Check out this interview with me from Works by Women: 

Interview: Erica McLaughlin

22 FEB

Erica Lauren McLaughlin tackles the unforgettable role of Saint Monica in The Last Days of Judas Iscariot by Stephen Adly Guirgis.  T. Schreiber Studio and Theatre’s production of the saintly and sinful play opens tonight at the studio’s Chelsea home.  She also starred in the Studio’s award-winning production of Balm in Gilead, which late playwright Lanford Wilson attended and praised in a post-play talkback.

Erica talks to Works by Women about Saint Monica, Lydia Diamond and her hops for women in American theater.

WBW: You are playing Saint Monica in The Last Days of Judas Iscariot.  What a fabulous role.  Tell us more about your take on her.
ELM: A friend of mine told me I should audition for this play because there was a part for me in it. I heard of it, but didn’t really know anything about it when I read it–so when I opened the pages to Saint Monica, I was immediately in love. Terrified at attempting a three page tour-de-force, but determined to get this role and play it to the max!
 I think at the end of the day, Saint Monica is just a fiercely proud mama. She worked crazy hard on her son, Saint Augustine (as the play says “I nagged and nagged and nagged and nagged till God got so tired of my sh*t that he did save my son”) and look how he turned out. She is so proud she is unafraid of saying anything and speaking up for what’s right, including nagging God on Judas’ behalf, because she knows her faith and dedication is what get’s her through. Don’t get up in her grill, and don’t get in the way of what is good and right.

 WBW: What can audiences expect from the T. Schreiber Studio and Theatre production?
ELM: The unique thing about seeing a production at the studio is that all the actors had to train there in order to audition, so everyone on stage has the common thread of the excellent training and technique that study at T. Schreiber provides. So, everyone does their research, and the specificity of each character will be fascinating to watch.
 Also, you can expect beatboxing, karate chops, feather boas, and S&M. And no, I’m not kidding.

 WBW: What have you learned from Terry Schreiber, director of the play and founder of the studio? ELM: Many things. One that comes to mind is that focus and concentration is key. We warm up as a group each rehearsal and before each performance. Terry believes that is the kind of focus it takes to allow the collective imagination and ensemble work to take flight.
 Terry also loves to laugh. He told us at the first rehearsal to leave our egos outside and have fun. Working with him, especially on a role like this is good fun, he often looks around to see if you are enjoying the joke as much as he is. I usually am.  And it doesn’t hurt that he sounds like Santa Claus when he laughs.

 WBW: Last year you were in T. Schreiber’s award-winning Balm in Gilead — another large ensemble piece — how do the two productions compare? 
ELM: Oooh. Tough question to answer. Like really tough. The ensemble experience of Balm in Gilead changed my life–really. We all became so close I even attended a cast members wedding shortly after. And meeting and performing for the late Lanford Wilson, that whole experience will always have a special place in my heart, it makes it hard to compare it to anything else.
 Ok back to the question: both plays require ensemble storytelling and require the actors to depend heavily on each other. There are again no room for egos. The difference is, the courtroom format of Judas allows each character a legitimate moment to “shine,” but also they are required to keep on task and advance the story–set it up for the next person. There are no small parts, and everybody does the work, and is required to do so diligently under Terry’s guidance.

 WBW: What’s next for you? 
ELM: You mean, this isn’t a Broadway transfer? Damn it. I guess it’s back to the streets. (err…auditioning, of course.)

 WBW: What are the challenges facing women in American theater?
 ELM: Hmm. Well before I rant, put simply, I think: Not enough amazing parts like Saint Monica. (Thank you Stephen Adly Guirgus.) This is probably the first role I have ever played where I get to explore both sides of the way I actually talk (from the gangsta to the graduate). Most of the roles I see in the commercial theater arena these days bore me. But that means we’ve got to encourage writers, both male and female with the support and incentive to create that work. Then we’ve got to get more female producers and directors out there to actually get this work seen.

WBW: What gives you hope for women in American theater?
 ELM: Working with amazing actresses like the ones at T. Schreiber Studio. Seeing playwrights like Katori Hall, Lydia Diamond, and Lynn Nottage dominating Broadway. Seeing performers like Viola Davis transform in theater and on film. It gives me something to look forward to.

 The Last Days of Judas Iscariot runs February 22 through April 8, 2012, Wednesday through Friday at 8:00 pm, Saturday at 2:00 pm and 8:00 pm and Sunday at 3:00 pm.  For more information and tickets, visit www.tschreiber.org.

It's 20 days out from the first performance of The Last Days of Judas Iscariot at T. Schreiber Studio, and I wanted to share my deep thoughts on why you should come and see it. I'm too busy rehearsing and getting ready though, so I will have do this list style:

20 Reasons to buy your tickets right freaking now:
20. I'll be covered in gold sequins.
19. Between all the curse words in the play (most of them said by me), you might actually learn something about the Bible.
18. There may be beatboxing. I can neither confirm nor deny.
17. We have a super hot cast. Who knew religion could be so sexy?
16. Tickets are crazy cheap. Check out my email on ways to save.
15. The super talented playwright also wrote "The Motherf*cker with the Hat", on Broadway last season starring Chris Rock.
14. I've got a 10+ min monologue.
13. Mary Magdalene raps. Yes, that Mary Magdalene. 
12. The set looks fantastic!
11. The seating is around 3/4 of the stage, guaranteeing a great seat to the action.
10. There is an LGBT night and discount! 
9. Jesus is played by a woman.
8. There is a scene set in an S&M bar. Leather chaps.
7. There are at least three pairs of sexy high heels being worn.
6. There is an angel... and she's black. 
5. We use over 10 different dialects.
4. It is directed by the amazing Terry Schreiber, acting teacher of Edward Norton, Broadway director.
3. It will sell out quickly, remember when I did Balm in Gilead here?
2. You are gonna love it.
1. ITS GONNA ROCK!


T. Schreiber Studio presents
The Last Days of Judas Iscariot

The Last Days of Judas Iscariot by Tony Award-nominated playwright Stephen Adly Guirgis follows a wild and exciting trial, set in a court room somewhere between Heaven and Hell.  Two attorneys and a parade of famous witnesses – Mother Teresa, Sigmund Freud and Pontius Pilate – argue over the fate of Judas Iscariot, known for his betrayal of Jesus. Equally pious and profane, the play transcends religion, offering a compelling, gritty and hilarious look at free will, destiny, faith, forgiveness and redemption.
Buy tickets!

Happy Halloween! I would love it if you came and partied with me and supported my latest project! Discounted tickets are on sale now through October 16th!


Begin your weekend long celebration on Friday night at Bulls Head Tavern:
We are partying in costume and raising money to create a shared office space for performing artists!

A small donation gets you access to:
-An exclusive late night happy hour for 4 whole hours with drinks starting at just $3!
-A DJ to keep the party going all night long
-A costume contest and raffle with great prizes including Broadway show tickets, headshot sessions, one on one coaching and more!

The party benefits The Artists' Office, a shared office space where performing artists can work on the business of their art!  (More info on this at www.indiegogo.com/workofyourart)

All actors should be taught marketing, business skills, management, organization, fundraising, social media, bartending, oh… and acting.

After all, it’s not that tough to show up and be a pretty face, right? Just living in New York makes it possible for anyone to succeed as an actor under the right circumstances I mean all you have to do is: workafewstrenuoussidejobs to makeenoughmoney to afford adozenorsoactingclasses, agaggleofexpensiveheadshots, and a honestrealestatebroker so you can sleeponacleancot in Midtownsoyoucanbecloseenough and healthinsurance so youcanbehealthyenough to havetheenergy to getupearlyenough to befirstinline at theopenrequiredEPA for the assistanttotheassociatecastingdirectortothedirector and then hurryupandwait for the phone call.

< /rant>

<…Ok maybe not yet. >

I’d love to be a master of all of these things. I work hard at learning additional business skills to increase my personal value as a performer and my worth to each company that I work with, and often end up wearing multiple hats when working on smaller productions—I’ll do everything from email marketer to assistant stage manager. I do consider it part of the deal of creating collaborative indie theater. And assuming we could all be compensated/rewarded for their contributions, wouldn’t it be great if all companies had skilled performing artists who could work in that way? Or wouldn’t it be even better if I could just use all of the skills to further my own acting career?

More than sturdy bootstraps to pull upward on are needed to develop a community of multitalented individuals, who are then willing to work for peanuts or love of craft. Particularly for performing artists like me, where there is little mentorship by other performers or loyalty from theater companies, we are often going at it alone. I frequently have the feeling that my chosen profession (though thank God I am now getting paid for this) is very professional at all. Occasionally I often even envy business types passing by in briefcases as I slop to rehearsal in my sweats (ok… most of the time I actually like this part). I look at those heading into their offices and just wish I had a place to go where I could receive personalized mentorship while completing daunting tasks like industry mailings, where I could print a resume as I am running out the door, or simply a place to commiserate with others while working on my website.

So then I had this revolutionary idea: Let’s create that space. A place for performing artists to go to work: where they can master the business needs the industry requires. A place where actors like me can receive training, mentorship, communal support. Let’s create a membership-based office space where we can work-out those skills together, or meet with our favorite personal trainer, like at the gym. So I launched this IndieGogo Campaign as a start. I’ve got some awesome supporters on board, including 2amt. With your help, we could:

-create an interactive learning space which contains a small library’s worth of industry information, scripts, sheet music, casting notices, call sheets, sample promotional materials, and more.

- train performing artists on cutting edge technologies, social media outlets, marketing skills and more so that they are empowered to apply the skills to their career, or elsewhere in the workforce.

-instill each member artist with a sense of security and pride that is gained from walking into the office each day to focus on a career that they love.

-create a base camp where incredible theater innovators can meet, provide training and services to our members, host meetings, and more.

- employ numerous out of work actors, musicians, dancers, and more who will then go on inspire others with their art.

I am hoping to rent an office space in Midtown Manhattan, and equip it with:

• Multiple workstations, desks
• Computers with Photoshop, web design creation tools, and more 
• Shared conference room and kitchen 
• Virtual library of usual documents, trade magazines, castings, industry guides 
• Physical library of industry mags, guides, call sheets, labels, and more 
• Necessary office supplies including headshot envelopes, highlighters, staplers, labels, organization tools and more 
• Online calendar for reserving the space and booking consulting sessions 
• EXPERT STAFF during all operating hours to assist members (So we aren’t just helping artists get employed, we are also employing artists who are doing it right)

Consider donating today to help create this place. We could develop a whole army of actor/marketer/promoter/producer/fundraisers, or simply, more well-trained and prepared actors. Either way, the theater community benefits. And the community that develops around the space itself might then create work, support each other, contribute financially, well the possibilities are endless.Make a space so I can get to work.