Since A:OC closed, I recognized that I miss working with actors who want to educate themselves, grow, and improve.  So I have decided to take the plunge and start, with a little help from my friends, a theatre company.

Since I don’t know the acting pool here in Bay County, the free workshops I give are a start at growing a company the correct way:  your getting to know me and how I work, and my getting to know you and where you are.  It also affords us the opportunity of working with others, which is the main thrust of starting a company:  finding people who are passionate about working in the theatre.  Please note that I’m saying theatre and do not limit the workshops exclusively to actors. 

That said, the search begins:  searching for community members to people a company of theatre artists, be they actors, directors, costumers, set builders, front of the house people, management and marketing people, makeup and scene painters, etc, and bringing them together to start fine tuning their talents. 

I have for a few years talked to people about this project and have had many questions asked about it.  I am going to list some of them, the answers follow:

Why do you think a theatre company is necessary to do good theatre?

There are two ways to cast a show:  Open casting, frequently called “pick-up” casting, and Company casting. 

Open casting implies that the plays are not precast and that anyone can come to auditions and give it a try.

Company casting is done from within the organization and is done primarily for the growth of those who are cast.  In other words, the Artistic Director keeps the growth of the company members clearly in mind and makes that a paramount focus, above all.  So, when a play is chosen it is chosen with the company members in mind. Who in the company could do this play well, who would learn the most from doing it? Who would work best doing this play for our audience? 

When rehearsals start, open casting causes a time lapse where people are getting to know and trust each other.  Frequently their expertise theatre wise is widely different and can be very confusing and cause many stumbling blocks in mounting the play.  Company casting abates such problems since the social part of the association is established and a theatre company can get right to the work at hand, molding the play.

 WHY IS THE ORAL INTERPRETATION CLASS MANDATORY FOR ALL COMPANY MEMBERS?

Simply put, it gets all of us on the same page, skill wise, so we can move forward rapidly and keep our growth in the forefront of our quest to do good well-prepared and engaging theatre. 

WHAT DOES THE CLASS CONSIST OF AND HOW LONG WILL IT LAST?

The class consists of refining techniques through the study and refining of a one-act play, The Typists, by Murray Schisgal.  It is divided into many parts.  I have taken as few as 13 hours on the one act play, and as many as 19 hours.  I take only 20 students per session since I must concentrate on you and your development, carefully recording your strong and weak points so that, as we move forward at the end of the workshop, I will know exactly where you need to be strengthened and I can get to that a little at a time.  Your growth is paramount in my work with the group. 

MUST I ATTEND EVERY CLASS UNTIL THE WORKSHOP IS COMPLETED?

Yes.  The importance on continuity to your growth cannot be overstressed. These are not your typical “pick-up” classes, but rather focus on a thread of learning and improvement essential to your development as an actor.  Recognizing how varied everyone’s schedule is, I set the first meeting and ask the attendees to bring their calendar with them so that, at the end of the first session, we schedule the next session so that all may attend. 

WHAT WILL I LEARN IN THE WORKSHOP?

As we work our way through The Typists, we will discuss how to prepare yourself for performance, learning lines, discovery of information, techniques of acting, keeping yourself open to character growth and development, being responsible for your talent, trust, the voice, aging, preparing yourself for success or failure, keeping independent, keeping your talent safe from damage, exploring your perceptions, using your own life experiences in developing a character.  And all that just for starters!  We also want to explore what makes a good actor better, how to distance yourself from the addicted actor, how to choose a path for yourself in your quest, and how to feed your passion. 

HOW WILL I HAVE CHANGED BY THE END OF THE WORKSHOP?

The only thing that I know that I can promise you is that you will never, ever look at the theatre and theatre production, including acting, the same way. 

You will have a new way of working so that anyone can see you have your focus in the right place and that it is important to you how you are perceived.

WHAT IS THE PURPOSE OF THE CLASS?

My purpose is to get to know you and your purpose should be to get to know me.   And after that, you and I have the decision to make:  Do we want to continue working together?

WHAT KIND OF PLAYS WILL WE DO?

We will do work that expands your skill.   Every time we do a play, you will improve your skill in preparing yourself for the task at hand and will know how to build the character and, in time, how to build the play.

WHERE WILL WE PRESENT OUR WORK AND WHEN?

I have no idea specifically where, and we will present when production is ready.  A variety of spaces are available for use, some for rent and some for free.   Our task is to prepare ourselves for the challenge.  The core of our work will be the communication of the play to the audience, everything else grows from that:   the set, the space, the audience, the costumes, the reputation.   Everything!  

WILL I AUDITION FOR ROLES WHEN WE BEGIN PRODUCING?

As a company member you will be assigned a role based on where you are, what you need, your attention to detail, your commitment to this theatre, and your passion.

WHAT HAPPENS IF I WANT TO PERFORM WITH ANOTHER GROUP?

You absolutely may do that.  The only thing I ask is that you tell me before you audition so that if I already have a role planned for you to do, the theatre and its production schedule will not be taxed.  

IN THE ONGOING CLASSES, WHAT WILL WE BE STUDYING?

Ongoing classes are also mandatory since company members need to stay connected and continue on the same learning curve.  We will study and perform scenes from Shakespeare, melodrama, Moliere, and classic comedy and drama from the pens of Williams, Miller, O’Neill, Albee, etc.   

IS THERE A CHARGE FOR THE WORKSHOP?

No, there isn’t.  That said, the doors swing both ways in any artistic endeavor.  It is possible that this work could ignite something in you that you did not know existed.  It is also possible that you find it not worth your time.   And the chances are that I will see that before you do.  But it is your choice to stay or go.  

WHO WILL RUN THE ORGANIZATION?

You will. 

AFTER THE WORKSHOP, WHAT RESPONSIBILITIES WILL I HAVE?

Many committees will be formed and you will move from one to another over the long haul so you know how the organization works.

But your main responsibility will be to do whatever it takes to feed the theatre, the company, and your passion.    

WILL YOU BE TEACHING DIRECTING AS WELL?

If you listen closely, you will find that I am not only teaching acting, but I am teaching directing, coaching, set and costume design at the same time. My hope is that as the company grows and matures, we will have opportunities to focus on these areas individually in strong learning and mentoring relationships.

WHAT IF I HAVE AN ONGOING COMMITMENT DURING OUR WORKSHOP OR A REHEARSAL PERIOD?

Since we are planning and scheduling together, in many cases we may be able to work around standing commitments. You should think seriously about what is important to you in the long haul. My responsibility is to the company and the development of your individual talents. Continual interruptions in your training and development may interfere with my ability to meet my responsibility to your talent. It is important that you hold your talent in great respect as well, while committing to meeting the needs of the company.

If you have any other questions you would like answered, you may add them on the question link below or please send them to me at:   gordongoede@aol.com  and I will post the answers on my blog so I won’t clutter up the Actor’s Needed Facebook page.

Thanks for your interest in this new venture!  

In 1963 he became Managing Director of the Fresno Community Theatre in Fresno, California. During his nine-year tenure he designed and directed 54 productions on the main stage, including widely known comedies, dramas, and Broadway musicals. In 1967 he initiated the Fresno Community Theater Children’s Theater, directing additional children’s productions each year until 1972.

In 1973 Gordon formed Theatre Three Repertory Company. During this same period, he returned to his first vocation, the practice of anesthesia. He had previously received his Nurses Training at Bellevue Hospital in New York City and his anesthesia training at Luther Hospital in Eau Claire, Wisconsin. He spent the next 38 years giving anesthesia service at Sierra Hospital and Valley Medical Center in Fresno and then retired from his medical profession. During this same period, he also continued to produce and direct at Theatre Three as its Artistic Director.

From his arrival in Fresno in 1963 until his retirement in 2004, he produced and directed in excess of 325 productions ranging from Broadway musicals to Pulitzer Prize-winning comedies and dramas including several notable opera productions for local opera as well as directing “La Boheme” for the renowned Music from Bear Valley Festival in Bear Valley, California. In October of 2000, The Fresno Arts Council honored him with the “horizon award” recognizing his years of excellence in service to the community.

Late in 2004, Gordon decided the time had come to retire. His last four productions after retirement have been One Flew Over The Cuckoo’s Nest at the Martin Theatre in Panama City, Florida, Long Day’s Journey Into Night by Eugene O’Neill for Seaside Repertory in Santa Rosa, Florida, Moon for the Misbegotten by Eugene O’Neill for Players By The Sea in Jacksonville Beach, Florida,  and August: Osage County by TracyLetts for the Pensacola Little Theatre.

He now lives in Florida and is available for directing and consulting in scene study, oral interpretation, acting, directing, stage and theatre design, and theatre management. He may be contacted through: gordongoede@aol.com or his Faceobook page.