A Tony Award-Winning Producer’s
Perspective on Broadway
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Top 10 Takeaways from our TheaterMaker Super Conference

In case you haven’t heard, we had a giant TheaterMaker conference this past weekend.

(And in case you didn’t get that joke – you probably aren’t on our email list – because we sent a whole bunch of emails about it.)

The reason why we so passionately encourage all you Writers, Producers, Investors, Directors, Designers and anyone who makes theater to come is simple.  We know for a fact that as a result of getting together in the room with other like-minded TheaterMakers . . . more theater gets made.  Period.  We know this.  Because people who come to the conference tell us.

One of our greatest success stories yet happened DURING this conference!  A TheaterMaker from New Hampshire asked me a question about how to get her middle school musical produced, and I gave her a couple of tips . . . and this action-fueled artrepreneur called someone on the next networking break . . . and boom . . . she got her show BOOKED!  I mean . . . mic drop!!!

The conference included Broadway A-list Producers, Directors, Press Reps, and more on panels like Dramaturgy, Readings, and Diversity (which I am so proud to say was one of the most heavily attended panels AND the longest – what a conversation).

In case you missed the conference, I pulled 10 Takeaway from some of the talks which are below.   And while reading them will never be the same as hearing them live, seated next to more than 400 fellow TheaterMakers, I hope they give you a little steroid shot of inspiration and education to get you to go out there and make more theater.

Enjoy!

  1. “With ‘yes and…’ we get to create what comes next.” – Stephanie J. Block
  2. “You deserve a place at the table.” – Joe Iconis
  3. “Remember to stay calm. Getting angry does not help anyone hear your point. Educate with kindness.” – Arvind Ethan David, Diversity In The Arts
  4. “Casting Directors are in service of the collective imagination of the creative team. They are only trying to help bring your ideas and visions to life.” – Tara Rubin, Casting Superpowers Share How They Cast a Project And What the Right Cast Can Do For You
  5. “There’s never going to be a “perfect piece” so readjust the weight you give critics’ opinions.” – Jamil Jude, Navigating the Collaborative Process
  6. “When it comes to branding, remain consistent. Stay SMART (Specific, Measurable, Achievable, Realistic, Timely).” – Lori Rosolowsky, How To Market Your Project To Regional Theaters Across The Country
  7. “Don’t be intimidated to introduce yourself to someone in the creative field. We’re all trying to do the same thing – create great art!” – Ken Davenport, Get Your Show Off The Ground
  8. “Know your WHY. Trust yourself. Believe in your material. And be concise in your pitch.” – Larry Rogowsky, Practice Your Pitch Session
  9. “Every play is different. Every playwright is different. In order to have the most productive partnership, it is the dramaturg’s job to know what the needs of the playwright are and how/when to deliver feedback.” – Jill Rafson, What is a Dramaturg and When/Why You Need One
  10. “No more waiting to sit at the table. Show up and take your seat at the table.” – David Caparelliotis, Casting Superpowers Share How They Cast a Project And What the Right Cast Can Do For You

Want to hear and see some of the panels that folks were raving about it?  We recorded them!  Click here to see how you can get them.

And we will see you next year!!!

Community.

People ask me all the time what a Producer actually does.

My new answer?  I get people in a room.

That’s it!

I get Writers in a room.  I get Directors in a room.  I get Actors in a room.  And when the right combination of people and passion mix together . . . boom . . . a magnificent thing is created.

The trick is . . . there are passionate and talented TheaterMakers all over the WORLD who want to be in a room with other folks just like them.

I know that because we’re going on 11 years with this blog and 5 with the podcast, and you wouldn’t believe where some of our e-traffic comes from (Russia, South Africa . . . Sri Lanka anyone?).

That’s why a couple of years ago I created an e-room for Writers, Producers, Investors, Actors and all kinds of Theater Makers to gather called TheProducersPerspectivePRO.

Since then, this community, just like the popularity of theater itself, has grown more than I ever could have imagined.   And when things grow, they take on a life of their own . . . and it’s important to change as the thing you’ve created changes (I’m already learning this as a new parent!).

About six months ago, we realized we weren’t TheProducersPerspectivePRO anymore.  We weren’t just an offshoot of the blog for people looking for more education.

We were a new community of theatrical artrepreneurs who were looking to learn, grow, gather and . . . make more @#$%.

That’s why we just retired PRO and launched a brand-spankin’ new community with a new look, new content, and a new mission to help all the TheaterMakers out there accomplish their theatrical goals, no matter what your discipline.

You may not be IN an actual room, but it’s the next best thing.  And we know, for a fact, that TheProducerPerspectivePRO helped launch a whole bunch of shows just by gathering passionate like-minded people together online.

And this brand new community will do the same . . . but on steroids.

So if you’re a TheaterMaker . . . or even better, want to be one . . . join us.

There’s no other place like it on the web.

And we can all help each other do what we all want to do more than anything . . . Make theater.

Check out the new TheaterMakersStudio.com here.

We’ve also added a new Production Team Database featuring Actors, Directors, Producers, Playwrights and more from across the country. To peruse the free database or submit yourself, click here.

Broadway Grosses w/e 11/17/2019: Big wheel keep on turnin’. . .

Overall grosses were down 7% last week with most shows showing a drop in total box office coming off last week’s Veteran’s Day holiday. Enjoying a post-opening glow was Tina – The Tina Turner Musical which brought in an all-time high of $1.5M. Kristin Chenoweth’s, For The Girls was SRO at The Nederlander and took in $970k.

You can find the rest of the figures below, courtesy of The Broadway League:

Show Name GrossGross  TotalAttn  %Capacity AvgPdAdm
A CHRISTMAS CAROL $257,525.00 4,194 61.82% $61.40
AIN’T TOO PROUD $1,440,027.56 10,572 92.80% $136.21
ALADDIN $1,114,006.70 12,769 92.42% $87.24
AMERICAN UTOPIA $951,411.25 5,726 99.31% $166.16
BEETLEJUICE $965,164.30 9,996 83.69% $96.56
BETRAYAL $624,575.48 6,243 75.33% $100.04
CHICAGO $508,808.00 6,068 70.23% $83.85
COME FROM AWAY $952,192.76 8,489 101.45% $112.17
DEAR EVAN HANSEN $1,016,920.48 7,628 96.90% $133.31
DERREN BROWN: SECRET $401,112.70 4,750 66.79% $84.44
FREESTYLE LOVE SUPREME $720,234.50 5,396 88.17% $133.48
FROZEN $958,448.80 11,956 88.75% $80.16
HADESTOWN $1,313,225.00 7,332 99.84% $179.11
HAMILTON $2,765,850.00 10,732 101.32% $257.72
HARRY POTTER AND THE CURSED CHILD, PARTS ONE AND TWO $941,249.00 12,976 100.00% $72.54
JAGGED LITTLE PILL $1,000,046.10 8,839 98.21% $113.14
KRISTIN CHENOWETH: FOR THE GIRLS $969,894.00 9,584 100.00% $101.20
MEAN GIRLS $782,779.10 8,283 84.52% $94.50
MOULIN ROUGE! $2,155,181.50 10,464 100.46% $205.96
OKLAHOMA! $379,069.10 4,070 78.15% $93.14
SLAVA’S SNOWSHOW $279,547.00 6,810 80.69% $41.05
SLAVE PLAY $404,901.00 5,283 83.28% $76.64
THE BOOK OF MORMON $1,033,721.15 8,233 98.29% $125.56
THE GREAT SOCIETY $380,018.50 5,059 59.66% $75.12
THE HEIGHT OF THE STORM $251,375.50 3,700 71.93% $67.94
THE INHERITANCE $510,025.50 7,130 85.04% $71.53
THE LIGHTNING THIEF $255,063.58 4,038 47.04% $63.17
THE LION KING $1,655,921.00 12,511 92.21% $132.36
THE PHANTOM OF THE OPERA $768,232.90 9,023 70.27% $85.14
THE ROSE TATTOO $507,190.40 5,387 93.39% $94.15
THE SOUND INSIDE $524,606.50 5,231 65.52% $100.29
TINA – THE TINA TURNER MUSICAL $1,497,521.00 11,901 100.65% $125.83
TO KILL A MOCKINGBIRD $1,824,941.30 11,509 100.25% $158.57
TOOTSIE $726,701.70 8,705 67.92% $83.48
WAITRESS $657,773.70 7,216 86.32% $91.15
WICKED $1,324,358.50 11,999 83.00% $110.37
TOTALS $32,819,620.56    289,802 85.16% $108.19
+/- THIS WEEK LAST SEASON -$3,682,267.72      
PERCENTAGE +/- THIS WEEK LAST SEASON -10.09%    

Today’s blog was guest-written by Ryan Conway, President of Architect Theatrical. Find out more here!

Podcast Episode 202: The Dramaturg for Disney, Hadestown and more, Ken Cerniglia

I’m gonna be honest . . . I never liked the idea of a dramaturg.  “That’s what a Director is for,” I thought. “And a Producer!”

Then, I realized that my “dislike” of something was based on the fact that I really didn’t understand what the heck a dramaturg was.  (Most things in life that we don’t like (including people, btw) are just because we don’t know what they are really about.)

That’s why I decided to have one of the leading dramaturgs in our business, Mr. Ken Cerniglia on the podcast to help explain to me and to all of us TheaterMakers exactly what a dramaturg does and why they are so important for every show, from a new play in a regional theater to a big ol’ Broadway show.

Listen in and hear Ken talk about:

  • What a dramaturg is and how you become one.
  • The most common note he gives to writers.
  • What his 15 years at Disney taught him about successful storytelling.
  • How Hadestown morphed over the years and how he assisted in the process, without over-assisting in the process.
  • The common elements that all stories for the stage need to be “successful.”

If you’re a Writer, Director, Producer or anyone with a script, this podcast has buckets of tips on how to make that script better.

So listen to the other Ken now!

  • Click here to listen on our site!
  • Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)
  • Download it here.

P.S.  Ken has just agreed to lead one of our Writer’s Groups this year!  Click here to apply today!

This week’s #SongWriterOfTheWeek is Ben Diskant and Sami Horneff! Today we’re playing a song from their musical The Pirate Princess, “We Could Be Pirates”. If you like what you hear and want to learn more, check out www.bendiskant.com and www.samihorneff.com.

My pal Justin Guarini (you may have met him at The Super Conference this weekend) wants to help you nail your next audition! Justin will help you create a unique and memorable vocal performance that blows your competition out of the water. Visit www.JustinGuarini.com for more information!

Podcast Episode 202: The Dramaturg for Disney, Hadestown and more, Ken Cerniglia

I’m gonna be honest . . . I never liked the idea of a dramaturg.  “That’s what a Director is for,” I thought. “And a Producer!”

Then, I realized that my “dislike” of something was based on the fact that I really didn’t understand what the heck a dramaturg was.  (Most things in life that we don’t like (including people, btw) are just because we don’t know what they are really about.)

That’s why I decided to have one of the leading dramaturgs in our business, Mr. Ken Cerniglia on the podcast to help explain to me and to all of us TheaterMakers exactly what a dramaturg does and why they are so important for every show, from a new play in a regional theater to a big ol’ Broadway show.

Listen in and hear Ken talk about:

  • What a dramaturg is and how you become one.
  • The most common note he gives to writers.
  • What his 15 years at Disney taught him about successful storytelling.
  • How Hadestown morphed over the years and how he assisted in the process, without over-assisting in the process.
  • The common elements that all stories for the stage need to be “successful.”

If you’re a Writer, Director, Producer or anyone with a script, this podcast has buckets of tips on how to make that script better.

So listen to the other Ken now!

  • Click above to listen to this episode.
  • Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)
  • Download it here.

P.S.  Ken has just agreed to lead one of our Writer’s Groups this year!  Click here to apply today!

This week’s #SongWriterOfTheWeek is Ben Diskant and Sami Horneff! Today we’re playing a song from their musical The Pirate Princess, “We Could Be Pirates”. If you like what you hear and want to learn more, check out www.bendiskant.com and www.samihorneff.com.

My pal Justin Guarini (you may have met him at The Super Conference this weekend) wants to help you nail your next audition! Justin will help you create a unique and memorable vocal performance that blows your competition out of the water. Visit www.JustinGuarini.com for more information!

How Evita Had A Tryout In NYC And Gave College Kids The Chance of a Lifetime.

Evita, this year’s City Center’s Gala musical opened last night to a fantastic response, including a ton of love for Solea Pfeiffer (who one can only hope doesn’t get sucked up by Hollywood too fast) and twenty-something director Sammi Cannold, who did what great Directors do – add a simple concept to make us look at the show in a whole new way.  (I’m proud to say I recognized her as future-force when I blogged about her “Violet on a bus” back in 2013!)

As I watched the show, I was reminded of how amazing it is that City Center shows turn out such stellar productions, when they rehearse for about a minute and a half.

And the expectation for these productions are a lot higher now than when City Center started!  (Originating the 2nd longest running Broadway show of all time (Chicago) will do that to you).

But this production of Evita had even more challenges than the others.  It was an entirely new production, with a new Cannold-concept (featuring two Evas) that made a limited rehearsal period even more challenging (two Evas for starters).

What’s a company like City Center to do?

Inspired by Cannold’s own hands-on experience in college (like the aforementioned, site-specific Violet), the folks at City Center came up with a program that gave some college theater kids an experience that out-of-college theater kids would have killed for, and get a “try-out” in the process.

Enter Pace University’s Musical Theater Department, which supplied the creative team with a full musical theater department, including actors, for a workshop of the show.

Here’s what the school got:

  • Every one of its 100 musical theater majors got to audition for the actual Evita creative team.
  • A FULL process of staging, choreography and music with that creative team culminating in 2 showings for City Center’s community of artists and the Pace Musical Theater Department.
  • 5 Interactive Master Classes on everything from dramaturgy to marketing to accessibility.
  • Tickets to the invited dress of Evita.

And City Center got a workshop of Evita that it never could have afforded (a limited run with limited seats for a non profit has a budgetary box built around it).  And that workshop 1000% resulted in a better production.

This is what we call a win-effin’-win.

I’ve blogged about college programs getting involved in the musical development game before, because I don’t think there is any training process better than working on a new musical (or revival) with a Broadway team.  And the students get the bonus of monster networking connections as a result!

But this City Center-Pace “Institution in Residence” partnership is one of the best examples I’ve ever heard, and major props to the people who put it together, including Evita line producer, Darren Biggart, and the Director and Founder of the PACE Musical Theater program, Amy Rogers Schwartzreich.  (And I’d expect Pace’s applications for their program to JUMP after word gets out about the Evita experience.  Who wouldn’t want to go for this kind of opportunity?  Come on, my alma mater – time for you to join the class?)

“Research and Development” is hard and expensive in any business, from biotech to Broadway.  Finding a creative solution like this is one way we can guarantee better products, and give opportunities to the next generation that they wouldn’t get any other way.

College programs?  If you want to get in on this . . . email me. I’ve got a few shows for you.

And go see Evita!

Broadway Grosses w/e 11/10/2019: Another Op’nin’, Another Show

Overall grosses buoyed with a 14% increase to just over $35M last week. Many shows recovered to pre-Halloween levels while Beetlejuice continued to own the fall holiday season pulling in an impressive $1.2M and continuing a streak where its last five weeks have been their best to-date.

Jagged Little Pill also landed firmly in its first full week of performances grossing $1.1M for eight previews.

You can find the rest of the figures below, courtesy of The Broadway League: 

Show Name GrossGross  TotalAttn  %Capacity AvgPdAdm
A CHRISTMAS CAROL $106,450.00           1,651 64.90% $64.48
AIN’T TOO PROUD $1,519,667.88         10,822 95.00% $140.42
ALADDIN $1,245,179.50         13,297 96.24% $93.64
AMERICAN UTOPIA $965,418.00           5,745 99.64% $168.04
BEETLEJUICE $1,212,734.50         11,569 96.86% $104.83
BETRAYAL $697,428.70           6,857 82.73% $101.71
CHICAGO $661,265.80           7,786 90.12% $84.93
COME FROM AWAY $1,065,019.00           8,545 102.12% $124.64
DEAR EVAN HANSEN $1,088,986.55           7,982 101.40% $136.43
DERREN BROWN: SECRET $394,295.00           5,018 70.56% $78.58
FREESTYLE LOVE SUPREME $701,601.50           5,569 91.00% $125.98
FROZEN $1,082,645.40         12,875 95.57% $84.09
HADESTOWN $1,461,216.00           7,448 101.42% $196.19
HAMILTON $3,088,806.00         10,760 101.59% $287.06
HARRY POTTER AND THE CURSED CHILD, PARTS ONE AND TWO $1,149,130.50         12,976 100.00% $88.56
JAGGED LITTLE PILL $1,107,845.30           8,570 95.22% $129.27
LINDA VISTA $308,367.86           3,981 85.06% $77.46
MEAN GIRLS $974,091.95           9,441 96.34% $103.18
MOULIN ROUGE! $2,218,313.50         10,501 100.82% $211.25
OKLAHOMA! $498,466.00           4,797 92.11% $103.91
SLAVE PLAY $467,721.00           5,676 89.47% $82.40
THE BOOK OF MORMON $1,097,545.70           8,499 101.47% $129.14
THE GREAT SOCIETY $375,184.00           4,948 58.35% $75.83
THE HEIGHT OF THE STORM $292,977.00           3,817 74.20% $76.76
THE INHERITANCE $738,917.50           6,743 80.43% $109.58
THE LIGHTNING THIEF $336,181.00           4,979 58.00% $67.52
THE LION KING $1,921,309.00         13,151 96.93% $146.10
THE PHANTOM OF THE OPERA $952,524.04         10,731 83.57% $88.76
THE ROSE TATTOO $509,255.00           5,384 93.34% $94.59
THE SOUND INSIDE $589,439.10           5,840 73.15% $100.93
TINA – THE TINA TURNER MUSICAL $1,332,425.00         11,860 100.30% $112.35
TO KILL A MOCKINGBIRD $1,926,476.26         11,600 101.05% $166.08
TOOTSIE $943,764.80         10,022 78.20% $94.17
WAITRESS $756,698.50           7,884 94.31% $95.98
WICKED $1,612,019.50         14,095 97.50% $114.37
TOTALS $35,399,366.34 291,419 89.68% $115.98
+/- THIS WEEK LAST SEASON -$1,831,034.99      
PERCENTAGE +/- THIS WEEK LAST SEASON -4.92%

Today’s blog was guest-written by Ryan Conway, President of Architect Theatrical. Find out more here!

Podcast Episode 201: Broadway Powerhouse General Manager and Tony Winner Charlotte Wilcox

 

Here’s a fun fact of Charlotte Wilcox’s career that will give you an idea of who she is and the scope of her career:

Charlotte has worked on every single Broadway production of Grease since the original, including all the revivals (and even a possible next revival which she told us on this podcast is in the works).

She has worked on close to a hundred different shows in her 50 years (!) in the biz, and is arguably the Broadway GM with the most experience working today.

She’s a Management Idol.

She also was the first GM I worked for, gave me a couple of jobs early on in my career (I was the kid who got the wine for the office on Fridays at 5), and then GMed Godspell for me in 2011.

We squeezed those 50 years of experience into this one podcast, where we talked about:

  • The “learning by doing” method versus getting a degree, and why NOT having an MBA or JD might actually HELP in this business.
  • What has changed the most over the past 50 years that has affected the bottom lines of the budgets that she creates?
  • Why some shows should close much earlier than they do . . . like they used to.
  • How she started as a “secretary” and how she felt as a woman coming up in this biz . . . and the challenges she faced along the way.
  • What Broadway Producers could do differently to ensure more success.

General Managers are like the “Generals” in a war . . . they plan everything.  And Charlotte has fought more battles than most of us could fight in five lifetimes.

Prepare for a master class in the biz of Broadway when you listen to this . . .

  • Click above to listen to this episode.
  • Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)
  • Download it here.

This week’s #SongWriterOfTheWeek is Max Vernon! Today we’re playing Max’s song “Some Kind of Paradise”. If you like what you hear and want to learn more, check out Max on Instagram @frauleinsallybowels or www.maxvernon.com.

This episode is sponsored by Curtain Call! Curtain Call is the platform for all theatre professionals; onstage or backstage, creative or cast, producer or theatre. You can network easily AND look for work. You can view and apply for jobs directly through the platform. Just go to curtaincallonline.com to sign up. They also have an awesome Instagram page – with incredible photography @curtaincall.

Podcast Episode 201: Broadway Powerhouse General Manager and Tony Winner Charlotte Wilcox

Here’s a fun fact of Charlotte Wilcox’s career that will give you an idea of who she is and the scope of her career:

Charlotte has worked on every single Broadway production of Grease since the original, including all the revivals (and even a possible next revival which she told us on this podcast is in the works).

She has worked on close to a hundred different shows in her 50 years (!) in the biz, and is arguably the Broadway GM with the most experience working today.

She’s a Management Idol.

She also was the first GM I worked for, gave me a couple of jobs early on in my career (I was the kid who got the wine for the office on Fridays at 5), and then GMed Godspell for me in 2011.

We squeezed those 50 years of experience into this one podcast, where we talked about:

  • The “learning by doing” method versus getting a degree, and why NOT having an MBA or JD might actually HELP in this business.
  • What has changed the most over the past 50 years that has affected the bottom lines of the budgets that she creates.
  • Why some shows should close much earlier than they do . . . like they used to.
  • How she started as a “secretary” and how she felt as a woman coming up in this biz . . . and the challenges she faced along the way.
  • What Broadway Producers could do differently to ensure more success.

General Managers are like the “Generals” in a war . . . they plan everything.  And Charlotte has fought more battles than most of us could fight in five lifetimes.

Prepare for a master class in the biz of Broadway when you listen to this . . .

  • Click here to listen on our site!
  • Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)
  • Download it here.

This week’s #SongWriterOfTheWeek is Max Vernon! Today we’re playing Max’s song “Some Kind of Paradise”. If you like what you hear and want to learn more, check out Max on Instagram @frauleinsallybowels or www.maxvernon.com.

This episode is sponsored by Curtain Call! Curtain Call is the platform for all theatre professionals; onstage or backstage, creative or cast, producer or theatre. You can network easily AND look for work. You can view and apply for jobs directly through the platform. Just go to curtaincallonline.com to sign up. They also have an awesome Instagram page – with incredible photography @curtaincall.

Why 90% of Actors Are Doing it Wrong.

What has always been a surprise to me is the amount of the emails I receive from Actors around the world looking for a tip on how to break into the biz . . . and fast.

In fact, do you know what the most popular blog that I’ve ever written is?  No, it’s not the crowdfunded Godspell, or the live-streamed Daddy Long Legs.

It’s this one, which is all about Actors.

I don’t know why I’m so surprised.  While this blog may be called TheProducersPerspective, it’s for all artrepreneurs out there looking for a little insight into our biz that could give them a leg (and an arm) up.  Because they’re gonna need it!

And since the acting world is much more competitive than any other profession in our industry (thanks to the sheer volume of Actors looking to make it), it only makes sense that they’d be seeking out a way to increase their odds of success.

Which is why I’m writing this blog today . . . to tell those Actors that 90% are doing it wrong.

Now granted, I may be preaching to the converted here, because if you’re already one of my blog readers, then you’re probably in the 10%.

But if not, let me give you a tip that’ll put you on the fast track to success.

Ready?  And if you’re an Actor, and can’t stand a little tough love, STOP reading here.

Ok?  Good.

Here’s what you should do, that has worked for countless others, and WILL work for countless more . . . and hopefully you.

Create your own @#$%.

The ol’ cliche of an Actor taking a job as a “waiter” has always had a double meaning for me.  Because if you are just auditioning for OTHER people’s shows and movies and plays with OTHER people’s songs and scripts . . . then you’ll just be “waiting” until you fit someone else’s idea of who you’re right for.

And you could end up waiting forever . . . regardless of your talent.  (Painful thought, right?)

Now, you could also “get discovered” but those odds are longer than recouping a revival of Moose Murders.

So don’t chase Directors and Agents and Casting Directors and Producers.

Make them chase you.

And how you do that . . . is by creating your own @#$%.

It probably won’t be great at first.  But keep doing it. And you’ll get better.  And then people will find you.

This isn’t a new concept.  I’m not blog-preaching about this today because of the recent rise of the YouTube or Instagram celebrity (although that is one way to create your own @#$%).

Creating stuff is why so many stand-up comedians have gone on to great success.

Steve Martin, Robin Williams, and Whoopi Goldberg all started making up their own punchlines . . . which got people laughing and got people talking . . . and got them roles on stage and screen.  (And they ALL transitioned from comedy to serious work, so don’t think this is just about the funny folks.)

But it’s not just comedians.

What about Matt Damon and Ben Affleck . . . who were struggling actors until they sat down and wrote Good Will Hunting.

And don’t get me started about Sylvestor Stallone, who refused an offer to buy his original screenplay to Rocky (yep – you forgot he wrote it, didn’t you) because the studio wouldn’t let him play the lead (they came around).

Think this is a wave of the past?

What about Phoebe Waller-Bridge and her 8,000 Emmy Awards for Fleabag . . . which started as a one-woman show . . . just like Nia Vardalos’s Big Fat Greek Wedding or Chazz Palminteri’s A Bronx Tale.

Making stuff is by far the fastest way for an Actor to make it.

I’m not saying it’s easy.  But unlike the dreadful audition process, in which so many decisions are made that have nothing to do with you or your talent . . . making stuff, whether that’s a one person show or a web series or a stand up routine, is something you can control.

This is how you design a part that no one else in the world could be right for.  So you have ZERO competition.

And you know what the cool thing is?  90% of the actors out there aren’t doing this.  So immediately you’re going to stand out.

And what stands out . . . is what “sells.”

So if you’re an Actor . . . stop waiting and start making.

And actually, come to think about it . . . this concept isn’t just for Actors.  It’s for Directors, Designers or even Producers! (I got my start by creating my own shit – by producing three shows that I came up with . . . because I couldn’t get the rights to anything!)

Get creating.

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Are you an Actor or any kind of artrepreneur that wants to learn how to create @#$%?  Click here to learn from the best.

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