Why Go Solo
the bounty & beauty of going it alone
Over the last decade I have toured my various solo shows to 36 venues in 11 countries around the world. My solos have led to international collaborations, new opportunities as an actor and writer, including a book deal (!!), and expanded my artistic practice exponentially.
Although making a one-person show can be a lonely process, involving quite a lot of admin and self-producing work, there are some awesome payoffs that can make all that worth it.
I could wax on and on about their virtues of solos, but today I offer you 3 reasons to embark on your own thrilling solo show journey.
NO PERMISSION NECESSARY: SEIZE YOUR DESTINY
It can be demoralising to feel as though your working life lies in the hands of faceless gatekeepers who don’t reply to your emails, or don’t hire you for gigs, or with an agent who can’t get you into audition rooms.
Making a solo show gives you the agency to work WHENEVER you want to. You can follow a step-by-step process to create your show and get it out into the world. Sure, it's hard work, time-consuming and involves learning new skills but if you, like me, like to work and want to work now, it’s an affirming and emboldening act.
TOTAL FREEDOM & TOTAL CONTROL
As an actor it can be frustrating not to be in charge of what story you’re telling. And as a writer, it can be maddening not to have control over how and from whom audiences receive your work. A solo show puts you in the driver’s seat -- you are creating the message and you are the messenger. In my experience, many actors and writers would like to do this, but don’t because of fear, self-doubt or overwhelm.
Beyond this initial stumbling block is an incredible world where you get to do ANYTHING YOU WANT. You take all the risk but you reap all the reward. And most importantly, I have found it exhilarating and fortifying to manifest an idea entirely with the freedom to make changes to it when and how I desire.
HIT THE ROAD
Touring is an amazing way to build international network and add to your tool box. And solos are cheap to tour. Especially if you keep that intention in mind when conceiving the design for your show. Getting your solo out of your city, or country, of origin takes elbow grease, but it can lead to surprising experiences.
For example, off the back a one-off festival in NYC in 2011, a world of international touring opened up to me. After performing my first solo (OH MY IRMA) in NYC, I was invited to perform it at a monodrama festival in Kiel, Germany in 2012. From there I received invitations to Edinburgh (which then led to residencies around the world and performances in Mongolia, Finland, the UK and many more). My subsequent shows have all be developed with different international partners (Battersea Arts Centre, Camden People’s Theatre, Theatre Discounter).
A German writer, who'd seen the show in 2012, translated the text and 2019 a German version of my show, premiered at Theater Kiel as part of their repertoire. Something I never imagined would happen.
Touring has also been invaluable to me as an artist because it’s exposed to me to many different performance traditions and styles that I’ve incorporated into my work. I know it will be a while before we can tour again, but it’ll be doubly sweet to hit the road when it’s safe to do so.
If you've been thinking of going solo, I hope these reasons are useful encouragement. And if you’re serious about it, registration is now open for my Online Solo Show Creation Lab. Read more and secure your spot here. I’d love to help you take that solo out of your head and into the world!