“You Can Only Be Funny When You Are Not In Pain” And Other Good Things To Know
We asked five professional actors, singers, and directors to give us the skinny on what they wish live event producers understood.
Fiona Santos & Jason Brantman
Fiona Santos and Jason Brantman began their careers as performers. Jason was part of the opening cast for Disney’s Animal Kingdom’s Flights of Wonder while Fiona was adored by thousands of children at Disney’s MGM Studios’ Bear In The Big Blue House: Live On Stage. For the past 15+ years, they have been the directing team behind shows such as Pachanga and Palmera Live, in Riviera Maya, Mexico, and events such as the US OPEN Tennis ceremonies. Fiona is typically the Music Director while Jason is the Show Director.
Why Do You Do What You Do?
While performing, we both discovered that we had an interest in the big picture, in what happens behind the scenes.
What did you learn as performers that helps you be better directors?
Performers and crew are asked to do incredible things that they have to dig deep for. They are asked to collaborate and always say, “yes, and ...” Our job is to create the conditions for “yes, and ...” It can’t be forced.
A lot of it comes down to common sense; looking around and making sure the team is well-cared for—food, water, breaks. Treat them well. Have a positive attitude.
Breaks go a long way. We work a lot in Mexico on short-term, high intensity projects. If we didn’t take breaks, we would never see the ocean. Our team could literally be in a ballroom 24 hours a day and never experience the local culture. So several years ago we instituted a 20-minute sunset break. It doesn’t matter what is going on, at sunset the entire cast and crew goes outside and watches the sunset together.
Cast and Crew?
Yes. The crew starts earlier than the actors and is expected to work on the set during the breaks or come back early. In Mexico, where there is no union, there are a lot of crew expectations. When we realized that, we took steps to consider their needs. For example, it is customary for resorts to make the crew leave during dinner and eat somewhere else. The resort doesn’t want crew near guests. We fought that. We insisted that the crew be included in the catering provided to the talent. It was hard dealing with this cultural issue, but after it happened, the crew’s level of investment was 100% better. They felt respected, and we could see the difference in their work. They went out of their way to make special requests happen.
Morgan Russell
Morgan Russell is the Director of Interactive Design and Performance for Mursion, a company that uses VR and AI to conduct soft skills training sessions around the globe. Before she began innovating training, Morgan spent years innovating interactive performance at Walt Disney World, SAK Theatre, and University of Central Florida’s Interactive Performance Lab, entertaining at countless venues, in countless performance styles. Throughout our conversation, the parallels between Morgan’s current responsibilities and a theater director’s responsibilities were direct and clear.
A teacher-in-training interacts with specialists playing the roles of students with Mursion’s AI & VR technology.
Credit: Mursion
Why Do You Do What You Do?
People are endlessly interesting. I love being in a space that is human-centered. At Mursion, we use 3D avatars and environments to facilitate and improve human interaction. All of our current scenario designers come from acting, improv, and interactive performance backgrounds. They care deeply for the learners and the trained Simulation Specialists who conduct the individual sessions and are constantly seeking to improve the effectiveness and ethics of the experience.
What should the team who organizes the sessions understand?
This industry is brand new. Every time we do something, it is being done for the first time, so we are constantly learning. Our entire organization works together to lead with empathy, curiosity and to raise the bar. Mursion’s other core value is the courage to be human. Sometimes we deliver simulations on highly emotional or difficult situations. There must be ongoing thought about what it takes to do this well. This past year, Mursion’s Learning Department brought together a panel of experts on Diversity, Equity, and Inclusion to inform the development of our first DE&I standardized bundle of scenarios. It’s important to approach this as ongoing forever work!
What should the team who organizes the sessions understand?
This industry is brand new. Every time we do something, it is being done for the first time, so we are constantly learning. Our entire organization works together to lead with empathy, curiosity and to raise the bar. Mursion’s other core value is the courage to be human. Sometimes we deliver simulations on highly emotional or difficult situations. There must be ongoing thought about what it takes to do this well. This past year, Mursion’s Learning Department brought together a panel of experts on Diversity, Equity, and Inclusion to inform the development of our first DE&I standardized bundle of scenarios.
“It’s important to approach this as ongoing forever work!”
Anne Hering is the Education Director of the Orlando Shakespeare Theater, but her career path included several years performing a partially scripted, partially improvised musical show at the Adventurers Club at Walt Disney World's Pleasure Island. Her comments relate to her work at the club.
Why Do You Do What You Do?
It is exciting to work without a net, to not know where it’s going to go. I was afraid of this type of work for years—afraid of failing—but once I was okay with being in the moment, it was very freeing. Adrenaline is fun.
What does the creative team that supports you need to understand?
You can only be funny when you are not in pain. Flamboyant costumes can be hard to work in. People need to breathe. Wool costumes are built to last and will not disintegrate in Florida’s heat, but the skin needs to breathe.
The Adventurers Club Lounge
Credit: Disney
What do event producers need to know?
“It is unfair to everyone involved—performers and guests—when the nature of the event isn’t fully explained to the guests beforehand. The experience set-up at the Adventurers Club was effective. The marketing, the exterior signs, and the interactive puppets in the entryway all broke the ice and supported the entertainment inside.
But convention work is a different story. When the convention planner doesn’t communicate the nature of the event to the guests, trouble happens. Sometimes the audience didn’t know interactive comedy would be happening. A lot of people hate this. You approach their table in costume with a big smile and they just want you to go away. Once a man said, “You are confusing me with somebody who enjoys this sort of thing.” It wasn’t his fault. He was not prepared.
Also, producers need to know that men at a convention behave differently then when they are at home. When my character, Ginger Vitis, would act “ditzy,” some men took that as permission to behave badly.
Wally Swiatly
Wally Swiatly has been singing professionally in Chicago ever since a friend entered him in a karaoke competition—and he won.
Why Do You Do What You Do?
I like connecting with people. My mom called me her “sentimental son” because I always gravitated towards emotion. Sure, I can sing the fun dance songs and get people moving, but I’m drawn to perform emotional songs that people can connect to. I want to say, “Hey, this is what I’m feeling right now. Let’s feel it together.”
What do event producers need to know?
Performers are your creative people. We need confidence to do our best. If you don’t feel the confidence from your producer or director, if they are too hard on you, it is difficult to do your best work.
Fiona Santos and Jason Brantman
How can event producers support performers during the show, whether it is a one night gig or a multi-year run?
Fiona Santos & Jason Brantman
When possible, double your cast and crew. COVID-19, and the very real possibility of having to quarantine team members at any time, has forced us to cast deep. The plus is that this gives team members the chance to rest their voices and bodies. As a result, they are giving better performances.
Wally Swiatly
Managing people is one thing—manage their time, manage their schedule—but don’t manage how they do their job. My current band leader has given me so much freedom. It’s why we’ve been so successful.
Anne Hering
You can’t get a sense of how an improv show is going by watching one set every few weeks because every blessed minute is different. I used to get notes about one performance. The notes were correct, but they only reflected that minute in time. In the trenches, there are so many changes. Come hang out for a week and watch the show. Then give me notes.
Morgan Russell
Provide opportunities to Pause, Reflect, and take a breath. We have a Host Avatar who leads the learners in self-reflection as an encouraging, warm advocate for the learner. Internally, we offer de-roling spaces and a bi-monthly Sim Gym for our Simulation Specialists as a safe space to step back, play, reflect on, and perfect our own practices.
Anne Hering as Queen Elizabeth in Shakespeare In Love at Orlando Shakespeare Theater
Final Thoughts? Hot Takes? Cocktail party stories?
Fiona Santos & Jason Brantman
Give credit where credit is due. We love it when someone else creates a solution.
Anne Hering
Never make a joke at the expense of someone’s pride.
Morgan Russell
One time I missed a real-life parent/teacher meeting because I was playing a parent in a simulated parent/teacher meeting.
Wally Swiatly
Connection is more important than perfection. When the song is done and someone looks up at me and smiles, I know I’ve done a good job.
Play us out Wally, with one final song.
Wally Swiatly
Reinvention is more fun with friends. Got a topic you want to see on Destinology?
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