Visit www.upcomedyclub.com for REACH show info.

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12 Tips to Keep You Creative, Smart and Committed to YOU  in 2013
By Dionna Griffin-Irons

1. Establish a specific goal and artistic life plan. What do you want to do creatively THIS year that you didn’t do last year? What do you want to improve? Be specific. Do you want to work with a theatre company, director or institution that you respect? Introduce yourself. Take a moment and pull out that 2012 planner and calendar and review those past auditions, interviews and meetings and assess what worked and what didn’t. Use it to fuel your next appearance and build a better relationship in 2013.
2. Expand your community and network with theatre companies, fellow actors, directors and producers. Get some business cards printed and some reasonable headshots and distribute. Make sure the headshot looks like you now, not in 1990. Ask for referrals to save money.
3. Attend a network event, party, or opening of a show. Be a social butterfly for one night. Fake it if you’re not. Get to know your community and artist peers. In Chicago? Attend the Outreach Meet and Greet event announced in the newsletter. No one is going to know who you are unless you come out of your shell, dark cave, and studio.
4. Commit to seeing more theatre and improv shows. Simple enough. Art inspires more art. Get out and see more work. Read a play a week. Read a book a month. Become a sponge and soak up everything that tickles your creative fancy.
5. Take a class in improv, writing, acting and music – anything that gets your muse going. Why? You must always be willing to grow and allow yourself to discover and often that happens in the classroom setting. This keeps life exciting, hones your talent and keeps away the I’m-not-doing-anything-creative blues. Get referrals on teachers who are the best in what they do. Every city has them.
6. Lock up your ego and start listening to your truth and wisdom. Start writing and journaling to help you hear your voice – the real you that knows what he/she wants.
7. Junk the junk, release the funk and bring in the new. Whether it doesn’t serve you creatively, intellectually, emotionally, spiritually or personally (people, places, things), it’s time to let go of your dead weight you’ve been carrying over each year. That stack of papers that’s been hanging around since 2010 (or 1990), that book haven’t read in years, or that significant other who is not supporting your craft could be the very thing that is holding you back. It’s time to junk it, release it, and bring in new energy. A creative cleansing is in order. Start now.
8. Act smart. Trick yourself into being disciplined. Break your activities into small increments- 10, 15, 20 minutes. Doing a task for 10 minutes sounds a lot easier than an hour, right? You only get better in this work through repetition and consistency. If you’re a writer, write; an actor, act; an improviser, improvise; a lover…well, you get my drift. Establish small rituals and routines that support who you are. Outsmart yourself and do the thing you really want to be doing.
9. Become frugal for a season or year. We’ve heard from every finance guru around that we should save our money and spend less and get rid of debt. Isn’t it time we start listening? There is no reason to be a starving artist. Get a roommate and split the costs and save the rest. Sacrifice on the front end to reap rewards later.
10. Fine tune a virtue. Patience, honesty, gratitude and humility are excellent virtues. Pick one or all of them and work on being your best self. Sounds a little Oprah-ish, yes, but let me be the first to say that a virtue never hurts anyone when it comes to the entertainment industry where rejection is normal. A virtue can cut through ego, depression and envy anytime, any day.
11. Be thankful. Ah…gratitude goes a long way. You will breathe easier, sleep better and improvise better when you realize you have more than you think you have. Count your coins in your savings jar or count real blessings – people in your life who have helped shape your journey and who you are today including the mother who gave birth to you.
12. Laugh until your belly hurts. Laugh hard and freely. Go to more places where laughing is encouraged. Break your inner silence and shake things up a bit. Laughing raises your energy and doesn’t cost a thing. Now, get on your train and start moving!

As we vamp up a for a new year fast approaching and wind down from 2012, I’m always  surprised how fast 365 days and 8,760 hours has flown by.

Sometime in December, I usually take a good long look in the mirror for skin and body changes, measure my boys to see who is taller, review my snow gear, check out the house for problems, and listen to the car for any pre-winter fixes. Then I start preparing for a family trip to visit  my beloved mother, Granny in Ohio or Michigan where I spent many years growing as an adolescent, teen and young woman. These traditions and self made rituals always point me toward self reflection and moments to pause in my life –which is exactly what I need at the end of the year.

One of my favorite mother mantra’s that I’m forever repeating to my five year old, Xavier is to - Stop, Look and Listen every time we cross the street. His little hands clasped between my grown up hands while listening to Mom say in  a clear, direct voice “STOP, Look, and Listen, Xavi” is my rule of thumb that I’m teaching an energetic son, who likes to run without thinking, act on impulse, and crash into things because it’s fun and cool is actually a picture of all of us when we are racing in life. 

So in our efforts to avoid crashes, here’s 7 questions for you to ask yourself as you slow down and gear up for 2013.

Don’t let the Xmas holidays blow you over like a storm and leave you  exhausted, overwhelmed and depleted. Here’s your plan to recover, resist and recharge.Take the time now to pick up a book, a gift for yourself and really honker down on getting closer to something you’ve been wanting to do or improve with your career, personal development, art, spirituality and family, but maybe haven’t found the time to do.

Remember this very important tip. You never find time, you only make the time. It is only with your awareness in how you use, spend and devote your time can you get to the crux of what you want to change, add and do in your life. And if you have it all figured out, please share your secrets with me.  I always like to hear new ideas.

 7 Questions to Stop, Look and Listen at my Life 

1.    What would I like to be doing more of that I’m not having enough TIME doing?
2.     What are my top three things that I would like to do  in a day, month, year – my lifetime?
3.     Where can I go or research to find support, answers, and resources to help me on this journey?
4.     What can I do, create, start planning right now, today?  Write your action and goal list now.
5.     Where do I need to see this plan to be accountable, inspired and rewarded?
6.     What makes me angry/irritated/annoyed and how can I infuse this energy and emotion in my work as an artist?
7.    What makes me smile and how can I add more of this to my life? 

Take your answers and write them down and post them up. Start your research project with “Your LIFE” as the subject and plan this sucker out to get an A+. Invest this time and see what you discover. E-mail me as you pseudo professor and let me know how your progress is going. Contact me for a monthly reward and I will give you discount on a funny show or maybe even free tickets to get you laughing. Did you know laughter add 15 minutes more living to your life? Yep, it does.  I’m looking forward to seeing, hearing and enjoying what you create in this world.

 ~Dionna

A long time ago, I had my first audition for The Second City.  I was living in Detroit at the time, a graduate from Wayne State University and found myself back at the college audition boards looking for a prospective gig. The African American Touring company was holding Ain’t Misbehavin auditions which seemed to be right up my alley. I loved musicals and got a thrill singing and dancing. I quickly jotted down the who/what/where info and marked it in my planner.

Two weeks later, I auditioned.  It went surprisingly well.  

I got hired for a year long commitment with over 50 gigs in and around Michigan to perform the musical. Voice and movement seemed to be my forte, or more appropriately -my comfort zone, where I wasn’t in my head. It was easy to let go, be free and enjoy the moment. It felt easy playing my strengths to score in an audition.

About a month later, while still on tour, I ran into a college buddy who informed me that Second City Detroit was holding auditions for their touring company and resident stages. I had heard a little about Second City. The Detroit theatre was a sister branch of Chicago and I knew it had to do with comedy legends and improv.  I knew improv in terms of jazz, music and dance. Improv and theatre was new territory for me.

My college buddy was insistent, “You should audition for Second City.”  I smiled and thanked her for the compliment. Obviously, she knew something I didn’t know.  I politely scribbled the info on a piece of paper thinking to myself it’s an audition, maybe  it’s a sign from the universe –so why not give it a try.

The next day I called and scheduled an audition. Not your ordinary audition, a week long audition with over 400 people trying to get in.  Pretty intense.  The days left a memorable impression.

Day one: 

We had a director coordinating groups of twenty  actors into your scene partners.

 Day two:

I was being lifted in midair by a group of strangers in a getting to know you trust exercise.Theatre games and warm-ups gave me an adrenaline rush.

Day six:

Our group had dwindled down from 100 to 25 by a process of elimination.

Day seven:

I had reached the final callback audition in a group of twelve.

The director paired us in smaller groups of six to improvise short scenes with our partner.

My partner stood about 6’2 to my 5’4 and the director gave us a location of capitol hill. Go!

Without thinking, I looked into my partner’s eyes and said,

“Senator, I  don’t think it’s fair that mothers on  welfare can’t have a boyfriend  living in the same house and receive aid from the government.”

 My partner smiled and broadened his posture, agreeing with the relationship I assigned and responded with a witty remark. The second half of the audition consisted of an improvised musical between two rival paper companies.  Then the director give us a musical style: opera.  I instantly felt a boost of confidence. Improvising.  

I don’t remember the dialogue or exactly what we said to each other in the scene in between our music verses, but we were having so much fun and so was the audience.

I could hear laughter – a sign that things were going good.  It was during this last moment of the audition that I remembered that I have a niche. I couldn’t fail. There was something only  I could do – I only needed to trust this nugget of gold.

That’s what everyone wanted to see. All I had to do was be me.

And, that’s what the audition process is all about.

Share and express your niche and trust the rest will take care of itself. It always does.

I remember a meeting I had with a student I was mentoring.  She was feeling anxious about her Level A improv class at Second City.  Although she had taken an Outreach workshop in the past, this would be her first time plunging into a full eight week session at the Training Center. Her nerves were on edge and she was a bit anxious.  We met at the Second City lobby in the bar area and chatted about her first class.

I listened to several questions: “What should I do before class, is there homework, how can I make sure I have everything I need?”

Her feelings were like most of us when we enter a new surroundings or a foreign situation – we want to be prepared. My response was very simple. “ You don’t have to do anything, just show up. The rest will take care of itself.” 

Improv can be scary for the newcomer and even the seasoned performer who shows up to perform. You bring only one thing - you. You feel vulnerable and unprepared.  The same applies to relationships.  The ego kicks in and you start to ask yourself..well maybe if I say this line or do this character when I get called on – then I will be okay and I will not feel awkward or foolish. If I do this or say this –the person will like me even more. I will come across likeable and lovable. Faux Pas! Absolutely not!  The opposite is true. 

Everything you bring to the space and stage is perfectly imperfect.   That’s right, you are perfectly imperfect. The power of improv, as with any relationship, when you are connecting with another person is that you are discovering who you are in relation to others.  You walk around in your body, in your head all day long and sometimes we don’t even know who we are until our buttons are pushed. That’s what improv does - pushes your buttons.  

What do you do?

You take a risk. Throw yourself in, head first into the deep pool of the unknown, even if you can’t swim, you find your way. Allow yourself to be vulnerable, sink a little and trust that you are not alone —you will not drown.  Why on earth would we do this?

The goal in improv is to let your guards down and play. Allow yourself to be in the moment, look at the color of someone’s eyes, listen to the tone of their voice, laugh and delight in the joy of being human. Delight in being in relationship to others. 

Trust yourself.  Don’t worry about not having everything figured out.  Discover something new.  Take your time and be patient.  Take one step at a time…

Who knows, you just might find a butterfly waiting to remind you how brilliant, handsome and beautifully unique you are!

One of my dearest and closest pals, and kindred sista friends who later was my maid of honor when I got married,  is a woman that was introduced to me by one of my colleagues at Second City.

Holly Walker is her name.

She is an amazing woman, whose beauty resembles my mother and whose wit you can’t put a match to. She is sharp, savvy and sweet.

Whenever we get together, although she lives in LA now, we fall right back into laughing, head nodding and girly stuff. 

A not so long time ago, she passed on good stuff and story about acting and moving to LA without thinking twice.

Thank you, Holly. I miss you.

Part I of II   - Interview with Holly Walker

In July 2004 I decided it was high time to take a chance and move to L. A. for my acting career.  I knew that if I never tried it I would always regret it.   I  decided to trust and follow my heart, and it has made all the difference.

I don’t think I could have learned in 10 years any where else what I’ve learned in the short year and a half that I’ve been out here.  The television and film opportunities are 50 times the amount they are in Chicago.  Granted L. A. is a huge pond, but the only way you can become a big fish is to dive in and learn from bigger fish than you.

Being an overnight sensation, I’ve found, usually takes about 15 years.  I’ve often wondered when seeing a star on the big screen, “Where did he come from?”

But then I began to look closely at old sitcoms and drama series.  Those big stars started with bit parts just like me. 

Breaking into the business is a slow process.  Of course everyone’s process will be different.  The first role I got was commercial for Popeye’s Chicken.

That’s right.  My first L. A. gig was teaching white people how to order fried chicken!

I got to do a few non-union gigs, a safety industrial for the US Postal Service, an infomercial with Alex Tribeck for Sonic One Toothbrush, and a PSA for prostate cancer (“I too was affected by prostate

cancer.”)  It seems Steven Speilberg wasn’t chomping at the bit to have me in one of his films.  Weird.

Next came television shows.  Okay…one television show.

 I’ve been working as a stand-in  on the UPN show ‘All of Us.’  I’ve been on the show twice in co-starring roles and a bunch of times with voice over parts.

Check it out this season and see if you can spot me.

Go on.  I dare you (By the way, I got this job, ergo the roles on the show through a WORDS contact.)

I’ve been told that a “break” is when opportunity meets preparation.  I believe that we as actors need to be constantly honing our craft.  It’s like another muscle, it needs to be worked out or it will atrophy.

Take classes, write your own show, be in an improv troupe, do a play, see theatre, join WORDS, ( a collective of artists from various disciplines).  You never know what wonders you may find. 

If you love to act, then act, whether you’re in L. A., Chicago, or were ever you are.  Put you whole heart into it.  Express yourself.  I am.  I have more to say, and I’m sure you do too.  Here’s hoping that we get a chance to hear one another.

Part II - Moving to LA

If you’re interested in moving to L. A., I say “Go for it!”  Here are some of the tips that I’ve found helpful:

BEFORE THE TRIP

Get film credits on your resume.  Do as many student and non-union films that you can.  Regardless of what they are, casting directors want to see that you’ve worked in the medium. 

‘Back Stage West’ is the equivalent to the ‘Performink’ in Chicago.  It gives you great articles on actors, directors, and relevant subjects like “Acting Classes in L.A.,” “Actor friendly Neighborhoods” as well as giving you audition notices.

 You can get back order issues as well as current issues mailed to you to get a heads up on what’s going on.

PILOT SEASON

A lot of people have the bright idea to come out at the top of January to start auditioning for pilot season.  Be warned: if you haven’t done a lot of ground work (i.e. gotten an agent or manager, met with a lot of casting directors, etc.) before pilot season, you will probably waste a lot of time and money.  You could get lucky…but I doubt it.

TRAINING

Classes are a great resource. Theatre acting is not television acting and just because you’re a good actor doesn’t mean that you’ll get the part.  I’ve learned so much about the business through classes, not to mention honing my skills as well.  That’s absolutely the first thing I would recommend for anyone to do when they get here. Get into classes. 

AUDITIONS

Auditioning is a skill that’s separate from acting.

When ever you can, perform your auditions (especially ones for t.v. shows) for other people, preferably an acting coach or someone whose opinion you respect.

There is so much that you can miss that a coach can clue you in on.

When you go into an audition, try and look somewhat the part.  If they’re looking for a martini drinking, Harley/ Davidson motorcycle rider don’t go in dressed like a Star Trek geek.  Selling is 99% of the battle.

You need to arrive early for an audition.  Television auditions starts from the moment you hit the receptionist area.  If you’re being a jerk while waiting for your time to go in, don’t think that the casting assistant won’t relay that information to the casting director.  They want to know that you won’t be a hassle to work with, that you would be someone that they could hang out with socially.  Don’t be obnoxious, but be ready to talk. 

When casting directors ask you what you’re up to, they don’t want you to recite your resume.  They want to hear an interesting personal story about what’s going on with you right now.  Don’t have one?  Make one up!  And if you’re going to make one up, why not make up one that is relevant to the audition at hand?

You happen to be auditioning for a role as a basketball player and what do you know?  You just played basketball this weekend at the YMCA and your buddy got beat by the very girl that he hit on.

Imagine that.

I’ve heard many a story of a person auditioning for a casting director, getting turned down for the role, but 2 years later being brought in for another part by the same casting director.  CDs, like elephants, have long memories.  So always, always, always, do your best.  Even if you don’t want the part.  You can always turn down a role you don’t want.  At least that CD will have seen you do stunning work and may line you up for something in the future.

You can learn something from each role and each audition.

If you think small, you get small.  You can unwittingly take yourself out of the game by not giving it your all on small ‘bit’ parts.  Don’t save your best acting for a bigger role.  If you can’t give your all and act the shit out of a small role, what makes you think a director will trust you with a bigger one?  Remember someone’s always watching. 

ADVICE FOR WOMEN

Have a strong technique.  Strong.  There aren’t as many roles for us, so to snag one you have to be on your game. 

Try not to look at other women as your enemies.  It won’t help and you’ll be seeing them over and over again anyway.  Make friends, get tips from them.  Ask them about their work, their acting coaches, their experiences.  Most of them are a wealth of information.  Granted some of them will try to intimidate you so be on the look out, but most of them are struggling just like you and love a sympathetic ear to pass the time with.

L A. is the land of the young and pretty.  Anyone who’s been told that they’re half way cute comes out here to try and make it as an actor.  Know that coming in. 

The Hollywood scene is also a fit one.  I’ve notice that black women can be a tad bit heavier on average than white women, but still you’re looking at a size 6-8 (as opposed to a size 4-6 for white chicks.)  A lot of actresses are a size 0-6.  0-6!!  That means if you’re serious about being a series regular you have to put that sweet potato pie down, sister girl!

I’ve also seen really big women make it as actresses.

There doesn’t seem to be any middle ground.  You can be a size 2 or a size 22.  Take your pick.

THE BUSINESS SIDE

Once you get an agent or manager, don’t just turn you career over to them.  It’s your career, you’re in charge.  Things you can do to be in charge:

1) get the breakdowns for the current castings of the day.  Yeah, it’s slightly illegal, so don’t get caught.  Make sure your representation is submitting you for the roles that are right for you.

2) Make a new contact every day.  When emailing your contacts, make a request.  This makes it easier for a person to respond to you and keeps you in their minds longer.

3) Promote shows that you do.  Post cards are a great tool.

4) Keep a database or rolodex to keep track of everyone you know in the business.  Show business is built on relationships. 

Develop a great relationship with the assistants at your agents’/managers’ office.  These are often times the people that are submitting you.  Furthermore, these are the people that will be running Hollywood several years down the road. Same goes for casting assistants.

You have to know who you are and what you are selling.

 Find out how the world “buys” you.  For instance, you may want to play Cinderella but you make a better wicked step-sister.  Be the wicked step-sister.  Know what you’re good at playing and play the shit out of it.  You don’t always get to be what you want to be.

Driven, smart business people work more in this town than the strictly talented.