This is a testimonial piece by Chicago Theatre Community member Robin Minkens, who had a multi-year experience with Trap Door Theatre, a local storefront theatre. This is a personal experience, told from a single perspective. These pieces by their nature, and per our mission, are subjective by intention. *Rescripted has not independently verified the details in this testimonial. The opinions in this piece belong solely to the author.* This is not reporting, but community support. Our aim as always is to amplify those who do not have a platform, and to empower the experience of the artist.
Editor’s Note: Robin came to me through Facebook at the end of April because she had seen my own testimonials on social media. Robin had recorded her experience in a draft, and was wondering if her experience had merit, and if it would be beneficial to share it with others. At that time, she did not know that I was an editor, or of the existence of Rescripted. When I had read the entirety of her story, I was appalled. What captured me about Robin’s testimonial is that it is a story many of us have lived through. Emerging into a professional theatre scene with abundant hopes and dreams, only to encounter prejudice, maltreatment, and gaslighting. The commonalities in this piece are harrowing to me, because they require us to accept that the way we have been working is not ethical. The experiences we have endured are not acceptable. This piece is a death by a thousand paper cuts. I encourage you to read it to the end. This is Part Two, and you can access Part One by clicking this link.
ALAS
I was cast in a virtual show at Trap Door in the summer of 2020, titled Alas. It was directed by Company Manager of Trap Door, Michael Mejia. That show went fine to my knowledge. I was excited because I had free range to choose my own costume, hair, and make up. The actors were given the dimensions, and angles, to work with to position our cameras. The look I sent in received final approval from Michael Mejia.
This is a photo of the makeup design I chose:
I received direct positive feedback from Nicole and Michael on the look that was seen by the entire company and whomever tuned in to view the project.
We shot everything ourselves. The images and videos were taken in my home with my cell phone and tripod stand I purchased that summer, and sent to the director for them to edit and compile as they wished. Very fun to work on because we were in the thick of a pandemic, not knowing what the future would hold. I explain this because Michael Mejia would later go on to give unsolicited advice in 2022, stating that “You do not know who you are artistically.” I replied “Really?” They responded, “Not that I have seen at Trap Door, let me know if you have any questions.” By this time, I had worked with Michael on The White Plague, they had cast me in Alas, and during the time of their advice, we were working on The Little Mermaid Immersive Cocktail Experience.
The Artistic Director, Beata Pilch, left for Poland around this time in 2020. Continue reading “Part Two: Common Traps for the Aspiring Artist, A Testimonial at Trap Door Theatre”