Happy Thanksgiving

This year, as usual, I’m thankful for the awesome opportunities I have had to teach acting and create new work with talented theatre artists. I’m also thankful for my awesome family which has welcomed two new additions this year: my amazing nephew Benjamin and my wonderful puppy Zeb. It has been a blessed year and I’m looking forward to an exciting start to 2015.

As BNTC’s Artistic Director, I take the Brand New Theatre Co. with me wherever I happen to go. Whether I’m teaching at a dramatic conservatory in London, England or creating new work with actors and screenwriters in Austin, Tx, the creative and educational work that I do is a part of BNTC’s mission.

I am currently excited to be back in my home town to spend some time with my family and to offer world-class training to small groups of adults, high schoolers and middle schoolers at the Fly Loft on 117 N. Boston in the heart of the Brady Arts district. It is so exciting to see the development in the Brady Art’s district and to be a part of the creativity that is taking place there.

So far I’ve got a few private lessons going and I’m consulting with a local group on their monthly original shows at the Comedy Parlor. I can’t wait to hold auditions throughout the month of December for the small group classes I’ll be offering during the spring semester. If you want to audition please check out the Acting Classes page and schedule your audition time by calling (918) 978-BNTC.

Origins of “Radio City Austin”

The Project

BNTC’s first production since moving to Texas will be an eight episode comedic radio serial style podcast called, Radio City Austin. We moved into the BNTC Studio in November and spent our first several months reaching out to the local community by offering acting classes and workshops. Here’s a little background on how the project came about:

The Origin of the Radio Serial Podcast Concept

I am an ideas person. I have new ideas for projects, classes, workshops and a variety of other BNTC oriented activities every day. I am also a practical person. Pretty much every time I have a new idea, my knee jerk reaction is to pull out a calculator and start doing cost benefit analysis. This is a terrible habit in the life of a creative person but a very healthy habit in the life of a business person. Since I am both a creative artist and a business owner simultaneously, I struggle to find the balance and often err on the side of over analysis in an idea’s early stages.

As BNTC’s Artistic Director, I wasn’t entirely convinced that it was time yet to begin development on our first Austin production but when this project presented itself I felt connected to it right away. The more I started thinking about the logistics of it, the more I began to perceive it as the perfect next step in our efforts to establish a meaningful connection to the city and its artists.

The idea came about by accident when I happened to overhear a conversation between two actors who were involved with work at the BNTC Studio. They were having a conversation about radio serial dramas. The second I heard the words “radio serial” my mind started racing. I got swept up in the idea of creating a radio serial style podcast and was so excited about the concept that I arranged a meeting to discuss my thoughts about it with the actor who’s conversation I had overheard. I told him all of my ideas and we exchanged thoughts on how we might approach a production. About thirty minutes into the conversation I paused to say that I wanted to make sure I wasn’t stepping on any toes. “I overheard you talking about this to another actor,” I said. “Was this a project you were already planning with someone else?” He laughed and said, “No I was talking about a completely different project that I did a while ago,” and he went on to explain the project that he had done. I realized, as I listened to him explain the actual conversation he had been having, that I had come up with this entire production idea based on a misinterpretation of a conversation I had overheard in passing. Then I had walked away and filled in all the blanks in my understanding with the ideas that excite me most about BNTC’s potential as a source of new works. Having ordered my thoughts around what I thought I had overheard, I then took the all-important next step of moving from idea to action. I broke through the “over analysis barrier” not because I had enormous personal confidence in my plan but because I believed that it was someone else’s plan all along. Then, because of my willingness to invest in the idea, I had convinced someone else to support it without even realizing that I was “giving him a pitch.” I believed he was already invested in the idea because I thought it was his idea. Then he, in turn, was inspired by my enthusiasm for the idea and began to encourage it’s further development. Up to that point, the entire project was just a bunch of misunderstandings that shaped up into an exciting framework for a new project. Once that the framework was in place and the energy was behind it, the hardest step in my creative process, that of moving from idea to action, had been taken without me even realizing I was doing it.

The Structure 

The basic idea of a radio serial podcast was easily agreed upon but finding the right structure, setting and organization of the rehearsal process was a challenge that required a lot more consideration. I wanted to go into the process as open to new ideas as possible and that meant limiting the amount of planning that took place before the writers were hired and the core cast members were selected. I am dedicated to the idea of creating new work with both actors and writers. New work is what the Brand New Theatre Co. is about. If we aren’t creating things that are new, we either have to come up with a new name for the company or move to a new city every two years. In comparison with those options, creating new work seems both easier and more enjoyable. On the other hand, creating a series from scratch with literally no idea of what the structure, plot or characters will look like isn’t exactly a low-risk situation.

I was convinced that the value of this project for BNTC was it’s contrast with the prospect of devising a full length play at this stage in the company’s development. Doing an audio serial that didn’t require sets and costumes and for which episodes only needed to be about fifteen minutes in length, gave me the opportunity to make connections with a number of writers simultaneously while also enabling me to cast and get to know up to a dozen actors in the span of three months. This was a stark contrast to the option of producing a devised play, which, with BNTC’s current production budget, would only give me the opportunity to work with one writer and with no more than four actors on a project that would take up to four months to carry out.

The tricky aspect of any project that BNTC undertakes at this stage is that none of the writers and actors who will be involved in the project will have had any previous experience devising new work together. There isn’t a standard structure for devising that is shared among various theatres. Most writers and actors have little or no training or background in devising and in any devising situation the company has to develop its own individual process.

The Process

Starting to develop a new devising process is difficult and intimidating but the fast and furious nature of trying to produce eight new scripts in three weeks actually felt more liberating than intimidating. It gave me the opportunity to turn up the heat from the very beginning and keep everyone focused on getting any idea that came through their head right out onto the table. It can be very difficult building openness and trust with a new group because no one wants to suggest a concept or improvise a scene that makes them appear to be less “creative” or “talented” than the other members of the group. Fortunately, one thing that is more scary than the prospect of having a “dumb” idea is the prospect of having no script at all when the audience arrives. The serial will be presented as a reading, not a play, which means rehearsal time is short. There is no time for worrying about what might go wrong. There is only plunging ahead, staying open to new ideas and being honest as quickly as possible about what isn’t working in order to have time to make adjustments.

The writers began working with the actors from the get-go. In fact, I auditioned the actors first and invited some of them to come along to the writer’s audition. This gave me the opportunity to see how each actor dealt with the challenge of experimenting with prompts provided by writers. It also showed me how the writers dealt with the challenge of allowing an actors’ interpretation of the writer’s ideas to open up new directions for plot/character development.

The wonderful thing about a devising audition, is that you don’t have to reject talented people just because they don’t fit a specific part. Instead you write the role for the actor. On the other hand, neither writers nor actors can be cast based on only their writing or acting ability. The main challenge in the audition process is to try to weigh out, in a very short amount of time, who will be open to collaboration and who will struggle with give and take once they get attached to their ideas. There will always be some struggle in the devising process but there is nothing that puts the breaks on collaborative creation more quickly than a collaborator who has a tendency to foreclose on their own ideas rather than allowing their creativity to be influenced by other people’s contributions.

As soon as the series was cast, the first challenge I was faced with as the coordinator of the overall creative process, was to sort out everyone’s schedules. On the up side, I was blessed with a talented cast of in-demand actors, improvisors and writers. On the down side, being in demand meant that most of my performers had very limited schedules. The first real challenge for the writers was to come up with a plot-line that was flexible enough to allow actors to miss episodes while maintaining each character’s role in the overall plot development of the series. We started with a full-cast and writers workshop to brainstorm possible scenarios that would engage our own interest and the interest of an Austin audience while also allowing us to introduce new characters from one episode to the next without disrupting the plot. After the initial workshop, I met with a couple of the writers to map out the overall plot structure.

We then moved on to the workshopping phase during which I directed two weeks of interactive meetings between actors and writers. The structure of each meeting varied depending on the particular writer’s approach and ideas. Some meetings took the form of round table character discussions. Some meetings looked more like improv rehearsals; and one meeting even involved exercises influenced by Suzuki Technique which involves a lot of stomping around with your legs contorted into strange positions.  At the end of every meeting the writer was tasked with the challenge of combining their portion of the overall plot structure with their workshop experience in order to produce a draft of an episode.

Ideally, I would like to develop a devising process that involves a lot more give and take between writers and actors throughout the development process but this project, for BNTC, is a lot more about laying a groundwork for exchange and getting to know a number of different artist’s processes. Later, I hope that some of the ideas and approaches that came out of these workshops will resurface in more extended devising projects but for now the idea is just to push past the initial psychological resistance that occurs when trying to create something new, with new people, in a new environment. I believe that the result will be something that we can all be proud of but that we also have great ideas for improving on as the podcast develops.

We are quickly coming to the end of phase two, the “solo” writing phase. For the most part the writers are working on their own to complete their drafts but, of course, the fact that each person’s episode has a major effect on every other person’s episodes means that the writers are in constant contact throughout the writing process.

When the drafts are complete we will have rehearsals that are open to writers and later run-through rehearsals with the final drafts of the scripts. The rehearsals for early episodes will begin next week and episodes that occur later in the season will be rehearsed while we are already in the process of recording the first several episodes.

Production and Distribution

Each episode will be recorded in the BNTC Studio in front of a live audience on Friday nights starting April 6th and running through May 25th. Tickets to attend a live recording can be purchased from our online ticket office. We are currently only selling tickets for one show at a time so you’ll only be able to buy tickets for the next available performance. If you would like to reserve tickets to a specific production, however, you can email brandnewtheatre@live.com to request your seats.

The recordings will be distributed as a podcast. More information about the release date will be posted here on the website as it gets closer. If you would like to be on a mailing list to receive information about podcast distribution you can let us know by emailing brandnewtheatre@live.com.

Auditions/Interviews for Writers and Actors

“Saturday Morning Serial” Podcast 

Saturday, February 25th at the BNTC North Austin Studio

8701 W. Parmer Ln. #1122

Actors: 10am to 12pm

Writers: 1pm to 3pm 

BNTC is in the early phases of developing a radio serial that will be distributed as a podcast (and potentially expanded into a web series). The concept of the serial is to feature different Austin based talent each week. Each episode will be written by a different writer but will feature the same cast of actors. Every week, the new writer will build on the script that was produced the week before and add their own personal twist to the plot. Each new episode will also feature a different guest musician. Script writing will begin in March and live recordings will begin in April.

 Writers

Interviews/Auditions Saturday, February 25th from 1pm to 3pm.

Please bring a five-page writing sample (we would be thrilled if you emailed it ahead of time to brandnewtheatre@live.com). The interview/audition will consist of group discussions and devising exercises lead by the podcast’s director/script supervisor.

 Actors

Auditions Saturday, February 25th from 10am to 12pm.

The audition will consist of cold-reading and improvisation exercises. Some actors may be called back for a follow-up audition which will involve interaction with writers from 1pm to 3pm. (If you would like to send your resume ahead of time, please email it to brandnewtheatre@live.com.)

 Musicians

If you would like to be considered for inclusion in the musician pool please email your contact information to brandnewtheatre@live.com with the words “Radio Serial Musician Pool” in the subject line.

Audience Members

The show  will be recorded live on Friday evenings in April and May. If you would like reserve tickets to attend an in-studio taping or, if you would like to receive the link to download the show, email brandnewtheatre@live.com with the words “Tickets for Radio Serial Taping” or “Link to Podcast” in the subject line.

Sponsorship/Donations

If you are interested in becoming a Sponsor or donating to support the project, we would be happy to send you more information. Just email brandnewtheatre@live.com with the words “Radio Serial Sponsorship Info.” or “Radio Serial Donation Info.” in the subject line.

Germination

About ten years ago I drove off the road and did $500 worth of damage to my VW Bug. I was driving home from work, distracted by thoughts of a project I wanted to launch, when suddenly I realized that I had veered off the road and onto a curb. Rather than putting the car in reverse and easing back in the same direction I had come from, I drove forward off the corner, not realizing that there was a drainage ditch on the other side. In a bigger car this wouldn’t have had much of an impact but in in a VW Bug, the sides of the car are only a few inches off the ground. As my front wheel came off the curb I felt the front of the car dip into the ditch and the side of the car scrape along the concrete leaving a deep indention all the way from the front wheel hub to the back wheel hub. That experience taught me a lesson that I still have to recite to myself  just about every day: Don’t think about new projects while driving.

Just yesterday, on my drive home, I put this axiom to use as I found my car veering ever so slightly to the left while I pondered a project I hope to get started with this month. As I willed myself to put all thoughts about the new project on hold until I got home, I was reminded of the project I had been pondering during that moment a decade ago. I realized that, three years before I started the Brand New Theatre Co., the project that had me so distracted was an idea for developing new work based on improvisation. I wasn’t familiar with theatre devising at that time but, even then, before I had any real intention of starting a company, before I had any experience in theatre administration, before I even saw myself as a director (rather than an actress), the ideas about theatre that excited me enough to make me drive off the road revolved around projects that were developed in the studio through collaborative processes.

When I started BNTC three years later I still didn’t know that I wanted to do theatre devising. I knew that I wanted my company to produce New Work but I didn’t have any concept of how New Work could be developed in a devising context. What I did know was that the idea of creating something Brand New excited me. So I focused on directing plays that hadn’t been seen before and producing monthly improv shows. This work eventually lead me to pursue further study in London where I learned about the concept of theatre devising. I connected with the idea immediately and began processing everything I knew, and was learning, about actor training through the filter of developing a creative process that fostered collaborative theatre making (aka: devising).

When I think about the major themes my creative interests tend to revolve around, I’m often surprised at just how far back into my experience I can recall moments of excitement about those ideas. I think the ideas that excite me most as an artist have been germinating since I started acting at elven years old, or maybe even earlier than that. In one respect it’s exciting to think that my most important artistic themes have always been with me and that when I’m working on projects which bring these ideas to fruition, I’m bringing out work that has been building up in me for a very long time. On the other hand, though, it’s a little bit discouraging to think that maybe only a few major ideas have ever really stuck with me and maybe I’ll just keep recycling those ideas for the rest of my creative career.

When I think about that, I’m glad that one of my major artistic themes is the idea of a collaborative creative process. One of the things that makes devising unique is that the process isn’t dependent on the creative themes that have been germinating in one particular writer or one particular director. Every person involved in the process has the opportunity to bring out the ideas that drive them creatively and to allow those ideas to interact with the ideas that have been germinating in the other members of the creative ensemble. To some degree this happens in every theatrical production but I think it is heightened in the devising process.

I love the idea that we are all walking around with the seeds of a creative process or artistic theme growing inside of us but the way those ideas develop will depend on how they are cross germinated with other people’s processes and themes. We can get to know one another’s work and have some idea of where a cross section of our interests might take us but we can’t entirely control the way our ideas will change one another. In the collaborative process we have to allow one another to mess with our precious pet ideas and see what happens when someone else gets their hands on them. It’s all the fun of experimenting with the ideas that excite us most combined with the challenge of giving up control over how those ideas will be interpreted and expressed.  And, at the same time, its an opportunity to see what ideas have been growing in the people around us while we’ve been busy focusing on our own personal interests.

I get really excited thinking about the possibilities involved in that exchange but I’m about to get in my car and drive to a production meeting so, for the safety of everyone on the road, I’m going to put my excitement aside and try to think about something boring.

Brand New Year, Brand New Plays

"We need to get serious about devising that new play!"..."I don't know, maybe we should put it off some more."

There are a million ways to create brand new theatre but with a world of possibilities available to you, it can be difficult to pick one approach, stick with it and make your ideas a reality. If you want to be a part of developing brand new theatre in 2012, get started on the right foot by participating in one of the Brand New Theatre Co.’s theatre devising workshops this January.

Here’s how the BNTC Brand New Year, Brand New Plays Project works:

  • One playwright will be teamed with two to six actors.
  • Each team will attend a four session workshop.
  • The sessions, which are three hours in length, will take place either over the span of one work week (Mon-Thurs 6:30pm to 9:30pm) or over one intensive weekend (Fri 6:30pm to 9:30pm and Sat 9am to 8pm) during the month of January.
  • Each participant will work directly with BNTC staff to book the session in January that works best for his/her schedule.
  • BNTC’s Artistic Director will guide each team through a series of devising exercises designed to kick start the creative process while giving depth and structure to ideas about Plot, Character, Setting and Conflict.
  • At the end of the four sessions writers will have a framework for a one-act play. They will then have until the end of January to produce a working script.
  • Teams will come back together for one more session between Feb. 1 and Feb. 8 during which they will read the script, have the opportunity to make minor adjustments and come up with a presentation plan (note: most presentations will consist of a simple script reading).
  • On the weekend of Feb 10-12 (specific date TBA) the works-in-progress will be showcased at a BNTC fundraiser. The audience will have the opportunity to donate to BNTC by purchasing as many votes as they would like. They will then vote on the work-in-progress that they feel has the most potential to become a successful completed theatre piece. The winning team will take home a portion of the audience’s donations as their prize.

Important Notes On the BNY, BNP Project:

  • The entry fee for participating in the project is $75/person. (This is half BNTC’s normal workshop fee because the BNY, BNP Project is still in the pilot phase.)
  • Because this is a pilot project, BNTC cannot make any guarantees about the outcome of each workshop. BNTC will support writers in the development of their works-in-progress but participants must be prepared for the possibility that their work may not be presentation ready in February. BNTC will make every attempt to ensure that each group has a presentation to offer but we cannot give refunds to groups that are unable to produce suitable scripts in time for the presentation event. 
How to Sign Up
Fill out the form below. You can sign up with a group or as an individual. BNTC staff will be in contact with you about scheduling your specific workshop dates. We will contact you first by email but we may need to follow-up by phone to ensure that we have scheduled you with a group size and workshop dates that you can commit to. You do not pay until an entire team has been scheduled for the workshop dates you have selected. Remember, the sooner you sign-up, the more likely you are to get the workshop dates that work best for you.

Free Kids Classes – November 19th

Trying something new can be stressful at any age. Before you make the investment of enrolling your children in the acting classes BNTC is offering this winter, why not give them a chance to get the first-class jitters out of the way by bringing them to a free trial session? The sessions are designed to be a fun low-pressure experience that will help you and your child to see if BNTC is a good fit! Parents will have an opportunity to ask questions at the  end of the session and will also be given a 25% tuition discount for the month of January if they decide to enroll.

Sign Up Today! – Spaces are Limited

Welcome to the Theatre for Pre-School and Elementary Students

  • Free Introduction Session for Kids: 11am to 12pm
  • Question and Answer Session for Parents: 12pm to 12:15pm

This class is an opportunity for students aged 4 to 10 to meet the teacher of the classes, Story Telling and Dramatic Play (for 4 to 6 year olds) and Welcome to the Theatre (for 7 to 10 year olds).  Students will meet some of their potential classmates, play some fun and easy theatre games and learn one or two things about what it means to be an actor.

Acting and Improv for Middle and High School Students

  • Free Introduction Session for Kids: 12:30pm to 1:30pm
  • Question and Answer Session for Parents: 1:30pm to 1:45pm

This class will introduce the ideas that will be taught in both Acting and Improv (for 11 to 13 year olds) and Acting, Improv and Shakespeare (for students aged 14+) . There won’t be any Shakespeare yet but there will be acting games and an introduction to improv to help students build confidence and show them how much fun BNTC acting classes will be.

Number of Spaces Still Available:

Welcome to the Theatre – 2

Acting and Improv – 5

Interview with BNTC’s Artistic Director

A basic overview of what the Brand New Theatre Co. is all about and how you can be involved.

Please Note: The Brand New Theatre Co. is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of The Brand New Theatre Co. must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

Pre-Enrollment Has Started!

Winter 2011

BNTC is moving to Austin this fall. We want to thank you for being among the first of our Austin students by offering a 15% discount on the Jan/Feb adult acting classes and a 25% discount on the first month’s tuition for children’s classes. All you have to do to pre-enroll is fill out the electronic form below before November 15th. For children’s classes, not only will you receive a tuition discount, you will also be invited to attend free open-house classes in November/December so you’ll know what to expect in January!

Winter 2011

BNTC Space Share Survey

BNTC is moving to its new location this November (8701 W. Parmer Ln. Suite 1122 Austin, Tx 78729). We will use our studio space in the evenings to train actors and create brand new theatre but we need your help to put the space to good use during the day.

We are hoping to start each day with yoga or pilates classes between the hours of 6am and 9am. We will then make the space available to a small community of self-employed “co-workers” from 9am to 6pm. Obviously, after a long week of early morning exercise and diligent self-employed work, we will all be needing some pampering so we hope to bring in a massage therapist or two on Saturdays between 3pm and 9pm.

We are very excited to be offering these opportunities to the local community but we want to make sure the community is as excited as we are. If you think you would be interested in some of what we have to offer, please fill out the survey below so that we know we’re on the right track.

BNTC Space Share Survey 

Two Months from Today

It’s official! BNTC’s application for a studio space in north Austin has been accepted. Two months from today we could be opening our doors to the public.

Notice I used the word “could” in that last sentence.

Let me give you a rundown of how we got to the position we are in and what needs to come together in order to turn our notice of approval into a signature on a lease:

You may remember from a previous post called, The Search for a Home, that I was considering a studio location on the north side of Austin but I wasn’t sure whether the location was right for what I wanted to do. I needed more time to research the potential in the area but I didn’t have more time because the space I had found was going on the market in a week and it was already proving to be in high demand. Well, in spite of the pressure to make a rush decision, I continued with my research and, the more I looked around, the more obvious it became that I would really be loosing out if I didn’t make a move on the north side location.

I decided I needed to make an application but I was told that I would still have until October 1st before I had to make a decision about whether or not to sign the lease. This would give me time to continue with market research and to look for a renter(s) interested in using the space during the day.

Sub-letting the space is a major aspect of the business plan because theatre people are not known to be early risers. (In fact, after looking at my fund raising campaign, someone recently suggested to me that there are a number of disturbing similarities between actors and vampires…Perhaps I’ll need to look into that before moving forward with my plans…) For the first six months to a year, I’ll probably only be able to use the space for my own work in the afternoons and evenings, so having someone else make use of the space during the day could cover a large portion of the rent. Daytime renters  and donations will hopefully enable me to offer more affordable classes in the evenings.

I felt sure I would have a better idea of whether or not I wanted to make the move by October so I put in my application. As it turns out, I actually have even more time to make my decision than I expected. When my application was accepted, I was given the option of waiting until November to sign the lease and move in.

A big part of me wants to move in today but the part of me that likes to sleep on occasion, knows that an extra month to get everything prepared would considerably diminish the insane amount of work I’ll have to do in the first three months. So, I elected to wait.

I actually feel amazingly good about the decision. Keeping classes running during the winter holidays is a very difficult task but moving in just before the holidays means that I’ll be able to set up open houses, trial classes and pre-enrollment discounts during the weeks between Thanksgiving and Christmas. Giving people a chance to “try BNTC on for size” will likely mean much larger enrollment numbers in the new year.

So, that’s how far things have gotten. A space has been selected. The application has been approved. The move-in date has been determined.  I’ve got a few possibilities on the burner for the space share and I’m working hard to get the word out to others. Lots of people are checking out BNTC’s fundraising campaign online and I’m about to set dates for open houses.

On one hand it looks like everything is coming together like clockwork. On the other hand, I’ve had a knot in my stomach since I found out my application for the space was approved because at least two of three important goals have to be reached before I can make the official decision to sign the lease.

1. The Keep Actors in the Dark fundraising campaign has to be successful.

2. I have to sub-let the space during the day.

3. I have to find people who are willing to provide regular monthly support for the first year that BNTC is in business.

I feel optimistic that I am making positive steps in the right direction and I believe that all of these goals can be met in the next two months. However, I’ll probably feel a bit queazy until I see a little more progress in all three areas.

Here’s how far we’ve come towards each goal.

1. Keep Actors in the Dark

We got off to an awesome start but the donation amount hasn’t moved from $551 in over a week. I can’t tell you how much I have appreciated the support and encouragement I have received so far in the form of those first donations, kind words and the number of people who have encouraged others to check out the campaign. Now, however, is the time for me to actually use the words, “please give BNTC some money.”

On my list of awesome things to do every day, asking for money always ranks right at the bottom but, in light of the potential that I’m seeing for BNTC and the absolute necessity of starting off on the right foot financially, I have made it the only thing on my list for today. It is still at the bottom…but since it is the only thing there, I can’t avoid it.

I hope that you will consider making a donation. It doesn’t have to be big. I did the math. If 344.9 people give $10 we will reach our goal. That doesn’t seem hard. The most difficult thing about that will be getting people to go ahead and give $10 instead of waiting to be last so they can get away with only paying $9.

As BNTC grows, the company will have contacts in Austin to draw on for support, but at the beginning, I am really dependent on the people who are watching the evolution of this company and rooting for it’s success. At the moment, most of those people are friends and family. The exciting thing about that is that, you know me, you are connected to my life and you will be there to celebrate each step in the success of this dream. If you have been thinking about donating but just haven’t decided on an amount, please help us make a push forward this weekend by giving five or ten dollars. If you were wanting to give more, check back later and see how things are coming. It will give you a better idea of what the need is. Thank you, thank you, thank you!

Just in case you missed all the links to the fundraising site, I’ll put this widget here so you don’t have to search.

<a href=”http://www.indiegogo.com/project/widget/39290?a=229588“>

Please Note: The Brand New Theatre Co. is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of The Brand New Theatre Co. must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

2. Space Share –  I’ve spoken to several teachers and artists who have expressed an interest in teaching day-time classes. Now that I have an official move-in date and permission to start surveying residents in the area about their interest in the classes that BNTC and the Space Share teachers might like to offer, I hope that some of that interest will turn into commitments. If you are interested in space share, it is not too late to reserve the dates and times you would like. Just fill out the form on the Space Share page in the Calendar section of this website to let us know what your interests are.

3. Regular Monthly Donors – We are hoping to find 20 regular supporters who are willing to donate between $50 and $75 each month to help with our ongoing expenses such as: rent, office management, artists fees, classroom/studio needs and production expenses. Donations will enable us to offer tuition and ticket prices at a much more affordable level so that our work is accessible to a broader spectrum of the Austin population. We have heard from a handful of people who are considering making regular donations but we need quite a few more. If you would like to be one of them, you can set up your monthly donations through Fractured Atlas. (Just click on the link in the top right hand corner that says “automatic monthly contribution.”)

Once again: The Brand New Theatre Co. is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of The Brand New Theatre Co. must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

Those are the three goals I’m working towards. Before I sign the lease in November it will be necessary to have seen a reasonable amount of success in all three areas or to have had complete success in at least two. There is no exact formula for the combination of these three factors that must be met in order for the move to go forward. I could give you about fifteen different combinations of numbers in each category that would add up to success….Trust me…I wake up every morning thinking about the various ways this could come together and those thoughts are the last ones clinging to my conscious mind as I drift off each night. The point is, you probably can’t meet all three of these needs but you may be able to help with one or two of them. If you can, I hope you will. It will have a major impact on where I’m writing from two months from today.