Season 6

This past week as Anne of Green Gables went into tech rehearsal and we finally had our first public performance, I was reminded that there is a very particular important step that happens as you leave the rehearsal studio and finally start working on stage and that is the introduction of costumes. For me as an actor the adding of costumes is a big step forward in the development of my character. It informs how I move, how I stand or sit, and gives a sense of class or position, even the confidence my character has. And so today I’m talking with someone who does costumes for a living and shares with us the true artistry that goes into this element of theater making.
Since moving to NYC from Michigan, Adam Stocker has made costumes for Broadway, Off-Broadway, cruise ships, and even Disney. Lately, he's also been advocating for workers rights and focusing on inequalities in theater that affect the costume industry. And this was actually how we connected on Instagram, as he was creating posts and messages to find solutions for a more equitable future.
Learn more about Why I’ll Never Make It at whyillnevermakeit.com 
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Why I’ll Never Make It is hosted and by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a Top 25 Theater Podcast on Feedspot and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance. 
Background music in the episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.
 
 
ICONIC BROADWAY MUSICAL COSTUMES
Clothes make the man — and the woman — as the old adage proclaims. And that is doubly so in the case of theater. Those who act on the stage will tell you that the costumes are the final piece in their transformation into their characters. The work of a great costume designer is to establish personality, time, place, and attitude through the right clothing. And the work of stitchers, pattern makers, and technicians like Adam Stocker is to bring the designer's vision to life (and make it last 8 shows a week for months, even years, on end). Over the many decades of the Broadway musical there have been some amazing costumes on the stage, but there are a few standouts that have achieved legendary status. Back in 2020, Broadway Direct took a look at 14 of Broadway's most iconic musical costumes.
 
Final Five Questions with Adam Stocker
After our lengthy interview on the ins and outs of costume-making, Adam answered five final questions on the inspirations and advice he's received throughout his time in theater. You'll find his answers and more on the WINMI Blog.
Follow Adam: Website | Instagram 
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For the past four weeks I’ve been in rehearsals for a new musical adaptation of Anne of Green Gables. During that time I even got Covid for the second time and had to miss several days of rehearsal while I was recovering. In fact, I wasn’t the only one who got Covid during the rehearsal process, so it’s been quite a journey for the creators and the cast as a whole and putting the show together. But we’ve now done all the blocking and scene work and are headed into tech rehearsals this week.
With that in mind I wanted to revisit a conversation from June 2020 with a playwright who is still just getting started in his own journey as a writer, an actor, a director and producer. Cris Eli Blak has remained one of my favorite guests and was someone who actually found me and requested to be a guest on the podcast. I’m so grateful for him reaching out and for the very personal, honest, and at times uncomfortable conversation we had. We talk about the writing process of bringing a show from the page to the stage as well as what it means to him to be a Black writer in theater today. He was only 21 when we sat down for this interview, but his insights and life experiences show maturity and wisdom far beyond his years. 
Topics covered in this episode:
 - Do The Right Thing 30 Years Later 
 - Spike Lee on HuffPost Live 
 - The Brother's Survivor short film 
 - The World Changes Through Art 
 - Our Duty to Confront Racism in Theater Industry 
 - "Like Father, Like Son" on the Logue Lounge 
 - All-White Production Of HAIRSPRAY In Texas Raises Eyebrows 
 - Should There Be All-White Productions of HAIRSPRAY? 
 
"I want to give a shoutout to the people who push me, drive me, motivate me and hold me accountable. So, this goes out to my mother. This goes out to my grandfather. This goes out to my grandmother. This goes out to my sister. This goes out to my aunt. This goes out to everyone who came before me. This goes out to the late great August Wilson and Lorraine Hansberry who are on my personal Mt. Rushmore. And this is to everyone who wakes up and turns their dreams into goals and their goals into realities, for everyone who struggles and keeps going anyway."
Follow Cris: Instagram / YouTube / Medium 
Follow WINMI: Instagram / Twitter / Website / Blog
 
Cris Eli Blak Answers the Final Five
After our conversation, Cris answers the Final Five. He shares why he'd love to teach and his dream to be in CATS as well as what he learned from Tyler Perry.
A transcript of this interview can be found at the WINMI Blog and is available thanks to those who support this podcast.
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Among the many repercussions of the Covid pandemic, it caused actors, including myself, to question our purpose, our abilities, and our own belief in what it means to be an artist. Well, today’s guest had many of these same doubts and questions well before there was any pandemic affecting our industry. He felt an internal struggle between what he wanted to do and what he thought he should to be doing.
Brian Patacca is a life coach and podcaster as well as a non-denominational minister, but he started out as an actor, grinding it out, going to auditions, looking for representation. And he shares three stories of how he let go of expectations and allowed himself to find his purpose, to find his true calling. In the process he had to let go of plans and the very clear path he had laid out for himself. But in doing so he found a joy and fulfillment beyond anything he had anticipated. 
Get a copy of WINMI’s free ebook Creative Wisdom. 
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Check out Artist Resources and follow WINMI on Instagram or Twitter.
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Why I’ll Never Make It is hosted and by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a Top 25 Theater Podcast on Feedspot and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance. 
Music in the episode by Kai Engel and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.
 
 
Artist Spotlight - BRIAN BREAKS CHARACTER
No more romanticizing the starving artist – let’s leave that to Moulin Rouge and Rent. The Brian Breaks Character podcast takes you behind the scenes with people who proudly walk the path LEAST taken. Inspiring industry insiders, working actors, and solopreneurs offer down-and-dirty advice (and lotsa laughs), all while spilling the tea on how to bring home the bacon (or seitan) in a creative field.
Brian proves that when actors and artists follow their purpose instead of playing by a tired set of industry rules (i.e. limiting beliefs), they can skip the drama, generate momentum, and build excitement around who they are and what they love to do the mostest. 
 
 
FINAL FIVE with Brian Patacca
Brian helps actors get what they want without all the struggle. He’s helped actors as “The Representation Whisperer” and through his wildly popular online courses, coaching program, and entertaining podcast, Brian teaches actors how to market themselves authentically, use gratitude to open doors, and ultimately make more money.
Brian is a graduate of Northwestern University, CTI’s Co-Active Coach Training Program, Marianne Williamson’s Teaching the Teachers – and on top of the education you’d expect a coach to have, Brian brings a spiritual and grounding approach to the biz that is rooted in his training as a non-denominational Reverend. And on the WINMI Blog he answers five final questions we didn't get to in this podcast episode, sharing the importance of making an impact as an artists rather than just making it in this industry.
Follow Brian - Life Coach / Instagram / Podcast / YouTube
 
 

This past week I started rehearsals up in Connecticut at the Goodspeed Opera House doing a new musical version of the beloved Anne of Green Gables. It’s a well-known story around the world but especially in its home country of Canada. So in honor of that I thought I would bring a Canadian onto the podcast. 
Ashley Victoria Robinson  is an actress, writer, producer and podcaster, and though she and I won’t be talking about Anne of Green Gables, we do hit upon some of the themes from that story...dealing with the loss of family and how that can impact our lives, finding our place in this world and where we belong, and learning how to control our emotions and our words so that they don’t get us into trouble.
Now, I hadn’t met Ashley until we sat down for this interview, But just like Anne is constantly searching for that kindred spirit, I too found a wonderful connection with Ashley throughout our conversation and thankfully a kindred spirit in this industry.
Subscribe to WINMI and get bonus episodes with Ashley on Supercast
Ashley answers the Final Five questions on the WINMI Blog
Check out the podcast website and follow WINMI on Instagram or Twitter
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Why I’ll Never Make It is a top 25 theater podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a part of Helium Radio Network and a member of the Broadway Makers Alliance. 
Background music in this episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).
 
 
Ashley Victoria Robinson & Unladylike Theatre present The Bearer of Bad News at the 2022 Hollywood Fringe Festival 
Most actors are used to working in a traditional power structure where actors are subservient to directors. There’s a very clear sense of who is in charge and whose opinions matter the most. Ashley met her Unladylike co-founders (Tiana Randall-Quant and Kendell Byrd) under these very circumstances. They found collaboration as the three of them really drew on each other through the creative process.
Ashley recognizes a school of thought in contemporary theatre that is Socratic in its approach, where everyone is equal is therefore more “feminine.” Unladylike Theatre was established by 3 femmes, trying to bring feminine sensibilities to every step in the creative process. And so their mission statement is: Reimagining the future through femme-forward theatre.
The Bearer of Bad News is their debut production, which they worked on for about 2.5 years total. Bearer of Bad News explores the intersection of identity and purpose set against the backdrop of a world irrevocably altered by climate change. Unladylike looks forward to future projects as well, whether an update of a classic work or creating fresh new pieces of theater. 
 
Ashley Victoria Robinson: Canadian Hobbit
She's been seen on stages all over the world including: The Wallis Annenberg, Theatre West, Hollywood Fringe Festival, Ottawa Fringe Festival, Youth Infringement Festival, Sock N Buskin, Cupcake Theater, and more. She's also a podcaster like me, hosting the Geek History Lesson podcast (alongside Jason Inman), was even the face of Twitter marketing for podcasters, and is the co-creator of The Red Shirt Diaries.
Ashley has been featured in several international commercial campaigns including Intel alongside The Big Bang Theory's Jim Parsons. On TV Ashley has shown off her acting chops on shows like Good Trouble (Freeform), Snowfall (FX), Pump (Urban Flix TV), and Hotel Secrets & Legends (Discovery Channel). Her comic book writings "Science! The Elements of Dark Energy" and the "Jupiter Jet" series are both award-nominated for Best Graphic Novel. 
 

June is always a busy time for New York City with two major events taking place: one is of course the month-long Gay Pride celebration and the other is the biggest day of the Broadway season -- the Tony Awards. And today’s guest ticks off both of those boxes.
Jerry Mitchell is a prolific Broadway Director and choreographer as well as a gay advocate with shows like Broadway Bares and Kinky Boots, just to name a few. He is also an eight-time Tony nominee, but he is quick to point out that he’s lost out on the award six times. In our conversation, he discusses his creative career, full of fascinating anecdotes, and shares the importance of knowing our worth as artists, loving what we do on and off stage, and the value in saying "yes."
Subscribe to WINMI and get bonus episodes with Jerry on Supercast
Check out the podcast website and follow WINMI on Instagram or Twitter
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Why I’ll Never Make It is a top 25 theater podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a part of Helium Radio Network and a member of the Broadway Makers Alliance. 
Background music in this episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).
 
Everybody Say Yeah!
You've heard what Jerry has to say about Kinky Boots. Now listen as the musical force behind this Tony-winning show is interviewed by ABC News in Australia. Cyndi Lauper has been a source of celebration and inspiration for music lovers since the 1980s. Then she turned her talents to theater, writing the music for this international smash hit.
 
This Month's Artist Spotlight: Broadway Bares
Broadway Bares’ 30th anniversary celebration, originally set for June 21, 2020, was postponed because of the COVID-19 pandemic. The in-person event is set to return this month and will more bodacious dancers, fierce queens, and sexy starlets.
Broadway Bares was created in 1992 by Mitchell, then a Broadway dancer, as a way to raise awareness and money for those living with HIV/AIDS. In Broadway Bares‘ first year, Mitchell and six of his friends danced on a New York City bar and raised $8,000. Since then, Broadway Bares has raised more than $21 million for Broadway Cares.
“Every dollar donated during Broadway Bares helps those across the country affected by HIV/AIDS, COVID-19 and other critical illnesses receive healthy meals, lifesaving medication and more,” Broadway Cares Executive Director Tom Viola said, referring to last year's online presentation. “As we look toward better and brighter days ahead for everyone, I’m so glad that everyone chose to twerk from home with us.”
 
Final Five with Jerry Mitchell
Nine years ago, Jerry Mitchell received the Abbott Award, a lifetime achievement award from the Stage Directors and Choreographers Foundation. The award is named in honor of renowned director George Abbott and is presented to a director or choreographer in recognition of lifetime achievement. That same year he was also nominated for two Tony Awards for choreography and direction in Kinky Boots. Since then he has lived another lifetime of experiences and shows like On Your Feet, Becoming Nancy, Pretty Woman, and the many subsequent incarnations of Kinky Boots. Read more insights and experiences from Mitchell on the WINMI Blog.
Follow Jerry - IBDB | Instagram 
 

The past couple of weeks have been difficult for this country, once again grappling with gun violence caused by madmen with evil intentions. This has unfortunately become an ongoing issue with people, politicians, and pundits saying a whole lot but doing very little. 
Four years ago this spring, a new play opened off Broadway called Church & State. It dealt with the contentious intersection of God, guns, and politics and featured four actors on a single set. I consider myself very fortunate to have been a part of this production as the understudy for the two male actors. It was written and produced by two former guests of this podcast: Jason Odell Williams as the playwright and his wife Charlotte Cohn as lead producer.
In this special episode, they share the passion and persistence that goes into creating works like Church & State that can actually make a difference in the hearts and minds of audiences, especially on such an important issue like gun violence.
References in this episode:
The Power of Political Theater - Brooklyn Rail 
The Critical Role of Humor in the Grief Process - St. Catherine University
Jason Odell Williams (playwright)
Charlotte Cohn (director and playwright)
Sandy Hook Promise 
Safer Country 
Brady Campaign 
 
Church & State Origin Story - Jason Odell Williams
The seeds for this play date back to 2007. The issue of gun violence in America first became important to me after the shooting massacre at Virginia Tech. I went to UVA (Virginia Tech's “football rival”) and the images on TV of candlelight vigils by Cavaliers for their rival Hokies touched me profoundly. And I realized then, like many Americans, that we had a problem in our country. Guns were a national crisis.
Then the shooting in Tucson where Gabby Giffords was shot. And I watched the news, riveted and angry, scared and hopeless. How could this happen? To one of our own politicians? Will this force Congress to finally take action? When it didn't, I wondered, bleakly, if the response would have been different if something like this had happened to a Republican.* And I couldn't get that dark, nagging thought out of my head.
Then over the summer of 2012, I was talking to a friend from Raleigh, NC about religion and politics and a new seed was planted for this vague idea I had cooking for a play, somehow combing religion, guns and politics. And then in Dec. 2012, the tragic shooting in Newtown. And I'd had enough. I had to turn my rage and fear into action. So I did what I know how to do. I wrote a play.
A month later, in January 2013, I had a first draft of what would eventually become Church & State. I had three friends read the play with me in our living room. We talked about what worked what didn’t. I shared the play with a few director friends who offered some great feedback. And eventually one director, Ralph Meranto from JCC CenterStage in Rochester, read the play saw a lot of potential. He committed to producing it if we could develop it together.
So for the next few months, I’d write a draft, he’d ask questions and make comments and suggestions, I’d do a rewrite and we’d repeat the process. I think it was late 2015 when we felt good about the final product. I then shared the play with two friends in DC who loved it and wanted to do a reading for their Actors Salon. And that was the first public reading, January 2016. I knew then the play was basically ready. (BroadwayBox)
*Just a week after Church & State's Off-Broadway production closed, a gunman walked onto a baseball field at Eugene Simpson Park in Alexandria, Virginia, opening fire on politicians and wounding Republican U.S. Representative and House GOP Whip Steve Scalise of Louisiana and four others. 
 

Of the many actors I’ve interviewed and talked to personally I would say that there are at least two main objectives for most of them. One falls under auditions: getting in the biggest rooms for the best roles. And the second one falls under agents: getting representation that can get you into those bigger rooms. 
My on-camera agent Brian Keith Graziani and I have been working together since late 2020 for a range of projects--from commercials and industrials to TV dramas and docu-series. Brian himself started out as an actor and singer, and just sort of fell into casting, which then led to talent management and representation. While he still loves performing, this new career path has allowed him to have a greater impact on the careers and livelihoods of other actors.
Having had such wide-ranging experiences in theater, Brian is uniquely qualified to guide and represent actors like myself. And he certainly has a lot to say, he’s not one to hold back what he thinks at all, especially when it comes to auditioning, communication, and one of my least favorite parts of this business: self-tapes.
 
Connect with Brian and The Hell's Kitchen Agency - Website | Instagram | Email 
 
 
Audition and Submissions Tips When Using an Agentby Brian Keith Graziani
If you decline an audition through an online system, email your agent as well. They often do not get notifications when you decline for some reason. 
Unless your tape request specifies not needing one, always include a slate (stating name, height, and location).
Be sure to double check casting self-tape labeling requirements (i.e. how to name the video file) and how to submit it (YouTube, DropBox, eco-cast, etc.). Each office has their own system for receiving and organizing submissions.
Be sure to double check if casting specifies they want everything in one file or separate files. If casting doesn't specify, it's probably best to separate files as a safe alternative. 
Double check due dates! Extensions are sometimes possible, but asking for it after everything is due just makes everyone look like we dropped the ball. 
Be open about needing a break. The self tape fatigue struggle can be real and it's important to communicate such a feeling if you ever need a minute to recharge. 
A piece of advice: Say yes and get seen. Unless you feel like the quality of work you're presenting wouldn't present you in the best light, there is always merit to getting into the "room" and making sure casting knows who you are. If you have a major "why" then ask...but remember, every minute spent trying to convince you to submit for a job is a minute that could have spent submitting or pushing you, so trust the process. 
Are any traits that make for a successful actor? The answer is always "the actors who work the most and garner the most fruitful results from auditions are the ones who work with an agent daily to make their expectations clear". Clearly communicate what you will do, and want to do, just as much as what you won't do.
 
 
Final Five Questions
When it comes to theater, Brian Keith Graziani has been many things — actor, singer, casting director, talent agent. And each job has given him new perspective and understanding of what it means to succeed in this very subjective and finicky industry. After sharing his three stories from his time in the business, He also answers five final questions on the WINMI Blog.
 

“There are few things that can cause joy, shame, contentment, anxiety and stress the way that money does,” says Korrena Bailie, Consumer Finance Editor at Forbes. “If your finances cause you stress and anxiety, it’s natural to want to keep this to yourself because you might feel embarrassed or ashamed about the decisions you made.” (NY Times)
Well, one artist who is trying to break down that wall of fear or shame when it comes to money is lighting designer and fellow podcaster Ethan Steimel. And in this episode we both confront the stigma around such discussions. He shares three specific stories of his own financial journey, including how he paid for college and one important money issue that’s come up between him and his wife. 
Subscribe to WINMI and get bonus episodes with Ethan on Supercast
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Why I’ll Never Make It is a top 25 theater podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a part of Helium Radio Network and a member of the Broadway Makers Alliance. 
Background music in this episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).
 
 
Artist Spotlight: Abundance Bound
Miata Edoga is a former guest of WINMI (Season 4) and is the CEO and Founder of Abundance Bound. For over two decades, she has been helping individuals of all backgrounds establish a healthier, more compassionate relationship with their money – whether they are just starting out, starting over, or starting to wonder how they should handle their growing wealth. Lear more about her Financial Empowerment Program.
 
 
This week's BIG NEWS...
Why I’ll Never Make It is now an award-winning podcast, having been recognized by the Academy of Interactive and Visual Arts at their 28th Annual Communicator Awards. WINMI was given the Award of Distinction in the area of Featured Episode for producing a Tribute to Alvin Ailey. He was dancer & choreographer who founded the Alvin Ailey Dance Theater and spent his life preserving the African-American cultural experience through dance and music.
With over 5,000 entries received from across the US and around the world, the Communicator Awards is the largest and most competitive awards program honoring creative excellence for communications professionals. So it is such a thrill to be recognized for the work that went into this celebratory episode on the life and career of a luminary like Alvin Ailey.
 
 
Follow Ethan - Website / Podcast / Instagram