Last week, I had the privilege of shooting again with CollegeHumor. I think the sketch speaks for itself – though I must say, I thoroughly enjoyed pretending I had bajillions of dollars (in a Swedish bank and on the island nation of Grenada, of course) to throw around. If only…Enjoy!
Many of you folks out there in Internet-land are aware that I am a Health and Safety Instructor for the American Red Cross Metro New York. I teach a variety of classes, from CPR/AED and First Aid to preparedness training for natural disasters, and I am so proud to be a part of this amazing organization.
This morning, I was given the opportunity to represent the American Red Cross as a guest on Martha Stewart’s Sirius satellite radio show Morning Living. In honor of Preparedness Month, the hosts of the show, Betsy Karetnick and Brian Kelsey, wanted to do a segment on CPR factoids and training. That’s where I came in.
If you weren’t able to listen in live this morning (I know it aired REALLY early for you non-morning people 
), please give it a listen now – and then contact your local American Red Cross Chapter and sign up for a CPR class. You might never use these skills (I sure hope you never need them!) but it doesn’t hurt to be prepared. Enjoy!
Have you heard of NAMI? They are the National Alliance on Mental Illness, a wonderful organization that strives to educate America and promote awareness about mental illness, offering resources to those in need and insisting that mental illness become a high national priority.
A few years ago, I acted in an educational industrial for NAMI New Jersey called The Community I Serve, which depicts how the New Jersey State Police has embraced a new program to train their officers in how to effectively and appropriately respond to situations involving people with mental illness. This program is the first of many vital efforts to reduce the population of mentally ill people in prisons (where they are not able to receive the treatment or medication they need) and the number of mentally ill people injured or killed during police response.
The industrial has won several awards and has screened all over the world. I am so honored to have been a part of this vital message. Please enjoy the trailer below!
I love the camera. I love being on stage, too, but there is nothing quite like being in front of a lens to make my spine tingle with excitement. I long for that day in the future, when I can experience that sensation every single day.
Enough of the mushy stuff. TONIGHT! (That would be Tuesday, June 21st, 2011) at 9pm (EST) I take one step closer to my dream in a co-star role on the hit USA Network drama, White Collar!
Oh, I remember the audition – I initially went in for a character with one line and was in the room with Casting, the Director of the episode, and one of the Executive Producers. I always find myself more nervous when auditioning for these smaller roles – maybe I put extra pressure on myself to create a complete character with so little script to work with? Who knows! But I had a TON of fun in the room, and a few days later my fabulous agent called with the good news: White Collar episode 303 = booked!
I’d like to turn back time just a bit and take you through what it was like to be on the White Collar set. *cue time travel music*
Wednesday, June 6, 2011
4am: *cue alarm clock* e(%*igSDw@#!#23qLBsd@#v! I’m up, I’m awake, I swear!! Stumble, stumble, crash, OW!, ahhhhhh shower, CAFFEINE. Ready, set, go!
520am: Just before my call time. I arrive at the campers like the call sheet instructed and immediately run into a slight problem…uhm…which one of these many campers am I supposed to go to?? OOF, I’m glad I arrived early! I wander up and down the block a bit until I notice a sign of life – a PA (Production Assistant) wearing a walkie exiting one of the campers. “Hi! I’m Lipica…uhm…I’m an actor, and I’m playing the role of Melinda today…” He graciously ignores my awkward 5am stammering, gathers the paperwork I must fill out, and escorts me to *ahem* my trailer.
545am: I shake off the last of The Sleepiness and start making my way through the packet of paperwork. It’s the usual stuff – contract, actor release, NDA (a confidentiality agreement – hence, why y’all have had to wait so long to hear these juicy details!), payroll forms – but everything had to be completed in triplicate. The monotony of the paperwork is starting to revive ol’ Sleepy! Thankfully, I am saved by a knock at the door…
630am: Another PA brings me to the hair and makeup camper. The hair and makeup team is lovely – and they’re surprisingly awake and raring to go! In no time at all, the stylist has whipped my unruly mane into shape (so, dear hair of mine, you’ll behave for others, is that the game?) and I move over to the makeup chair. As we chitchat, my face is transformed from semi-tired and plain to fresh-faced and fierce. Seriously, I’m like “Is that me?!” And then two of the show’s series regulars walk in and another round of introductions occurs. I admit to being starstruck at first, but I was honestly surprised at how quickly I got over that speed bump! They are the nicest guys and put me right at ease. I am thrilled to get to do a scene with these two today – what a treat it will be to work with and learn from them!
730am: I’m back in my trusty trailer (and admiring myself in the mirror haha) when there’s another knock at the door – hello, Wardrobe Assistant! This is a moment I’ve been eagerly awaiting. Yesterday, I journeyed over yonder East River to Long Island City, Queens for my wardrobe fitting, so now is the moment when I find out how Wardrobe and the Director have decided to dress me – Slacks? Jeans? Skirt? Blouse? Jacket? Super high heels? As it turns out…super high heels? Yup. Also some very comfy wide-bottomed jeans, a beautiful blouse, and fitted cardigan. Plus a kick-ass belt that makes me feel (and look) WAY more fashionable than I am in real life. Throw in some jewelry – bracelet, earrings – and I’m all dressed up…with nowhere to go quite yet. Production is still filming the scene before mine, a walk-and-talk between two of the main characters that takes place outside, so they want to get it out of the way before the streets get too busy.
750am: I can’t help it. I take a nap.
830am: I’m called to set! Another PA escorts me to the correct floor and brings me onto the set, an office space converted into the headquarters of a powerful (fictional) magazine. I meet my director for the first time, as well as the four other actors in the scene (two of whom I am meeting for the second time today). They are television veterans, and let me tell you – it took all of me to stay calm, cool, and collected. We read through the scene a few times to get a feel for pacing and character, then we’re up on our feet blocking it out. We walk through the scene a few times for the crew to get a feel for what they’ll be shooting. Once blocking is set, they call in the second team – “Does that make me part of first team?” I wonder. The answer is yes. We get a break, while our stand-ins…well…stand in for us so the crew can fine-tune the camera moves, lighting, and sound set ups.
915am: The five of us head to a holding area adjacent to set, and I have the opportunity to talk with the other actors about their careers, their history, and some fun stuff – one of the stars says he asks every co-star to name their favorite place to eat in New York City. As a self-proclaimed foodie, this was a tough one! We share our favorite restaurants and move on to talking about – what else? – movies currently in theaters. I just saw Rango and highly recommend it, as it is not just an animated film for kids (it really is great!) Part of me is surprised to find them all to be so…normal. I mean, I don’t know what I expected, but it is so refreshing and inspiring to see how gracious and open and down-to-earth everyone is. It really drives home the point that, in order to work in this business, one must be pleasant to work with; talent is fine and dandy (and necessary), but consideration and respect are much more important when it comes to creating and maintaining a positive work environment.
1030am: First team is called back in – we’re all miked with wireless lav microphones, and it’s time to shoot! The scene has been broken down into four parts: the Agents walking with the magazine Editor into the cubicle area, the interior of the Journalist’s office (including close ups on each actor in there), a reverse of the office (to see where I’m sitting; I portrayed the Journalist’s Assistant), and the Agents leaving the office and meeting the Assistant (me!) in the hallway. There are also two gigantic camera teams, capturing each shot from different angles. So much going on!! I am exceedingly thankful that I’ve had practice in this kind of situation before – not on a professional set, but in school. When I studied screen acting at Stonestreet Studios, huge emphasis was placed on knowing and understanding on-set vocabulary and movement – one of my classes was specifically geared towards a multi-camera setup. As we walk through the scene again, with both camera setups, I recall those lessons from Stonestreet: how to position myself so I am open to both cameras at once (potentially increasing my screen time), how to pace my walking so the camera can easily follow, where to look when the camera is on me so I maintain continuity and sight-lines, etc. Afterwards, the director compliments me on my professionalism, and one of the camera operators comments that my actions helped smooth the process! (I’m aware I’m tooting my own horn right now…just let me have this one, por favor?)
The hardest part for me by far is finding a natural rhythm for my character – in the first 3/4 of the scene, all of my actions and interactions are nonverbal. Initially, I struggle to find the balance between grounded response and overt reaction. It is a very fine line, and the Director is tremendously helpful in finding the correct amount of both. By the time the camera is on me, I am able to deliver nuanced performances, slightly different each time, and I’m really proud of my work. The other actors and I joke about the expression on my face – “If looks could kill!” I won’t spoil the scene’s events, but I am very interested in seeing what the final, edited cut looks like! I guess I’ll find out tonight
Throughout the many takes – and shot setups and last-minute changes – I try my best to remain a positive, energetic, and respectful presence. I make it a point to learn as many crew members’ names as I can – and to refer to them by name, when possible – because I truly do respect and appreciate what each of them brings to the set. Each of them is integral to the minute-by-minute operations of the set, and they all help make the shoot day run like a well-oiled machine. I despise this idea that “talent” and “crew” are separate entities – we work together in the same environment, towards the same goal, do we not? I have so much fun joking around with the crew in between takes, and hearing some of their stories. We are all a little sad when the scene is wrapped!
1245pm: I’m wrapped! It’s a bittersweet moment; I’m exhausted and ready to go home, but I’m having so much fun with everyone on set. I thank each crew member I see on my way out – my first co-star experience would not have been the same without them! As I walk with the other actors back to the campers, a random New Yorker recognizes one of the show’s stars and shouts out how much he enjoys the show. I can’t help but think to myself…someday, it’s going to be me.
Oh hello there! It is I, your humble thespian, returning from a (rather long) writing hiatus – 2011 has kept me very busy thus far! However, as I am currently in the midst of said wonderful chaos, I must restrict this posting to a few very exciting tidbits. Cross my heart, I pledge to pen something with a bit more juice very soon!
First, some highlights:
And that brings us to June – what a month it’s shaping up to be.
I am honored to work with Rising Circle Theater Collective in their Summer PlayRise Festival. 
PlayRise is a week of staged readings, the culmination of a writing intensive for five up-and-coming playwrights. I will be reading (and singing!) the role of Birdie in Deepa Purohit’s new work, Flight, to be directed by Kareem Fahmy. I have been working with Deepa for a few weeks to find Birdie’s story and soul, and I cannot wait to give her a voice.
The title of this post promises some television news, right? WELL! Get your DVR/TiVo/old school VHS recorder ready: at 9pm on Tuesday, June 21st, on USA Network, I will be appearing on the hit show White Collar! I have a co-star role (aka I have one scene, but I ain’t counting! It was incredibly fun to shoot, I learned SO much, and I am so grateful for the opportunity) as Melinda, the assistant who…well let’s not spoil it, shall we? You’ll have to watch and see what happens
And finally…the musical. If I’m being honest, most of my nerves stem from this component of my June. The last time I sang in public – on a stage, not in my shower, which technically doesn’t count as “in public” anyway – I was in high school. A lifetime ago! And up till now, I think I thought that the singer inside me had just disappeared. I’ve come to realize that she’s just been in hibernation, lying in wait for…well perhaps for the right moment. And here it is:
Bakwas Bumbug, a new pop opera written and directed by Samrat Chakrabarti and Sanjiv Jhaveri, produced by Desipina & Company. It’s a reinvention of Charles Dickens’ A Christmas Carol, told through the looking glass of New York City immigrants and hyphenated America. I will be portraying Sunita, a “bright-eyed, young Indian-American girl” – emphasis on the “American” – trying to balance her roots and her desires. If you’re going to be in the NYC area, please consider coming to see the show! Here are the details:
I bid you adieu (there, we’ve reached the end of my French) with a reminder to check back here and on my Facebook Page for new pictures, videos, and career goings-on. Till next time!
