Part Four: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre

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, 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 One, and you can access Part Two by clicking this link

End of 2021: Revelations 

October, 2021. At this time, Trap Door was to edit their website. They asked for pictures from projects and any reviews from shows that we would like to include on our profile for us to market ourselves. I was reluctant to submit my materials, considering everything I had experienced up to this point. However, I did eventually decide to submit them. I was so proud of what I had accomplished up to that point, even with the odds being stacked against me. I chose my favorite professional photos with reviews from the shows. I sent in my photos and reviews, and the only piece of my materials that made it to my profile on the website was my bio. I did not get a response to my email with my materials. Beata has yet to return from Poland, gone since 2019. This caused me to deeply inquire about communication practices at Trap Door.  Continue reading “Part Four: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”

Part Three: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre

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 Three. Click here to access Part Two, and Part One.

Decomposed EP. 5

December 2020, comes for the first virtual rehearsal of Decomposed with everyone in the cast, and I see and learn that Nicole had cast a few individuals who had not, to my knowledge, ever worked at or auditioned with Trap Door. There was a group of five all working together at someone’s apartment that included Emily, David, Miguel, Maryam and Maryam’s boyfriend (who to my knowledge had never been in a play before). Matty Robinson, his girlfriend, Nicole, and Nicole’s now-fiancé, who was the music director, the same way he was for The White Plague, in their same apartment building. Then there was just myself filming at my apartment, and my main scene partner at her separate apartment. 

I realized that I had seen Matty’s girlfriend on The Quarantine Files episode with Matty –  the company Matty said he was not interested in working with. Again, I understand that perspectives may change when the future of a professional field is uncertain. I was surprised because when I initially saw his girlfriend’s name in the email that went out I had no idea who she was, or that they were together. I learned during rehearsal that she was brought in by Matty, and that they were in a relationship. Continue reading “Part Three: Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”

Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre

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 One, and you can access Part Two by clicking this link. 

This post is to share my experience, from the point of view of a woman of color, born and raised on the south side of Chicago, working at Trap Door Theatre. I have had the privilege of working at a variety of theaters in the Chicagoland area since graduating in 2017. The extra layer of education that comes with applying what you have learned in college is very helpful, but there is no rehearsal for the real world and its surprises. This is an outline of blatant neglect and unprofessionalism, the story of how a theatre company played a game with my trauma and forged an alliance with the person who violated my boundaries. The telling of how a theater company could not have your best interest at heart if it gets in the way of their power, ability to control you, and their egos. These events have taken place over the course of three years. 

I would hear about Trap Door rarely casting people of color, but I figured I had survived a predominantly white conservatory B.F.A theatre program, and a semester in Moscow, Russia. This would be an opportunity to grow in my artistry. After much contemplation, I learned that this is much bigger than myself.  I was very hurt by these circumstances, but what about future aspiring artists moving to Chicago, possibly fresh out of their collegiate career? 

I have been taught to journal my entire life, and after reflecting on my journal entries regarding Trap Door I realized something was very wrong. There has been a theme that Black women are strong and do not experience the same level of pain and trauma as other ethnicities- this is a common misconception black women face in most institutions. This is a warning to people of color, for what I am about to tell you can happen anywhere. 

From my experience, I learned that this company abused their power and my emotional tolerances. My dream with Trap Door turned out to be a nightmare, where I learned what I was willing to tolerate for my artistic passions. I have experienced deliberate gaslighting, assault, sabotage from my peers and leadership, accompanied by poor communication and malicious gossip. Continue reading “Common Traps for The Aspiring Artist, A Testimonial at Trap Door Theatre”