Visualize Good Housekeeping's gold medallion here...

Why is it so difficult to allow time for the creative process? Is it that I am afraid of what I will hear when I get quiet enough to listen to what my inner voice is saying? Is it that I feel guilty taking time away from my company that sorely needs me to show up and figure out ways of making money for it (and consequently me and John...) Or is it that I am truly an unmotivated person with no real ideas about what to write?

All of the above and I think the latter statement is the voice that I am afraid to hear when I get quiet. As my beloved sister says - the fear of being No Talent Scum. When she says that, I want to tackle her and hold my hand over her mouth, or plug my ears and scream "LALALALALA i'm not listen to you"... It feels like an afront to all that is holy in the Law of Attraction. "No," I cry..."you are inviting "No Talent" and certainly "Scum" into this sacred studio space!" I enter into a downward spiral of demands that lead to less and less worthy behaviors, that must be met for my plummeting self-esteem in its dark journey to feel vindicated...See I was right... I really am Not Good. In turn I spend more time in the company of folks that love to dig around in the muck with nothing much good to say. (though today I had lunch with Three Wonderful Women and feel very upheld!)

These episodes are usually triggered by a moment when I am confronted with my own frailty. Today I acknowledge that I am feeling really fragile. In being an artist there is an inherent need for approval yet I must also be capable of spending hours upon hours alone in my studio doing what it is that I have stated I am... Actress & writer. The only approval I need is my own. Yes, I am writing this show. Yes, I do not feel up to the task. Yes, my story is meaningful, even if only for me... yes, yes and yes again.

It is 3:30 pm on Tuesday. My beloved stepson left this morning, and there were calls that I should have not taken and a lunch I could have postponed to a non-Eva day...

So at this late hour in the day, I sit down and at least got this much down. I am available for these next three hours. And unlike my need for a Seal of Approval saying how picture perfect I am, I shall write for a while untamed.

*** updated at 7:00 pm ... Three pages written... feeling pretty darn good about it too...***

The Lynn's have it!

Its been a hectic week. One that while not conducive to sitting and writing, it has produced some really valuable things.

First and probably most importantly is that having my Tues/Thurs boundary breached by Art of the Song work and travel days, I have reinforced them with a certain strength of mind and conviction.

Second, and also most important given the opportunity, I have spoken with a couple of insightful people about the project and the conversations have led to an expanded sense of what the piece can become.

Third, and most daunting is that I have committed to having something ready to show at the Filling Station's SOLO fest in July... yes of 2010. I haven't promised something FINISHED. Just something.

I start Lynn Miller's class with two other solo artists on Monday, which will kick it into a whole other gear entirely. Exciting...

Until yesterday, I was really looking at this as an historical piece dealing specifically with Eva's experience. If I do that, I might as well write fiction as so little is known about her other than her poetry and a few journal pages that have been found.

But last night I was visiting with my friend Lynn Hamrick and started telling her some of the stories and experiences I had on my first trip to Ireland. My trip was filled with some hilarious experiences... well in hindsight funny but at the time... kind of a mind f*#&. She leaned forward and looked at me intensely and said, "You have to include ALL of this!"

Eva had great faith and conviction. And loyalty. I had no faith, my convictions were misplaced and loyalty was something that I knew very little about. So the confluence of the two energies created a vortex. It feels right to explore it...

seeking perfection in an imperfect art form...

We just finished the second week of our run with The Love Song of J Robert Oppenheimer. Its really cool to feel it maturing and relaxing into a groove. We all know where the changes are, there is no more sense of low grade panic backstage. Its been replaced with a sense of timing and flow.
There's a thing that happens in the theater now ... the air gets a dense feeling to it, as if it has a texture. Every performance is different... carrying with it the emotions and feelings of each cast member.

For that reason, I think its an imperfect art form. Doesn't seem to be possible to "Do It Right." You can say the words in the right order, get on stage at the same time every night, always do the blocking and the physical business that has been planned, but its never the same. Its always evolving, opening and closing, deepening and moving on... That's what makes it so exciting. The dynamic between two performers is always compelling and always a bit different. As much as I want to hit the same notes every night, they are always colored with a slightly different hue, depending on what I have going on... The beauty is, its seems to add depth to the characters.

I have gotten over my fears of total and abject failure. The key was trust. Trusting that I am growing and developing the character, with in the parameters of the directors vision, but growing none the less.

Wondering what is going to happen after closing... no show lined up... probably need a break... do I want one... nope.

All's well that ends well...

We close Passenger on the Ship of Fools tonight. Its been an amazing and humbling experience.

The good news is I have fallen in love with acting again.

Our great friends Kelly and Michael were here last evening and we talked about the play in detail. I portray Katherine Anne Porter between the ages of 40 and 65 or so as well as several other characters that factored in her short stories and in her life, including her grandmother and her father. Many of the changes happen quickly and on stage, though the transition to Hemingway... yes, that Hemingway... does get the benefit of an element of surprise as I enter from off stage. Kelly asked about how the transitions happen. This is where I realized that the fire in the belly was back... its in the physical leads that the characters come alive. Each one has a specific physicality that once established, informs the words and makes it feel natural.

For example, the Condessa (a drug addicted faded beauty) is all torsion through her torso. So a twist to the spine and a specific defensive, victim hand gesture triggers her next beat. The Father is dissolute, his spine is slack and the gesture one of need for a cigarette, the boyfriend David is all loose limbed, prep school and country club confidence. He is a smooth mover with grace and agility. Hemingway, takes two steps at a time, is barrel chested and maybe has a prostate kind of thing going on... Katherine Anne herself is light in stature, bird - like by description though incredibly strong on the inside. She has survived things that most would have never been able to brook. Her world is one of fabrication and yet she is completely present. She fidgets with her pearls in an almost constant state of reassurance.

It is so fun to find these physicalities and let them trigger the needs of the character propeling them into the next beat and causing the words to happen.

This is the joy I am experiencing, the territory that I was only able to tap in a surface way before. I am really looking forward to the next show The Love Song of J. Robert Oppenheimer to deepen the work. This time with one character - Kitty Oppenheimer.

The whole process feels as if I have been in a blender. I've been tumbled free of blocks and a carapace that has built up over time. It is humbling and thrilling at the same time...

I don't have to choose, do I?

I've been in the midst of many things lately. It seems that there is always a lot to do, but the most fortunate thing is that I love all of it. Last week was fund drive week at Art of the Song Creativity Radio, which featured a Live event, a grant application and our annual letter to fans who support our mission of encouraging creative expression.

Art of the Song Live from the Filling Station in Albuquerque was too fun. Brad Stoddard and Tony Della Flora (Duke City Shoot Out) put together a team to shoot the event for ABQ's new cable access channel 26 Encantada TV. A four camera shoot is not easy with a lot of lead time and a budget. What they pulled off in three weeks, with no budget was amazing. Can't wait to share it with you when the edit is finished.

What does this have to do with acting? I went to a SAG Converstations program last fall with the cast of Breaking Bad. One thing that was repeated there and I've heard elsewhere a million times, is that if there is something you would rather do than act, then do THAT. It made me wonder... because I love doing my radio show, and I love acting. I think that, while I might never be Terry Gross or Laura Linney, I can live an incredibly fulfilling life being me doing both careers. As a Gemini, choices are stressful things. Both is usually the answer. Except when it comes to dessert...oh yes, and husbands.

Gurney rangling & wild rides

What a trip... I shot the episode of In Plain Sight on Monday. It was really fun... I am a perfectionist and always feel that I could/should have done better. The experience of working at high speed navigating a gurney around two corners and through two sets of double doors while talking in a doctor like fashion was the most valuable exercise. Nothing can prepare one for that except experience. Which I now have! The cast and crew were great. It will air in a couple of weeks, so I'll let you know!

The biggest lesson learned was again about concentration and focus. When that is in place, all the bits and pieces can fall where they may. My performance will have a level of professionalism that is sustainable and leads to more work.

Now here's the greatest challenge... overcoming the mental stuff that wants me to believe that I don't really want to do this "acting thing." It's the voice that made me quit two or three times before. It's the voice of low self esteem that has in the past succeeded in getting me distracted. The distraction manifests as the sudden overwhelming need to start another career, or eat cookies and drink caffeinated beverages. Which would in turn create anxiety and prove to me that I am not cut out for this business. I am grateful to have a really amazing support group that I can express the fears of inadequacy to and move on. Quitting is not an option this time.

I did succumb to a part of a fruit tart and some real ice tea and what a surprise, I was total mess at the end of the night. Another lesson learned. That's small potatoes compared to where we could have gone, yes?

Looking forward... audition today for a movie. Teaching a lot of workshops and getting great creativity coaching clients on board...and its Spring. So beautiful.

Spaghetti western revelations

An odd old voice came up in class last night. At the end of each month we tape our scenes and they get uploaded to The Natural Act website. (I’ll post a link when this month is ready) I was just sitting there, enjoying watching scenes, inspired by my colleagues in class bringing out their best work when I was ambushed by a host of negative messages from some deep, dark, distant place. “You’re not pretty enough for this business and genetically it’s only going to get worse” “who are you kidding? You’re 50!” and the best one “you’re really setting yourself up for a major disappointment.”

Hmmm I say. I had eaten a huge plate of spaghetti and meatballs for lunch because it was really cold and I couldn’t get warm. Sitting there hours later feeling the result of wheat sensitivity, and blood sugars crashing about me, I had the where with all to not respond. I mean these are the voices that had been with me a decade and a half ago, when I was 12 pounds lighter, 15 years younger and seeming light years away from any sense of truth about myself. So, I got up to do my scene with the miraculous Linda Martin feeling old, fat, out of place and more than slightly brain damaged. The amazing thing is, I got up to do my scene. I enjoyed the work and in a matter of time was pretty much swept away by the joy of the moment.

Part of my training as an actor was to get sober. 16 years ago I had to choose between a life of any kind and a downward spiral into a special place reserved for those who are not able to believe in the good things people tell them, or the wonder of the world around them or the potential of amazing transformation that lies with in us all. It still shocks me that all these years later, those voices can still muster the energy to attempt to lay waste to my foundation. But they are old and weak and feeble and no match for my joy... what a relief. I had some protein when I got home and fell asleep with John watching Law & Order. Got up and went for a really good long run... take that demon, voices...