I’m six years old, first grade, PE. We’re trying softball for the first time and I want to swing that bat so badly I can barely stand it. I’m obsessed, like some mouth-breathing drunk across the room who can’t stop staring. But I’ve never swung a bat, and even at six, I don’t want to look like I don’t know how, so I quietly blend into the background. I don’t even try.
Why would admitting you don’t know how to do something feel like failure? To a six year old? It’s not like you’re born knowing how to swing a bat.
This is something I end up doing, over and over, for most of my life. I don’t want to admit I don’t know how to do something because I can’t stand the thought of making myself that vulnerable. And for most of my life I let that get in the way of doing some of the things I want to do most.
Maybe it’s the family of artists who raised you to believe that you’re either born with it or you’re not – although they’re talking about talent. And they never do clue you in as to whether you were, in fact, born with it.
Maybe it’s the hyper-competitive schools where admitting you don’t know how to do something is a ticket to eye rolls and ostracization.
“You don’t know how to do that? What are you, a baby?” You might as well be the kid who wet yourself in home room.
Or, maybe it’s your first work environment where if you don’t know how to do something some other intern gunning for a salary is willing to lie and say they do.
“Me? I know how to do everything. I was born that way.”
I was not born that way, but I’m only just willing to admit that now. And this is between us, so keep it to yourself.
Although, lately I’ve had to admit not knowing how to do things because I need help from my friends who do. And I’m sure you’re thinking, if you can’t be vulnerable with your friends, who can you be?
No one. I can be vulnerable with no one. Unless I’m on stage, and that’s an entirely different thing, and the subject of this story [LINK].
So what’s bringing on this sudden and masochistic thirst for knowledge?
Getting your first show ready for Edinburgh Fringe has that effect. You encounter a litany of things you don’t know how to do, at least if you’re me. You’re on very real deadlines to produce very good work or you have the potential to fail in a very big way. It’s unsettling in a way that encourages you to try new things.
Like real world vulnerability.
So you don’t ask yourself, how could I have reached middle age and not know how to do these things? You already know the answer to that question.
But just as an example, when I’m 20 years old, I’m in a play in New York City. I’ve made my way in with the cool crowd, which is both awesome and high maintenance. You know them: the hot theater girl with legs from floor to ceiling, the super-talented, triple-threat guy, the cool, British, my-dad-is-a-West-End-producer guy.
Then there’s the other crowd, who is really just one person: the enthusiastic, wants-to-learn-everything-about-theater geeky guy.
Geeky guy says, “I can’t wait to graduate and go to a really good acting school.”
Triple-threat guy and hot theater girl whisper in unison – and out of earshot of geeky guy – ”Ugh, acting school. You’re either born with it or you’re not.”
Twenty-year-old Dean quietly makes note to self: “Acting school = not born with it.”
And 23-year-old Dean gives up on acting because he has no idea how to make something like that work in the real world, but he isn’t going to admit that out loud. So he doesn’t go to class and he doesn’t learn those things that would probably be extremely valuable when getting a show ready for Edinburgh.
That much-younger Dean has a luxury that I do not. Time. So I get over myself and ask my friends for help. Help with writing. Help with acting. Help with promotion. Help with all of it because I basically know nothing.
This week I ask a friend to help me understand why I’m doing this. Why this show? Why now? Why Edinburgh?
I aim high because I think that will push me that much harder. This friend is a reporter who has interviewed some of the most prominent artists of the past 100 years. Household names, assuming yours is a house with an interest in art. She’s reluctant because she knows what this means, how hard she’ll have to be on me. She’s one of the toughest people I know, so I won’t get away with any bullshit.
As someone who never wanted to admit not knowing how to do something, bullshit became my greatest skill. And I am very good at it. As someone who reads my work, you might already know this about me.
But no one is good enough to bullshit an old school, tough-as-balls reporter with no patience for it like my friend. That’s apparent from the moment we sit down.
“That’s bullshit,” is the very first thing she says. “You’re telling me the same tired thing that everyone says. I hear that and I’m moving on to the next person because there’s nothing to see here. What makes you worth my time?”
Up to this point of my life, I haven’t been able or willing to answer tough questions about who I am or what I want. It’s too vulnerable, and I’ve been too afraid to discover once and for all whether I was born with it.
Going there hurts, but I’m realizing that hurt is a growing pain. And while I didn’t expect growing pains in middle age, the urgency of time passing me by makes them a lot more tolerable.
I’m also realizing that when you admit you don’t know something, people who do become surprisingly generous with their knowledge. To think of all the things I could have learned in all those years. But this piece isn’t about regrets. It’s about avoiding them.
Why this show? Why now? Why Edinburgh?
Because if I don’t do this now, then I never will. Because I created this show to take to Edinburgh. Because, this show isn’t an end, it’s the start of what I wanted but gave up at 23. Because Edinburgh is the greatest performing arts festival in the world and I need to prove myself there.
And because I couldn’t tell this story when it happened. I would have been humiliated and ostracized. But telling it now isn’t embarrassing for me. I’m over it. Although it might just be embarrassing for the US Department of Justice.
So I’m coming out of the closet as someone who doesn’t know how to do this. And I’m learning that’s how you get it done.
Dean Temple’s comedy solo show Voice of Authority, a true story about getting sued by the US Dept of Justice for $19 million and saved by
the choreographer of the Metropolitan Opera, will be at 59E59 Theaters
in NYC Jul 17–21, and at Surgeon’s Hall at Edinburgh Fringe Aug 2–24.
Follow him on Twitter @deantemple, Instagram @thatdeantemple, and follow the show on facebook.com/deantemplevoa…
In this episode of Big Trouble, actor/playwright/storyteller Octavia Chavez-Richmond gets kicked out of a theater company for letting out her frustrations, and she learns a thing about empathy and always trying your best in the process.
Brought to you by Voice of Authority, my comedy solo show about having the US govt come after you for $19 million you don’t have, at 59E59 Theaters, NYC, July 17-21 and Surgeon’s Hall, Edinburgh Fringe, Aug 2-24.
Octavia’s work has been featured at international film festivals and regional theaters. She holds an MFA in acting from Brown University/Trinity Repertory where she received the David Wickham Playwriting Award. Trinity Repertory awarded Octavia with the Margo Skinner Memorial Fellowship for 2018.
Still images credits in order shown: Chalef Photography, Dean Temple, Mark Turek
My show, Voice of Authority, is about a string of those days when the US Department of Justice comes after me for $19 million. True story. And the song that serves as the core theme of the show is: No damn luck today.
On opening night at the FRIGID New York Festival, the plan is to interrupt that song at the top of the show with a ringing telephone, because there is always someone in the audience who doesn’t turn off their phone despite the announcement, right?
In an ideal world, I’m interrupted during the first verse. I stop, accuse the audience of making things very awkward, and then realize the ringing phone is mine.
Oh! That’s my lawyer, I have to take this. Sorry.
In the real world of opening night, however, the sound cue never comes and I get to the end of the song, which is a surprise I didn’t see coming. I find myself thinking, “I’m gonna have to improv my way around this plot point.”
Which is what I start to do. I’m almost there and boom, there’s my sound cue – classic iPhone ringtone. And it’s loud enough to drown out a jet.
WHOSE PHONE IS THAT?!!
So what do I do now? That is literally what I’m thinking as it happens.
It also happens to be what I’m thinking when I get hit with the $19 million lawsuit. So in a way, I guess theater is a lot like real life. Something goes very wrong, what were your priorities suddenly seem a lot less pressing, and this newfound crisis owns all of your focus.
Sounds awful, right? Except for one thing: You are now 100 percent present.
Some people pay their gurus a lot of money to get that way, and some people pay their lawyers.
When you get it into your head to do something like the Edinburgh Fringe Festival, the Fringe staff is pretty good about getting you to ask yourself, why are you doing this? If you can’t answer the question, you’re not ready.
Aside from the various ways I want to advance my career and my work, my reason for doing this is to become a better artist. A better actor. A better performer. A better writer. Doing a show for 22 days (with only one day off) in front of people who don’t know you will do that and more.
My five shows at FRIGID are just the beginning of that road, and it’s one that has started off bumpy. But we live for moments like this whether we like it or not, because now we have to make a choice, and if we can find the courage to make a bold one, it might take us somewhere we’ve never been before.
I’m in the FRIGID audience at the Kraine Theater watching David Carl and Katie Hartman in their hysterically funny David and Katie Get Remarried. Katie — whose character is needy, narcissist, and biting — is singing a song she wrote about David after a breakup so she can forget him forever. She’s at the emotional peak, about to break free, and David’s keyboard stand collapses, crashing to the floor. Katie stops dead, robbed of her climax, and stares at the audience. David looks her direction with what I read as genuine fear.
In the seats we hold our breath and the tension is excruciating. We’re mostly certain this is a real problem and not a staged one, and now we can’t look away. What are they going to do?
What they do is never leave character. They grab this moment and milk it for all it’s worth. David is on the floor with his keyboard looking like a naughty five year old caught with a broken heirloom. Katie is forcing a smile that burns like the fires of hell.
And we’re still holding our breath.
Until she slowly turns her head his way. We see the fear on his face grow and we’re witnessing theatrical perfection. This stage relationship has become so real and we are all invested in it. All Katie has to do now is throw away line about ruining the climax of the song and the audience comes to pieces.
People on the street could probably hear the laughter outside the building.
So what did I do when my sound cue went wrong? Did I get through it? Absolutely. Did I stay in character? Mostly, but I’ll admit to letting my frustration with tech throw me off my game. Did I handle it as well as Katie and David? Absolutely not. But that’s what I’m working toward, and it’s why I’m taking this show to Edinburgh.
To learn. From what others do. From what I do. To embrace the unknown. To remember to have fun. To go somewhere I’ve never been.
Dean Temple’s comedy solo show Voice of Authority, a true story about getting sued by the US Dept of Justice for $19 million and saved by the choreographer of the Metropolitan Opera, will be at 59E59 Theaters in NYC Jul 17–21, and at Surgeon’s Hall at Edinburgh Fringe Aug 2–24. Follow him on Twitter @deantemple, Instagram @thatdeantemple, and follow the show on facebook.com/deantemplevoa…
Your Edinburgh Fringe show opens an NYC run later this week, but it’s morning, the windows are still dark, your bed is warm and you have no intention of getting out of it. Putting your feet on the floor will put you back in touch with the stress of the show, and you have so few moments where you can feel relaxed, where you don’t feel quite so vulnerable.
And you can’t stand feeling vulnerable. That’s what your show is about.
But you don’t feel vulnerable now, in these last moments of the early morning before the light comes up, and your stress creeps out of the shadows. What you do feel is the rice and beans you had for dinner. They are ready to re-enter the world any second and you have to determine whether they’re going to do that like a loving whisper or an angry tuba.
Because, even though you just celebrated your nineteenth wedding anniversary, you’re still not comfortable with the idea of farting in bed with your wife there. Like I said, you can’t stand feeling vulnerable. At least not in the real world.
Which gets you thinking about your acting coach. She’s constantly pushing you to reach greater levels of vulnerability on stage. Weird thing is, you don’t have a problem with it there. It’s still scary, but more like roller coaster scary. You look out into all that open space, and your stomach drops just as you start to fall. In a theater, when you let yourself go like that, the audience catches you and that connection is thrilling.
And when you fake that vulnerability, you don’t get that. What you get is a ding from your acting coach’s triangle and her saying, “I’m not believing you.”
When you hear that ding this time, your eyes open and it’s light out. You notice two things. You no longer feel the need to fart. And your wife is no longer in bed with you. Did the need just pass? Did something horrible happen in your sleep and now she’s out on the couch? Something like that happened the other day while you were visiting your parents in Florida. You farted so loudly in your sleep it woke both of you up and your wife lustily proclaimed, “Whoa!”
It was a vulnerable moment and you’re still feeling that vulnerability weeks later.
Not that she cares. She comes from a family of world-class crack flappers. It’s an art form in her family. They practically use spotlights for that stuff.
Like that time in Idaho at the Pioneer, waiting two hours for a table. Her brother has been sick out the backside for several days, with devastating effect on your condo. In an attempt to get a table faster by clearing out the restaurant, he does a long controlled crop dusting of the entire bar area. You watch the heads turn as he walks past and one kid whose face is ass-height starts crying, “Mommy it stinks in here.”
You appreciate the art, admire the execution, respect the mastery, but it will never be your medium. You realize you’re the kind of person who’d rather be naked on stage than fart in bed.
You look at the time. It’s 10am. Your wife has been up for hours now, and you just lost the four you were going to use to push ticket sales and organize the rack cards, programs, and posters you need for your opening. You just slept your way into greater vulnerability. Your day just got more stressful.
“Ding,” goes the triangle. “Too much drama. I’m not believing you,” says your acting coach.…
(Pictured, left to right, my grandfather, Baba, great grandfather, and great aunt, and me, center, the disappointing, lazy three year old who has yet to compose his first opera)
It’s a two-hour long train ride into the city to perform for five minutes, and after you’ve finished your dinner – a much-too-salty bag of cashews from the Rite Aid because it’s the only place open at Grand Central at midnight – you hop the train home and become the guy sleeping across three seats of some stranger’s Instagram, generating outrage from a couple hundred of their followers over all that privilege you have.
It’s probably not the right time to ask them to buy tickets to your show, although at the moment I’ll try anything because I have hundreds of seats to fill, and nobody else knows who I am.
If you know me, I’ve already let you know how each one of those seats is generating another layer of panic, and that’s why a friend texts me: “It’s hard to be a star.”
It just so happens to be my birthday when she does, and the magic of Facebook’s database has me on one of those social-media-induced narcissist spin cycles.
So many people remembering my birthday? I am a star!
That lasts a blissful 15, maybe 20 seconds. Then I start to come down and the voice in my head kicks in, the one I named my show after, the voice of authority: you are in no way a star.
That’s why you’re on the train at 2am, you schmuck.
No social-media ego fix can change that reality. And my friend’s text takes on another layer. It’s hard to be a star. I feel that acutely in this moment. Maybe you know that feeling of being confounded by finding, and keeping, an audience. It’s hardly exclusive to acting, every business has to do the same thing, and it’s fundamental to success. There is no stardom without an audience. And no cash flow either.
Maybe that’s obvious, maybe I’m just thick, but at no point in my life as a developing artist has anyone ever explained this to me. Not in the arts in high school. Not at Columbia. Not in any of the study I’ve done since I graduated.
But my friend, she just got her MFA from Brown. Maybe they taught her something no one taught me. Not even my family. I grew up in a family of artists. No one mentioned this. The only thing they ever talked about was that I should do something else because I didn’t have the work ethic to make it in this business.
I work 14-hour days. Often. Often four of them are on the train.
To my family the development of craft is everything. My Ukrainian grandmother, Baba, for instance, was a concert pianist who studied at the Vienna Conservatory. In my childhood she’s at the piano from the time I wake in the morning until the end of the day. And what she sees in me she calls лінивий, the Ukie word for lazy. Give me a break, Baba, I’m six years old and it’s summer vacation.
Baba may have been intense, but I miss her every day.
She comes to see me in a play in NYC when I’m 20. Afterwards she takes me aside and says: “Everything else that you’re doing is the wrong thing. This is what you’re meant to do.”
As an influential member of the Ukrainian diaspora, Baba had a ready-made audience. If she did something, the Ukrainian community showed up. In droves.
I never really thought about it, but I suppose Baba built that audience. She contributed to that community enormously. She taught lessons, organized a festival that just passed its 50th year, fought to preserve the Ukrainian culture and language, and helped create an 11-volume encyclopedia on Ukrainian music defined by region. She gave, and they gave back.
I’ve never found a community like that for myself. Maybe my grandmother is right, maybe I don’t work hard enough. Or rather, I haven’t worked hard enough at some things because I’ve never understood until now how important they are.
When you look at people who succeed today, who build these massive social media followings, it’s easy to dismiss what they do. You can call it dumb, or shallow, or pandering to the masses, but then you’re selling them short for how hard it is to be star. Each one of those people has found and kept an audience. They’ve learned how to communicate in a way that makes people feel like they are a part of something, like my grandmother’s Ukrainian community. And they do the work required to sustain that on a daily basis.
That’s really hard. Now that I’m struggling to learn that myself, I’m awed by how hard it is. But I can find solace in my friend’s text, because I can hear in it how much she believes in me. And I can hear my grandmother’s voice through her, pushing me to work harder because this is what I was meant to do.
Dean Temple’s comedy solo show Voice of Authority, a true story
about getting sued by the US Dept of Justice for $19 million and saved
by the choreographer of the Metropolitan Opera, will be at the Kraine
Theater in NYC Feb 21-Mar 9 (Tickets»), at 59E59 Theaters in NYC Jul 17-21, and at Surgeon’s Hall at Edinburgh Fringe Aug 2-24. Follow him on Twitter @deantemple and follow the show on facebook.com/deantemplevoa…
Dean dressed like a bum and Little Dog* in her stylish down jacket, walking across the pond. Image credit Alex Tuller.
I’m looking for ways to avoid the things I don’t want to do. There’s this long list of practical, business-side things looming over my show, Voice of Authority, before it opens in NYC in February, and then goes to Edinburgh Fringe in August. PR and publicity. Promotion. Audience development.
Just having those things on my to do list stresses me out and my ADD kicks in. The deadlines approach and pass by unmet, and it feels like failure. It feels like empty seats, and the show doesn’t open for a month. Every performer wants there to be someone that handles this for them. But so few of us are at a point in our careers where we can afford that.
This is where I am the moment a friend texts me: “I booked a job in Boston, can you dog sit for me?”
“Sure,” I text back. Dogs are good for stress. I have my own dog, but this other dog is what I need for my stress.
Then I text her, “Hold on one second,” and I text my wife to tell her a friend is asking if we could dog sit over the weekend.
“Okay,” came the response. I read that with the “OK” inflection and not the “okaaaaaay?” inflection she might have intended.
“No problem,” I text back to my friend.
Then my wife texts, “Is it house trained?”
I didn’t ask. Can you imagine having a dog in the city that’s not house trained? What a nightmare.
Also, my wife should text faster.
“It’ll be fine” I text back. “I’ll take care of it.”
I meet my friend and collect her five-month-old, three-pound-max Little Dog*, who shows up sporting a miniature t-shirt and down jacket. Her mom hands me a stack of wee pads. Okay great, I’m all set.
Although Little Dog* is a little disoriented and she misses that wee pad entirely the first night at 1am. I clean up discretely. Puppies make mistakes. No need for the wife to know about it.
And at 4am, Little Dog* misses the wee pad again. Apparently Little Dog* has no idea what a wee pad is. And she has a digestive system the size of peanut.
Have you ever been around a dog that relieves itself every two-and-a-half hours? Because I have not. Not until now.
My dog, Odi, a 40-pound Icelandic Sheepdog, can hold it in forever. We drive to Atlanta from New York with him one time and he was freaked out by the drive and the highway. He doesn’t go once until we get there. Fourteen hours. To me, that’s a dog.
But no worries, Little Dog*. We’ll walk it off.
The first two days we spend hours walking, hours I don’t have to think about PR or audience development, and Little Dog* takes care of business outside. So far, so good.
“There’s an ice storm coming,” my wife says, which sounds like nonsense to me because the sky is crystal clear.
But five hours later, we are covered in a rock hard layer of ice three inches deep, and I’ve learned something new about Little Dog*. Three pound dogs can’t walk on ice or they turn into three pound popsicles pretty quickly.
And you remember what I said about Little Dog* going to the bathroom every two-and-a-half hours? I was so naive back then.
The first crap hits the floor at 4am. The second, while I’m making breakfast for the dogs because I’m up now and I might as well.
“Really? You just went,” I say to Little Dog*. She stares me down and squats. Two feet from the wee pad.
The third time I walk into the bathroom and there she is with another crap. Honestly, I admire the thinking, I come here for this too.
And now she’s eating it.
We find the fourth at noon on the bottom of my wife’s shoe, and she’s starting to suspect that Little Dog* might not be all that house trained. And the 12 paper towels distributed all over the floor, soaking up pee, are reinforcing this idea.
But I’m taking care of it. I have actively chosen to play chamber maid to a three-pound shitting machine who keeps me up all night instead of working on PR and audience development for my show. And now, I have to figure out how to clean the treads of my wife’s shoe while everything outside is frozen solid.
At least I’m not working on PR, right?
In Voice of Authority one of the principle questions is: Are you willing to suffer for something you want? Just as a big a question is: Why are we so often willing to suffer for something we don’t want?
I don’t know how to do PR. Or promotion. Or audience development. So they’re scary. You don’t know where to begin. You don’t know if you sound or look like an idiot. That doesn’t just make those things daunting. It makes me question whether I can even do this show.
If you try and fail, the seats are empty.
If you don’t try, the seats are empty, and you’ve failed.
It’s so incredibly easy to get distracted from the task at hand by the shit in your life, literally in my case. But who wouldn’t rather fail the first way than the second?
If you’re going to have the privilege of being on stage and sharing that experience with an audience, then I suppose there’s a price you’re going to have to pay for that. You can tell yourself it would be more meaningful if you could focus on the performance and someone else would handle the business, but it probably wouldn’t be. At least not until you’d earned it.
And with that in mind, I pull out my computer and start contacting the press about my show, stopping only when I hear my wife scream that, once again, Little Dog* is doing what she does best.
*The dog’s name has been changed at her mom’s request, although true story, I called her Little Dog for her entire visit. That, or LD! It just fit her.
Dean Temple’s comedy solo show Voice of Authority, a true story about getting sued by the US Dept of Justice for $19 million and saved by the choreographer of the Metropolitan Opera, will be at the Kraine Theater in NYC Feb 21-Mar 9 (Tickets»), at 59E59 Theaters in NYC Jul 17-21, and at Surgeon’s Hall at Edinburgh Fringe Aug 2-24. Follow him on Twitter @deantemple and follow the show on facebook.com/deantemplevoa…
My show, Voice of Authority (tickets»), is about getting into big trouble. The US Dept of Justice comes after me for $19 million. True story. So I’m doing a new, very short storytelling series I’m calling Big Trouble, where I ask you to tell us your story.
My first guest is my Here Lies Joe co-star Andi Morrow. Andi is an actor, writer, & director currently living in Los Angeles. She is originally from the mountains of East Tennessee, and recently travelled home to make her latest project, PUSHER. The film, which Andi wrote, directed, & stars in, centers around a young woman who has found herself caught up in the opioid epidemic that is plaguing her Appalachian community. You can learn more at www.pusherfilm.com and www.andimorrow.com.