[NoHo Arts District, CA] – In this month’s Soaring Solo blog, Jessica Lynn Johnson sits down with LA Hidden Gems founder Dan Ruth to talk solo theatre, creative community, self-promotion and supporting Los Angeles artists.
“The greatness of a community is most accurately measured by the compassionate actions of its members.” Coretta Scott King
One of the greatest assets you can obtain as a solo artist is to be surrounded by a compassionate creative community. It may be a one-person show, but it absolutely takes a village to bring our solo dreams to fruition.
When we opt to create all by our lonesome, it is easy to quit before reaching the finish line, or to never even get started because the journey seems too daunting. Therefore, it is vital to cultivate a community that can walk alongside you.
These are your fellow travelers along the solo road who will remind you that you have a story worth telling when the critical voices in your head say otherwise. These are the sojourners who will be seated in the front row of your opening night with a big smile on their face and support in their hearts.
With all of that being said, I have been especially moved by the supportive spirit of one very special solo artist I’ve had the pleasure of meeting through the Hollywood Fringe Festival network. This person attended numerous solo shows during the festival and posted many positive reviews, made nominations and gave awards to worthy solo artists.
Build Your Creative Community One Gem at a Time: A Conversation with LA HIDDEN GEMS’ Founder Dan Ruth
Meet Dan Ruth.
Dan is absolutely someone you will want as a member of your creative circle. He is an actor, writer, director and storyteller who spent 28 amazing years in New York City before moving to the City of Angels. Dan wasted no time in making incredible contributions to the theatre scene in Tinseltown. Dan quickly created Los Angeles Hidden Gems to help buttress theatre and cabaret artists. Dan’s goal with the site is to lift up artists and to draw the attention of Angelenos to lesser-known acts and tomorrow’s stars.
I was so thrilled to learn that Dan is a fellow solo artist himself as the star of the award-winning, critically acclaimed A Life Behind Bars. His original solo black comedy focuses on the soul-sucking restaurant and service industries, and is a dark roller coaster comedy bar crawl. Through gritty storytelling, Dan shares dark comic monologues, interwoven with characters he’s encountered while working and drinking in the bars and dives of pre-Giuliani NYC. His director is multi-award-winning performer-producer-director, Tanya Moberly. Dan performed A Life Behind Bars at The Wisconsin Association of Treatment Court Professionals, The Rustic Theatre in Idyllwild, enjoyed two sold-out runs at Carnegie Stage in Pittsburgh, PA, a sell-out performance at City Winery in New York City, was a part of Whitefire SoloFest 2018 and at the 2018 Hollywood Fringe Festival, and completed a two-year run in New York City at The Laurie Beechman Theatre.
With all of his impressive solo theatre history, I was dying to interview Dan for this month’s blog. He graciously accepted my invitation. Let’s dive in and see what this gem of a man has to say!
JESSICA LYNN: As a solo artist yourself who has been in the industry on both coasts, what advice do you have for solo artists who are just starting out on their solo journey as well as those who are already touring and performing their one-person shows?
DAN: Something to always keep in mind regarding the solo experience: no one else can play you, no one can tell your story because it’s truly yours. It should be the fuel for your creation. Unlike actors who perform in plays and films, with solo performers, it’s personal and audiences know this. The fact that your story lives in your skin says a great deal not only about who you are, but what you choose to offer your audience as a shared experience. I understand the point of the storytelling adage, “don’t tell me, show me,” but I’ve seen some amazing shows where people just look at their audience and tell them a story, and they “show” very little. What I like to say is, “don’t write it, craft it.” Know what belongs and what should be scrapped. It’s a hard lesson to learn, but it’s very important to know that not every moment of your experience is going to be stage-worthy.
If you’re looking for theaters, looking to tour, or looking for connections, only two words come to mind—don’t stop. When you truly embody your story and infuse it with your experiences, what you and your show bring to the table might not be for every theatre. Research theatres and what type of work they focus on. Not every theatre is going to be a custom fit for your show. Also, don’t be afraid to book a solo show in a cabaret space. This was my smartest move in New York City because spaces are difficult and expensive to book. Spaces that are technically considered cabarets, however, are often perfect for the solo experience. Granted, you have to tell a joke about a piano being on the stage, but that’s the least of your concerns, especially when you’re not paying for use of the space.
JESSICA LYNN: Such fantastic advice and I really love the concept of “don’t write it, craft it.” Now, knowing that you have seen a TON of solo theatre, can you tell me and my readers, as an audience member (and reviewer) of solo theatre, what is your favorite thing to see in a one-person show? Any pet peeves?
DAN: I love seeing shows that operate on more than one level, shows that transport me out of the room. Tech in solo shows is always going to be important for adding nuance—to be clear, I’m relying on it heavily for the show I’m producing now—but if a performer can stand on stage alone under the lights and take me to a completely different place, I believe that is the purity of the craft. Performers such as Lily Tomlin, Eddie “Suzy” Izzard, and Eric Bogosian don’t need anything other than their words and the fact that they trust the audience implicitly to go with them on the journey. I also try to keep the performer as far away from a laundry list writing style as possible. I love when I’m watching a performer who throws out something that’s so brilliantly layered, with multiple meanings, that’s laid completely unexpected at the feet of the audience. I’m going to say in the back of my mind, “damn, why didn’t I think of that,” which, of course, translates to, “that was flipping brilliant.”
Pet peeves? We all work hard at what we do, but there’s a reason they call it “work!” Thanks to social media, not only is the solo performer the writer, internal director, lighting designer, costume designer, dramaturg, and prop master, they’re also in charge of promotion. Part of promotion is knowing how to pitch your show, which means the solo performer needs to know how to write a proper press release and how to pitch their show to potential audiences. If there’s any pet peeve that I have regarding any type of pitching, whether it’s solo, television, or film, it’s when the creative entity of a piece stoops to use language such as, “Think When Harry Met Sally meets Mad Max…”
I believe it’s the writer’s job to craft a description of the characters and their story that does not rely on borrowing from other sources. To me, it just sounds subpar and lazy.
JESSICA LYNN: Yes, I totally agree that a solo artist wears so many hats, and that how they promote their work is very important. Great insights! Speaking of self-promotion, for my readers who are just learning about you in today’s blog, what would you like them to know about LA HIDDEN GEMS?
DAN: I started LA Hidden Gems when I moved out here to support Los Angeles theatre and cabaret. It was all based on something I remembered hearing when I was tending bar in New York City’s theatre district. I don’t remember who, but someone involved in the New York City theatre world was overheard saying that “so few words are written about theatre these days.” That statement, I believe, was in direct response to Stephen Holden leaving The New York Times. Mr. Holden was almost single-handedly responsible for lifting smaller theater, self-contained acts, and cabaret acts, and giving them grace and validation by including them in such an important publication. When he left The New York Times, it was a very sad day. I’m certainly not a Stephen Holden, but I do believe in lifting theater and performers and giving them quotable material to help move their performances forward.
It also needs to be said that the level of creativity I have experienced since moving to Los Angeles is staggering. This city is brimming with creative energies.
JESSICA LYNN: Wow, that is a beautiful mission and I love that Stephen Holden’s impact inspired your own contributions. So, what is next for you and for LA HIDDEN GEMS? Anything you want to plug?
DAN: Yes, absolutely! I will be presenting the world premiere of my latest solo experience entitled Southern Goth on October 27th at 8:30 p.m. at The Hobgoblin Playhouse, 1516 Gardner Street in Hollywood. The show is a horror-comedy loosely based on true events when I was going to college down South during the Satanic Panic of the mid-1980s. Southern Goth is brimming with hauntings, history, witchcraft, goth musical references, and paranormal fun, but it’s also an homage to my Mom, who I lost last year. I’d been wanting to write a “spooky, scary” show for quite some time, and after being heavily involved in the Hollywood Fringe this past June, I met several people who turned me on to some scary theater festivals, The Hobgoblin’s Spookyfest being one of them. I cannot wait to perform Southern Goth next month.
As for LA Hidden Gems, the nominations for the “2026 Gem Awards” will be released December 1st, with the winners being announced on my birthday, December 13th.
JESSICA LYNN: First off, let me just say I am so sorry to hear that you lost your mother last year. My sincerest condolences. What a meaningful way to honor her with your solo theatre art. I sadly will not be back in LA until December, which means I will miss this iteration of Southern Goth, but I will absolutely spread the word! It sounds like an intriguing plot for a solo show. As we wrap up today, I would love to know, outside of the entertainment industry, what can you tell me and my readers about yourself? Favorite hobbies? quirks? Special memories? Whatever you want!
DAN: I love flea markets, jewelry, and old stuff—always will. I’m involved in the antique world on both coasts, and will always love creepy-cool Victoriana, which I can always blame on Charles Ludlam and The Mystery of Irma Vep, which I’ve performed on three different occasions. In fact, The Mystery of Irma Vep is the first time I discovered how much fun it is to perform more than one character at the same time. I think that opened me to the world of writing and performing multiple characters within my own material. So, thank you, Charles!
As for a solo performance memory which relates to the rest of this interview, in 2018, I applied to a festival with my award-winning show, A Life Behind Bars, and after quite some time passed, I eventually received a “thank you/rejection” email from the festival. Of course, I was upset at first, but when I discovered that their festival was going to be performed outside at a state fairground in Texas in late August, I didn’t feel quite so bad! Something about performing an intimate autobiographical dark comedy show about alcoholism amid draft beer trucks, sweat and cow poo didn’t seem appropriate for the material. So, chin up, folks. Not every festival is going to be for you!
Thanks for taking the time to interview me, Jessica. I really appreciate it.
JESSICA LYNN: Thank YOU, Dan! I am a lover of flea markets and jewelry too! And thank God for Charles Ludlam turning you on to the joy of playing a myriad of characters. It’s truly been a pleasure to have this conversation with you and I am sure I will see you around LaLa Land in the near future.
Well, solo artists, I hope today’s blog entry has introduced you to a sensational solo artist and member of our creative community in LA. Keep collecting gems like Dan for your solo support network and you’ll go far.
As always, remember that solo theatre may not be easy, but it is so worth it!
Jessica Lynn Johnson
Founder & CEO of Soaring Solo LLC
SoaringSoloArtist@gmail.com
www.SoaringSoloStudios.com
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