{"id":748,"date":"2018-04-23T16:36:29","date_gmt":"2018-04-23T20:36:29","guid":{"rendered":"https:\/\/performingartslegacy.org\/kahn\/?p=748"},"modified":"2018-06-10T06:17:22","modified_gmt":"2018-06-10T10:17:22","slug":"blog1","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/kahn\/blog1\/","title":{"rendered":"Future Thinking: Anticipating a Career in the Theater"},"content":{"rendered":"\n<\/p>\n[aesop_document src=&#8221;https:\/\/performingartslegacy.org\/kahn\/wp-content\/uploads\/sites\/53\/2018\/04\/Blog1.pdf&#8221; type=&#8221;pdf&#8221;]\n\t\t[aesop_content disable_bgshading=&#8221;off&#8221; background=&#8221;#ffffff&#8221; color=&#8221;#400040&#8243; floaterposition=&#8221;left&#8221; floaterdirection=&#8221;down&#8221; imgsize=&#8221;cover&#8221; imgposition=&#8221;center center&#8221; imgrepeat=&#8221;no-repeat&#8221; position=&#8221;center&#8221; component_width=&#8221;100%&#8221; width=&#8221;100%&#8221;]\n<p>I was an impatient child, anxious to escape from New Jersey to New York City. When I was finally old enough to take the bus alone to nearby Philadelphia, I started hanging out at the stage doors of the legit theaters. I wanted to meet the theater luminaries I was certain would wait for me to someday join them in a play. There was a group of us who looked at the fans seeking autographs as amateurs, beneath us wannabe professionals. We grew bolder in our efforts to get past the stern stage doormen, even though we had no idea what we would do if we actually encountered our target. I was the most successful. On one particular occasion, I ran past the doorman, opened a door with a star and closed it behind me. There he was, Sir Laurence, Lord Olivier, sitting at his dressing table, dressed only in undershorts, removing his makeup. I was fourteen, and Olivier was in his underwear. He smiled. \u201cDid you see the matinee today?\u201d Unable to speak, I nodded yes. \u201cWould you like to talk about it?\u201d Again, I nodded. He pointed to a<br \/>\nchair. \u201cTake a seat.\u201d I sat. \u201cDo you mind if I continue dressing while we chat?\u201d I shook my head no. The rest of our one-way conversation is a blank. When he was fully dressed, he handed me a small autographed photo. \u201cI\u2019m leaving now. Shall we leave together?\u201d He put his arm around my shoulder and we walked to the exit. Many fans waited for autographs, and among them I spotted my<br \/>\nfellow groupies. I turned to Olivier, offered my hand, and with fake bravado boldly announced, \u201cIt was a pleasure to meet you.\u201d My friends looked on with astonishment. It was my first acting job.<\/p>\n<p>I eventually discovered an easier way to meet my future colleagues. I got the unlisted backstage phone numbers of the Philly theaters. &nbsp;If I called person-to-person from New Jersey, the operator would announce \u201clong distance calling,\u201d and the actor would take the call, probably expecting a family member phoning from back home. Instead, I asked if I could tape an interview for my high school drama club, since it was too much to expect them to travel to speak to the club in person. Robert Preston agreed, as did George Grizzard and Julie Harris. Only I had no tape recorder. The teacher in charge of the school AV department agreed to let me borrow a very heavy reel-to-reel. My father, on his only day off, had to drive<br \/>\nme into Philly and carry the monster inside. Julie Harris emerged from her dressing room, insisted on taking the monster from my father, and carried it inside as if it were light as a feather. Robert Preston stood up, offered his<br \/>\nhand to my father, and introduced himself. George Grizzard took me around after the interview and introduced me to his fellow cast members and their<br \/>\nguests\u2014Lauren Bacall, Arlene Francis and Martin Gabel.<\/p>\n<p>I snagged an interview with Buster Keaton, bringing along a high school friend. Keaton was delighted that young people remembered him let alone wanted an interview. He showed photos of his dogs left behind in California and told stories of early Hollywood. A young man interrupted, handing Keaton a bottle in a bag. Hiding it under a table, he said to us, \u201cDon\u2019t tell my wife.&nbsp; I take just one nip before each performance.\u201d He had no photos but signed a piece of paper that I later framed next to a<br \/>\nphoto.<\/p>\n<p>I never got to work with any of my hoped for colleagues, but I did meet both Julie Harris and George Grizzard again when I was a professional actor in New York. And the meeting with Buster Keaton is a highlight of my life.<\/p>\n<\/p>\n[\/aesop_content]\n<p>Future Thinking: Anticipating a Future in the Theater.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[aesop_document src=&#8221;https:\/\/performingartslegacy.org\/kahn\/wp-content\/uploads\/sites\/53\/2018\/04\/Blog1.pdf&#8221; type=&#8221;pdf&#8221;] [aesop_content disable_bgshading=&#8221;off&#8221; background=&#8221;#ffffff&#8221; color=&#8221;#400040&#8243; floaterposition=&#8221;left&#8221; floaterdirection=&#8221;down&#8221; imgsize=&#8221;cover&#8221; imgposition=&#8221;center center&#8221; imgrepeat=&#8221;no-repeat&#8221; position=&#8221;center&#8221; component_width=&#8221;100%&#8221; width=&#8221;100%&#8221;] I was an impatient child, anxious to escape from New Jersey to New York City. When I was finally old enough to take the bus alone to nearby Philadelphia, I started hanging out at the stage doors of the [&hellip;]<\/p>\n","protected":false},"author":58,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-748","post","type-post","status-publish","format-standard","hentry","category-blogs"],"metadata":{"_edit_lock":["1528625703:1"],"_edit_last":["1"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.760000000000001563194018672220408916473388671875;s:3:\"lng\";d:-95.3799999999999954525264911353588104248046875;}"]},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Future Thinking: Anticipating a Career in the Theater - Barbara Kahn<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/kahn\/blog1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Future Thinking: Anticipating a Career in the Theater - Barbara Kahn\" \/>\n<meta property=\"og:description\" content=\"[aesop_document src=&#8221;https:\/\/performingartslegacy.org\/kahn\/wp-content\/uploads\/sites\/53\/2018\/04\/Blog1.pdf&#8221; type=&#8221;pdf&#8221;] [aesop_content disable_bgshading=&#8221;off&#8221; background=&#8221;#ffffff&#8221; color=&#8221;#400040&#8243; floaterposition=&#8221;left&#8221; floaterdirection=&#8221;down&#8221; imgsize=&#8221;cover&#8221; imgposition=&#8221;center center&#8221; imgrepeat=&#8221;no-repeat&#8221; position=&#8221;center&#8221; component_width=&#8221;100%&#8221; width=&#8221;100%&#8221;] I was an impatient child, anxious to escape from New Jersey to New York City. When I was finally old enough to take the bus alone to nearby Philadelphia, I started hanging out at the stage doors of the [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/performingartslegacy.org\/kahn\/blog1\/\" \/>\n<meta property=\"og:site_name\" content=\"Barbara Kahn\" \/>\n<meta property=\"article:published_time\" content=\"2018-04-23T20:36:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-06-10T10:17:22+00:00\" \/>\n<meta name=\"author\" content=\"Barbara Kahn\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Barbara Kahn\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/\"},\"author\":{\"name\":\"Barbara Kahn\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/#\\\/schema\\\/person\\\/de244ead9f2ca2153084788fb4e54578\"},\"headline\":\"Future Thinking: Anticipating a Career in the Theater\",\"datePublished\":\"2018-04-23T20:36:29+00:00\",\"dateModified\":\"2018-06-10T10:17:22+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/\"},\"wordCount\":696,\"articleSection\":[\"Blogs\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/\",\"name\":\"Future Thinking: Anticipating a Career in the Theater - Barbara Kahn\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/#website\"},\"datePublished\":\"2018-04-23T20:36:29+00:00\",\"dateModified\":\"2018-06-10T10:17:22+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/#\\\/schema\\\/person\\\/de244ead9f2ca2153084788fb4e54578\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/blog1\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Future Thinking: Anticipating a Career in the Theater\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/#website\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/\",\"name\":\"Barbara Kahn\",\"description\":\"A Performing Arts Legacy Project site\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/#\\\/schema\\\/person\\\/de244ead9f2ca2153084788fb4e54578\",\"name\":\"Barbara Kahn\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/3383ef2940bb76cf337c7f21300c1cf0ac4950c2272015405669e08b90188e72?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/3383ef2940bb76cf337c7f21300c1cf0ac4950c2272015405669e08b90188e72?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/3383ef2940bb76cf337c7f21300c1cf0ac4950c2272015405669e08b90188e72?s=96&d=mm&r=g\",\"caption\":\"Barbara Kahn\"},\"description\":\"Actor, director and playwright are not just what I do. They are who I am. Before I ever saw a play, I wanted to be an actor. I made scrapbooks of clippings from the Arts section in newspapers, and I read all the theater biographies in the local library, looking for clues on how to enter the world of acting. In school I gave a book report on the history of London\u2019s Drury Lane Theater and speeches about \u2018The Star System in Hollywood\u2019 and The Barrymore Family. I learned to love silent movies at the nickelodeon in the Franklin Institute Science Museum in Philadelphia. When my Aunt Bea finally took me to see a touring production of \u201cThe Miracle Worker,\u201d I was totally and irrevocably determined to pursue my dream. In high school, I joined a professional acting workshop in Philadelphia, later earning a B.A. in Theatre Arts from Adelphi University on Long Island, NY. I appeared in plays Off-Off Broadway before graduation. After graduation, I studied in a professional acting workshop and privately with acting coaches. I gained invaluable experience from the many talented artists I worked with \u2013 especially directors Ron Link and Bob Dahdah, actor Marilyn Roberts and that force of nature, Ellen Stewart of La MaMa E.T.C., to name just a few. Crystal Field at Theater for the New City has been my producer, mentor and friend since 1994. Throughout my career, colleagues who led the way have generously shared their knowledge and experience with me. I follow their example by coaching other actors and playwrights. I began directing professionally when I replaced a director who had been fired two weeks before opening. This successful production led to more offers to direct in New York, including a production that moved to Th\u00e9\u00e2tre Lucernaire in Paris and then to the National Theatre in London. We all have stories inside us \u2013 the legacy stories of our ancestors, the stories from our life experience and the stories of our imagination that as artists, we nurture and share. I grew up hearing about the cost of prejudice and oppression. Brecht\u2019s \u201cMother Courage\u201d is my favorite play, reminding me of my grandmother\u2019s bravery and ingenuity. With four children including my father, she was trapped in a European war, unable to join her husband and oldest child who were already in the United States. After years of danger and struggle, Shifra Lozawick brought her children to safety. I have written more than twenty-five historical plays with the goal of holding a mirror to the present. My plays have been presented in the U.S., France and Germany. I write about the history of prejudice in the United States and abroad, about racism, antisemitism, misogyny, homophobia and anti-immigration. Putting a personal face to injustice has a power that reading history books cannot duplicate. As a reviewer wrote, \u201cBarbara Kahn is something rare in theater: an historian and playwright\u2026 Aiming for our heads and our hearts she tweaks our intellect and kindles our emotions.\u201d Paulanne Simmons, NYTheatre-Wire.com, Feb. 17, 2012, Acting is my first love. I wrote roles for myself, including two one-character plays that I perform whenever the opportunity occurs -- \u201cCyma\u2019s Story\u201d and \u201cCO-OP,\u201d (named \u201cBest Short Play\u201d in the Downtown Urban Theater Festival). I am a longtime member of the Dramatists Guild, AEA and SAG-AFTRA. Along with stage work, I have appeared in several films. My life in the theater has been governed by a passion for justice and for quality. In the 19th century, George Sand wrote: \u201cAll I want is for people to question the accepted lies and call out for the forgotten truths.\u201d Portraying the truth gives me fulfillment as an actor. Directing with integrity and insight is what I offer other actors. Preserving the truth is why I write plays.\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/kahn\\\/author\\\/barbarakahn\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Future Thinking: Anticipating a Career in the Theater - Barbara Kahn","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/performingartslegacy.org\/kahn\/blog1\/","og_locale":"en_US","og_type":"article","og_title":"Future Thinking: Anticipating a Career in the Theater - Barbara Kahn","og_description":"[aesop_document src=&#8221;https:\/\/performingartslegacy.org\/kahn\/wp-content\/uploads\/sites\/53\/2018\/04\/Blog1.pdf&#8221; type=&#8221;pdf&#8221;] [aesop_content disable_bgshading=&#8221;off&#8221; background=&#8221;#ffffff&#8221; color=&#8221;#400040&#8243; floaterposition=&#8221;left&#8221; floaterdirection=&#8221;down&#8221; imgsize=&#8221;cover&#8221; imgposition=&#8221;center center&#8221; imgrepeat=&#8221;no-repeat&#8221; position=&#8221;center&#8221; component_width=&#8221;100%&#8221; width=&#8221;100%&#8221;] I was an impatient child, anxious to escape from New Jersey to New York City. 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They are who I am. Before I ever saw a play, I wanted to be an actor. I made scrapbooks of clippings from the Arts section in newspapers, and I read all the theater biographies in the local library, looking for clues on how to enter the world of acting. In school I gave a book report on the history of London\u2019s Drury Lane Theater and speeches about \u2018The Star System in Hollywood\u2019 and The Barrymore Family. I learned to love silent movies at the nickelodeon in the Franklin Institute Science Museum in Philadelphia. When my Aunt Bea finally took me to see a touring production of \u201cThe Miracle Worker,\u201d I was totally and irrevocably determined to pursue my dream. In high school, I joined a professional acting workshop in Philadelphia, later earning a B.A. in Theatre Arts from Adelphi University on Long Island, NY. I appeared in plays Off-Off Broadway before graduation. After graduation, I studied in a professional acting workshop and privately with acting coaches. I gained invaluable experience from the many talented artists I worked with \u2013 especially directors Ron Link and Bob Dahdah, actor Marilyn Roberts and that force of nature, Ellen Stewart of La MaMa E.T.C., to name just a few. Crystal Field at Theater for the New City has been my producer, mentor and friend since 1994. Throughout my career, colleagues who led the way have generously shared their knowledge and experience with me. I follow their example by coaching other actors and playwrights. I began directing professionally when I replaced a director who had been fired two weeks before opening. This successful production led to more offers to direct in New York, including a production that moved to Th\u00e9\u00e2tre Lucernaire in Paris and then to the National Theatre in London. We all have stories inside us \u2013 the legacy stories of our ancestors, the stories from our life experience and the stories of our imagination that as artists, we nurture and share. I grew up hearing about the cost of prejudice and oppression. Brecht\u2019s \u201cMother Courage\u201d is my favorite play, reminding me of my grandmother\u2019s bravery and ingenuity. With four children including my father, she was trapped in a European war, unable to join her husband and oldest child who were already in the United States. After years of danger and struggle, Shifra Lozawick brought her children to safety. I have written more than twenty-five historical plays with the goal of holding a mirror to the present. My plays have been presented in the U.S., France and Germany. I write about the history of prejudice in the United States and abroad, about racism, antisemitism, misogyny, homophobia and anti-immigration. Putting a personal face to injustice has a power that reading history books cannot duplicate. As a reviewer wrote, \u201cBarbara Kahn is something rare in theater: an historian and playwright\u2026 Aiming for our heads and our hearts she tweaks our intellect and kindles our emotions.\u201d Paulanne Simmons, NYTheatre-Wire.com, Feb. 17, 2012, Acting is my first love. I wrote roles for myself, including two one-character plays that I perform whenever the opportunity occurs -- \u201cCyma\u2019s Story\u201d and \u201cCO-OP,\u201d (named \u201cBest Short Play\u201d in the Downtown Urban Theater Festival). I am a longtime member of the Dramatists Guild, AEA and SAG-AFTRA. Along with stage work, I have appeared in several films. My life in the theater has been governed by a passion for justice and for quality. In the 19th century, George Sand wrote: \u201cAll I want is for people to question the accepted lies and call out for the forgotten truths.\u201d Portraying the truth gives me fulfillment as an actor. Directing with integrity and insight is what I offer other actors. Preserving the truth is why I write plays.","url":"https:\/\/performingartslegacy.org\/kahn\/author\/barbarakahn\/"}]}},"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/posts\/748","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/users\/58"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/comments?post=748"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/posts\/748\/revisions"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/media?parent=748"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/categories?post=748"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/kahn\/wp-json\/wp\/v2\/tags?post=748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}