As much as I know this story, and remember this time, your written retelling is so perfect and lovely and hopeful and heartbreaking, I felt as though I was experiencing it for the first time. Love. <3
I took almost 20 minutes to sign in to SUBSTACK - an app I previously adhered - it say THANK YOU.
As a producer, we have long prepared for understudies so that our best actors can “step away” for a moment, and step right back in. There is no reason why Atlanta’s best should be sitting at home waiting for their agent to call, when we can feature you on our stages with understudies waiting in the wings to shine. Having over a decade of apprentices, the difficult work is creating a track (where should I walk? What props do I need? What am I fighting for in this scene? What new energy do I bring in this moment? How can I possibly make that quick change in 20 seconds? When you BETHANY have created that amazing track, the next generation of artists are waiting in the wings to have the opportunity to be that character - FULL and WONDERFUL and BROKEN and FUNNY and CONFIDENT.
When I read this account, it gave me a different perspective. Something that is no big deal to me may very well be etched in someone else’s heart. I have not listened to one of your posts yet. I use your posts for my morning meditations. How can I be more understanding instead of barreling ahead with my life?
You were great in OUR TOWN by the way. I still remember you and Eugene like it was yesterday.
Thanks so much, AC. You have to remember this was a time when almost no one had understudies in town yet. I worked for y’all directly after this show and there was no understudy. It took time and work, but I’m glad that the conversation from actors like me and producers like you eventually brought us an amazing theatre city that supports working actors so much more strongly.
Keep on bragging on this point, AC, because you as a producer and music director and business leader in the live theatre industry have earned it! I recall doing Les Miz and helping my understudy with a quick put-in rehearsal not because I had booked a commercial, but because I had AUDITIONED for one and y'all were making sure that everything was good on the off-chance that I booked it. I didn't book it. But no one had to worry about anything because y'all understand that many actors are trying to get the work from wherever they can get the work!
Bethany - again, thank you for your honest writing, and please keep knowing that your sacrifices, triumphs, and heartbreaks are woven into the fabric of the Atlanta acting scene. <3 <3 <3
Thank you, Leslie! And you’re totally right. I was at an AC produced show last weekend and apparently TWO understudies were on, I would’ve had no idea.
Thank you for this one. It's timing is perfect for me because last week I signed with a very good agency. I am over the moon excited about the opportunities to come but old enough to have grounded patience.
This week's read really helped me, so thank you. ♥️🙂
How relatable, all of it. How melancholy and lovely, just like Emily. This story was very touching. Melanie Mayron sounds like a boss in all the best ways though.
Ugg! I felt queasy too. You tell a great story! I’m so sorry that you were not supported by those who should have had your back. PS, I’m fully on board with this overall obsession. 💚
Your writing is so evocative. I felt your queasiness with you. That you can evoke all your emotions, and still say something so powerful about this industry - wow
Lovely story. I'm not sure how to describe your voice in these essays, but they are invigorating and soothing at the same time. It was really hard to be an actor in both industries here during that time. So few film and tv opportunities meant our theatres weren't confronted with the need for real understudies until the market grew. Live theatre expected you to perform, and even to rehearse, with no interruptions. Most actors would still go on stage with fevers if they could possibly manage, in order not to have to cancell a show.
I remember performing in a farce when I was so ill that I had a coughing fit in near the climax of the final scene. I could. not. stop. After several minutes of coughing and gamely attempting to continue the scene, the fit finally stopped. When that was clear and I got the line out, the audience applauded. I'm lucky it was a farce.
As a stage manager I've prepped new understudies for emergency service 24 hours before they had to go on, and I've also made the executive decision, when theatre management wasn't reachable, to cancel a performance to keep a very sick lead actor from trying to go on. As an actor I've chosen to "book out" with my agent when a theatre wasn't prepared to hire an understudy for me, and I've been made to book out by an agent even when the theatre was willing to provide an understudy. It was pretty much a no-win situation for everyone in those days.
For the most part, as the film and TV industry grew, theatre producers, agents, unions and actors found the ways to grow and change the working norms. It's definitely much better now, as you and AC and Leslie talk about below.
These are fantastic dialogues, Bethany! Keep up the great work!
As much as I know this story, and remember this time, your written retelling is so perfect and lovely and hopeful and heartbreaking, I felt as though I was experiencing it for the first time. Love. <3
Keep it going! These are becoming the best reads of the week.
I took almost 20 minutes to sign in to SUBSTACK - an app I previously adhered - it say THANK YOU.
As a producer, we have long prepared for understudies so that our best actors can “step away” for a moment, and step right back in. There is no reason why Atlanta’s best should be sitting at home waiting for their agent to call, when we can feature you on our stages with understudies waiting in the wings to shine. Having over a decade of apprentices, the difficult work is creating a track (where should I walk? What props do I need? What am I fighting for in this scene? What new energy do I bring in this moment? How can I possibly make that quick change in 20 seconds? When you BETHANY have created that amazing track, the next generation of artists are waiting in the wings to have the opportunity to be that character - FULL and WONDERFUL and BROKEN and FUNNY and CONFIDENT.
When I read this account, it gave me a different perspective. Something that is no big deal to me may very well be etched in someone else’s heart. I have not listened to one of your posts yet. I use your posts for my morning meditations. How can I be more understanding instead of barreling ahead with my life?
You were great in OUR TOWN by the way. I still remember you and Eugene like it was yesterday.
Thanks so much, AC. You have to remember this was a time when almost no one had understudies in town yet. I worked for y’all directly after this show and there was no understudy. It took time and work, but I’m glad that the conversation from actors like me and producers like you eventually brought us an amazing theatre city that supports working actors so much more strongly.
Keep on bragging on this point, AC, because you as a producer and music director and business leader in the live theatre industry have earned it! I recall doing Les Miz and helping my understudy with a quick put-in rehearsal not because I had booked a commercial, but because I had AUDITIONED for one and y'all were making sure that everything was good on the off-chance that I booked it. I didn't book it. But no one had to worry about anything because y'all understand that many actors are trying to get the work from wherever they can get the work!
Bethany - again, thank you for your honest writing, and please keep knowing that your sacrifices, triumphs, and heartbreaks are woven into the fabric of the Atlanta acting scene. <3 <3 <3
Thank you, Leslie! And you’re totally right. I was at an AC produced show last weekend and apparently TWO understudies were on, I would’ve had no idea.
LOVE THAT!
I listened to this twice because you tell it so well.
So, so good. And also, I really hope you’ve read Tom Lake by Ann Patchett. A book for Emilys!
My GOODNESS that was gut-wrenching. Thank you for sharing xo
Thank you for this one. It's timing is perfect for me because last week I signed with a very good agency. I am over the moon excited about the opportunities to come but old enough to have grounded patience.
This week's read really helped me, so thank you. ♥️🙂
How relatable, all of it. How melancholy and lovely, just like Emily. This story was very touching. Melanie Mayron sounds like a boss in all the best ways though.
Thank you. Madly in love with this!
Ugg! I felt queasy too. You tell a great story! I’m so sorry that you were not supported by those who should have had your back. PS, I’m fully on board with this overall obsession. 💚
Your writing is so evocative. I felt your queasiness with you. That you can evoke all your emotions, and still say something so powerful about this industry - wow
Oh. My. Goooooood. This story in and of itself is an episode of must-see-TV.
Lovely story. I'm not sure how to describe your voice in these essays, but they are invigorating and soothing at the same time. It was really hard to be an actor in both industries here during that time. So few film and tv opportunities meant our theatres weren't confronted with the need for real understudies until the market grew. Live theatre expected you to perform, and even to rehearse, with no interruptions. Most actors would still go on stage with fevers if they could possibly manage, in order not to have to cancell a show.
I remember performing in a farce when I was so ill that I had a coughing fit in near the climax of the final scene. I could. not. stop. After several minutes of coughing and gamely attempting to continue the scene, the fit finally stopped. When that was clear and I got the line out, the audience applauded. I'm lucky it was a farce.
As a stage manager I've prepped new understudies for emergency service 24 hours before they had to go on, and I've also made the executive decision, when theatre management wasn't reachable, to cancel a performance to keep a very sick lead actor from trying to go on. As an actor I've chosen to "book out" with my agent when a theatre wasn't prepared to hire an understudy for me, and I've been made to book out by an agent even when the theatre was willing to provide an understudy. It was pretty much a no-win situation for everyone in those days.
For the most part, as the film and TV industry grew, theatre producers, agents, unions and actors found the ways to grow and change the working norms. It's definitely much better now, as you and AC and Leslie talk about below.
These are fantastic dialogues, Bethany! Keep up the great work!