Cowan Palace: Ten Times I Broke The Rules And It Ruled!

Ashley’s not always much of a rule breaker but when she is… it’s something!

When we last met as a Theater Pub unit to talk about the rest of the year, the bloggers decided to use September as a way to explore “breaking the rules” in theatre. So, to get things going, here are ten times I broke the rules:

1.) Cat Improv

Closing night of Godspell (the last play I did before leaving New York) I decided it’d be funny if I changed my normal, expected “adlib” line about being too busy to being too busy because I had to wax my cat. (Looking back, I think I was trying to impress some boy I had a crush on who had miraculously traveled all the way out to Queens to see the show after months of my begging.) Sure, some of the cast wanted to kill me because the random weird new line made them break but the audience LOLed and I thought I was a bad ass. As I always say, it’s the cat’s pajamas when you can improv a line about a feline.

2.) The Switch

It was a double show day a few months into Tony ‘n Tina’s Wedding (the interactive, Italian wedding show!). We hadn’t brought on many swings or understudies yet and almost of of the cast had been playing the same part each night. After one performance as “the dorky” bridesmaid my castmate, who was scheduled to play “the sexy singer” bridesmaid, mentioned she didn’t feel like wearing her character’s heels for the next show. I tried them on for fun in the ladies dressing room and we started joking about switching parts. (Considering we both had the same dress on anyway, it would only take a few different accessories to become the other character.) But this was at the beginning of the run when we had a pretty strict and regimented production team who absolutely would have said no to the request. We decided to just do it without telling anyone figuring they wouldn’t stop the show and make us switch back. (So sneaky, right?!) The new role I was covering required me to sing four songs and make out with a groomsman without having practiced either activity. Whoa, baby, it was quite the show! And even though we got a stern talking to about our switch, it opened the door to being able to play more of the parts in the show. I then went on to sing many more songs and stage kiss many more groomsmen.

3.) Dating My Co-Star

Not sure if it’s really a rule but it’s certainly not always the best idea. Lucky for me it worked out. And we made a baby. A beautiful theater baby and actual child. Boom. Thanks, fellow actor/blogger Will Leschber!

4.) Getting Too Into Character

It was my first weekend playing Tina (in Tony ‘n Tina’s Wedding) and I took the whole “in your face, interactive Italian bride” role pretty seriously. Near the end of the show, Tony and Tina have a big fight where they break up (spoiler alert: they get back together) and I grabbed a glass from someone’s table and threw it at my Tony. The glass shattered and water spilled on a couple attending the show. After the performance I was asked to never do that again by our stage manager. But then a guy who had been at the show (and drank way too much) came up to us and told me I was so fierce that I “must have real balls”. He then spelled “balls” incorrectly and missed a high five. It was rad and totally worth it.

Dear God, It’s Me Ashley

Dear God, It’s Me Ashley

5.) Turning On My Phone

While rehearsing God Satan Beer (part of Theater Pub’s second Pint-Sized Festival) I had the instinct during one rehearsal to play God as a real dick and just start taking selfies of myself during Satan’s smart and poignant monologue. We ended up keeping the bit (after cleaning it up and better defining it) and I got treasured show pictures every night!

A tale of two dresses…

A tale of two dresses…

6.) Sewing A Wedding Dress

When I first got to play Tina in TNT they costumed me in a dress that had long sleeves (though they were too short to fully cover my arms). It was also slightly too wide and too short. And, covered in random sequins and lace. Then our show switched venues and a bunch of our clothes never made it to the new location. Including that dress. (Perhaps it returned to the magical Lisa Frank world from once it came). I knew I couldn’t fit into the dress worn by some of the other Tinas but I didn’t want to tell our production team because I knew they’d take away my chance to play the part. So I found the backup dress that I could almost fit into. Then I stole it from our collection and brought it home (huge no no). Next, I cut it apart and sewed it together to fit me better. Keep in mind, I can barely dress myself sometimes and I really don’t know much about sewing. But somehow after hours of effort, I pulled it off! I had a dress I could wear. When I put it on for my first show back in the role, one of my castmates told me she hoped I could wear that dress in my own wedding because it seemed “made for me”. I did not wear it for my own wedding but that comment still makes me laugh.

7.) An Unconventional Headshot

Before I auditioned for Terrorama, I sent the production team a picture from a film I did in NYC as my headshot and resume. It’s just me screaming in a nightgown. Awesome (Theatre), right?

I know what you’re thinking. Why doesn’t this girl have her own musical/horror/reality show yet?!

I know what you’re thinking. Why doesn’t this girl have her own musical/horror/reality show yet?!

8.) Male Monologues

For two years whenever I was asked to have a monologue ready, I went in with a male Shakespearean selection. For some reason, I always felt free to make bigger choices with them. Now this tactic did not always result in getting into the show but I like to think it helped with playing Viola in Twelfth Night.

9.) Auditioning With A TLC Song

Not a whole lot more to say other than I sang an acapella version of TLC’s “No Scrubs” at an audition that asked us to have a more classically driven song prepared. I did not get cast. But I have no regrets! One step closer to achieving my solo TLC cover band dream.

10.) Drinking On The Job

Now, I’m pretty strict about not drinking during a show. Even when I’ve played characters who were drunk and suppose to be drinking AND the director allowed me to have a real drink, I’ve always asked for the non alcoholic stuff. I have way too many butterflies before and during a show and booze doesn’t lend itself well to that (for me). But during one TNT show, when I was back to playing “the dorky bridesmaid”, a table ordered me and one of the groomsmen a shot and demanded we take it together. We tried to talk our way out of it but they insisted. Plus, the drinks were expensive! So in the nature of the “yes, and” style of the show, we took them. Even though it was just one drink, it felt a little dangerous and reckless (again, for me). Enough to say, alright, I did that but I don’t think I’ll do it again. Even if it’s just my own silly rules, sometimes it’s cool not to break them.

Theater Around The Bay: Lisa and Nick Gentile Discuss Writing as a Couple

We recently got a great submission from Nick and Lisa Gentile, a husband/wife writing team from the East Bay who have been participants and supporters of Theater Pub for years. Here in all its glory, is their funny and insightful look into life as an artistic duo. Enjoy!

People often ask us what it’s like writing as a couple. We usually give a glib answer, because we haven’t really thought about it. We thought we could try to answer the question by interviewing each other.

Nick: So, Lisa, when did we first start writing?

Lisa: 2004. Your birthday. I took you to see 8 Tens at 8 in Santa Cruz. Remember that?

Nick: I remember we both thought that some were good and some were . . . not inimitable. I never thought that I could write a full-length play, but after that we both thought that we could do ten minutes. I didn’t realize before then that there was an entry-level length. I thought you had to write this big honking thing like Long Days Journey into Night right off the bat. Do you remember where the idea for our first play, Ten Minutes to Burn, came from? Or anything about its origins? Because, to tell you the truth, I don’t remember any of it.

Lisa: We were at that little surf film fest at the Roxy and we ran to Arinell Pizza during intermission. We had only a few minutes and I complained that I knew the dude behind the counter was going to say, “this is all I have for ten minutes.” And he did! And that other guy came in and went on and on about death metal versus black metal. Funny how people never ask us whether that play is autobiographical.

Nick: Probably because the characters are all dead. Now our second play, Russian Roulette for Lovers – I know where that came from. Our only real argument as a couple, about the philosophical meaning of The Godfather. I was going on and on about it, and you thought I was ignoring your opinion due to a sexist belief that women cannot truly understand the movie due to its hyper-masculine subject matter. I’m glad you realized that wasn’t true. I was just in some strange oblivious testosterone-fueled movie-analyzing reverie.

Lisa: Yeah, once I gave up interrupting you to defend the position that I actually had a position I just watched, stunned, as you lectured the imaginary crowd.

Nick: You yelled, “Who are you having this conversation with?” which became a line in the play.

Lisa: Then I saw potential, both for our relationship to continue and for the new play. How would you describe our writing process?

Nick: Well, what I think goes on is we both throw out half-baked ideas, and we both try not to say anything critical until it becomes too painful to bite back our sarcasm. Then we try to come up with some plot that threads together the ideas or bits of dialog we really like, even if that plot doesn’t contain the other person’s ideas. And finally we both try to come up with something that melds both sets of ideas into something semi-coherent. So what does it look like from your perspective?

Lisa: So I’m not far off when I tell people that we take turns assuming the fetal position under the desk. One of us is usually willing to carry on the work if the other has fallen into the pit of despair. I know I whine a lot over story arcs. But I think it’s your way with dialogue, your inner Mamet or Stoppard, that really gets us through.

Nick: Stop. I should rend my garments. Nobody gets compared to Tom Stoppard. Now, the Mamet comparison I can live with, because I share one thing in particular with him, which is observing the way people express ideas in the vernacular. I mean the way that people express complex ideas and emotions with ungrammatically correct phrases and metaphors. And by swearing. Who influences you?

Lisa: Chekhov. And it’s not just about the gun, seriously. I think his work shows the tension and suspense that are inherent in relationship. I love how the service of tea can be wrought with anguish.

Nick: Is that grammatically correct? What do you mean “relationship”?

Lisa: It’s a poet thing. To explain it would kill it. What’s your favorite idea that we developed?

Nick: When our friend Kate Owen said to us, “You should write a play about mumble-mumble”, and we both though she said “maggots.” I don’t remember what she really said, but I remember talking about it on our drive home, trying to figure out what kind of play you could write about maggots. We decided that they should be philosophers, because they have mouths but no limbs.

Lisa: Metamorphosize, mon Amour sent us back to the college textbooks night after night. Remember that big chart that we made to outline coherent arguments for the three characters?

Nick: I think that chart shows how you take the lead role in providing the structure for our works, while I concern myself with coming up with amusing lines. Our different strengths merge synergistically. Or something. I’m getting points for saying this stuff, right? Pookie, would you say that playwriting together has been an extension of our love? I sure hope so, because this Fringe Festival show is going to be stressful. We’ll need all our love to make it through.

Lisa:
That’s sweet. But I have to confess something. I needed that chart because around that time I started spiking my mochas with rum. Speaking of booze (hint, hint), what’s your favorite production so far?

Nick: Why, God, Satan Beer, of course, at San Francisco Theater Pub’s Pint-Sized Plays in August 2011. It’s obligatory that we mention that this was a great opportunity to get involved with a bunch of talented people through that production. And it’s also true, because we are working with some those people at the SF Fringe.

Lisa: I wouldn’t change a thing about Pint-Sized. Warden Lawlor, Dan Kurtz, and Ashley Cowan made the crowd laugh. That’s what it’s all about.

Nick and Lisa Gentile’s show “Weird Romance” will be performed at the SF Fringe Festival on September 8, 9, 11, and 14. http://www.sffringe.org/wordpress/