How Daveed Diggs of ‘Hamilton’ Spends His Sundays
How to Be Rejected
Justin Taylor at HowlRound
An Interview with Jessica Hecht and Alexandra Silber
(currently playing mother and daughter in the 2016 Tony-nominated revival of Fiddler on the Roof)
Creativity Is Much More Than 10,000 Hours of Deliberate Practice
Scott Barry Kaufman at Scientific American
A Writer's Room: Irvine Welsh
New York Times
The space itself is really four areas: a library-type room with a large desk I can cover with a manuscript; an alcove with my decks and music; a smaller office with a whiteboard and reference books; and a balcony where I can sit outside and write in the sun, counting my blessings that I don’t have a real job to do. As much as I like this place, I try not to get too attached to it, and I therefore do a lot of work in coffee shops and on public transit. It’s important for me to be able to write anywhere and not get too precious about trying to chase the fool’s gold of optimum conditions.
It's a thrilling time for me. I'm about to enter full-time freelance mode. This is something that I haven't had to do. Three years ago, I received my MFA from the University of Houston. Since then, I've been at the American Shakespeare Center, doing a variety of mostly early modern plays in rotating repertory. For two of those years, I was touring across the country (off and on). I've worked with some incredible folks on some incredible plays.
But it's time to shake things up a bit.
My post-ASC life is starting to sort itself out--at least until Thanksgiving.
Starting at the end of June, I'm going back to Houston to play the Chorus in Henry V and Verges in Much Ado About Nothing. It's a quick six-week gig. I'm going to play with many "artistic cousins" from the Houston program.
After that, I have a few weeks off. I have grand dreams of making some theatrical pilgrimages to places like The Shaw Festival or American Players Theatre. But I'm not sure how my budget will allow for that. Or perhaps I'll just set up camp at a beach somewhere to read and rest. Or maybe I can make all of it work.
At the end of August, I'll be going into professor mode. I'll be an interim professor for a friend who will be on maternity leave. I get to cover three classes at Randolph College. Once that's up, I'll be directing their fall production of All My Sons by Arthur Miller.
The college job will be busy, but will allow for a lot of free time. I'm hoping I can go out on a lot of auditions (I've been doing a fair amount of video auditions, which aren't ideal, but they can get work) in the Philly/DC area--shoot maybe even New York.
WHAT I'VE BEEN READING
The Actor and the Target by Declan Donnellan
A Sense of Direction by William Ball
The Portrait of a Lady by Henry James
The Bellwether Revivals by Benjamin Wood
All My Sons by Arthur Miller
WHAT I'VE BEEN WATCHING
The Office (recently finished watching the entire series--never done that before)
Last Tango in Halifax
WHAT I'VE BEEN LISTENING TO
The new Lumineers album
A myriad of playlists on Spotify (both of my own creation and others)
Audiobook of Richard Flanagan's The Narrow Road to the Deep North
THEATRE I'VE SEEN
It's tough to see a lot these days, but I caught a dress rehearsal of Bloody Bloody Andrew Jackson, and it is absolutely bananas (this is a good thing). ASC audiences are in for a wild ride.
I'm looking forward to seeing Twelfth Night and King Lear too. I love those plays oh so much and some of my favorite actor friends are in them.
So he leapt into action. He learned Burr’s big songs. He read up on Hamilton. He dressed to kill.
“You have to walk toward the things that make you alive,” he said.
The show’s director, Thomas Kail, took note. “He was coming to play,” he said. “He was inspired.” But, just in case, Mr. Odom aggressively pursued Mr. Kail as “Hamilton” progressed. “I didn’t hide any of my cards,” he said. “I would text Tommy after every single reading: ‘I love this part.’ ‘I want to stay with this part.’”
(Read the profile in the New York Times here.)
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