10:34) Developing new FormsGeorge Considers Character
In Episode 16 George Nelson echoes the feeling of creating original characters for both practical and profound reasons. (11:49) Creating Characters In Episode 14 Angie Mitchell talks about pushing through her early improv failures. And Jana Hunter from Episode 10 talks about the value of HER improv training with LA’s Groundlings. (12:48-Angie) Pushing through Failure; (4:05-Jana) Creating Stories on the Fly and Being Comfortable in Your SkinWes Has High Hopes and High Expectations
Wes Vrooman in Episode 6 believes telling stories is important. Also, he points out, a new crop of storytellers seems ready to tell stories in exciting ways. (15:10) Young People Telling New StoriesLisa Contemplates Educational Theatre
Lisa Stefanic in Episode 8, George Nelson in Episode 16, and Daniel Bowers in Episode 3 encourage actors and directors. They advise artists to be flexible and create characters and stories that resonate with audiences. Episode 8 (16:52- Lisa) Be Flexible Episode 16 (17:17-George) Play Characters That Resonate Episode 3 (18:02-Daniel) Buy in to the Story’s TruthNicole's Truth
Nicole Perry from Episode 11 ponders the impact of a dancer portraying the truth of a character. (19:05) Do Characters Affect Your Spirit? and Being Seen Wes Vrooman in Episode 6 introduces a conversation for inclusion. It is echoed by Lisa Wilson in Episode 7. (20:03-Wes) Plays with Options; (20:41-Lisa) Importance of RepresentationNicole Fights for her Rights
Nicole Zimmerer from Episode 9 opens the conversation up to include physically disabled actors and storytellers. While Nicole Perry from Episode 11 zeroes in on the reality of body-based casting. (21:37-Nicole Z) First Wheelchair Actor on Broadway; (21:51-Nicole Z) Disabled Characters Played by Disabled Actors; (22:35-Nicole P) Body Based Casting In Episode 6, Wes Vrooman expands on his earlier comments. He also encourages storytellers to get out there and tell their stories. (23:39) Relatable Stories Need to Be ToldSheila Loves Words
Sheila Black from Episode 13 and Michael Wright from Episode 15 both caution writers to set aside worries that don’t have anything to do with the expression of the work.Michael Values Story
(24:53-Sheila) Don’t Worry about Perfection; (26:13-Michael) Audiences Experience Stories not Themes In Episode 10, Jana Hunter shares some memorable advice she got about how best to create with an ensemble. (27:35) Collaborating: “Be nice and Contribute”Steve's Big Advice
Also, in Episode 17, Steve Barker gives the best possible advice. (28:07) Write, write, write!Lisa Supports Women Playwrights
In Episode 7, Lisa Wilson sums up the value of storytelling. (29:01) Storytelling Is Culture In Episode 2, Will Inman points out that an audience is always the final collaborator. (30:35) A Live Audience Is the Reason to Do Theatre I hope you enjoy the SallyPAL clip show. You might find an artist who piques your interest. Episodes are available on most podcast platforms. Check out the blog, SallyPAL.com, for articles and also show notes. You, too, can be a Sally PAL! Sign up for a FREE Creator’s Notebook insert at SallyPAL.com/join. Thank you for following, sharing, subscribing, reviewing, and joining. And, by the way, thank you for listening. If you download and listen on your drive to work, or fall asleep while listening to my NPR-inspired narration like my sister does, let me know you’re out there. Storytelling through plays, dances, music, and other types of performances is the most important thing we do as a culture. That’s why I want YOU to share YOUR stories because you’re the only one with your particular point of view. Also, SallyPAL is here with resources, encouragement, and a growing community of storytellers. I want to help you share your truth. All the stories ever expressed once lived only in someone’s imagination. Now… go tell someone who you are!Episode 36 - Storytelling in Plays with David Blakely
34m · PublishedDavid Blakely encourages storytelling for all the right reasons... and some nefarious ones... Hi Friend, Welcome to the blog and show notes for Episode 36 of Sally’s Performing Arts Lab Podcast, "Storytelling in Plays". Today, I talk with HTC’s Playwright in Residence, David Blakely. Every week on the SallyPAL podcast I talk to people about original storytelling for a live audience. Send an email anytime to [email protected]. Your ideas keep great conversations coming every week.
Check out sallypal.com/join for a cool free theatre resource. It’s never too late to sign up for access to the Creator’s Notebook. I want to know what you need as a performing arts storytelling resource. If there are things you want in the Creator’s Notebook, let me know by sending an email to [email protected]! I read them all. If you're listening to the podcast, be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.
I’ve known David Blakely since I was 15 years old. I was a theatre club member at Tulsa Memorial High School. (Shout out to my Masque & Gavel buddies). In the intervening years, David got a law degree from Duke University, and an MFA from the University of Iowa. Now, 40 years later, David is the playwright in residence for Tulsa’s only all-original works company, Heller Theatre (or HTC). He's also a playwriting professor at Rogers State University. David Blakely is a prolific playwright with performances of his works in various locations around the country at any one time.
Most recently, David's been in rehearsal at HTC for his one act, “Four Ways to Die”. The play is based on Dennis McAuliffe’s 1990 nonfiction, “The Deaths of Sybil Bolton”. “Four Ways to Die” follows a journalist uncovering what exactly happened to his grandmother during the systematic reign of terror that killed dozens of Osage people in the 1920s. The play features Steve Barker from Episode 17. The play can be seen at the Tulsa Nightingale Theatre April 6 & 7, and April 13 & 14, 2018 at 7:30pm. For information on this and other original works of storytelling, as well as the Second Sunday Serials, visit HellerTheatreCo.com. We discussed David’s work, “For Your Examination” in which he and his co-writer, Anna Hudson, gathered monologues from homeless Oklahomans.
We also talked about Francis Ford Coppola, Samuel Beckett, PDQ Bach, and "Oh! Calcutta!" In addition, we mentioned Ernie Kovaks, and Saturday Night Live. And we talked about language including the use of American Sign Language in theatre. We also discussed Will Inman’s play, "The Lesbian Exhibit". Storytelling was at the heart of our conversation. If you listen to the podcast, be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.
Today's Concise Advice from the Interview includes nine bits of advice from my SallyPAL podcast guest, playwright David Blakely.
9) Nurture storytellers
8) When appropriate, ask those you mentor to give you advice for your work
7) Don’t be afraid to try new things
6) You have a vision and a voice and it’s important to discover it
5) You need to get the audience’s attention to tell the story
4) Get inspired by supporting young artists
3) Allow the subject matter to dictate the form of your work
2) Mine situations in stories for all their potential
1) Allow your characters to face complicated issues. Write the tough scenes
Check out the blog, SallyPAL.com, for articles and podcast episodes. And sign up for a FREE Creator’s Notebook insert at SallyPAL.com/join. Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. Thanks to Hannah for emailing me, it was awesome to hear from you!
I want you to pursue your dream share your stories. Storytelling through plays, dances, music, and other types of performances is the most important thing we do as a culture. That’s why I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. I want to help you tell your stories… All the stories ever expressed once lived only in someone’s imagination… Now… go write the tough scene!
Episode 35 - Responding to Criticism
22m · PublishedWelcome to the blog and show notes for Episode 34 of Sally's Performing Arts Lab Podcast. No interview today. Just me and some thoughts about criticism and collaboration... Oh, and some new music! Every week I talk to people about creating original work for a live audience. Send an email anytime to [email protected]. You're my podcast collaborator. As always Concise Advice and Words of Wisdom from George are near the end of the podcast episode.
I recently posted an episode of SallyPAL on "Fear of Failure and the Imposter Syndrome". A couple of things came up the following week that made me realize I needed to do a show on seeking and responding to criticism. First I should point out that I have not always been very good at either seeking or responding to criticism.
Today I want to introduce a new way of thinking about it. Lately, I've started to recognize that critique can be really useful. When you get critique that you know is useful you're not always sure it's worth the effort to make the suggested improvements. You might accept that the appraisal is accurate and you've actually considered making a change to the work based on the unsolicited advice. But you balk because of the work involved in making the changes. When someone else notices the problem that you decided wasn't really all that noticeable, it's kind of a bummer. Now you have an opportunity to address the problem… or you can be annoyed that someone noticed the problem you thought wasn't noticeable, and take it out on the person offering the evaluation.
Here's a thought: Criticism is a contribution to your project. Rather than see your critic as someone who's slamming you, think of that person as a collaborator attempting to make a contribution to the work. A collaborator wouldn't say anything at all if they didn't feel they had something helpful to say. If you see your critics as collaborators, you can change how you respond to criticism. Sometimes all there is to say is, "Thank you," or "I appreciate you noticing that." But sometimes what a critic says will cut you to the quick. If your knee-jerk reaction is negative it could be because the criticism is accurate and that's a tough pill to swallow. I'll give you a couple of examples from my own experience, one from a couple of decades ago and one more recent example.
Back in the days when I was writing a lot of one act plays, I had several pieces accepted into a local festival. I was invited to participate in workshopping the plays. The director was someone I really admired. I was an actor writing on the side but I didn't really think of myself as a playwright at the time. But the company had accepted four of my plays.
I got a lot of good suggestions for changes from both actors and the director. Instead of really looking at these suggestions and considering how they would change the work, I ran home, made the changes and returned the next day with the suggestions incorporated into the script verbatim. I spent no time asking myself, "Is this what I want for my work… Is the suggestion valuable enough to make the change to the script?" The people making suggestions seemed to have a lot of confidence… and I… did not. After this happened four or five times, the director gave me some pretty good advice. He said, "Sally, when I offer a critique, I want to have a dialogue with you. I'm not telling you to go home and change the script. You have to decide if the change is right for your work."
My lack of confidence was weakening my work. I didn't put any thought into the changes. I wasn't thinking, "This is a really good idea, I'm going to look and see if it works for the story I'm telling." Look, everyone will have ideas for ways to improve your work, but only you have the original vision. If you become an automaton taking all suggestions and making changes without considering their impact on the story you set out to tell, the work will suffer. It doesn't mean you can't take suggestions. Many of the suggestions I got actually did improve the scripts.
The automatic acceptance of any and all criticism is no healthier than the creator who accepts no criticism declaring, "It's my work, dammit, and you can't tell me what to do with it!" Dismissing criticism out of hand is not much different than the automatic acceptance method. When someone suggests a change, let your mind rest on the idea of the change rather than the specific suggestion. It may be that the suggested change doesn't really work but the need to address the section is valid. Rather than assume the person who wants to improve your work is trying to control it, it's possible they see something you are missing. Step back from the piece and look objectively. Could an improvement be made?
I always like to say I'll try anything once. If it doesn't improve the work, at least I've tried it and it might provide a springboard to an even better idea. Something else you might consider is your opinion of the critic. Even jerks can have good ideas once in a while. The best people can have terrible ideas and, occasionally, the biggest jerks can save a production. One of my favorite questions is, "Does this change serve the story?" Know what story you're telling and make sure everything in it serves that thread.
A more recent example of criticism that I didn't really want to hear happened last week. Rather than being oppressive, it was surprisingly healthy. The person who offered the critique is my sister and she's just an awesome human being so I'm more likely to listen to what she says. As she's carefully offering her suggestion, I'm thinking quietly about it. (Remember my story about taking suggestions without thinking?)
In this case, my sister noticed my silence and may have assumed I wasn't receiving the criticism well. In fact, her ideas were really good. Here's what she suggested. On my podcast, I have a section (if you listen regularly, you'll be familiar with it). It's the section where I say… "It's time now for Concise Advice from the Interview." She began by telling me what she liked about the section. This is a really great technique when you want to offer criticism. Since she's a teacher, she has some experience with this method.
My sister said she likes that I take a pared down version of the advice people give over the course of the interview and put it in its own little section. As she's sharing this, she pointed out that a podcast is a more intimate experience for the listener than it is for me as the producer. I am aware that I might be speaking to several thousand people while the listener is rarely listening to more than one or two people. What she said is that the announcement for Concise Advice from the Interview was a little loud, even jarring. She called it "theatrical". No surprise since that's my background. My first thought was, "But I like that bit!" and, "I don't want to change anything," and "What if other people like it?" or the less compelling, "What if other people are used to it?"
After 37 episodes I still haven't received any real criticism or even suggestions aside from Beck's idea to add Concise Advice (a really good suggestion, by the way, Beckett). That echo-ee section where I announce Concise Advice from the Interview is part of the recipe for the show. It's like the date nut bread recipe where you add caraway seeds despite the fact that you and everyone else who politely eats the bread hates caraway seeds. What if you keep the recipe the same and just leave the caraway seeds out?
After talking to my sister, I agreed that Concise Advice from the Interview could be more intimate, could be a little quieter, I could do it differently. I could even change the title. Then I started thinking, "what if I changed it just because my sister suggested I change it? What if there are a bunch of other people who like the way I'm doing it?" Well, maybe there are, but I haven't heard from any of them.
The opinion that should matter most is not the opinion of a true fan out there in the world, or even the opinion of my sister. The opinion that matters most is mine. How do I feel about the criticism, and even more importantly, is it valuable to the work? The announcement for Concise Advice from the Interview might be jarring to someone who actually listens to the podcast (she admits, of course, that she listens to it as she's falling asleep at night).
What I realized when listening to my sister's advice is that the podcast may be an intimate experience for many listeners. Maybe I need to pay attention to getting my sound levels consistent (I've been struggling with my sound levels for months).
About making my podcast more intimate, I thought, "What if I spoke to just one person and that person is you? You and I could have a one-to-one exchange." This led me to another thought: I could improve how I use social media and make the show more accessible. An obvious way I could improve is for you to reach out to me. I do read my emails. It's easy to do because I don't get very many. I have thousands of people listening to the podcast but not very many are interacting with me.
You and I… we're collaborators. Some of your suggestions could show up in the podcast. Concise Advice from the Interview was a suggestion from Beckett Adelman. I love that he was listening and proposed putting advice from the podcast interviews into their own section. It's one of my favorite parts of the podcast along with Words of Wisdom from George (which might have been my daughter's idea).
Your ideas will get noticed. I want to collaborate with you on the creative project that is this podcast called SallyPAL. While I'm working to improve the podcast, I'm doing other things like creating a small recording space where I can smooth out my sound levels and not have to deal with things like the dog snoring and the washing machine running
Episode 34 – Tackling Fear of Failure and Impostor Syndrome
36m · PublishedHi Friend, Welcome to Episode 34 of Sally’s Performing Arts Lab Podcast. Today, my husband, George, my daughter, Emile, and I discuss fear of failure and Impostor Syndrome.
I’m your podcast host, Sally Adams. Every week I talk to people about creating original work for a live audience. Send an email anytime to [email protected]. Your ideas keep great conversations coming every Monday evening.
Check out sallypal.com/join for the free 20-page theatre resource. Creator’s Notebook Insert #2 on scheduling will soon be available. In the meantime, you can listen to Episode 31 if you want an in-depth convo about scheduling for your production. It’s never too late to sign up to have access to the Creator’s Notebook inserts.
I’m interested in knowing what creators need as a performing arts resource. Do you need more information about venues? Do you want to know how to put butts in seats on the cheap? Would you like to connect with other creators? Do you need more practical tips? If there are things you want included in the Creator’s Notebook, let me know by sending an email to [email protected]! I read them all… challenge me. Be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George.
Fear of failure can be barely noticeable or paralyzing. For artists in the world of performance, the fear of failing can overpower the drive to perform. Some great ideas and performances languish in hiding because an artist can’t seem to get their work on the stage. The artist who succeeds in getting the work in front of an audience may struggle with another roadblock to full expression: Impostor Syndrome. Impostor Syndrome is defined as, “a collection of feelings of inadequacy that persist despite evident success.”
The term Impostor Syndrome was coined in 1978 by clinical psychologists Pauline R. Clance and Suzanne A. Imes. According to a study out of Georgia State University, a third of successful adults believe that they don’t deserve to be where they are. Feelings of success are often overshadowed by the feeling that you are a fraud and anyone who says otherwise doesn’t know enough to recognize your incompetence.
A few weeks ago, I asked performing artists to share what they saw as roadblocks to mounting a successful production of original work. I expected to see things like, “finding a venue,” “funding a show” and “putting butts in seats.” While these received honorable mentions, the overriding responses were, “fear of failure” and “Impostor Syndrome”. I distinguish between these two although they have a lot in common. Fear of failure usually keeps you from acting. While Impostor Syndrome means you took an action but you can’t believe your success is anything more than accidental.
I’m currently reading a book given to me by my daughter Emile’s fiancé, Beckett. The book is titled The Art of Possibility. Written by Rosamund Stone Zander and Benjamin Zander, it exposes the assumptions on which fear of failure and Impostor Syndrome are based.
As a longtime drama teacher I was never a big fan of arts competitions. I love arts festivals, performances, and sharing programs. But competitions where the work of one group of artists is measured against the work of another group of artists to determine which group is “the best” strikes me as sending the wrong message. It’s a version of sports competition based on opinions rather than objective measurements.
Many of us believe competitions are a necessary evil to inspire student artists to push their work to a higher level. But the arts competition model is flawed and the Zanders explain why: “All the manifestations of the world of measurement – the winning and losing, the gaining of acceptance and the threatened rejection, the raised hopes and the dash into despair – are all based on a single assumption that is hidden from our awareness. The assumption is that life is about staying alive and making it through – surviving in a world of scarcity and peril.” This is where the book begins. The world we live in every day does not position anyone to reach their potential. For most of us, the opposite occurs.
The book, The Art of Possibility, goes into detail describing ways to break free from the competition construct. One quote stood out for me. It’s a quote from Agnes DeMille’s book, Martha: The Life and Work of Martha Graham. In it, DeMille quotes Graham as saying, “There is a vitality, a life force, an energy, a quickening that is translated through you into action. And because there is only one you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.”
This conversation is touched on from time to time in other interviews I’ve recorded. Pat Hobbs in Episode 32 talks about imperfect perfection. He says that giving yourself freedom to make mistakes can take your performance to a whole new level. Vanessa Adams, in Episode 28 knows that being vulnerable as an artist has risks and can feel dangerous. But that authenticity can help audience members connect both to the work and to each other. Emile Adams, in Episode 31, revealed that she doesn’t attend rehearsals of her own works to avoid what she calls “backseat directing” and trying to control the expression of the work.
During the conversation I mentioned the off-Broadway production of Peter and the Starcatcherzzzz. The actual title is, Peter and the Starcatcher. It’s singular… there’s only one Starcatcher. The show is now closed but it was amazing.
We also mentioned the amazing Hamilton by Lin Manuael-please-be-on-my-podcast-Miranda. None of us thinks Hamilton is garbage. In fact, Emile and I have been a bit obsessed with the show. But even Miranda admits the early days of creating the show had challenges. And just as I have no evidence of crappy versions of Hamilton, I have no proof that Eric Clapton didn’t start out as a guitar god at age twelve. It’s just that teaching middle school students for over a decade, I can guess that he didn’t start out playing Layla or Tears in Heaven the way he does now.
When it comes to creating art for an audience, we all must start somewhere or we don’t start. Today, my husband George, my daughter, Emile, and I explored fear of failure and Impostor Syndrome.
Concise Advice from the Interview is a short version of tips on dealing with fear of failure and Impostor Syndrome. Here are 9 important bits of advice. 9) You can do this - Don’t be afraid to give it a try 8) Learn to motivate your self 7) There’s nothing about “downward spiral” thinking that’s useful. 6) You can write garbage or you can write nothing. Writing garbage means you’re still writing 5) Bragging and Sharing Your Work are not the same thing 4) To get to the place where you can create an amazing thing, you MUST create some garbage along the way 3) You won’t learn if you can’t fail 2) Let go of being technically perfect and your work will connect with an audience 1) When someone compliments your work… Just say, “Thank you”Check out the blog, SallyPAL.com, for articles and podcast episodes. You can be part of the momentum that’s building. Keep an eye out for social media opportunities to share with the SallyPAL community. I want this podcast to give you tools to defeat your fears and share your unique artistic expressions. “If you block it, it will never exist through any other medium and it will be lost.”
The show notes include links to some of the things talked about today. Use the links as a springboard to launch your work. And, as always, thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. I want you to pursue your dream to have your work on the stage in front of a live audience. It’s scary, but SallyPAL is here with resources, encouragement, and a growing community of people like us.
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SallyPAL has 56 episodes in total of non- explicit content. Total playtime is 24:16:57. The language of the podcast is English. This podcast has been added on August 16th 2022. It might contain more episodes than the ones shown here. It was last updated on February 28th, 2024 13:12.