Just a reminder that GEM Theatrics has two productions that we refer to as Presidential Dramas!

We would love to visit your venue if we haven't had the opportunity, or if we've already presented My Dearest Friend for your patrons, we hope you'll be interested in Give 'Em Hell, Harry!

"My Dearest Friend" chronicles the true life and love story of our 2nd President, John Adams and his wife, Abigail. This production is included in the current MI Humanities Council's Arts & Humanities Touring Directory. We were adjudicated by a state-wide group of peers to be included in the directory several years ago and this is the third cycle that we are once again proud participants. What this means for Michigan non-profit organizations is that funds are available to help you bring this show to your library, museum, historical society, lifelong learning program, school, or university and receive up to 40% of the cost of our program. The next granting window opens on November 15, 2019. This is a mini-grant and is not a difficult form to fill out and has just a few requirements. We suggest you book us first, then apply for the grant. The Current Production tab has more photos and a detailed price list for Michigan venues. 

"Give 'Em Hell, Harry!" is a stunning one-man show, starring Gary as our 33rd President. He received rave reviews when we presented the show this past February at the Lake Effect Fringe Festival in Grand Rapids. For some great photos and more information about the show, including a price list for Michigan venues, visit the Current Production tab.

We would be thrilled to tour outside of Michigan and are ready to discuss pricing and scheduling. Perhaps, you'd like to host BOTH past Presidents!! Give us a call or use our Contact Form.  

As Gary and I prepare to load in to the Dog Story Theater this week, I have a little time to share some of my thoughts about bringing this powerful one man show to the stage. 

This is a show that Gary has wanted to perform for some time, and as you can see from the photos above, he looks a great deal like Harry Truman! We have historically produced two-character works for the Lake Effect Fringe Festival, but this seemed like a good year to deviate from that norm. So, I am tasked with the unenviable job of directing Gary - who needs no direction! I usually take on the props and costumes and he handles sound and lights. He has come up with some nice sound effects and evocative photos for projections that will add context for modern audiences. Costumes has been an easy job, since he owns several double breasted suits and vintage hats and, I might add, looks very dapper in them! Harry S. Truman owned a haberdashery before he became involved in politics, and was a snappy dresser.

When we first read the play last fall, I was impressed by how much Harry Truman's philosophy still resonates today. He is remembered for dropping the bomb on Japan that ended WWII, and for trying to establish a peacetime footing in the U.S. in the wake of the war and the death of FDR.  But his feelings on the distribution of wealth in this country, the importance of a free press, racism, and civil rights still ring out loud and clear. The issues of the past still resonate today.

For example: "I've always felt there was enough for everybody in this country if the vested few could just get it out of their heads that all benefits ought to filter downward."

"I feel about the press the same way Thomas Jefferson did. If I had to choose between no government and no press, I would choose the former every time."

"You know the Ku Klux Klan was a real power in my part of the country. They were a rough bunch. Of course, they were only rough when they were in a bunch. They were racists, and their philosophy was the ultimate in vulgarity."

And in reference to Senator Joseph McCarthy: "These fanatics are using a technique developed by one of the worst criminals in the world's history, a man named Adolf Hitler. It's a technique known as the big lie. You tell a lie so monstrous that it staggers the listener, and then you repeat it over and over again until it's finally accepted as the truth."  ..."it's just as easy, for a Communist to deceive a Republican as it is for a Communist to deceive a Democrat."

And here's some final food for thought: "...dictatorship? The only way it can happen would be if we had a liar in public office. And I'll tell you, there's nothing more dangerous on this earth than a liar in public office because the people might believe him. And if the folks ever catch him, they should show him just about the amount of compassion that he showed the Constitution."

We hope you'll join us at the Dog Story Theater, February 22 -24.
Mary Beth Quillin

Taking the Stage
By Max Granitz
In the opening lyrics of the song “Journey to the Past” which can be heard eight shows a week at the Broadhurst Theatre, in the stage adaptation of the animated film Anastasia, the title character sings “Heart don’t fail me now, courage don’t desert me, don’t turn back now that we’re here. People always say life is full of choices, no one ever mentions fear. Or how the world can seem so fast, on a journey to the past.”
The performing arts were where I found solace during some of the most trying periods of my relatively short life, and continue to find solace. I’ve made friends, lost friends, sung Kelly Clarkson’s “Dark Side” out to no one in an empty theater on an empty stage like a television musical teen drama cliché. I’ve taken on a number of roles over the years, in shows and in different ways of being involved in the process that makes the magic of the theater possible.
Hell… I’ve used my opportunity to perform in a concert featuring alumni of my school district’s high school choir programs, to process the way I felt about relationships at the time.
The past fifteen weeks, working for GEM Theatrics, have been an absolute blessing. I’ve learned so much, more than I had initially expected, about just what it takes for a show to get through the process of going from a concept or idea to a full-fledged production on any scale. I’ve also used this experience to successfully name my candidacy for and be asked to serve as promotional marketing designer, of the upcoming production of David Mamet’s Oleanna at Grand Valley.
And I prepare to once again travel to the city that has my heart, New York, and witness the sheer intense power of Broadway, understanding that such things are not possible for all to experience, and companies like GEM Theatrics offer such experiences, albeit on a smaller scale, but just as importantly, to audiences who may never sit in on a Broadway show. There is something truly amazing about the arts ability to adapt and survive in any situation, and the resilience of arts professionals.
It has been an honor to serve as the intern for GEM Theatrics this semester, and I am beyond blessed to have had this opportunity. Immense thanks go out to Gary Mitchell and Mary Beth Quillin for their support, guidance, and honesty.
I encourage anyone who reads this to think about the importance of the arts in your own life, and also to support GEM Theatrics by attending their production of Jerry Mayer’s 2 Across at the Dog Story Theatre in February, as part of the Lake Effect Fringe Festival.
Happy holidays,
Max Granitz

​Grand Valley State University Theatre Department presents Kander and Ebb’s Cabaret
By Max Granitz

(left to right) Lindsey Normington as “Sally Bowles”, Tyler DeGoode as “Victor”,
Parker Ykimoff as “Cliff Bradshaw”, and, in center, Jacob Jager as “The Emcee”.
 
“It’s only politics, what’s that got to do with us?” This quote is the slogan being used to market the upcoming production of Kander and Ebb’s Cabaret, running November 16-19 and November 29-December 3 at Grand Valley State University in the new Linn Maxwell Keller Black Box Theatre. The show, a cornerstone of the American musical theatre tradition, features a cast of current Grand Valley students, and is directed by visiting faculty member Dennis Henry.
 
From the event information page on the Grand Valley website: “In Berlin, Germany, in 1930, three years before Adolf Hitler came to power, Cliff, an American novelist, is searching for inspiration when he finds lodging at Frau Schneider’s boarding house above the notorious and racy Kit Kat Club. Led by a saucy Emcee and Sally Bowles, a sassy showgirl and British singer, the free-wheeling performers at the club turn Cliff’s world upside down while the power of the Nazi party lurks just beyond the club's doors.”
 
The show features well-known songs such as “Willkommen”, “Don’t Tell Mama”, “Tomorrow Belongs to Me” and the titular number (“(Life is a) Cabaret”) made famous by performers such as Liza Minelli and Ella Fitzgerald. Cast members have been in rehearsal since late September working to make the show a success. The production is one of five mainstage productions taking place this season, which began in September with Shakespeare’s Tempest. Talkbacks with cast and crew will be open to the public following the performance(s) on Friday, November 17 and Thursday, November 30.
 
Tickets are available at the Grand Valley box office, located in the Haas Center for the Performing Arts on the Allendale campus, and also be purchased by phone, by calling 616-331-2300. Seating is general admission, with a number of ‘cabaret tables’ open at each performance immediately next to the stage, allowing a more immersive experience. 

One aspect of what ensures that the arts, including theater as well as other types of performance, remain a relevant part of contemporary culture is the tendency for a wide array of identities, experiences, cultures, etc. to be displayed on stage. This is especially true in larger markets, but also applies in collegiate and community theater. And in the case of some productions, such as Hamilton (which has swept up numerous awards and accolades), and a number of recent adaptations of Shakespeare’s works, experiences of real-life persons are changed to reflect present-day issues.
 
Therefore, if one wishes to be a participant in the performing arts, there is not really any room for reactionary ideologies or bias. Of course, everyone, whether they admit to it or not, possesses some level of existing biases. But in a setting where diversity is not only celebrated but critical to the survival of an art form, for someone involved in a production to express opinions which might disparage or even dehumanize a given group of people, or a single person holding a specific identity, is not only dangerous, but halts any progress of a production.
 
That is not to say that shows couldn’t be better about representing a wider range of experiences. Yes, Hamilton continues to bring in high amounts of revenue, and shows such as Falsettos and Angels in America which portray LGBT persons were recently revived. But the institution of theater (and all art forms really) needs to make a significant effort to create space for diversity, and make a point to not just celebrate it, but prioritize it.
 
I am just one person given a platform by GEM Theatrics. But I have seen firsthand what disrespecting diversity can lead to in the context of the performing arts. Talent should come first when selecting a cast for a production. And yet for a person, who shall remain nameless, to admit to subscribing to a specific ideology which considers diversity to be damaging to society, to audition for a show that was incredibly controversial for its willingness to call out such persons, should not even be considered, and in this case was rightfully not cast.
 
If you strive to be professional, as a participant of the arts, not only must you respect diversity, you must be an advocate for it.

by Max Granitz
One aspect of the beauty of the arts is their ability to invoke strong feeling in those witnessing them. They serve as a reflection of who we are, what our societies value, what we as individuals value. They make us want to be better people. And this is, in part, due to strong performers who are able to create those strong emotions in their audience. A performer must show that what they are doing, be it singing, acting, dancing, playing an instrument, or any other type of performance, means something to them.
 
When a performer begins to prepare for a performance, they need to understand that some pieces just are too far away from themselves for them to connect to it effectively, and believably. The nature of performance is a universal feeling of closeness, and yet some differences between intended performer as designated by a playwright or songwriter, and a performer hoping to do the piece in question, just cause dissonance. For example, some pieces are written for someone of a particular race or age, and changing this would only make an audience uncomfortable. Of course, it all depends on the performer and the context.
 
The monologue or scene or song that you have selected, be it for an audition, for a showcase, or some other context, should show the audience (whoever they may be) the core of who you are as a person… what drives you in life. You are metaphorically stripping down and being brutally honest about the person who is there. Putting on airs or trying to be someone/something you are not will only turn an audience off from whatever it is you are doing. And be respectful of others.
 
Fear won’t get you anywhere. Doubt won’t either. Be willing to bare yourself to the world at large.
 
You aren’t the only one trying to find an emotional connection with what it is you are doing, struggling perhaps. Plenty of others in the same field as you are going through the exact same thing. And maybe you can’t hit a C6 or interpret Greek drama. But if you make just one person feel something, you will have done your job well.

Grand Valley’s Tempest Soars
By Max Granitz

This weekend, I had the pleasure of attending the opening night performance of Grand Valley State University’s production of William Shakespeare’s The Tempest. I had read the play in an English course in the spring semester of my sophomore year, which focuses on Shakespeare’s works and how they relate to contemporary issues.
 
While some minor changes were made to the text, mostly replacing some words with their modern equivalents and cutting some portions for the sake of time, it was, at its core, quintessentially Shakespeare. Both the guest actors and the students were wonderful in their performances. Interestingly, a handful of roles typically played by men were recast and established as female. This made the play seem more relevant, given two of these roles are villains (Sebastian and Antonio, rewritten as Sebastiana and Antonia), in that women in power undergo constant criticism, more so than their male counterparts.
 
A noticeable difference between text and performance was the sorcerer Prospero’s characterization. The character did not come across as fierce and commanding as in other iterations of the play. I was told by a theatre major not in the production that this was done to avoid any controversy regarding recent discussions of colonialism. Additionally, the character of Caliban was noticeably more human, in that it was a bit easier to sympathize with him as an audience member. Overall, the production was a success based off audience reactions as the theatre let out, and the cast members each shone in their own ways.
 
The Tempest continues through Sunday, October 8.

Attendance vs. Patronage: How to Truly Support the Arts
By Max Granitz
 
As I have said before, I have had the pleasure of being in the audience for many incredible performances: from West Michigan all the way to London’s West End. Now, I may not have a guaranteed future working around the theater directly. However, I make it a point to always be a supporter of the arts.
 
It is one thing to simply attend a performance, with the sole intention of going for the show itself. But as someone who has been on both sides of the curtain, so to say, there is a difference between attending a performance, and being a patron of the arts. The definition of patron, however, is not necessarily someone who puts a lot of money towards a specific work. A patron is someone who, while attending a performance, considers all that went into making it happen.
 
There is a lot that goes into making a performance happen. Before the curtain rises, the cast spends a minimum of a month in rehearsal, the costume designers and set designers spend hours creating the world in which the actors live on-stage, and the directors and other creative team members work to make it all a success. And do not forget the playwright, and, in the case of a musical, the composer(s), lyricist(s), and musical director(s), who most likely put years into crafting the words the cast speak/sing.
 
The next time you are in the audience, whether at a university, at a local theater, or even in Chicago or New York, think about all this. Patronage can be a lot of things, depending who you ask. It can be just buying a ticket; it can be acting as sole financial backer of a large-scale production. However, true patronage, coming from someone who’s seen both sides, is appreciating, truly, the work of all who made the performance happen. If you can understand this, you are an arts patron, regardless of economic commitment to a performance.

Knowing When to Breathe
By Max Granitz
 
Building upon what I discussed in my last post, if you are ready to begin, that is great. And maybe you’ve begun, or did a long time ago, or maybe you’re a veteran of the theatre. There is a point, for every artist in every medium, when it can be too much.
 
Perhaps it has been a while since you’ve performed, and you find yourself back at it after a year or many. If it is too much, then it is up to you, no one else, to make the decision to take a breather. And there is no shame in going to the director and asking if your part can be re-cast. Of course, it is better to do so earlier rather than later, as to make it easier on yourself, your cast mates, and the creative team. As with delivering a monologue/soliloquy, and singing, you need to know when to breathe, when it comes to one’s well-being.
 
In the case of student performers, the demands of school can often overwhelm, and you may need to exit a show. There will always be another opportunity, and your education is the more important of the two. Even if you are a theatre, dance or music major, you have other obligations aside from performing (i.e. coursework, employment, extracurriculars).
 
I have had to exit a show before, for the sake of my own well-being and others involved with the production. At the time, it was a difficult thing to process. However, now having six more years of life experience, I can say it was ultimately for the best. Another opportunity came along some months later, and was a much more positive experience.
 
And when you audition, aren’t cast, and wish you were, think about it in relationship to everything else going on in your life at the time. It may simply be fate whispering “Not now, but later.” There is nothing you have done to incur the director’ wrath, unless you were inconsiderate or unpleasant during auditions. Otherwise, think of it as additional experience, preparing you for the next chance.

When discussions come up concerning college programs in the performing arts within Michigan, they tend to revolve around the University of Michigan’s Ann Arbor location, Western Michigan University, and Wayne State University.
 
These schools offer numerous performance spaces, intensive training, and frequent productions throughout the academic year. Their admission processes are competitive and many students do not make the cut. In West Michigan, the colleges offering fully-developed theater programs are Western, Aquinas College, Kalamazoo College, Hope College, and Grand Valley State University.
 
I cannot speak for the rigor of coursework and quality of productions at the three colleges, aside from a single performance in March at Aquinas. However, in the case of Western and Grand Valley, I can speak to the former through what I have heard from acquaintances and friends, and to the latter through personal experience.
 
Western offers, as mentioned, multiple productions in the same time frame (often performed simultaneously in different spaces), intensive training (BFA (Bachelor of Fine Arts) programs in Acting, Design and Technical Production, Stage Management and Musical Theater Performance), and the admission processes for all four specialties are incredibly competitive.
 
Western does not allow non-majors to perform in or work on all productions, unlike Grand Valley, where a student must rely on talent to successfully audition regardless of major/minor, and any student may work backstage.
 
Grand Valley does not currently offer a BFA in theater. Rather, a student may choose between a Bachelor of Arts and a Bachelor of Science. Students are expected to complete coursework not just in performance, but in stagecraft, production, directing, theater history, and costume design. Students receive a wide-reaching education that in truth prepares them for working in theater more adequately than a BFA program.
 
The performing arts are constantly adapting to societal changes, and those looking to work in any capacity in that sphere must be well-rounded in order to succeed. I have attended a handful of performances at Western, and while there are more dynamic spaces for performance and the students are undoubtedly talented, Grand Valley offers a different experience.
 
Grand Valley, on average, performs four to six shows a year. The addition of a new black box theater will most likely increase this number in the next few years. And each performance I have attended as a student, based off what I can see as well as my interactions with various theater students, is truly a team effort. Students I personally know have gone from being on-stage to backstage between productions, have acted and then assisted in the costume shop, or may have never even been on-stage.
 
But the opportunities are there not just for theater students, but the entire Grand Valley student population. And that collaborative dynamic, with the wide range of students who participate in departmental activities, is the very reason Grand Valley’s production quality, from what I have witnessed, is above a school such as Western where you typically can expect a similar experience each time.
 
If a student wanted the easy route to a job in theater, they would go for a BFA. But if they truly wanted to work hard and expand their skill set beyond what they already possess, a more liberal education-based program would really be the best route. And from what people who have worked in the world of professional theater have said to me, it’s not the training or experience that are the final determining factors when looking for jobs, though these definitely help. It is what you do in that moment before the casting table.
-- Max Granitz

In today's post, our intern, Max Granitz, explains how he got started in the theater and encourages anyone with an interest to 'take the chance.' We agree! And, more than that, we offer help to anyone willing to give the stage a try. Mary Beth and I both have experience teaching beginning actors how to use their innate gifts to improve their performance skills. Through private lessons, we can help with script analysis, characterization, physical movement, and vocal training. For the more experienced, we can help with monologue selection and polishing, as well as audition tips to give actors the best chance to get the roles they want. If you'd like to improve, get in touch with us!

‘Welcome to the Theater’: If You’re Scared to Begin
By Maxwell Granitz
 
The narrative of the Broadway actor/actress who has been performing essentially since birth and has found nothing but success since childhood is, in my experience, completely false. Many people I have met in the performing arts, at Grand Valley and beyond, have admitted to only beginning in the performing arts fairly recently.
 
I did not really act until I was sixteen, and in my third year of high school. I had tried (emphasis on tried) to get involved in the school musical the year before, but I will simply say the timing wasn’t right. So, at sixteen, I acted in a small role in that year’s straight play, Flowers for Algernon; began singing my school’s all-male choir; and, that spring, was a member of the ensemble in my school’s production of Hairspray. I did one more play in my senior year, You Can’t Take it With You, and spent another year in choir. Thus far, in college, I have only done one play: Shakespeare’s Measure for Measure.
 
However, I have stuck around the arts, and been an advocate and voice for the public support of the arts.
 
I know many people who are intrigued by the idea of performing, but are frightened of the thought of getting on a stage before a crowd. Speaking from personal experience, it can be scary. You can rehearse and practice and warm up as much as you want, but every performance is unpredictable and different to a certain extent.
 
Start by going to see a local production, or a national tour of a Broadway production. Don’t sink the money into traveling to Chicago or New York, when it comes to your introduction to the theater. The first show I really can remember seeing is the first national tour of Wicked, at the age of ten.
 
If your high school, college, or community theater is having auditions for a show, reach out to the person in charge. Ask questions. “What are the requirements for auditions?” “How long is the rehearsal process, and how much time would I be committing?” In the case of college productions, ask if you must be a theater or music major to audition.
 
One can only prepare to a certain extent. You have to understand that you, in all likelihood, are not the only person auditioning who is just starting out. Everyone has to start somewhere, even the greats.
 
Take the leap of faith. Take the chance. In my experience, I am so glad I did.