My friend Elaine coaxed me into attending this workshop with Joseph C. Walsh, the new artistic director for the Garden Theatre. She promised me a great experience and the opportunity to meet this person who, whenever we dish about theater, she raves about. Elaine was convinced I would appreciate his talent and knowledge. Classic Marko had his doubts but Elaine was right. I thoroughly enjoyed myself and have not stopped talking about the workshop since. My friends are getting really annoyed with me.
I was reluctant to participate, knowing doing so would mean not only singing in front of professional actors but being critiqued in front of them as well. Couldn't I just be a spectator? After another push from Elaine, I agreed to join in. I figured, I have a lot to say about the work others do, I should at least prove that I’m willing to participate, myself. I hadn’t taken an acting class for scripted theater in years. I was a theater major in college but only studied plays. I had this obnoxious, rebellious rock n roll spirit when it came to the theater back then. I thought musicals were lame. To 25 year old Marko, musical theater wasn’t acting. I’ve since come to my senses and understood how much work an actor must do in order to prepare for a musical. This would be my first musical theater class and I was terrified.
Joseph greeted everyone with a handshake and smile. There was an abundance of laughter and encouragement in the atmosphere even before the workshop began. Joseph’s warm, exuberant demeanor created a relaxed environment, rich with opportunity for growth. While most actors I meet in my work are gracious about their treatment, it isn’t difficult to make out the underlying downhearted feeling some have. Joseph celebrates the actor and uses his wealth of knowledge to, as he says, “teach {himself} out of a job.” The evident demonstration given in the workshop choked me up several times. Joseph spoke at length on taking care of the actors. I honestly felt as if I were learning to be directed all over again. This time, I was being praised for my work and not berated for missing my marks. When a director is zealous about the art form, not filling seats, it is remarkably refreshing.
I chose to work on the song Being Alive from Company. There has always been a special place in my heart for Robert. He and I are similar in that we are not in the same place in life as others in our age group. Joseph helped me to understand the work Sondheim put in for the actor to perform this piece. I also saw how much I was missing just from the phrase structures alone. There were thought cycles I never picked up on and apparently I’d been going at the song full tilt but still neglected to take the space my character deserved at the end of the number.
Watching my classmates work through their pieces was insightful as well. As Joseph put them through exercises and asked them questions I tried to put myself in their positions as I wanted to soak up every bit of knowledge I could. In his class, it was ok not to know the answer. That was incredibly refreshing to this actor who during his training rarely heard such comforting words.
Also, one of my classmates sang a song from Shrek the Musical and I got to stand in as Donkey so… I’ve made it! Honestly though, it gave me goosebumps and all I did was sit on the stage and say the line before the song. What a theater nerd I am.
I would to do this workshop again in a heartbeat. Though I had been planning on stepping away from performance-based education because I have been feeling burned out with improv training, I now see that by focusing on another avenue, I can find enjoyment in learning again
Thank you, Joseph, for an incredible evening. I look forward to working with you again and drinking every word you say in like the creeper that I am. Also, thank you Elaine for strong arming me into this. It was awesome.
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