GTA Blog

By Jeilianne Vazquez & Ethan Baez

Emmanuel Cologne is a senior BA Theatre major who recently made his professional debut as Paul in A Chorus Line at City Springs Theatre Company. We spoke to Emmanuel about the audition process, rehearsal process, and what learned from this experience.

What was the audition process like?

It started all the way back in October 2021 with an open call video submission to City Springs. I sent it in mid- to late-October, and I didn’t hear anything for a while. I saw that they were having the Atlanta callbacks the first week of December, and I hadn’t gotten called back at all for that. I was like, “well, that’s that’s weird,” but I remembered that on the sign-up sheet, there was a place to check if you’re a local, and I was like, “well, I live an hour away, so I guess I’m technically not a local,” so that was a stupid mistake. Essentially, I didn’t find out I got called back for the show until maybe a day or two after New Years. I got the email and I was like, “oh my god, I have to go to New York City!” That was a big thing, that the callbacks were in New York City, and I had no idea that they were in New York.

I called my dad and said, “Hi Dad, Can you loan me some money for a plane ticket?” and he did, so I just dropped everything. I went to New York, had my first professional callback experience at Ripley Greer Studios in New York City. You look out the window of the studio, and the Empire State Building is right there. Turn a couple blocks past Times Square, and you’re in the theater district. It was just really surreal for me to be there.

I arrived in New York a day before and then I prepped everything for the next morning. I go in to the audition and a lot of people who already know each other are there and I’m the only one that’s like, “I literally don’t know anybody here right now.” It’s my first time ever “breaking out into the industry.” So I sign in, I warm up and then we go into the dance call and there’s Baayork Lee with her four-foot-ten self just standing there ready and excited to teach us the opening combination and the ballet combination. I was like, “Oh my god, I don’t care what happens at this point. I’m just really excited to be here.”

We learn the opening and she works us to the bone. We do it over and over and over and it’s in this very encouraging environment. It was very exciting. That’s the first round and then they ask you to stay and sing. So I dance my heart out, did everything and we eventually had to do groups of two. We go to the holding room and we wait to see if they want us to sing for them. I got called back to sing and I said, “Oh great, made it pass the first round!” That’s fantastic. That’s what everybody wants. I went in and sang and it went great. After that, I just let it go. I said, “Whatever happens, happens.” Later, I got the email that I got called back for the role of Paul San Marco. I was like, “Well, this is everything that I wanted fully. Holy crap.”

So I get prepped with the sides, the whole monologue, the song, everything. I go in the next day, I’m not called until like five o’clock. Mind you, my flight is at like 7:30-7:45pm. I go in and they see us—it was me and two other guys called back for Paul. We go in one by one. We do the song, the monologue, everything. I thought it went okay, I did what I could do. I was really nervous because when Baayork was right there and you’re doing this iconic piece, you’re freaking out.

I ran all the way through midtown Manhattan to get to the airport. I didn’t hear for two days and then I got the call that I had gotten a part as a swing and understudy for Paul, Mark, and Larry. I was like, “Oh great, I’m in the show!” I get to be in the opening and I get to understudy three principal roles. Then, a week later, I got a call and they asked me if I would like to take on the role of Paul. Like, are you kidding me? Yes! Oh my god. It was crazy. I was freaking out, I had my dream role.

I was so nervous about the process. You get what you’ve been asking for for such a long time, but now I’m having this huge case of imposter syndrome because I’m gonna be in a room full of people who’ve been in Broadway shows and they’ve been in national tours. They’ve done the thing. I’m this random guy from Gainesville, Georgia, who’s never done anything like this before. I’ve been wanting it for a long time, particularly this show. I’m prepping mentally and everything. Then we have the first day rehearsal and I’m so, so nervous. But everyone was really nice and welcoming and I just ease myself into the process.

What an incredible story! How did you celebrate your achievement?

Well, when I initially got the swing understudy contract, I remember I was at Allie Hill’s apartment with Grace Deedrick and Abby Hand (all GTA students) and we did a toast and it was cute! But then when I got the call that I got Paul, I was in the car. I was in the parking lot of the Hosch and the first person I tried to call was my mom but she was at work, so she didn’t answer. I called Allie Hill and I said I got Paul! She was on her way to go to Michael Jablonski’s tap class and she went to the Hosch saying, “Where are you? We’re gonna go tell Michael!” So we ran to Michael’s class and I was like, I got the part! Then I took the tap class.

How was the rehearsal process different from your classes or being in shows with GTA?

I would say that GTA prepares you for professional setting. However, these were very professional people that were on top of their game. The good thing is that Baayork allowed us room to make mistakes. She really made it clear that this is rehearsal, and it’s okay to make choices. If you make a mistake, you’re in rehearsal for a reason. There was this huge sense of professionalism that was really inspiring and really motivating. It made you really want to step up your game every time you were in rehearsal. But of course, we’re still theatre people. During our breaks we joke around, laugh, talk. It wasn’t all super serious.

How long was the rehearsal process?

It was a really, really quick rehearsal process. I think we had maybe three or four weeks until we went into the theatre. It was super quick to get all the material in. It was really nice because we learned everything and then we had time to clean everything up.

Did you feel that GTA prepared you to work professionally?

I felt pretty prepared. The only thing that was in the way for me was just those nerves and imposter syndrome. But, once you get through those hard days, I realized I do belong here and once you get through that and you do the work and you do all the preparation. I feel like GTA, and the faculty especially, really prepared me to carry myself as a professional versus just a student.

What have you learned from this experience?

I wanted this role for the longest time and I resonate so much with a role like this. This is one of the hardest things I’ve ever had to do, I was very vulnerable. I’m on stage by myself for like 10 minutes, and it feels like centuries, in one of the few moments in the show where it’s complete silence and it’s just me speaking. I learned how to be very vulnerable and very okay with flooding my emotions out to thousands of people and being comfortable with that. I’m sure there will be roles in the future where I will have moments of, “Should I even be doing this?” But I think now I feel very confident going out there and getting what I want in terms of auditioning and just pounding the pavement. Of course, there’s always still gonna be those nerves, right? For an audition, they’re always will be. But I feel very confident and where I’m going in life in terms of being an artist.

Do you have any advice for your fellow students who are looking to work professionally?

I think one thing this experience has taught me is to trust your gut. If you have that burning feeling inside of you that there’s something that you want to do and there’s something you want to pursue, it’s possible. Just remember that you have to be your biggest advocate, and no one’s gonna put in the work but you. You need to go into the studio, go into the practice room, and use all the resources that we have on campus. Read books about theatre, engulf yourself in what you love to do. Do the work and great things will happen. Talent is great, but it’s not enough. Once you go out there into the real world, talent is the bare minimum. Many people are talented. But are you a hard worker? Can you put in that work? Are you a nice person? Are you kind and get along with people? That’s what matters. Just stay inspired. Keep going.

By Jeilianne Vazquez

 

“Wherever women gather together, failure is impossible” – Susan B Anthony

 

March is Women’s History Month! In celebration of this month, I spoke to senior BA Theatre major Katelyn Zeller and freshman BA Theatre major Emily LaPollo to discuss what it’s like being a woman in theatre.

What does Women’s History Month mean to you ?

Katelyn: I believe it is about acknowledging all of the great achievements women have made throughout history and celebrating the importance of what it means to be a woman.
Emily: To me, it means a chance to celebrate some of the most amazing people in the world. It is a time to bring awareness to the struggles that women have faced and continue to face to this day. Women literally make the world go round. They are strong, independent, and fearless. We deserve a month at the very least to be celebrated.

 

If you could have dinner with three inspirational women, dead or alive, who would they be?

Katelyn: I would like to have dinner with Morgan Marcell, Meryl Streep, and Lily James. I look up to these people for their work in the arts.
Emily: Eva Noblezada, Megan Thee Stallion, and Rihanna

 

What is your experience being a woman in theatre and the arts? Have you faced any barriers and, if so, how have you overcome them?

Emily: Being a woman in the arts is not easy. I have found that in the past I have not been taken seriously and that is something I have to be aware of. I think comparison is my biggest barrier, not just in theatre but in everyday life. I constantly compare myself to other actresses and their styles and I wonder if I’m good enough. In today’s society, social media is notorious for being detrimental to confidence. There are so many women with the “perfect” skin, bodies, clothes, etc. on their feed and the rest of us have to scroll and feel horrible about ourselves. However, I remind myself that all I am is enough and I have to remind myself how amazing I am. We are all perfect in our own ways and a little self love goes a long way.

 

What’s the most important piece of advice you’ve been given?

Katelyn: Always trust in your abilities. Trying and failing is better than never trying at all.
Emily: The most important piece of advice I have been given is that it’s okay to make mistakes. Failure is inevitable and life has become so much easier now that I have learned to accept that.

 

Who has inspired you and helped you become who you are today?

Katelyn: The person who has inspired me the most has been my grandmother. She always encouraged me to follow my aspirations in life and remind myself of how much power I could hold if I just believed in myself.
Emily: Both my mom and my grandma are such strong and beautiful women inside and out. My grandma came here from Italy with my grandfather and they built a life for themselves out of nothing. They have always given us everything, but they didn’t always have everything. That has been super humbling and it taught me to appreciate things more. My mom has always put me first and worked really hard to support me, as a single mother. Both of their sacrifices have helped me to become the best self I can be.

 

What made you choose to study theatre?

Katelyn: This is a question I have always asked myself time and time again and my answer has changed constantly throughout the years. But to me, theatre shows people hope, what life can be, and shines a light on what the world is like.
Emily: I have a general anxiety disorder and it is actually therapeutic for me to take on a role and escape my reality every once in a while. It has become my safe place and makes me feel like I belong.

Costume Designer Pamela Workman is an Assistant Professor at Brenau University. She is the costume designer for GTA’s upcoming production of The Secret Garden, and recently designed costumes for Lexington Children’s Theatre‘s Shooting Stars YouTheatre production of Rapunzel. We ask Pamela to tell us all about this professional opportunity and her process of creating costumes for a fairytale story.

How did this project come about?

This design opportunity came about because I had worked with Octavia Biggs, the director, years ago on another TYA productions. I heard she was in need of a costume designer, so I sent her a text saying “Heard you need a designer. Want to work together again? Call me anytime.” She was instantly on the phone with me and we agreed to work together on Rapunzel.

Did the actor’s ages influence your design choices?

Theatre for Young Audiences focuses on the ages of the audience. You want lots of color and texture and shapes in order to keep Elementary and Middle-School-aged kids interested.

Where did the inspiration for the costumes come from?

The director chooses the final concept for a show. I can offer my input as a designer, but the director has the final stamp of approval. Octavia was pulled towards cubism artwork that was created by the Shooting Stars YouTheatre students. She presented this to the design team and we ran with it.

What elements of the script are shown in the costumes?

The only real descriptions in the script were the long blonde hair that keeps growing. Rapunzel starts the show bald and then her hair keeps growing until it is about 20 feet long. The other description is when Rapunzel dyes all her hair purple and then cuts it off. The main thing about this script is that it rhythmically moves fast and the actors never leave the stage.

What is the process you usually use to approach shows and how did that relate to this one?

I always start with reading the script, then move into a concept meeting. Then multiple design meetings with research, sketches, paperwork, renderings, and troubleshooting. The main obstacle for this production was how to deal with the wigs. I posted in a couple of Facebook groups to get some ideas. In the end, I came up with my own solution of a series of braids that clip on. Twenty-six yards of silk were used for the braids and I used Shibori dye techniques to create them in my kitchen.

How often are you in contact with the director?

I was in contact with the director via meetings every two weeks until the designs were approved. Once the cubism style was chosen, Octavia pretty much let me go with what my brain gravitated towards. Then I worked on my own and built the show. Fellow GTA faculty Terri Becker and Celeste Morris, along with my kids, helped me paint the final looks.

What is the nature of the costumes, in terms of build? Did you get overalls and paint/design over them, or did you build overalls from scratch with designs printed?

I had to invent the Thai fisherman pants. Those don’t exist in life. For the overall dress and overalls I used patterns from JoAnn Fabrics. I took the children’s artwork that was commissioned for this project and had them printed on fabric. Those were strategically placed on the bleached muslin shells, then I drew out and painted to continue the children’s artwork through the entire costume. I never saw the costumes on the actors until I showed up in Kentucky for first dress. That was the first and only time they were fitted into costumes.

The GTA New Works Festival is over for this year but we are still thinking about the beautiful, original work we saw! On Saturday night of the festival, GTA Shorts featured seven short plays written and directed by students and two awards were presented. The Playwright’s Choice Award was presented to Jeilianne Vazquez for her play Mi Familia, and the Audience Choice Award was presented to Halli Rider for her play Truth or Dare. Both winners received a one-year membership to Working Title Playwrights, a new play incubator and service organization providing playwrights with development opportunities, workshops, and networking events. We sat down with Jeilianne and Halli to discuss their plays.

 

Tell us about your play, Mi Familia.

The play is about a Puerto Rican family who are having dinner. Abuelo is back from Puerto Rico while his daughter is separated from her husband, and we see how that affects the two older kids and their relationships with each other.

What inspired the script? Were you drawing from your real life?

They are based on my family, extended family, my latino friends family–basically every family I’ve ever known. I wrote it my freshman year and submitted it to a play festival honoring Latinx playwrights in Atlanta. Unfortunately, it wasn’t chosen, but when it was time to submit for the New Works Festival, I decided to look at it again and give it a second chance. I made some edits and here we are!

At the time you wrote the script, did you already have a writing method, or was this project a step towards creating that method?

This wasn’t my first script for the GTA (I had a play in last year’s festival) but I did have a different approach. This year, I just wanted to write what I know. My process is evolving and I’m discovering what works for me.

What was it like being in the audience of your own play?

It was great! I think if I hadn’t seen any rehearsals I would have been very nervous. But, I was able to go to two of the last rehearsals and I was in awe of the work that had been done. The actors Michelle Stover, Marcello Valencia, Madelyn Moreno, and Juan Suarez were absolutely incredible and were guided by the great Otis McDaniel (director). I was fully confident in them and they exceeded my expectations.

Congratulations on winning the Playwright’s Choice Award. What was going through your head when you won?

I was just in shock! I was extremely happy and grateful. I was just so proud of my cast and director. All the hard work that was put in and they shined! I was just so happy. Latino stories were being shared and honored. I couldn’t ask for anything better.

What’s next for you? Are there any scripts that you are working on?

Right now, I’m working on a full-length play for next year’s New Works Festival. I have some other short scripts I’d like to polish and possibly expand. I haven’t decided if I want Mi Familia to be full-length. We will see!

 

Tell us about your play, Truth or Dare.

Truth or Dare is about two newly found anxious and odd roommates who find themselves out of food and an internet connection. After ordering pizza, they decide to play a friendly game of truth or dare to pass the time. 

What inspired the script? Were you drawing from your real life?

I definitely pulled from my life in small aspects. I was rooming with one of my best friends when Covid first hit, and we both are very anxious people by nature. That is kind of what sparked the idea, and then it kind of snowballed from that.

Something that I would like to point out is that Hollis and Charlie are gender-neutral in the script. I did this keeping high school theatre programs in mind. When I was in high school, we would often have to gender-bend characters because we didn’t have enough guys. I wrote the characters as gender-neutral to allow anyone to be able to play them!

At the time you wrote the script, did you already have a writing method, or was this project a step towards creating that method?

When I first started writing Truth or Dare, I was in my first playwriting class. I had never really written anything before (aside from small creative writing projects) so the idea of playwriting was really new to me. Needless to say, I didn’t have any method for writing. In the class, we had to complete a one-act play as our final, which is where I got most of the material for Truth or Dare. It actually comes from my one-act entitled Hey, Sorry to Bother You!, where the characters play truth or dare in the last ten minutes of the play. My process is still currently evolving, as I am still very new to writing, but I am slowly finding what motivates me and what doesn’t!

What was it like being in the audience of your own play?

At first, I was really nervous because it was the first time I was going to see it all the way through with props and on the Ed Cabell stage. So, it was a little scary at first, but as soon as the actors started, they had such an easygoing energy about them (which is exactly what I felt when I was writing the characters), I was able to enjoy it. A lot of that ease came from the director, Dellan Short. He directed the heck out of it. During the rehearsal process, I tried to make it to rehearsals whenever I could, but I never felt worried that the show wouldn’t be good. I never had to worry about whether or not something in the writing would get lost because Dellan pays such close attention to detail, and makes sure choices from the actors are clean and well read from an audience’s point of view. However, while he pays attention to details, he also allows the actors to find their own version of the character. He’s great at making sure he gives the actors freedom to play while making sure it works for the character.

Congratulations on winning the Audience Choice Award. What was going through your head when you won?

It was a very overwhelming, yet exciting feeling. I’m not sure what to call it. I was honestly just super proud of the people I got to work with (Dellan Short, Molly Van Buren, Olivia Leslie, and Corbin Adriano), cause they all worked so hard, and they made a show that I wrote come to life in the best way possible.

What’s next for you? Are there any scripts that you are working on?

I actually just finished my first full-length play this past semester. It’s called A Spoonful of Chaos, and it takes place in a tiny ice cream shop in Tennessee. It was super challenging to write in one semester, so it is currently in the revision stage. However, I’m going to be submitting it for the New Works Festival next year, and if it gets chosen then you can learn more about it!

 

Today’s blog post is about our newest contributor, Ethan Baez. You may recognize his name from recent posts, where he led the interviews of some cast and crew from Our Town. Today we get to know him!

Ethan, tell us all about yourself.

On February 13th 2001, in Kissimmee, Florida a beautiful baby was born in Kissimmee General Hospital. A couple doors down, I was being pulled out via plunger because I wanted ten more minutes and already my mother had enough of my antics. When I was a toddler, I looked like something a bakery you would call a roll, and yet I wanted to dance when I got older. If you ask me, it’s because I knew my dad would have hated it and even as a toddler, I lived to spite. As I mentioned though, I was in the shape of a circle, not a Zendaya, so that dream quickly died. Then, in middle school, I learned you could be so good at something people would bully you for it. In my case, I’d get pushed around and called a nerd on the basketball court, because I was really good at writing history essays for Mrs. Andrews. I soon learned my designated bullies were not so good at those things, which began to explain a lot. It also explained the origins of my own sarcasm, because I quickly went from coming home with hurt feelings to coming home with vindicated feelings but black eyes.

In eighth grade, I remember having to recite a poem for English class called “Leaves of Grass” by Walt Whitman. I got a B just for attempting it, and although I couldn’t memorize the whole thing, Mrs. J praised my delivery. Then I started writing my own poetry, which I knew was bad, but I also knew I wanted it to be better. I then went to an arts school for my high school years where I learned how writing poetry is painful, so I wanted it more. What I didn’t want was to worry about academics and grades, so in my sophomore year when I was told I needed to fill an elective credit, I chose theater. At that point I had already shown a successful inkling towards performance poetry, and monologues didn’t feel much different than that, so I was allowed to take some acting classes. I also auditioned for Peter and The Starcatcher, in which I used Reuben’s monologue from Oceans 11. This was a rookie move that my teacher told me not to do ever again, but he liked my energy so I played Alf.

The show was funny, a technical marvel, and I made friends. I also got to witness enough behind the scenes drama to last me until my final moments, but the draw of the stage had its hold on me. I played Lt. Shrank in West Side Story, General Hammond in M.A.S.H., Eurydice’s father in Eurydice, performed in a number of director showcases, and did enough actor work to rival the work I was doing to better myself as a writer. When it came time to start thinking about what I was going to do in college, I stressed over whether I’d pursue writing or theatre. I knew I could only do those two things for the rest of my life, but my family could only afford for me to pursue higher education in one of them. This is when I found out about GTA, and when I had an honest conversation with my high school teachers who felt I was a better writer than I was an actor. I made a choice that I do not regret for a second. I still do not know if I agree with them.

Some years later, I am now twenty-one. I’m pursuing a Bachelor of Arts in Theatre, and I’ve joined the GTA Marketing Team to help fulfill my writing itch. You may have seen me as Gonzalo in The Tempest, or in the audience of every GTA show since Legally Blonde. I was the one laughing like a hyena. I still write poetry, but unless you frequent open-mic nights in Atlanta then you have not heard or seen any of it. I also write plays and sketches, one of which will be performed in the GTA New Works Festival along with some other really amazing scenes done by amazing people. I’m extremely happy to be working with the marketing team for the foreseeable future, and I look forward to giving you all the GTA updates all the time.