[NoHo Arts District, CA] – In this month’s Soaring Solo blog, Jessica Lynn Johnson talks about “The 4 Roles Every Solo Artist Must Play.”

“We are all actors playing different roles in different phases of life. But we must try to play each role to perfection!” -Avijeet Das

Having worked on hundreds of solo show productions over the last 20+ years, I have seen the common problems that arise for many solo artists. 

There are the solo artists who wrote an absolutely eloquent script, but because they spent far too long in the writing process, they did not remember those beautifully crafted lines when they stepped onto the stage. This was because they did not give themselves enough time to memorize.

There are the solo artists who created a fantastic play, memorized and rehearsed it, but dropped the ball when it came to getting the word out. Consequently, they ended up performing their show in front of only a handful of people.

There are solo artists who drafted a brave, raw, vulnerable show but did not ruthlessly edit their script. These artists wound up with a runtime that was far too long and had people discretely checking their watches and anxiously awaiting the end of the show. 

Unfortunately, there are still many more illustrations that I could give of the various ways in which solo artists fail to balance the roles that they must embody in their productions.

These cautionary tales may have you wondering how to write a compelling script, memorize and rehearse it aptly, and also have it be well attended.

In today’s blog, I am going to illuminate the 4 primary roles that you possess within you: the Writer, the Editor, the Actor and the Producer.

You must create boundaries and balance within these 4 roles as a solo artist in order to be successful. After we dive deeper into these 4 primary roles, we will then examine why it is very important for each of these roles to have a finite contribution to the creation process.

I find that most highly motivated solo artists that I work with can produce a preview-ready solo show within six months when they follow my formula below. That being said, I will be mapping out the timeline for each role using a six-month framework in which the solo artist is working on their solo show nearly every day. Depending on your specific personal schedule constraints and other responsibilities, you may need to adjust this proposed plan according to your own life. 

Let’s jump in with our first of the 4 roles every solo artist must play.

THE WRITER

(Timeline: the Writer kicks off our six-month trajectory and is involved for the first 3 months of the process. At the three-month mark, they hand over all of their writing to the Editor.)

The Writer within you needs to be given a tremendous amount of freedom. This phase is all about exploration, expression and experimentation. The Writer needs to be able to say too much, go on for too long, and meander until they find their way. The Writer needs to play with structure and style, but be married to none of it. The Writer needs to be wild and imaginative. The Writer needs to be selfish and risk taking. The Writer cannot worry about offending people, outing people, saying unpopular things, oversharing, being too raw, or any other concern that might censor them in this infancy stage. The Writer needs to help you heal by getting all of your emotions, traumas, and dramas out onto the page. The Writer needs to purge on the page. The Writer needs to be able to say every last thing they think might possibly wind up in your Solo Show because once they hand their pages over to the Editor, the Writer needs to exit the room.

THE EDITOR

(Timeline: the Editor takes over after the Writer has been given a full three months to write. The Editor will have one-two months to edit and shape the script.)

The Editor needs to first thank the Writer for all of the excellent (and not excellent) material they have written and then politely escort the Writer out the door so that the Editor can take over. The Editor is not nearly as warm and fuzzy as the Writer. The Editor is not as non-linear and experimental as the Writer. While the Editor understands the play must have heart, depth and vulnerability, the Editor equally understands that they have deadlines and runtime restrictions. The Editor is very aware that there is an eager Actor and a passionate Producer who need them to hand over a polished script with ample time to rehearse, memorize and promote. So, the Editor cannot be precious about the writing. The Editor must look at story and playwriting structure. The Editor must eliminate redundancy. The Editor must be willing to kill the darlings if they do not further the plot, add to the entertainment value, nor work to resolve the dramatic question. The Editor must consider how the writing will impact interpersonal relationships, the solo artist’s career or job security. The Editor must consider if the content will lead to therapy on stage or navel gazing. The Editor must question if the Writer is telling the solo artist’s story or someone else’s story and be sure the script stands in integrity. The Editor must read each page aloud and get a strong sense of the overall runtime. The Editor is brutal, but only because they want the solo artist to succeed and they need to hand over a complete script to the actor.

THE ACTOR 

(Timeline: the Actor becomes involved one-two months from the preview performance date and continues their role through the performance.)

The Actor excitedly takes the script from the Editor. The Actor respects the process that came before them. The Actor does not start rewriting, adding or subtracting from the polished script that the Editor has provided. While there may be rare moments when the Actor is memorizing or practicing the blocking that they might discover something in the script that needs revision, the Actor must ask themselves, “can this revision be made after the Preview performance or must it happen now? Will the time it takes to make this revision subtract from my rehearsal time or my memorization time?”. The point is that the Actor does not take script changes lightly and that such adjustments are the exception and not the rule. The Actor grasps that a Preview performance will teach them (and the rest of the Creative Team) a great deal about what is and is not working in play, and that those adjustments can be made post preview. The Actor understands that if the script continues to change, they can never dig deep into the story as a performer and their acting will suffer because of this. The Actor will open their hearts to the emotional journey of the characters in the solo show. They value that memorization allows them to leave their heads and enter their hearts and bring the story to life on stage. The Actor works with their Director to bring their body into the blocking and create interesting stage pictures. The Actor delves deep into each character that they are portraying so that they can convey their truth. The Actor focuses on their solo theatre craft and technique and giving a powerful performance.

THE PRODUCER

(Timeline: Starts on day one of the six-month trajectory and stays consistently involved throughout the entire process when pragmatic concerns must be prioritized.)

I am introducing the Producer last. However, truth be told, the Producer will come in and out very consistently throughout the process. Before the Writer can get very far along, the Producer needs to help put a motivating stake in the ground by scoping out venues to rent for the Preview performance or submitting to festivals to host the World Premiere. The Producer can focus on the business side of things when the Writer feels blocked, or the Editor needs a mental rest, or while the Actor needs to step away to restore their emotional vessel. The Producer focuses on the logistics, such as marketing, putting dates and deadlines on the calendar. The Producer reminds the Writer when the Editor needs all of their writing. The Producer reminds the Editor when the Actor needs the finished Script. The Producer gathers the assets for submissions, building a website, making social media posts, and all of the behind-the-scenes business it takes to get a solo show off of the ground. The Producer will consult the Writer and Editor for a show synopsis or a tagline. The Producer will research graphic artists to determine who can capture the spirit of the show in your marketing materials. The Producer will look at the costs of your production and help to create a budget. The Producer will get the word out about your performance date by creating email blasts, posting on social media and sending text messages. The Producer will put together your creative team and handpick your director, publicist and stage manager.  The Producer will set up your ticketing platform or a fundraising campaign. All in all, the Producer is the brains behind the operation when it comes to all of the business-related responsibilities you hold as a solo artist.

Now, we have explored the 4 primary roles you will play as you become a fully integrated solo artist. Some solo artists may choose to delegate aspects of the aforementioned roles. Yet, more often than not, a solo artist will be tasked with fulfilling those roles and responsibilities themselves. So, if that is the case for you, then I want you to give each of these roles the respect and reverence they deserve for their unique time and talents within your creative process. Creativity is messy, and keeping these roles and timelines cleanly separated might not always be possible. However, it is important to recognize that if they overlap too much, or if any one of them are not allotted their fair share, there will be negative consequences. 

The Writer won’t be able to discover the heart of the story if the Editor is peering over their shoulder, censoring them or reminding them of a page count.

The Editor won’t be able to fashion a professional script for the Actor to memorize if the Writer keeps sneaking back into the room to insert old lines that were edited out because the Writer is being too precious with their words. 

The Actor won’t be able to fully tap into the emotional world of the characters or polish their solo theatre technique if the Editor is so perfectionistic about the final script that they begin cutting into the time the Actor needs to prepare.

The Producer will run out of time or will simply be too embarrassed to invite people to see the show if the Actor is struggling to memorize the lines or has sloppy technique because of a lack of rehearsal. 

I could go on and on and on with the ramifications of wearing any one of these hats too long or not long enough. Hopefully, this month’s blog demonstrates how vital it is to provide the 4 roles every solo artist must play with its own space and time to succeed. This will allow you to be profoundly proud of the professional solo show that you create.

Let this information encourage you to continue down the solo path. It 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

Enjoy these Solo Theatre Resources to Further Guide You on Your Solo Journey!

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Utilizing thought-provoking writing prompts, Jessica will lead you in writing exercises that are sure to assist you in the development of your solo show.

A one-person play is not typically written in one fell swoop. Rather, the Soaring Solo Methodology teaches that the creation of solo art is much like that of creating a Mosaic…one beautiful piece at a time.

All that is required to attend this inspiring event is a willingness to explore, having a pen, paper, or some other means of capturing your thoughts, the ability to access Zoom, and signing up on this page as your official RSVP.

We look forward to having you join the Soaring Solo Community in this event because your story matters!

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No matter where you are in the creation of your solo show, idea phase, curiosity phase, full draft written, touring the festival and college market, BEST NATIONAL SOLO ARTIST and founder of Soaring Solo, Jessica Lynn Johnson, will meet you where you are at and take you to the next level! All that is required to attend is a willingness to explore, a pen, and some paper. No previous writing or performance experience necessary, and no need to have written anything to bring to class. Each week Jessica will guide you in exercises to help generate and stage NEW material! So come and meet other creatives in a supportive space for expression and exploration! The class is ongoing and so you may pop in and out as you please as long as you RSVP BY CLICKING HERE for this FREE ONE-PERSON PLAY CLASS.

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Schedule an Online Coaching Consultation with Jessica Lynn Johnson to discuss the possibilities for your solo show!

Jessica brings her 15+ years of solo theatre expertise to work privately with solo artists from all over the world on an as needed basis.

A 1 on 1 Consultation is for you if…

-You are curious about creating a solo show, but you need writing prompts to help you generate material.
– You are tossing around ideas for your solo show, but you need some accountability and encouragement to commit those ideas to the page.
-You have already written some material, but you need expert feedback on editing, story structure and play formatting.
-You have a great first draft, but need guidance on how to utilize multimedia and solo theatre technique in order to make your show a dynamic piece of solo theatre.
-You already premiered your solo show and now you want some tips on how to tour colleges and festivals, and garner accolades and great reviews!
-You have heard great things about Jessica’s work and you’re curious about hiring her as a Director & Developer for your solo show, but first, you want to feel her out and see if she is the right fit for you and your project.

Wherever you may find yourself on your solo journey, Jessica will help you overcome whatever immediate obstacle stands between you and your solo success.  

If you resonate with many of the things on this list, then take the next step by emailing SoaringSoloArtist@gmail.com for more information.

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