Dear White American Theatre Response #WeSeeYou - Part 1 (Intro)

My raw and honest response to the Dear White American Theatre letter written by BIPOC members of the Broadway and theatre community. Part I of four parts. We...

Black Lives Matter.

“I Can’t Breathe”

These two phrases with three worlds are at the center of a historical uprising of epic proportions. Amidst Covid-19, our world has been pressed with the phrase “I Can’t Breathe” for multiple reasons. One reason is that black and brown bodies continue to be killed and slaughtered for no reason right in front of our eyes. Covid patients cannot breath because their lungs are being attacked by a virus that is not contained. However, black people have not been able to breathe in American for 400+ years because the virus of racism has attacked the minds and hearts of Americans since its inceptions. The words “I Can’t Breathe” are uttered over and over again, literally and figuratively, with no reprieve. Now we as a community (with many allies )are fighting not just for air, but for our space to stand our ground and live as free as we should have been since day one.

Racism runs deep in our country but also in artist communities. Some theatre artists wrote about the pain and indignity of being a BIPOC artist in the theatre community. They entitled it Dear White American Theatre with a hashtag of #weseeyou.  For all of diversity theatre touts, the theatre community has had its part in creating spaces that perpetuate racism and the oppression of BIPOC artists from its inception as well. Artists are sensitive souls. We weep. We cry and wail. But then we create work that tells our story and the story of others who may have no voice. Now Black people, indigenous people, and people of color do not just want to matter but want to have an authentic voice and space, on stage and off. We are demanding to be heard.

The #weseeyou video series, is a beginning to that process for me to publicly grieve for my black community and wrestle with what to do as an artist and teacher , ways I have failed, and ways the theatre community can do better. The above video is my raw and honest response to the letter. The series has four parts and tackles my history, experiences, and hopes for what theatre education classrooms have and should be from my perspective.

Cultivating Creativity in Quarantine: Book Series Part I

The Cultivating Creativity in Quarantine Book Series began with four parts. Due to the overwhelming outcry on behalf of racial injustice following the death of George Floyd, I decided to end the video series and discuss other topics. However, the updated books I recommend are listed below:

  1. The Artist Way by Julia Cameron

  2. An Actor’s Companion: Tools for the Working Actor by Seth Barrish

  3. Essentialism: The Disciplined Pursuit of Less by Greg McKeown

  4. Black Acting Methods: Critical Approaches by Sharrell D. Luckett and Tia M. Shaffer

  5. Big Magic by Elizabeth Gilbert

  6. Tears We Cannot Stop: A Sermon To White America by Michael Eric Dyson.

Actors and Social Media

I hate social media.

Yep. Hate it. Why? Because it is fake. Too honest? Read on.

As an “old school” actor, I always believed talent and your general package (your headshot, resume, and reel for tv/film) should speak for itself. Although social media can be used for good causes and connection, by and large, social media’s purpose is to sell something — and that something is you. Brands and ad agencies have been doing this for years. Decades even. The job of advertising is to make you believe that coming into contact with a magazine, online ad, or product in the grocery story just happens to be a part of your life and is in no way influencing the day to day choices you are making by interacting with said product.

Lies.

Take a look at any “A list” actors social media page and you will see that the content and pictures they are putting into the world is largely curated around the brand, films, television shows, and professional persona they support as public figure. As much as you may love or hate the fact, their “public lives” are highly crafted and usually by a team of people who’s entire job it is to do so.

Now take the non-A list actor. Yourself perhaps. You have social media pages and you want to connect to your friends and family. You also want to throw your headshot up on your page because, you know, you are an actor. Then you have some production pics and maybe photos of you hanging out with your friends. You are doing you. However, if you are an actor who is and will be actively pursing work in the industry, the story you are curating, whether you are trying to curate it or not is confusing.

So, after my year plus time on social media (yes, it took me that long to get on board), I have a few tips and homework for actors who want to actively pursue work as an actor and use social media to their benefit. I will put a disclaimer here; I am not a social media expert. Not even close. As a stated earlier, my disdain for social media has only slightly waned after working with young actors and hearing from casting directors that social media can make or break a new or transitioning actor in booking work. That is major. Again, you can lose jobs because your social media is not up to snuff. Using social media is not enough. You must use it well.

As a teacher and mentor who’s sole passion is to help actors get jobs, the reality cannot be overstated that if you want work, creative teams and casting offices WILL look at your social media pages. However, if looking for acting jobs is not your primary goal, do you. It is not that big of a deal.Yet, if you are an actor trying to break into the business, build your career, or find new trajectory within an established career, here’s my advice:

1) Dare to Be Honest

Take a look at your social media with fresh eyes. Open all of your social media sites in succession. Ask, if you did not know you, what story would you be telling? If you cannot be objective, ask a friend or family member who can be honest with you to write down a one or two line story/perception that they get from your pages. The information should hopefully give you good feedback on where you are and where to begin if your pages need work.

2) Dare to Be Intentional

Find your essence in four parts. Then pick two. This is the first exercise I do in almost every audition prep course I teach. Find the four versions of yourself that you most identify with and that others perceive you to be. For me, my four were; wife/mom, teacher/mentor, quirky and fun friend/lover, and rockstar. Two of these I chose because they are roles that I found myself playing and identified with. The other two came about from feedback from casting directors and people who would see me in shows. I would never classify myself as a rock star, however, after doing a lot of pop/rock work and playing characters that were edgy, my sound and onstage persona, came off as badass. After a while, I owned that and it is part of what makes up my work “package” . After you get clear about your four, pick two that you want to portray on your page. Say you’re an athlete and you’re a clown. You would have lots of pictures of you working out and being funny whether you are on set or at home. It is part of who you are and naturally an aspect of the work you would be getting.

3) Dare to Be Vulnerable

The vulnerability portion is inspired by Michelle Obama’s documentary, Becoming. I beg of you, curate the curation with some realness. Really. Be real sometimes. Show the cracks. Our job as actors is often to show the beauty and flaws in the impermanence of humanity. So do that. Be honest, be intentional, still be you. Easier said that done. However, It is so refreshing to see someone who is having an honest moment on the stage, screen, or in real life. As a caveat, I suggest staying away from most things that are lewd or nude (a general rule for actors unless this is the work you are looking for and getting). However, honest moments are human moments and everyone needs a dose of that.

Essence Part II

Essence Part II delves further into the thinking behind what essence is and why it is important for the actor to understand, especially when entering the industry.

Essence Part I

What is essence and why does it matter for actors? Part I is a little of my journey in how I discovered essence and how to start figuring out your own essenc...

What is essence and why does it matter?

Essence is the actor’s best tool for clarifying your approach to craft and channeling your creative direction.

In the video, I discuss my personal revelation about essence and how it changed my casting/job opportunities from feeling like lucky shots to something I had more choice and control over.

Erica Arnold, a wonderful casting director I met in graduate school, said this was one thing that casting directors and creative teams rely on more than talent. She says essence is, “Just who someone is. It’s who they are.”

In the article, “Casting Directors Say Acting Talent Doesn’t Really Matter,” one casting director states that “Acting talent...may only account for 7% of the reason a particular actor would be cast in a role.” So, as talented and as versatile as you might be, underestimating and downplaying your intrinsically unique qualities might cost you more time and energy than necessary.

So, is essence only important in the context of the acting business? No. Knowing yourself and who you are is important no matter what you do. But is it part of the acting business? Absolutely.

Essentially, essence is the actor’s authentic self represented within the acting business context.

Essence is not something you can craft in and of itself. Yet, you can begin to understand who you are and how to leverage your distinctive qualities to deepen your acting work and expand your work opportunities.

Sources

  1. Project Casting. “Casting Director Say Acting Talent Doesn’t Really Matter”.

    www.projectcasting.com/news/casting-director-acting-tip/. March 16, 2015.

Welcome to The Simple Actor
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Welcome to The Simple Actor!

What is The Simple Actor? Who is it for? And why did I create the space?

The Simple Actor is an online community for serious actors at all levels as well as educators to bridge decolonized pedagogy and creative practice. As a young actor starting out in the business, I was confused on how to use the knowledge I had in the classroom and use it in the professional world. As a professor, I repeatedly heard many young and transitioning actors speak of the same questions and concerns I had when I started. That is when I knew that I had to create a place where we as artists and people could ask the questions that not only affect out craft in the classroom as well as our creative journey.

So, The Simple Actor is hopefully, a soft place for many actors to land - a forum to share experiences, find support, and define and gain success in their acting journeys - on and off the stage and screen.

Stay tuned for more videos and and feel free to leave comments and questions below!

Coronavirus and Creativity

I have not written on the site for a while. I was actually in the midst of writing a short series about actors and debt when COVID-19 hit the rails and brought the world to a screeching halt.

After pondering whether or not to still post the debt series, I realized that more pertinent tasks are at hand. So, I wanted to write a short word of encouragement for actors out there trying to stay creatively healthy and keep themselves sane during these uncertain times. 

My one recommendation is below. I am taking this to heart as well!


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Create Art (with a little ‘a’)

Do something that you do not have to do and will most likely not lead to a job.

That’s right. Do something just for the heck of it. 30 minutes a day (15 if you are really crunched for time).

Why? Because it is good for you and it is good for your creative soul.

Creative communities are doing a great job at getting out videos, making impromptu concerts, and doing their best to support each other in whatever way they can. It is a beautiful thing.

However, many times, artists, and especially working artists, who suddenly lose work unexpectedly, forget that although work is important, these extraordinary times can be the most important time to nurture the artist in you, just for you. It may literally keep you sane when everything is out of control. 

So, cook.

Write.

Drag out the paints from the back of your closet.

Do a cool braided style on your friend or yourself.

Make a pie.

Make two pies. 

I live next to a great fish market and I cooked some fresh mussels and frites today. I have never cooked mussels at home before but my daughter wanted to get out of the house and asked to go to the fish market. We picked out mussels because they were cheap and she loves them. So we cooked mussels and we drank the buttery broth at the bottom of the bowl. It was fun and delicious (and not that hard). But we both needed it more than we knew.

So, whatever it is. Just do it. For you and no one else.

And if you do want to act or sing or do something pertaining to your creative work, have a lot of fun doing it. Do something you would never do. Wear a crazy outfit. Do a piece that you would never in a million years be cast in. Or just work on a piece you have been putting off working on because you have not had the time. 

‘Essential’ is a word that is on loop non-stop right now. However, please remember that we artists are essential too. Greg McKeown, author of one of my favorite books literally entitled Essentialism, reminds us that we must protect the asset first (aka ourselves) to give back to others when the time comes.

 Artists and creative minds can easily get shelved next to important and absolutely essential needs like food and doctors in times of great disaster and need. Yet, we must remember that we artists bring flowers when the world only sees dust. We bring music when there is weeping. We dance when weary people need to see someone soar. 

So, today, protect your asset. You. Invest in your artist. And when the time comes to lift up the world, we will be rested and ready. 



The Case for Embodied Actor Training (Part II - What it is Not)

Embodied practices for actors does have its limitations.

First and foremost, not everyone is talented.

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The culmination of embodied techniques in the acting classroom does not guarantee that an actor will be more talented or even good at acting. Nor does it ensure that a bad professor will become a better professor. Embodied acting techniques will only take what is already there and make it better.

I was once on vacation at the beach with some family and friends. One of our family friends asked, “Can you really teach people how to act?” I immediately replied, “No. I can only give them the tools to maybe learn how to act.” I explained how I teach techniques and tangible aspects of the craft but cannot by pedagogy alone make anyone an actor. Some people just are. Others learn. And some never will get the gist because maybe they are meant to do something else. None of that is up to me. My job is to simply teach. I cannot work miracles and neither can embodiment.

However, if a student is not equipped to be an actor, at least in the serious pursuit of acting as an artform, the investigations of methods surrounding corporeal dramaturgy could help that student become more comfortable with themselves and who they are in the world. Tuisku mentions that personal growth is a side benefit to the approach. However, no matter how you explain it, acting is a mystical and magical profession. Richard Kemp suggests, embodiment only helps the magic to seem even more so. He writes, “When I began researching the material that I’ve described, I feared that cognitive science would remove the magic from theatre. But now, I think that it will enable theatre practitioners to be better magicians.” (Kemp, 190) We cannot make magicians, but at best, we can continue to encourage those who are not to discover where they can bring their own magic to the world.

Another limitation of embodied practice is the potential for stereotyping and oversimplification of characterization.

The perfect Tammybrown Untucked Acting Animated GIF for your conversation. Discover and Share the best GIFs on Tenor.

As a fan of investigative theatre, a lot of the techniques that generate authentic representations in this genre can easily be misconstrued. Similarly, embodied techniques rely on streamlined exercises and tools (like clenching a jaw) to transform the way a character is physically interpreted. The silent improv is often used to loosen the actors and the action on the stage. Unfortunately, without proper guidance and context, these tools can be misinterpreted and rendered shallowly.

I worked on a project during my graduate studies where I designed a curriculum or a class called Performing Ethnicity. The class was designed with many of the embodied techniques that I address in my thesis. However, similar pitfalls to performing characters of a differing identify than one’s own prove to have analogous challenges that embodied techniques could encounter in a more traditional acting classroom. The danger of minstrelsy or caricatured performances can easily be created instead of embodied representations of unique individuals or beings. Through their representation/performance of recently discovered natives, Guillermo Gomez-Pena and Coco Fusco spectacularly proved how stereotypes can be misinterpreted as an accurate depiction of culture and identity by the audience. In Diana Taylor’s “Couple in a Cage,” she purports that, “There was no more interiority to their performance of the stereotype than in the stereotype itself and nothing to know, it seemed, that was not readily available to the viewing eye.” (Taylor, 164) So, although the effort of discarding psychology in promotion of physical representation was successful in effectively portraying their ‘subjects’, Gomez-Pena and Fusco’s lack of authentic portrayals was undetectable to much of their viewing audience. Consequently, stereotypes about savages were purposefully perpetuated and not challenged by their performance (albeit to prove a point in their case). However, student actors and unenthusiastic professors of embodied approaches could easily have an analogous outcome.

One of the final and most important limitations to discuss with regards to embodiment is temperament. Embodiment is not for everyone. In the same token, embodiment is not for all professors.

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There are acting teachers who like to wield power over students and enjoy the oppressive, authoritarian atmosphere they create. It is what I call an ‘old’ school approach but an approach that nonetheless continues to exist in acting classrooms today. The idea that a student must be ‘broken down’ and built up again is still common among teachers of the craft who learned similar methods in their training. Embodiment is not for these people. Even if this type of teacher wanted to integrate embodied approaches into their classroom, the desire to maintain control over every aspect of acting outcomes, training, student perception, and synthesis of the material would get in the way of the teaching practice, if not damage the student/teacher relationship all together. To be fair, I have seen teachers who structure the students’ learning in a traditional style achieve success. However, after observing talented students under their tutelage, their success in integrating their training is often short lived. They are not able to repeat or even articulate the process that they were taught. Once again, embodiment would not be a good fit for such teachers. Despite the limitation, I believe the possibilities to embodied performative pedagogy are endless.

Sources:

1) Kemp, Rick. Embodied Acting: Cognitive Foundations of Performance. UMI. University of Pittsburgh, Pittsburgh, Pennsylvania, 2010.

2) Taylor, Diana. “A Savage Performance: Guillermo Gomez-Pena and coco Fusco’s ‘Couple in a Cage’.” The MIT Press. TDR, Volume 42, No. 2 (summer, 1998), pp. 160-175.

3) Tuisku, Hannu. Developing embodied pedagogies of acting for youth theatre education: Psychophysical actor training as a source for new openings. University of the Arts, Helsinki, Theatre Academy, Performing Arts Research Centre, Helsinki, 2017.

The Case for Embodied Actor Training (Part I - What is Embodiment?)
…(embodied training) is not about discipline or chaos but something that can create an open space of reflection and choice where the trainee can rely on her own creativity where the space for freedom widens...
— Hannu Tuisku

The field of embodiment has exploded over the last seven to eight years. A number of studies involve the intersectionality and integration of embodied methodologies across a diverse spectrum of academic fields. In David J. Nguyen and Jay B. Larson’s article “Don’t Forget About the Body: Exploring the Curricular Possibilities of Embodied Pedagogy,” they write about embodiment’s role in fields such as mathematics, cognitive psychology, social psychology and neuroscience. In fact, embodiment has been a part of music and dance fields for decades. So, why has it taken theatre so long to catch up? And what exactly is embodiment?

The Oxford Living Dictionary defines embodiment as the tangible or visible form of an idea, quality, or feeling (Oxford). With regards to this particular definition, anything an actor feels or experiences psychologically must be visibly expressed through the body. Thus, character is created. Methods such as the psychological gesture created by Michael Chekov and Stanislavski’s physical actions explore how to bring the inside, out. However, a post-structuralist approach to acting, in a way, gives the ‘outside’ precedence over the ‘in’.

In her article, “Is Race a Trope: Anna Deavere Smith and the Question of Racial Performativity,” Debby Thompson states, “Smith, by contrast, is determined to encourage ‘other-oriented’ rather than ‘self-based’ approaches to acting (Fires xxvii). Instead of ‘finding the character within ourselves’ (as Uta Hagen puts it), actors should look for the character outside of themselves… Smith is developing ‘a technique that would begin with the other and come to the self” (Thompson, 130). In Deavere Smith’s process, the tangible outer work informs and affects the unseen inner being. The body goes first, then the mind. Through the process the two, body and mind, hopefully begin to work in harmony to effectively depict the story. 

Embodiment suggests that psychological investigation actually gets in the way of the actor. Working from an already thinking body and, perhaps, a less-knowing mind could get an actor closer to character than the other way around. The use of the physical body would immediately clarify embodiment of the character without the entanglements of “How do I think right now?” or “What should I do?” Instead, the actor begins with actions while thinking and psychology follow. However, in more recent years, even beyond Deavere Smith’s discoveries, the mind and body do not just work one in front of the other, but in tandem. Thus, popular acting idioms like “Get out of your head” or “Stay in your body” are outdated and even harmful to actor training. (Blair, 11) These directives continue to reinforce the separation of the mind and body instead of working towards their integration.  

Maurice Merleau-Ponty is mostly credited for the initial research in the field of embodiment. His book, The Phenomenology of Perception, was published in 1962 leaving many years between the creation of valuable research on the body/mind relationship and its arrival onto the acting scene. Phenomenology, the study of engagement in lived experience (Tuisku, 42) grounds Merleau-Ponty’s argument that people perceive and conceptualize everything bodily. Merleau-Ponty goes on to discuss how consciousness is embodied and there is no separation between the mind or body, whichever order you place them in. In “The Embodiment of Performance,” David Michael Levin recalls Edmund Husserl’s version of phenomenology as being “…designed to reverse the alienation and decadence of meaning and return to us our natural signifying capacities.” (Levin, 126) In short, he urges the artist to return to the innate method that ‘thinks’ without thinking – the body.

Nguyen and Larson describe a similar concept when they write, “Bresler (2004) defined embodiment as ‘integration of the physical and biological body and the phenomenological or experiential body’ indicating ‘a seamless, though often elusive matrix of body/mind worlds, a web that integrates thinking, being, doing, and interacting within worlds.’” (Nguyen and Larson, 333) Thus, to embrace embodiment as pedagogy, you must embrace the whole person - who an actor is, what they bring to their work, and their world - in and out of the classroom. Even in pedagogy, the mind, body, and being cannot be separated. 

Nevertheless, it is Hannu Tuisku’s definition of embodiment in his work, Developing embodied pedagogies of acting for youth theatre education: Psychophysical actor training as a source for new openings, that provides the most life and breadth to what embodied training can and should be. He writes, “By ‘embodied pedagogy of acting’ I mean an approach to acting and training actors that, based mainly on the traditions of psychophysical actor training, emphasizes the centrality of the actor’s sentient body in the theatrical event, the notion of a human being as a comprehensive body-mind entity, and the diversity and complexity of subjective experience that ultimately remain beyond reach of verbal definitions, necessitating consideration of a non-representational aspect in training.” (Tuisku, 17) Thus, an awareness and collaboration with phenomenological and corporeal dramaturgy perspectives are necessary aspects for any pedagogue wishing to apply embodied methods into their classroom. There must be a ‘letting go’ of conventional methods of connecting with students and the artform from the start.

Tuisku expands later with a broadened, student focused perspective writing, “…(embodied training) is not about discipline or chaos but something that can create an open space of reflection and choice where the trainee can rely on her own creativity where the space for freedom widens... the trainee has a larger scale to operate than that perceived by conventional text-analysis, and she can move beyond the categories prescribed by language.” (Tuisku, 64) Once again, the embodied classroom does not descend into chaos, as many teachers would assume, but elevates the ethics of the classroom and the student/teacher relationship to provide a safer, freer, and wider space for artistic creativity for both the student and the teacher. This type of classroom lives in the grey area and necessitates a balance of teaching, learning, and being. 

Sources

  1. Blair, Rhonda. “Acting, Embodiment, and Text: Hedda Gabler and Possible Uses of Cognitive Science.” John Hopkins University Press, Theatre Topics Volume 20, Number 1, March 2010. 

  2. Levin, David Michael. “The Embodiment of Performance.” Skidmore College. Salmagundi, No. 31/32, 10th Anniversary Issue (Fall 1975-Winter 1976) pp. 120-142. 

  3. Nguyen, David J. and Larson, Jay B. “Don’t Forget About the Body: Exploring the Curricular Possibilities of Embodied Pedagogy.” Springer Science & Business Media, New York, NY. February 1, 2015. 

  4. Oxford Living Dictionary. https://en.oxforddictionaries.com/definition/embodiment.

  5. Thompson, Debby. “Is Race a Trope: Anna Deavere Smith and the Question of Racial Performativity.” African American Review Vol. 37, No. 1 Spring, 2003, pp. 127-138. 

  6. Tuisku, Hannu. Developing embodied pedagogies of acting for youth theatre education: Psychophysical actor training as a source for new openings. University of the Arts, Helsinki, Theatre Academy, Performing Arts Research Centre, Helsinki, 2017.

Actor Moms and Mother's Day Play

How do you approach being an actress and mom...all at once?!?! I share a little of my story and a tip/encouragement for actress moms. Mother's Day play @ cha...

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Mother’s Day

Night.

There are two sparsely furnished rooms facing the audience. The rooms are separated by steel beams that create the frames for each room. The audience can see all areas of the space. However, the characters on stage are acting in total isolation of the public eye.  

The stage left room has an L-shaped couch lining the downstage left wall. The ‘L’ portion of the couch juts into the upstage center portion of the room. Upstage of the couch is a marbled kitchen island that starts on the upstage mid-center beam and enters the center of the room. The kitchen island has a built-in sink. Upstage of the kitchen island sits an oven and kitchen unit. The microwave floats above the oven with ebony colored cabinets on each side. The over sits below the microwave with ebony cabinets on each side. It is a quaint but functional space. 

The stage left room looks like a living room however; the room is sparse. A few laminated photocopies of Van Gogh paintings line the walls in random order. A mid-century modern-esque standing lamp with a white lamp shade resides next to the downstage arm of the couch. A small, oak tv unit sits against the center stage mid beam of the room.  A matching ottoman sits in front of the couch. No one uses it. 

An amazon echo (we’ll call her ‘Alexa’) sits next to the oven on the marble countertop. A Brita filter and almost empty pint glass sits on the kitchen island next to the built-in sink. A circular, dining table with two chairs and a toddler sized high chair are directly upstage of the couch and directly stage left of kitchen. A tiny children’s table sits on the stage left wall between the couch and the kitchen table. Most of the audience will probably not be able to see it. It is a mess and full of life. Paints, crayons, paper, toys, scissors and toddler sized art things surround the table. There is an attempt to organize these items but nothing really is. 

The room feels spacious, sort of clean but at once, probably is never cleaner than it is right now. Everything is probably from Ikea. The walls are white except for a few patches with paintings and scribblings. Nothing is fancy. 

There is woman sitting on the couch. She sits on the L-shape. A tan blanket drapes her legs. She is reading something. An outdated Microsoft laptop sits to her left. The cord is plugged in behind the couch. The computer is old. Very old. It has a lot of history. 

She reads. She stops. She looks towards the kitchen at the clock on the oven. She looks back at her book. She looks at the oven. She looks back at her book. She grabs her notebook lying on the upstage couch arm and scribbles something. The pen was inside. She sets it back down on the couch arm.

 She looks at the oven clock. She closes the notebook. 

There is another device sitting upstage of her on the couch arm. It is a monitor. There is no plug. For the first few moments, her body has hidden the tiny device. It is a little larger than an iPhone, white, and has a little blue light that stays on the entire time. It is propped up by a small kickstand. She picks up the monitor, clicks a button and the screen begins to glow. 

She stares at it for a moment. Breaths. Clicks the button again and sets it down. 

She swings her legs to the downstage opening in the couch and sits up. She looks out of the audience and then around the room. Sighs.

Behind the L-shape part of the couch there is a large black bookbag. It is old and stuffed to the brim. It looks like a hiking bag. She grabs her notebook and shoves it in. Zips up the bookbag. Takes the pen and unzips a smaller pocket in the front. She places the pen in. Exhales. 

She looks at the clock on the oven. She turns to the computer and unplugs it from the wall. She wraps the cord and picks up the computer. 

She enters the stage right room through the steel door frame directly upstage of the tv unit. The room has a simple bed with white linens and blankets and pillows with gray pillowcases. The headboard is gray. The bed is set on the upstage wall and faces the audience. On the far downstage right of the room is an oversized tan chair that faces into the bed on an angle. There is a black notebook and another small book that rests on the downstage floor next to the right arm of the chair.

She enters and places the computer on the floor next to the upstage (left) arm of the chair. 

She exits the room and grabs the bookbag. She brings it back into the stage right room and places it next to the notebook and book on the right arm of the chair. 

She exits the room again. 

She looks around the room. Sighs. 

She goes to the couch, picks up the monitor and enters the room with the bed. She walks to the upstage right part of the bed and there sits on tiny white cord plugged into the wall. There are two books sitting next the bed and the cord. They are not important. 

She plugs in the monitor and sets it on the ground. She exits the room. 

She looks around the living room. Inhales. Exhales pseudo audibly.

She looks at the kitchen. She sighs. 

She walks over to the Brita filter and fills up the glass. She places the filter under the sink to fill it up again. 

She drinks. 

She turns and around and sees Alexa. She walks over an unplugs her. She walks into the bedroom.

She plugs Alexa in directly under the monitor plug. She sets Alexa in the corner where the walls meet. She glows.

She goes out again to get her water. She drinks. She sighs. She looks at the clock on the oven. She walks over to the downstage side of the couch and turns off the standing lamp. 

She walks into the bedroom and sits on the stage right side of the bed with her feet on the floor. She puts her water upstage of her unimportant books that she never reads, right next to her bed post. 

She sighs.

She reaches under her pillow to find a satin night cap. She puts it on. 

She gets under the covers. She lays for a moment. She rolls to the right, reaches to the ground and clicks a button on the monitor. The screen glows. 


Lights Out.