Faking Your Way Through FronteraFest
Dos and don'ts for talking about Austin's annual fringe theater event
Lacey McCormick
Article Tools
The fact that you haven’t been to the theater since your high school’s production of Into The Woods shouldn’t keep you from issuing bold proclamations about the art form. Expressing opinions, after all, is the right of everyone—not just those who are informed. With Austin’s premier fringe theater festival FronteraFest about to celebrate its sweet 16, Decider asked some of its participating playwrights, directors, and performers for tips on how to sound like an expert, even if you don’t know stage right from left.
PLAYS
What you should know: Although this is the format most people think of when they picture theater, it’s hardly the only game in town—and that’s especially true at a fringe festival, which encourages experimentation. But even though it’s common, expressing enthusiasm for the traditional long-form play won’t brand you a newbie. The artist’s goal remains the same as it’s been since before Shakespeare: Tell a good story. Maggie Gallant (Our Angle In Heaven, Salvage Vanguard Theatre) just wants the audience to “have a reaction to my work. I want them to experience different emotions.” Lucky for you, emotions are innate.
What you should talk about: Daniel Huntley Solon (Sex, With Benefits, The Blue Theatre) advises commenting on the play’s effectiveness at striking a balance “between the spectacle of the stage and the power of words.” Max Langert (Really Mature Relationship, Hyde Park Theatre) is more specific: “‘Story arc,’ ‘depth of character,’ ‘sacrifice,’ and ‘revelatory’ are good starters, if you can string them together.” Gallant also advises breaking up awkward silences by mentioning the lingering influence of Chekhov.
Dead giveaways to avoid: Comparing plays to movies or TV shows. While many playwrights do draw inspiration from other art forms, unless you’re positive a play was lifted from an old episode of Doogie Howser, M.D., avoid non-theatrical mediums altogether.
What you should know: Although this is the format most people think of when they picture theater, it’s hardly the only game in town—and that’s especially true at a fringe festival, which encourages experimentation. But even though it’s common, expressing enthusiasm for the traditional long-form play won’t brand you a newbie. The artist’s goal remains the same as it’s been since before Shakespeare: Tell a good story. Maggie Gallant (Our Angle In Heaven, Salvage Vanguard Theatre) just wants the audience to “have a reaction to my work. I want them to experience different emotions.” Lucky for you, emotions are innate.
What you should talk about: Daniel Huntley Solon (Sex, With Benefits, The Blue Theatre) advises commenting on the play’s effectiveness at striking a balance “between the spectacle of the stage and the power of words.” Max Langert (Really Mature Relationship, Hyde Park Theatre) is more specific: “‘Story arc,’ ‘depth of character,’ ‘sacrifice,’ and ‘revelatory’ are good starters, if you can string them together.” Gallant also advises breaking up awkward silences by mentioning the lingering influence of Chekhov.
Dead giveaways to avoid: Comparing plays to movies or TV shows. While many playwrights do draw inspiration from other art forms, unless you’re positive a play was lifted from an old episode of Doogie Howser, M.D., avoid non-theatrical mediums altogether.
IMPROV
What you should know: Austin has a reputation as a burgeoning improv town, and one of the keys to its success is stylistic diversity. The two main schools of improv are devotees of Del Close and Keith Johnstone, and scenes in other cities tend to pick one and stick with it. Austin troupes incorporate both polished performers and organic improvisers, and Shana Merlin (Get Up, Hyde Park Theatre) says, “Those options make us stronger.”
What you should talk about: Besides referencing Close and Johnstone, discuss the difference between Chicago-style and narrative, character-based improv. Merlin also says, “You’ll sound like an insider if you comment on the performer’s ‘space work.’ That’s what we improv nerds call mime, and there’s a general agreement that there’s never enough of it. Say something like, ‘Their scene work was really grounded, but I feel like they could have done more with their space work.’”
Dead giveaways to avoid: Believe it or not, insisting that it must have been scripted—because there’s no way people could just make that up—doesn’t give props to the performers. It makes you sound like you missed the point.
What you should know: Austin has a reputation as a burgeoning improv town, and one of the keys to its success is stylistic diversity. The two main schools of improv are devotees of Del Close and Keith Johnstone, and scenes in other cities tend to pick one and stick with it. Austin troupes incorporate both polished performers and organic improvisers, and Shana Merlin (Get Up, Hyde Park Theatre) says, “Those options make us stronger.”
What you should talk about: Besides referencing Close and Johnstone, discuss the difference between Chicago-style and narrative, character-based improv. Merlin also says, “You’ll sound like an insider if you comment on the performer’s ‘space work.’ That’s what we improv nerds call mime, and there’s a general agreement that there’s never enough of it. Say something like, ‘Their scene work was really grounded, but I feel like they could have done more with their space work.’”
Dead giveaways to avoid: Believe it or not, insisting that it must have been scripted—because there’s no way people could just make that up—doesn’t give props to the performers. It makes you sound like you missed the point.
MOVEMENT-BASED PERFORMANCE
What you should know: Movement-based performance and dance have a few similarities, but there are important differences. Spank Dance Company’s Ellen Bartel (Dance Carousel, Salvage Vanguard Theatre), explains, “Movement-based theater involves non-trained movers and places them inside choreography with gesture, steps, mime, and technique.” There’s usually a story involved; “dance” is more abstract.
What you should talk about: “Talk about the ‘rawness’ of form and the ‘daringness’ of the actor,” Bartel says, and you’re sure to wow with your perceptiveness. Don’t be afraid to dust off the classics: Although in some circles an Andy Warhol reference is cliché, bringing up his Factory performances will ingratiate you here. But if you want to be cutting-edge, Bartel promises a cryptic reference to “what’s happening in Minneapolis right now” marks you as extremely savvy.
Dead giveaways to avoid: Pre-judgments. Repeating variations on "”That was really… different” will make you come off as closed-minded.
What you should know: Movement-based performance and dance have a few similarities, but there are important differences. Spank Dance Company’s Ellen Bartel (Dance Carousel, Salvage Vanguard Theatre), explains, “Movement-based theater involves non-trained movers and places them inside choreography with gesture, steps, mime, and technique.” There’s usually a story involved; “dance” is more abstract.
What you should talk about: “Talk about the ‘rawness’ of form and the ‘daringness’ of the actor,” Bartel says, and you’re sure to wow with your perceptiveness. Don’t be afraid to dust off the classics: Although in some circles an Andy Warhol reference is cliché, bringing up his Factory performances will ingratiate you here. But if you want to be cutting-edge, Bartel promises a cryptic reference to “what’s happening in Minneapolis right now” marks you as extremely savvy.
Dead giveaways to avoid: Pre-judgments. Repeating variations on "”That was really… different” will make you come off as closed-minded.
ONE-PERSON SHOWS
What you should know: One-person shows take a variety of forms, from character-based monologues to revealing confessionals to poetry or spoken word, all with a good deal of stylistic diversity. But no matter what form the show takes, its success is determined by how well the performer connects with the audience—unlike other types of performance, which hinge on how well actors connect with one another.
What you should talk about: Since these all involve a single person acting without someone else to play the foil, this medium often takes itself a bit too seriously. This drives some performers, like Erin Molson (Am I Freaking Job?, Hyde Park Theatre), up the wall. “Curb the bullshit,” she recommends. Disdainfully whispering to your companion about how “self-serving” a show is will prove you can discern the gems from the crap.
Dead giveaways to avoid: “I could do one of those!” Spike Gillespie’s Dick Monologues (The Blue Theater) are frequently met with responses like this, which raises the question: If it’s that easy, why don’t you?
What you should know: One-person shows take a variety of forms, from character-based monologues to revealing confessionals to poetry or spoken word, all with a good deal of stylistic diversity. But no matter what form the show takes, its success is determined by how well the performer connects with the audience—unlike other types of performance, which hinge on how well actors connect with one another.
What you should talk about: Since these all involve a single person acting without someone else to play the foil, this medium often takes itself a bit too seriously. This drives some performers, like Erin Molson (Am I Freaking Job?, Hyde Park Theatre), up the wall. “Curb the bullshit,” she recommends. Disdainfully whispering to your companion about how “self-serving” a show is will prove you can discern the gems from the crap.
Dead giveaways to avoid: “I could do one of those!” Spike Gillespie’s Dick Monologues (The Blue Theater) are frequently met with responses like this, which raises the question: If it’s that easy, why don’t you?
