AVOIDING THE TEDIUM OF GROUNDHOG DAY
While being part of a long-running show has obvious advantages, there’s a danger that the repetition can trigger a switch to autopilot, resulting in anxiety and disconnection. Counsellor and coach Sophie Carter has some great advice on how to keep it fresh and not become prey to what she calls ‘long-showitis’.
After 35 years and a monumental 13,981 performances, Phantom of the Opera took its final bow on Broadway on April 16. This got me thinking about the challenges of being part of a long-running production, and how the Groundhog Day nature of such contracts remains unspoken. While no one wants to sound ungrateful for ongoing employment, the reality is it’s tough to recreate a show hundreds of times and make it look and feel as exciting as opening night. The repetition of a long contract trains an individual’s muscle memory to the point where dialogue, lyrics and choreography become so ingrained, they can be performed without conscious thought. Subsequently, this autopilot creates a form of performance anxiety that can leave you panicked and disconnected.
If you have ever come off stage with little memory of what occurred, but with a detailed shopping list for your post-show visit to Woolies, you’re not alone. Luckily, there are things you can do to keep the show fresh and engaged for you, your colleagues and the audience.
Challenge your brain
Your mind can sometimes switch off because it’s no longer stimulated by what you’re doing on stage. To counter this, ensure your beautiful brain is stimulated during downtime, rather than wasting your precious hours off. Maybe undertake further professional study or training, learn a language, start writing that show you’ve been thinking about.
If you’re on autopilot, take time to discover more about your character. There is always something new to be found, so dig deeper and uncover fresh things about your role and its relationship with others. This will give your performance a renewed energy and focus. Also, revisit the importance of the show. Does it have historical or political significance that needs further exploration, like Hamilton or Evita? Why was the show written? What story are you telling, how do you fit within the storytelling and whose voice do you represent?
To keep engaged on stage, some veteran performers pretend there’s someone significant in the audience and ‘dedicate’ the show to them. If you’ve experienced having a celebrity in the audience, think back. Did it prompt you to feel more ‘on’ and connected with the material? Or choose someone important in your life, pretend they’re in the audience and ‘do the show for them’.
Change it up
Being beholden to a plot means your backstage traffic rarely changes and dreaded monotony can seep in. Do you wait for the same cue for the same journey back to stage, passing the same people on the way? Don’t allow your four-plus hours in the theatre to be identical every night. Change it up and get out of the backstage routine. Go to the wings early, watch parts of the show you usually don’t see, talk to a new company member.
If all else fails, approach your resident director, choreographer, MD or dance captain. Tell them you’re feeling stale and ask for ways to inject freshness into your performance. Don’t be afraid to be honest. It’s their job to keep the show looking its best and they will want to assist you in doing that.
And finally, remember the reason we perform is for our audiences. It’s easy to feel disconnected from them in a big sea of black. It is our job to move audiences − to laugh, to cry and everything in between — and if you’re on autopilot, there’s a good chance they aren’t getting your best show. If possible, really look at the audience. Watch their responses. Be aware of your effect on this group of people who have spent time and money to experience the story you’re telling. Hopefully this reminder will bring you back to the present and reconnect you with the joy and privilege of what we do.
Sophie Carter runs Centred Stage, which provides counselling for those in the performing arts industry. She is a proud member of MEAA’s Entertainment Wellness Committee. This is an edited version of an article that was originally posted on www.centredstage.com
