Faith, Trust & a Clapperboard, or Director Who.
Kathryn Zeigler is an actress, director, casting agent, writer, producer, and mom! This gal does it all with grace and humility. I met her when I volunteered at a Doctor Who event south of Indianapolis. I sat next to the booth where she was sharing news of their Doctor Who play in Louisville. I listened to them as the actors went in and out of character, joked, laughed, and generally had a great time. I thought, “I want to be a part of that!” And while I haven’t been able to move to Louisville, I’ve stayed in touch and do whatever I can to support them.
When I approached Kathryn about conducting an interview, she was more than gracious! And so, here is my friend and I talking about her jobs, her life and her loves. Ladies & gents, Kathryn Zeigler!
The Rabbit Hole: You did the Disney Intern Program, right? What was that like?
Yes, I did. I was in the WDW College Program in 1999. Absolutely one of the best experiences of my college days, and of my professional career. I worked at Disney’s Animal Kingdom on the Kilimanjaro Safari’s attraction in the village of Harambe. Some of my deepest friendships (who I truly consider family) and professional connections stemmed from that experience. I learned a lot about myself and the world around me. I was also exposed to the best entertainment business practices on the planet.
TRH: What made you want to act?
I always knew I wanted to perform and to make people happy. At a very young age, I “produced” shows in my basement and even made up tickets and charged for my family and neighbors to see the show. 25 cents. My two most requested shows (thank heavens for a family that humored me) were my magic show and my roller disco show to the Disco Mickey Mouse album. I’m not even really sure what in the world I did during the roller disco; except I do remember that one time I tried to jump over the couch and failed miserably. Ironically, it was to the tune “Watch Out For Goofy” right at the point in the song where Goofy falls and destroys everything in his path.
TRH: What did you want to grow up to be as a kid?
I wanted to be an actor, an astronaut, and a writer. I was pretty serious about the astronaut and writing path. A friend of mine and I created a magazine called Shuttle Run, and interviewed pilots and scientists. I think we published two full magazines before summer and then we gave it up.
I don’t think it occurred to me how much of an entrepreneur I was until much later in life, but as someone who works full-time in the entertainment industry, I’ve discovered that you have to have that kind of spirit to make a living.
TRH: There are so many mediums, why choose theater?
Theatre was the most accessible to me growing up. I did a lot of plays at church and my parents took me to see lots of shows around town. The one performance that changed my life was My Fair Lady at the Iroquois Amphitheater back in the 80’s. (I want to say maybe ’86?)
My grandmother worked very hard all year as a seamstress and saved up money to take me to that show. We sat in the sixth row, center seats. She even had enough for us to get some popcorn and candy, which was a big deal since she usually packed snacks for everything we went to.
From the first note the orchestra hit, I was hooked. And then, when Eliza walked into the room in her ball gown, I knew I had to do whatever it was that she was doing. I left that night feeling like I was flying and I’ve not looked back since.
It took years before film would come into my life, and although it’s exciting and I love it dearly, theatre will always be my home.
TRH:Could you tell us about about Acting For Your Life and your casting company AFYL Casting?
Acting For Your Life actually has a neat story behind it. When I was living and working in NY and CT in 2005, I taught a series of acting classes. In one of my adult acting workshops in Manhattan, a student came in crying and saying that she was sorry but she’d just learned she had cancer and had no access to healthcare.
I couldn’t possibly teach technique at that moment. For about fifteen minutes, the entire class and I helped her with resources that might be able to help. She was able to rally and asked to remain in class so she could focus on what made her happy. The following week, another student came in with a major financial issue. As a unified group, we helped as much as we could.
After class that day, I did a lot of soul searching to figure out how to help students who obviously needed support with life skills while also trying to make a living as artists. Once they were able to deal with life (even just a tiny aspect of it) I found that the work was more quality. It was deep and truthful. So, it hit me. What if, in the same supportive atmosphere of an acting class, we could focus the first fifteen minutes on some kind of life skill before delving into the work? That way, we could address life issues that were facing the class, and then we could get into the work of acting?
The third week, I invited a financial advisor to speak to the class and take questions before warm-ups. The actors were timid speaking about financial issues, but after the presentation each of them took a business card. Our guest left, we made room for work, and it was one of the most successful acting classes I’ve ever taught. They were free, if only for those minutes, because they had faced something life related that they didn’t want to face. I learned that all but one of those students met with the financial advisor post-class and set up plans to help them deal with their personal finances.
Acting For Your Life (www.afylonline.com) was born and continues today as an educational platform for artists all over the world.
When Todd (my husband) joined Acting For Your Life in 2014, we were looking for a way to connect the artists we worked with to sustainable opportunities. In 2016, we opened AFYL Talent agency and represented actors. Although we loved that work, we saw a huge need for qualified casting directors in our area since the Kentucky film market is growing leaps and bounds. AFYL Talent closed in December of 2016, and immediately in January we opened AFYL Casting (www.afylcasting.com). We no longer represent talent, but instead we act as casting directors for film, television, commercials, industrials, voice over, and new media projects. We’re able to connect artists to paid opportunities by helping production companies connect to and cast them. I absolutely love it.
TRH: When it comes to helping new actors in their journey, what’s your favorite piece of advice to give?
My favorite piece of advice is probably the advice I give most frequently. Acting isn’t about being famous. If you’re getting into this business for fame, you’re in it for the wrong reasons. Fame may come as a result of hard work, but it certainly won’t last if you don’t educate your talent and inform your life’s direction.
TRH: What is the biggest challenge when directing? What is your favorite part?
That’s a hard one to nail down. Each show comes with its own unique set of challenges.
I would say the most common challenge is helping the actors to get out of their own way. So many artists come to a production (both stage and film) with preconceived notions about how each role should be played. And, although having an idea of which direction to go is paramount, allowing yourself to be flexible to the process of rehearsal is probably the most important.
I had an actor once who told me that he didn’t want to hear me use the word “organic” because he needed direction. He’d worked with another director who constantly used that word, and he felt it was lazy on the director’s part to use such a term. He wanted me to walk him through each step of the process and tell him exactly what I was looking for.
Although my goal is to be clear with the artistic vision of where the show is going, I don’t believe any actor should be blindly led through any production. When I use the term organic, it’s meant to be a growth experience; something that happens naturally over the course of a project. There has to be some work, some truth that comes directly from each actor’s experience while working with the other creative components of a show. If not, you end up with very measured moments and the audience knows the cast is “acting”. I never want an audience to think, “that’s an actor acting”. I always want them to be drawn in to the lives that are being lived before them. That’s what real acting is.
My favorite part is the community that is created with each cast. We really do become our own little unit, our own little family. And in that safe space, we can challenge one another to raise the stakes and raise the bar on the work we do together. And then you see someone have an ah-ha moment. The lightbulb goes off, and a character emerges. The actor melts away, and there is this new person, living and breathing the story that the writer has given them. There’s a special kind of magic in that.
People who give of themselves to their craft both professionally and passionately, whatever their craft might be.
TRH: You and your husband created a really wonderful play about Doctor Who; could you tell us a bit about it?
All The Whos In Whoville is a magical mingling of the worlds of Doctor Who and Doctor Seuss that Todd penned in 2013 in anticipation of the 50th Anniversary Special. Without giving too much away, the play is set in the town of Whoville many years after “the mean green one” has become an integral part of the community. Cindy Lou Who is now grown with a daughter of her own, however things with her own family aren’t all happy endings.
As events unfold, we learn that the Greench (yes, that’s how we refer to him in the script) has a past that once revealed, leads him to follow his instincts of causing chaos wherever he goes, including kidnapping Cindy Lou’s daughter Mary Sue.
One of Santa’s helpers wielding a sonic screwdriver and flying a familiar time machine comes to the rescue, but along the way accidentally erases his own memory. Is he The Doctor or Santa? What happens when he decides to call on the only hero that can save the day?
You’ll have to see the show to find out.
TRH: When conducting auditions, how do you know when you’ve got the right actor?
I generally know within the first two minutes if the person standing in front of us is right for the part. There is a confidence and a “YES” feeling that happens in my gut. There is a rapport that happens almost instantly, even before they start the actual “audition” of the work.
It’s also very apparent who will be a pleasure to work with, and who might not be. I’ll hire someone with passion and potential over the person who gives the best reading any day. An actor might be oozing with talent, but the “it” factor is usually discovered in the moments when an actor is willing to push themselves, grow, and be pleasant on set.
TRH: What are your favorite fandoms?
Doctor Who is by far my favorite. However, I love all kinds of sci-fi worlds and tons of pop culture phenoms. Anything Disney is a close second, if not tied for first. I also love Marvel and DC, as well as anything and everything Godzilla.
TRH: What does the role of Director mean to you?
A director leads the actors to their truth and the production to its artistic vision. It’s an honor to be trusted with the tradition of performance. But without a balance of give and take, any production will fall flat. It’s never a director’s show on its own.
It doesn’t mean that a director has to be a nice doormat, far from it. If you talk to any actor who I’ve worked with, they will tell you I have a very professional and direct way of getting the work I need for the show. However, it takes skills and understanding how artists think and process. It’s a lot like translation of a foreign language. How do I get what’s in my head in front of them so they can see that same vision? That’s always how I approach it.
I hear so many horror stories of people who believe that it’s okay for a director to belittle and berate their cast. I’ve had so many actors, especially in theater, tell me that they can’t produce good work unless they are pushed in that way. I’ve actually had someone quit because I wouldn’t yell at them. I don’t believe in that brand of leadership.
TRH: Is it a struggle balancing home & work? You are a busy mom of 3 lovely gals, with a little fella coming soon, right? Congrats!!
I’d be lying if I said no. In terms of time, finances, rest, and general consistency it can be a struggle. We work from home most days, and with a toddler, that can be it’s own kind of circus. However, I wouldn’t trade it for anything.
Our kids know that we love what we do, and it shows. My goal is, and will always be, to show them that they can do what they love and make a living. Especially for our three girls, showing them that a woman can be a leader along side an equally strong man is so important to us. And when our baby boy is born, showing him that balance in a home full of strong women will hopefully lead him toward his own bright path.
TRH: If you had unlimited resources, what story would you love to bring to the stage?
I’m in the VERY early stages of writing a show about Ethel Merman.
TRH: Do you have any upcoming projects you can share with us?
All The Whos In Whoville will be making our 4th Seasonal appearance at the Iroquois Ampthitheater in November and December this year.
TRH: How can people follow you to learn more?
Easiest way is through social media.
Facebook: Facebook.com/actingforyourlife
Facebook.com/limericklimited (for Whoville)
Twitter: @acting4yourlife
A heartfelt Thank You to Kathryn for taking the time. Keep doing you! I look forward to seeing what you & Todd come up with for this year’s “All The Whos in Whoville” this year!
