|Boys of a Certain Age was that rare new|
play which had humor and heart and very
smart writing. All four of us were gifted
with terrific material from which to craft
four unique characters. I wrote about this
|Brian Gligor played my nephew in Boys, and did me the biggest favor anyone did for me all year. He's a whiz with websites and such, and I have long struggled with setting up my own site. All actors are supposed to have them, at least in New York, and I purchased the domain name years ago but never did anything with it. After one of our rehearsals, Brian came over and, as I plied him with martinis, he set up my site. We had a blast that night, carousing until 3 AM, and the result was a smashing success. Thanks, Brian! Go here to see our handiwork: RScottWilliams.com|
|Jack Young hired me several times when he|
ran the Warehouse Theatre in South
Carolina. I hadn't seen him in years, though
I frequently work with actors he has trained.
While in rehearsal for Boys, one of my old comrades from years ago came to New York. I was thrilled to be able to spend an hour or so with Jack, since I had not seen him in many years. Jack was not the only old friend with whom I reconnected this year. Over the summer, by coincidence, two friends from my undergraduate days in L.A. spent a weekend in Manhattan; our lunch date reaffirmed what I have always suspected: the friends we make in college are likely to be for life.
|I met David when we played in|
Big River together. For years,
he offered me his couch any
time I went to NY to audition.
In July, I participated in a staged reading of The Tempest for Titan Theatre Company. I dislike this play, largely because I have an ongoing problem with Shakespearean magic, but it was a fun experience, and set the stage for a more formal return to Titan in the fall.
I was asked to join the cast of Richard III, playing two small roles. In retrospect, I should have declined the invitation. I had already done R3 twice, and I didn't really have much interest in playing either of the two roles. When an actor works on AEA's Showcase Code, I really think it has to be for love, as it's not the money (there is none). I have always enjoyed working for Titan (in fact they offered me my NYC debut years ago), but it is not very easy for me to do so. The company rehearses and performs in Queens, which is a schlep from my digs in midtown. But moreover, I never challenged myself to bring sizzle to these characters, and I must admit that I was not a success in the show. I wrote about my disappointment in myself regarding this project here.
|As Brackenbury in Richard III. You remember the all-important role of Brackenbury, right? He's the guy who's always standing next to the person talking.|
|Dad's fascination with the skies led|
him to join the military, but before he
could get through flight school,
WWII ended. His career at Lockheed
gave him an unusual talent: he can
look at an airplane flying over, and
In July, Boys of a Certain Age came back into my life, quite unexpectedly. I was nominated for the New York Innovative Theatre Award as Outstanding Actor in a Lead Role. These awards aren't exactly Tonys, but in a way, they kind of are.
The IT organization covers pretty much every professional performance in New York that is not either Broadway or Off-Broadway. That's hundreds of productions, so I was thrilled to be one of only 6 men nominated for the award.
|This hangs on the wall of my New York branch. Yep, I'm THAT guy.|
Ever since opening my NY branch, I've ducked the daunting challenge of finding representation (I never used an agent in DC). But even with the knowledge that my career would not likely progress very far without one, I avoided looking for one. I was told by more than one "well wisher" that, if you're over 30 and don't have an agent, you'll never get one. But once this nomination came out, I took the opportunity to contact about 20 agents, and the one who responded actually signed me.
Inevitably, the addition of this important aspect of my career meant another important aspect had to be addressed: my headshots. I find the task of getting and keeping appropriate headshots to be dismal, so I rarely do it. Current headshots ranged from 6-10 years old (2-4 years is supposed to be the maximum age of your pictures). With Agent Renee's input, I spent the final part of 2017 getting new shots. The lovely and talented Clinton Brandhagen, who has taken my shots for years, spent all day with me and snapped over 1000 pics. Cutting that number down was mind numbing, but after several torturous weeks, I settled on the pictures which I'm sure will attract all sorts of attention.
I'm hoping these shots will improve my chances of getting "into the room," as Renee says. Looking at the stats for 2017, I certainly could use some help, particularly in avoiding the dreaded Equity Principle Audition, otherwise known as the cattle call. I keep track of all the auditions I attend, the vast majority of which have been these general, union-mandated calls.
So while the year was terrific for finding old friends and for some truly unique artistic endeavors, I'm ready to call 2017 dead and buried. Bring it on, 2018, but remember: I'm taking notes.