Ensemble as Life’s Work
People always tell you, “If you can do anything other than theater, do that.”
I can do so many things other than theater, and do them well.
I’ve been a college voice instructor. I’ve been an opera translator, a television transcriber, a production assistant, a dialect coach, a yoga teacher, and…yes, a waiter. I’ve considered becoming an arts administrator, a lawyer, or a speech therapist. Each of these perfectly respectable jobs has left me feeling like I was settling for less than my best contribution, and so I’ve moved on.
But I have never left the stage. I can’t walk away from it, because nowhere else do I find the sense of fulfillment that comes from working together with a group of peers to uncover something beautiful or true or transcendent buried on a page and bring it to embodied life. This is ensemble. Ensemble isn’t just teamwork. It’s not the thing you find by working in an office. And it’s not just sharing ideas about art. Ensemble isn’t the same as the relationship between a teacher and a student.
Ensemble is the closest thing to family I’ve felt, and while I know I am smart and ambitious enough to be successful doing a number of things other than theater, and will probably continue to do many things I enjoy outside of the theater, I can no more leave the theater than abandon my family. Since I first discovered the joy of working among equals to create something big or delightful or exquisite or beautiful, ensemble has been one of my core values.
Today, theater may not be my most immediately bankable career path or comprise my most lucrative skill set. It is simply the one job that matters to me, and I want to matter more to every show I am a part of. So it’s my responsibility to make this career bankable and to hone my skills, because, odd jobs aside, it is my life’s work.
Although I’ve been moderately successful as a professional actor in Denver since 2006, my educational background is in music. I never received the kind of focused theatrical training I desired in music school, and now I want to take some time to focus on the craft of acting in order to move forward in my performing career. Although I’ve enjoyed and am grateful for the work I’ve had, I am interested in broadening my theatrical horizons.
An MFA degree in acting is part of that plan. In addition to making it easier to earn a tenured position in higher education later in life, a second master’s degree will fill in the gaps in my artistic education. From an academic standpoint, I’m especially interested in voice work because of my background as a singing-voice pedagogue, and movement because of my background in yoga, but from the standpoint of personal and artistic growth, I anticipate my greatest appreciation will be for the overall collaborative experience of learning to be a better actor with a group of talented colleagues.