WHEN THE OBSTACLE IS IN ME

February 19th, 2009

The other day, Mark Le Blanc, my wonderful business coach, reminded me that, as a motivational speaker and presentation skills coach and trainer, I am always and only one big toe ahead of the clients and audience members I’m trying to inspire to greater fulfillment.

He’s right of course.

Every day I try to motivate other people to stand out, be heard and move forward in their lives and careers.  And every day, I do the very same thing to and for myself. I motivate the motivator, which, I admit, can sometimes be a daunting task.  Some days I’m brilliant at it.  Some days, I’m not.  Some days, I fight what’s outside of me: unexpected circumstances, limited budgets, other people’s recalcitrance. Some days I fight what’s inside of me: limiting messages from my childhood, ingrained rules about what’s “nice,” or “right” or “polite” for me to do or say; fears of rejection, of not being liked or accepted. And I assure you, the obstacles I face inside of me are a lot more sneaky, insidious and potentially debilitating than anything coming at me from the outside.

On my darkest days, when I let the obstacles inside of me stop me from moving myself forward, my husband loves to gently point out that I am not walking my talk or practicing what I preach.  “What would your clients think, if they heard you right now?” he’ll ask, as I mope around, seized and stuck by fear or despair.  He’s right, of course. But I can’t help hoping that my clients might think “I do that stuff too!  Eleni’s human after all!” And maybe they’d take me even more seriously.  Because I wouldn’t have a leg to stand on,  any credibility as a motivational speaker, trainer or coach, if I didn’t know first-hand what it’s like to get sidelined by inner and outer obstacles, and moving forward anyway.

I’ve spent my entire life as a creative artist (and yes, I consider my current path as a speaker and trainer to be just another variation of my lifelong journey as a creative artist) motivating myself to stand out, be heard and move forward in my career, in spite of obstacles.  And there have been obstacles, boatloads of obstacles.  If I had a dollar for every time I’ve heard the word “no” from someone in a position to hire me either as an actress, a touring singer and songwriter, a speaker and a coach and trainer, well, I’d be in a position to buy a nice little tropical island somewhere.  I am, however, convinced that all those no’s – and all those years of moving forward in spite of them– are what give me the chutzpah to think that I have the right to speak about following one’s passion and purpose to it’s fullest potential, in spite of obstacles (inside and out).   And that is what helps me face down the fear (of rejection? of being too pushy?) as I pick up the phone to call an event planner who could potentially put me in front of my ideal audience:  A bunch of women just like me who want to stand out, be heard and move forward, in their lives or in their careers. Whether they’re facing obstacles from the outside.  Or from the inside.

PREPARING TO PERFORM: LESSONS FROM MISS EARTHA KITT

February 12th, 2009

I recently watched a PBS special about the life and career of singer, actress, cabaret artist and all-around stellar performer, Eartha Kitt.  Miss Kitt– who many of you will remember as the purring, growling, sinewy Catwoman from the original Batman television series) died this past Christmas day at the age of 81.  When asked by the interviewer how on earth she was still able to do what she loves– and do it so very well—Miss Kitt replied:   “You have to prepare yourself to do what want to do you.”  Then she went on to explain that, for her, preparing involved thinking the right thoughts, eating the right foods, and keeping negative people away, among other things.  I smiled when I heard this, having seen for myself just how seriously and thoroughly Miss Kitt took the notion of preparation. I had, in fact, spent some time in her company at a Jazz festival booked by my husband, Jim, and presented at the famed Grand Hotel on Michigan’s Mackinaw Island.  She was 79 years young at the time.

Jim and I went to pick up Miss Kitt at the ferry docks the evening before her performance. I fully expected Miss Kitt to be as expansive, slinky, glittery and diva-esque as the persona that I had seen slithering across  a television or teasing the lyrics of I WANT TO BE EVIL in her vixen’s voice.  Instead, the woman who came forward to meet us was a silent, tiny, plain-clothed little thing, without a shred of makeup, as reserved and pulled tight as an oyster.  She barely spoke a word to us as the horse drawn carriage pulled us up the steep hill towards the long, white-pillared porch of the Grand Hotel.  As a performer myself, I knew enough to respect her need for silence and distance.  I simply shut my mouth and joined my husband in accompanying her to her sunny, airy, stunning hotel suite.  She took in the panoramic view of the smooth cobalt surface of Straits of Mackinaw, put her hands on her hips, rolled her eyes and spoke:

“If I had known it was going to be this fabulous,” she said, “I would have brought a man.”   “Well, Miss Kitt” said my husband, “that can ALWAYS be arranged.”She smiled.  We smiled. She spoke again.
“What time am I performing tomorrow “

“2 pm, “ Jim replied.

“God,” Miss Kit said, rolling her eyes, “ it’s HELL being Eartha Kitt at 2 o’clock in the afternoon.”  And then she put her hands on her hips and laughed, a big rich throaty laugh.  When I look back, I realize that that simple question, “what time am I performing tomorrow,” catalyzed the start of Miss Kitt’s preparation countdown and her metamorphosis into the Eartha Kitt (Big E, Big K) people would be paying to see.. Because the Eartha Kitt we expected to dazzle us required time, work and preparation, emotionally and physically.  And I was privileged to observe some of that preparation, which occurred in phases over the next 12 hours.

At 9 am the following morning, Miss Kitt showed up at breakfast, five hours before show time, wearing a silky turban, long fluffy false eyelashes, a face gilded with makeup and a colorful kimono—a far cry from the undecorated woman we’d met at the ferry docks the evening before.  Wide eyes turned toward her as she swept into the dining room, holding herself like a queen, flirting with maitre D as he seated her.  Once fortified with breakfast, she made her way down to the Grand Hotel’s tea garden stage to do an official sound check with the members of her trio.  As my husband and I finished our breakfast, we could hear Miss Kitt warming up her voice with a song or two. Then she put the band through their paces, going over parts of a song again and again. Next, word trickled up to us that Miss Kitt required a lounge chair and a tuxedoed waiter to serve her champagne for an improvised bit during her show.  My husband scurried to procure them.  Miss Kitt was exacting and specific.  She knew precisely what she needed and wanted.  After all, as she had declared, “you have to prepare yourself for what you want to do.”

An hour prior to her 2 o’clock performance, Miss Kitt retired to her dressing area.  No visitors allowed: she needed space and silence.  Again, this was all part of her preparation ritual.

At 2 o’clock, I sat eager and breathless in the front row, ready to see the final iteration of Miss Kitt. The emcee hushed the audience and spoke: “Ladies and gentlemen, Miss Eartha Kitt”

With upraised arms, Miss Kitt swept out of the wings, swathed in a dramatic, long cloak held aloft by a small, scurrying assistant.  The assistant whipped off the cloak with a swoosh, revealing  Eartha Kitt, Big E, Big K in all her gloriousness:  Hair perfectly coiffed, nails long and red, heels glittery and high, stretch velvet gown slit up to there and revealing a very toned leg.  She growled.  And then she did a backbend that brought the back of her head almost perpendicular to the ground.  The crowd gasped!

For two hours, Miss Kitt sang, kicked up to her nose, teased grown men enough to make them blush, made us laugh until we cried, made us cry until we laughed, and otherwise showed us how to take the stage (and an audience) prisoner.  As I watched Miss Kitt in full fiery performance, I thought of the silent, unadorned, reserved woman I had met the night before at the ferry dock.  In less than 24 hours, she had done whatever it took to bring herself to full performance power.  Relying on a lifetime of training and preparation—countless dance and yoga classes, vocal and dance warm-ups, attention to nutrition, costume, makeup, song choices, hours of rehearsal– Miss Kitt had helped transform herself into the stunning, incandescent performer who had me hanging on her every word and gesture.  And she had done so even though– and especially because—as she’d put it, “It’s HELL being Eartha Kitt at 2 o’clock in the afternoon.”

And here’s the kicker.  We– the audience that stood to give her an ovation at the end of her remarkable show– never had a clue that Miss Kitt had just been diagnosed with the cancer that would eventually take her life. I have no doubt that the years of training, combined with the steps she took to be thoroughly prepared, allowed her to rise above her medical condition, and give a performance that knocked our socks off. If Miss Eartha Kitt was (and in my heart still is) not a poster child for why training and preparation matter, then I don’t know who is. 

DEDICATE YOUR WORK AND WATCH IT SOAR!

November 18th, 2008

Last night I watched the semi-finals of Dancing with the Stars while lying in bed eating dinner with my husband and my three cats. Tease me all you want, but it was a whole lot more fun to watch people in satin and sequins mamboing and fox-trotting than, say, watching doom and gloom on the TV news, or a blood and guts flick on the Spike channel.

In any event, Lance Bass, a contestant who used to perform with the boy-band, N Sync, did something unusual to help him get a leg-up on the competition:  He brought his beloved granddad to the show and dedicated his performance to him.  Lance was going to do a foxtrot, and figured since his granddad had grown up dancing this particular dance, some of his grandfather’s latent abilities might rub off on him.

As it happened, Lance nailed his foxtrot, even after one of his dancing shoes fell off (!!) halfway through his dance number.  His grandfather was jubilant. Lance was ecstatic:  He got the highest points he’d ever received on any dance routine thus far.

Here’s my point:  By dedicating his performance to his granddad, who was sitting in the audience, cheering him on, Lance imbued his performance with a meaning greater and deeper than usual.  He danced, this time, not just for himself, but to honor another.  And, as a result, he danced better, with more focus and abandon than he had ever done before.

Authors dedicate their work to others all the time:  Open up just about any book, and you’ll notice a dedication at the very beginning.  Actors do this, too:  They’ll dedicate a particular show to someone they love or admire—their mother, a person who is sick or ailing, the ghost of Sir Lawrence Olivier, whatever works for them. And when they do, the act of dedicating their work in another’s honor gives their performance greater focus, meaning and purpose, and often elevates the quality of their work. 

According to Daniel H. Pink, the author or a wonderful book I’m currently reading called A Whole New Mind: Why Right Brainers Will Rule the Future, dedicating your life or your work to someone you admire or something greater than/outside of yourself gives it a richer and more fulfilling meaning and purpose. So why not give it a try? The next time you have a difficult task to perform—a tricky presentation to give, a tough phone call to make– dedicate your task to someone you love and admire.  If it worked for Lance Bass last night on Dancing With the Stars, it can work for you.

STOP PREPARING AND JUST DO IT!

November 13th, 2008

When I teach presentation skills to my coaching and training clients, I always tell them to prepare to the point that they know their material inside out.  Because, as jazz musician, Bradford Marsalis has pointed out, “If you’re not prepared, it’s too late.”  Of course, this applies to anything you’re trying to accomplish in life, not just public speaking.But then there comes a point where you need to stop preparing and just DO it.  This requires a necessary leap of faith that is terrifying to many people. And so, they keep preparing, and stay stuck.Several years ago, while living in southern California, I participated in a weekend retreat designed to challenge fears and perceptions.  One entire day was devoted to tackling the elements of a rope-challenge course.  For those of you unfamiliar with rope challenge courses, suffice it to say that participants are safely led through exercises that involve the use of ropes in ways that make you come face-to-face with your fears, particularly the fear of heights. Participants work in teams, pairs or alone, building teamwork, trust and self-confidence, doing such hair-raising things as leaping off the top of a tall tree towards a swinging trapeze or walking across a tightrope. It is not for the faint of heart.

Let me say right off the bat, that I have a colossal fear of heights.  So the ropes challenge course both terrified and (strangely) attracted me.

The first ropes challenge I faced was, so I was told, a simple one, in that it did not involve climbing up a rope or a ladder:  “All” we had to do was take turns leaning off the side of a cliff, tethered to two ropes commandeered by the ropes course instructors.  To prepare for the experience, we were carefully instructed in the correct way to strap on the harness we would be wearing while dangling into the abyss, and shown how the belay ropes attached to the harness worked to prevent injury.  We were given helmets and shown the proper way to secure them to our heads. We each took turns feeling the tension on the rope attached to an instructor as she dangled off the cliff.  I, of course, asked a lot of questions:  How secure were the belay lines?  What if something went wrong?  Should we look down?  As far as I was concerned, I would have preferred preparing forever, and avoiding altogether the spine-chilling moment of hoisting myself off the side of a cliff with a wing and a prayer.

I managed to put myself as far back in the line as possible, watching with amazement and horror as person after person strapped themselves into the harness, walked to the edge of a cliff, yelled “ready,” and then slowly leaned out over a 300 foot drop.  The line moved much, much too fast, until, finally, it was my turn to buckle on the harness.  I truly didn’t want to go.  Wasn’t there more to do, more to prepare, so that I would be completely safe?  Was my helmet on right?  Was the rope secure?  The rope course instructor watched me with a knowing smile.  “You’re ready,” he said “just do it.”

And so, I did.  Somehow, I managed to make my feet move toward the cliff’s rocky edge.  “Now let go and lean forward” the instructor ordered.  And I did that too, my heart pounding like a bad headache, leaning slowing out into the cool fall air. “SNAP!” the ropes attached to my harness locked into place.  And there I hung, at a 45 degree angle, the scruffy gray-green of the southern California hills spread out beneath me.  I had done it! And, oh, it was a beautiful thing.

Afterwards, once my pulse had slowed and my legs had stopped trembling, I wondered:  Why had I let myself be so scared?  Because the fact of the matter was this: Actually DOING it wasn’t nearly as hard or scary as PREPARING to do it. 

There comes a time when preparation must end and you must just do it, whatever “it” is.

When you must simply pick up the phone and make that call, send that letter, have that conversation, take that action, step onto that stage.  So stop letting preparation stop you from doing what you know you need to do. And just do it.

LESSONS FROM AN OLYMPIAN: WHEN YOU FALL, GET BACK ON THE BEAM

August 21st, 2008

Every night this week, I’ve screamed like a kid watching the American Olympic Team swim, dive, leap, run, and spike balls across nets.  I’ve loved watching Team U.S.A. win, especially Ann Arbor’s own Michael Phelps, who, as of this writing, did the impossible and won a record-breaking goal of 8 gold medals for his swimming prowess. But I’ve loved watching our team members lose, because it’s been there that I’ve seen the greatest courage saw the greatest courage and the hardest lessons learned.

Take the case of the American women’s gymnastics team, and most particularly Alicia Sacramone.  I’d already taken an interest in her simply because she attends Brown University, my old alma mater, and had been splashed across the front cover page of my latest Brown Alumni Monthly magazine.  So I got all excited when her name was announced last night and it was her turn to leap onto the balance beam and do her thing.  “You GO girl,” I yelled, as she strode up to the apparatus, a piece of wood four inches across and four and a half feet off the ground. “Show em how it’s done.”  And she did, alright. She showed the entire viewing audience how to leap onto a small strip of hard wood, land like a shaky stork on, off balance leg, and fall unceremoniously back to the floor.  The crowd gasped.  I gasped. Her forehead knotted.  But here’s where it got good: Darned if Alicia didn’t just pick herself up, set her jaw, leap back onto that beam and keep going all the way through the rest of her set. She didn’t kick and swear at the beam.  She didn’t run off the floor, crying.  She simply took a breath and got back on beam.

Wow.

That move cost her team a whopping eight tenths of point.  Alicia must’ve known that as she was tumbling to the ground.  But she still got back on that beam and kept on going.

Here’s my point—and it applies to facing obstacles in life as well as facing obstacles and fear as a public speaker:  When you fall, get back on the beam. Really, it’s that simple, (and, yes, that difficult).  When you fall, get back on the beam. Even with those nasty little voices in your head cutting your ego into ribbons. Even with your fear and your embarrassment taunting you like schoolyard bullies, so that all you want to do is run, run, run sobbing to the shelter of the nearest bathroom stall, swearing never again to make another cold call, fall in love or give another presentation.  When you fall, get back on the beam.  Because when you do, you lean three things: 

1. You cannot be stopped unless you choose to be stopped.

2. It’s better to dust yourself off and try again than wish you had.

3. You are more resilient, determined and able than you can even imagine. Even in public, with all eyes on you.

So, Alicia Sacramone, thanks for falling, and getting back up again.  You’re a champion in my eyes.

A PLATTER OF POPPIES

September 19th, 2007

As soon as she gave her hand to him in marriage, the giving began in earnest:

When he balked at spending time with her beloved extended family, she gave in.

When he refused to let her relatives call her by her childhood nickname, she gave over.

When he belittled her dream to act in community theatre productions, she gave it up.

Bit by bit, she gave in, gave over and gave up precious pieces of her very essence, until, under her husband’s stern, unyielding and belittling ministry, she shriveled to the merest wisp of her former self– her passions, her dreams, her sense of worth dried up, blown and scattered like dirt in the wind. “I gave away such essential parts of myself,” she remembers, “that my mother considered me dead.”

And yet… and yet…even as she willingly gave away pieces of her soul, what remained of it rallied forth with panache and brilliance: She birthed and adored several beautiful children. Needing additional household income, she forged a successful career as a sales executive. At work, she felt brave, capable and appreciated.  At home, she felt shut down, shut off and utterly unseen by a husband whose needs came unequivocally first.

So, when the little voice inside her whispered “Could be more!” it was not only a wonder she acted on it, but a wonder she even heard it in the first place.  “Could be more…  More of you… More of what you love… More of what you need…” it hissed in the deepest recesses of her being.  And slowly, step by determined step, she began to heed it, paving the way for her departure.

By the time she filed for divorce, she had managed to firmly instill in her befuddled– and ultimately stunned– husband the tools and the skills to manage the house and she children she had been caring for almost single-handedly.  “I wanted him to be able to take care of himself, and I wanted to know he could take care of the children when they visited him,” she explained.

Pleasantly, but firmly, she helped her husband through and out the front door of the house in which she’d lived with him since she left her parent’s home, and into an apartment of his own.  In the process, she took him to Macy’s to help him feather his new nest, a last vestige of her habit of clucking over his needs.

In the houseware section, a porcelain platter stopped her short.  Large, white and gleaming, it was covered with the flaming orange-red of blooming poppies.  Her hands reached for it almost automatically, greedily.  “I want this,” she thought, surprised. It was nothing like the dishes she had owned since she had given her hand in marriage.  The poppies burst off the plate, wild, passionate, messy.  She stood, transfixed, her oblivious husband a few feet ahead of her. “This could be for my new home,” she thought.  “My new life.”

At that moment, her husband turned around and noticed her tight hold on the platter of poppies.  “That,” he said, “is one of the ugliest things I have ever seen. You’re not actually thinking of buying it, are you?”  For a moment, she hesitated; old habits tempted her to put the platter down and dismiss it with a shrug.  Instead, she took a deep breath,  squared her shoulders and looked her soon-to-be ex-husband in the eye:  “You bet I am,” she said. “And I’m going to get the matching dinner set as well!”

And though her husband rolled his eyes, she never even noticed.

A Platter of Poppies.  A declaration of courage.  A reclamation of self. 

WHEN WE DWELL IN BITTERTOWN: Moving Beyond Misery

July 17th, 2007

It’s happened to all of us:  Just when we think things are going swell, something or somebody comes along and knocks the stuffing right out of us. Demoralized, mis-understood, mis-treated and miserable, we pack our bags and move to Bittertown, where we threaten to remain for good… or at least until we get our come-uppance…someday… somehow.  Some of us never make it out of Bittertown.

Bittertown:  Where, to quote my own song lyrics (BITTERTOWN, © 2007 E.Kelakos) “the coffee’s always black and it burns you going down”… Bittertown, where the café’s are filled with has-beens and never-weres… where you share and celebrate your wounds, point a wagging finger at  “them…the ones that did this,” mutter yourself into a dark and fruitless corner… Bittertown… where all roads lead in, and none lead out.
Bittertown is a darkly comforting place.  You’ve been there.  And so have I.  Just visited it this morning, in fact, after I was stood up by a new client who was supposed to begin two days of intense coaching on his keynote presentation. Yep, flat-out stood up. Despite a signed contractual agreement, this person left me swinging in the breeze… No phone call.  No e-mail.  No explanation.  No apology. No nothing.  To make matters worse, when I tried to phone this so-called client, at a number where I’d easily reached him before, the number was no longer accepting messages.

So, how did I feel?  Lousy, with a big L.  It wasn’t just the money that I had expected in return for my services.  It wasn’t just the fact that I’d painstakingly rearranged my schedule (and the schedule of some existing clients) to accommodate this no-show. It wasn’t the four phone calls, the fax and the many emails I’d taken the time to write and send to this person.  It was the fact that, in the end, he failed to treat me with the consideration due another human being.  And that’s when the road to Bittertown beckoned.

I thought about it:  Wouldn’t it feel good to roll around the rutted streets of Bittertown, let myself gnash and wail and fling my fist at the heavens?  “How could this happen to me?” I could cry?  I could check into the grimy Bittertown hotel, draw the dingy blinds, drop into a creaky bed, pull the linens over my head and stew in my self-righteous anger.  Aaah! The sweetness of Blame!  The oblivion of Avoidance!

I stood there for a moment, tasting the tempting, acrid smell of Bittertown, feeling the familiar  just-punched ache in my gut, the helpless hopelessness— All too familiar sensations to any one of us who has come face-to face with something promised and not given.  Something expected and not delivered.  When the job falls through.  When The relationship fails. When the promotion is given to someone else. When the red skis don’t appear under the Christmas tree (OK, so Santa didn’t come through when I was seven…).  We all know—and sometimes love—the sights, smells and sensations of Bittertown.

I remember my first few trips to Bittertown, back when  I was a young actress just starting out in NYC.  Every time I didn’t get the role I had auditioned for (which was often), I ranted and wailed and trundled stoop-shouldered into Bittertown.  “What was WRONG with those people?” I wailed to the equally distraught and disgruntled denizens of Bittertown.  “How could they not cast me? Don’t they realize what it took to go in for not one but three callbacks?  They made me improvise with the other actors, they had me learn bizarre interpretive dances, they insisted I learn and sing three new songs… but they DIDN”T GIVE ME THE PART!!!!  It’s just not FAIR!.”  And my fellow wretches in Bittertown would nod in grim understanding, sucking down their black coffee, sugar a mere memory.

For those first few years in New York, I stayed for long stretches of time in Bittertown, a regular in the decrepit hotel, feeling good and sorry for myself. After a while, yanked by a twinge of hope, I’d take a few disgruntled steps out of town, and back into the land of the living.  And I’d audition again.  And more likely than not, wind right back up in Bittertown. Stuck as a duck in muck.

Then, one day, something shifted:  I got a part.  A good one.  A role in an HBO movie, the part of French Diplomat’s wife… the director liked me so much that he promised to make the part even larger.  I had gone to three auditions to nail this part, beating out other, older, established actresses who actually WERE French.  The movie shot in Israel, somewhere I’d lived for seven years and had been longing to visit again.  I was ecstatic. This was a dream come true. How wonderful was this?  

At my agent’s urging, I got my passport updated and waited for the travel arrangements to be made.  I also called everybody I knew and shared the good news.  Bittertown seemed like a distant memory.

And then the phone rang, not more than one week later.  It was my agent, with the news that the “suits” at HBO (who had never met me, nor seen my audition), had decided that they could save money by hiring an Israeli women to play my part.  The role that had been bestowed onto me, that had held such promise, had been unceremoniously whisked away.

And oh, how my heart was broken.  Oh, how I wanted to point my sorry little self towards the familiar haunt of Bittertown and never leave. 

But here’s the thing:  I didn’t go. Sure I moaned and groaned and shed a few tears for an hour or so.  But then I got up and made a couple of new cushions for my living room chairs.  Nice ones, at that.  And after the cushions were done, I went to the gym and worked out, hard. And when I was done with that,  I went back home, sat down messy and sweaty at my desk and addressed a few promotional postcards.  And despite how lousy I felt, I also felt pretty good.

So this morning, when I realized my would-be client was just not going to darken my door, I let my eyes drift towards the murky shadows of Bittertown.   I took one step onto Bittertown’s dusty Main Street. And stopped in my tracks. “Naaaaaaaaaaaah.”  I thought.  “Don’t need to go there.”   Then I sat down at my computer and  wrote a scathing email to the so-called client who had stiffed me;   I followed up some leads I’d made at a recent conference; I assembled –and then drove to the post office to mail– a promotional package to a  speaking client;  And I wrote this Blog.

Because here’s the thing: If I’d chosen to hang my head in Bittertown, I would have given my heart, my soul, my purpose and my potential to an errant client who, for whatever reason—and unlike me– didn’t have the courage to show up.  And one little step away from Bittertown is one BIG step towards a life that is utterly and richly my own.

Walking Into the Wind

March 6th, 2007

Sometimes, for whatever reason, it is all we can to do put one foot ahead the other and take a faltering step forward.  And yet, one foot, one step after the other, is all is takes to get us where we need to go—even when the icy winds of our fears conspire to blow us back. I recently facilitated a retreat called “What’s Next?” with my friend and colleague, Chris Wucherer.  We were gratified that thirteen wonderful women signed up with the intention of tapping into their deepest wisdom, revitalizing their precious dreams and mapping out specific action steps towards a vision of their desired lives. 

We held the retreat at Chris’ beautiful home in Manistee, Michigan, on a bluff overlooking mighty Lake Michigan. Thinking of it as way to help participants approach the New Year with focus and support, Chris and I scheduled the retreat for the first weekend in February.  While we understood that winter would be in full swing, Michigan had been experiencing unusually mild weather and we were confident that our weekend weather would be manageable.

Nothing could have prepared us for the fact that our retreat weekend heralded the onset of a massive and unusual snap cold snap, with temperatures plummeting down into the single digits with minus 0 degrees wind chill factors.

On the second day of the retreat, winds whipping with icy gusto off the nearby lake moaned forebodingly through the skeletons of the trees that surrounded us. Chris and I huddled to discuss the upcoming lunch break in which we’d planned for retreat participants to walk outside and, in silence, contemplate a question we would provide them. Because the weather seemed so daunting, Chris and I decided to present our original plan to the women, with the caveat that they could choose for themselves whether to spend to spend solitary time in the warm recesses of the house, or bundle up, brave the wind and walk outside for as long as they saw fit.  Much to my considerable surprise, and without a whole lot of hesitation, every single woman swaddled herself in long-johns, leggins, scarves, hats and parkas, and stepped out into the whipping wind.  I watched them from the window as step-by-step, they fanned out into the elements, crunching– one step after the other–  through the drifting snow.

When they finally returned, one by one, rosy cheeked and in high spirits, I couldn’t wait to ask what their experiences had been.  Through smiles, their bodies animated, the women told stories of exhilarated romps and a sense of great accomplishment in having walked out into the wind and returned to speak about it.  One person reported joining a colleague in a walk that took them, step by plodding step, to a protected area that was suddenly and surprisingly silent—a place of surprising peace in the driving wind.  Not one woman had allowed the icy winter wind to stop her.

As I listened to the women share their stories, I couldn’t help think “How brave, how spunky they are!” They could have let driving, gelid  wind keep them from tackling the outdoor task we’d assigned them, and risked having an experience perhaps less deep and transformative. But they didn’t.  They chose to take one step at a time, and walked headlong into the wind, testing the strength and determination of their desire to literally—and figuratively—move ahead, step by willful step.  Yes, how brave and spunky our retreat participants were!  And how brave and spunky we ALL are, when we choose to take one step, and then another step, and walk with purpose and determination into the driving wind of our fears.

When the Well Runs Dry: Priming the Creative Pump

October 17th, 2006

When the Well Runs Dry: Priming the Creative Pump

Let’s face it: Even the most seasoned speakers and performers among us experience the feeling of being “tapped out,” of having their creative or emotional well run dry. It’s not always easy having to “come up with it” time after time, speech after speech, audience after audience. Sometimes, too many consecutive days on the road, or a couple of tough audiences in a row can leave us feeling tired, raw and cranky. And yet, there we are, facing yet another performance, another presentation, another audience. And our audience is expecting us to be at our best, even if we’re not exactly feeling our best. It’s a constant—and interesting– challenge.

So, the question is, how do we prime our pumps when our wells have gone dry? Or, put another way, HOW DO WE TURN OURSELVES ON, SO WE CAN TURN OTHER PEOPLE ON?

I got a great lesson in how to do this when I was a young actress, just starting out in New York City. I was working on a film directed by Sydney Lumet called “Running on Empty”, standing-in for the wonderful Christine Lahti. I had never worked on a movie set before, and was blindsided by the numbing tedium of waiting for scenes to be painstakingly set, lit and, finally, populated by actors and so they could be filmed. Actors had to sit around for hours, marshalling their energies, waiting to be summoned to the set. How did they keep fresh and emotionally available, I wondered?

I was especially curious about this on one particular day that seemed to go on forever. All sorts of technical problems were causing massive delays in the shooting schedule. Knowing that Christine Lahti was scheduled to do only one scene, at the very end of the shooting day, I began to wonder how she would handle this challenge—especially since I knew the scene she was scheduled to shoot was an emotional nightmare: While she had no lines in the scene, she was required to run across a street, pause at a storefront, and burst into tears. How, I wondered, was she going to keep her center, and be emotionally ready to give her all for the scene, after such a long and trying wait?

I began carefully observing Christine, and noticed that she was choosing to remain apart from the rest of the cast and crew, plugged into a cd player and headphones, her eyes closed. She kept those headphones wrapped around her head hour after hour, up until she was, at long last, finally called to the set to shoot her scene. She took off her headphones, handed them to an assistant, and took a deep breath. Then, while the cameras were rolling, she raced across the street , paused at the storefront and burst into tears, exactly as the scene required. She nailed it in one take. It was a beautiful thing.

Later on, I discovered that Christine had been listening to a beautiful ballad called “I Dreamed a Dream, from the Broadway show, Les Miserables. The song evoked all sorts of deep emotions for her. By keeping herself plugged into the song, throughout a very long and trying day, Christine helped herself stay in the emotionally available place she needed to be in order to shoot her one scene.

Christine did whatever it took to help herself do her job. We have to do the same. We have to find ways to refill our well, so we can be fresh and more available to the given moment. What does that mean, exactly? Well, for one thing, it means taking the time to figure out what inspires you or fills you up in the first place. For myself, I find that great performances by other actors, singers or speakers can fire me up and reconnect me to my sense of mission, vision and purpose. Great visual art, especially impressionistic oil paintings, can do the same. Taking a long walk in nature, or a luxurious bath can help me decompress and find my center. So can sharing a homemade dinner with some really dear friends and loved ones, where I can laugh and talk and just plain be myself.

From a purely practical standpoint, when I need to help myself be present and accounted for in front of an audience, I do what I tell my coaching clients to do: Stack the deck in my favor by helping myself be at my best. That can include leaving early from a late night event hosted by a client, so that I can get some additional sleep before a morning performance; or politely retreating to a quiet room a half an hour before my performance time, so that I can do some breathing and relaxation work or vocal exercises before stepping out, warmed up and ready, onto the stage. And it always, always means taking the I need time to be prepared– I mean REALLY prepared– for the presentation.

Since it is my job to do my best in front of each and every audience, I have to treat my audience as if they are my only audience, each and every time. If, like Christine Lahti, I have to help prime my pump by taking some special, small measure, like looking at an photograph that evokes a particular memory or feeling in me, or re-reading a letter of inspiration someone special has written to me (or I have written to myself), then that’s what I’ll do. Making these choices helps me step onto that stage fully present, all cylinders blasting. And when I’m blasting on all cylinders, inspired and alive, when my senses and my energies are flowing fully and richly, I stand a better chance of firing up my audience and giving them the kind of presentation that we both deserve: Authentic, fresh, and in the moment.

So ask yourself: What turns you on, so you can turn other people on? What can you do to prime your creative pump when your well runs dry? Remember: It is up to you to inspire yourself, so you can keep inspiring others!

The Fallen Actor

April 5th, 2006

My coaching clients often ask me “What should I do if something horrible happens while I’m giving my speech? What if I completely lose my place/trip as I walk to the podium and scatter my notes/go utterly blank?”

My answer is this: Take a lesson from the Fallen Actor.

By the third mind-blowing day of the International Performing Arts for Youth conference, I had seen so much amazing, brilliantly produced theatre and storytelling for children, that I was convinced I couldn’t be further impressed. I was dead wrong.

The magic happened in a small dark theatre, as I watched two Swedish actors and two upright-bass playing musicians play all the characters in Shakespeare’s Hamlet. The production took place on a bare-bones stage set with two long wooden benches and a minimum of props. We sat on the stage itself, an arms length from the actors. The proximity to the actors, and the brilliance of their work made for visceral, exciting theatre. I was mesmerized.

Suddenly, in the middle of the second act, disaster struck: One of the actors, leaping onto a wooden bench for the millionth time, slipped on its edge, teetered and fell, twisting his ankle visible and horribly as he crumpled to the floor.

For a long, terrible moment, no one breathed. The Fallen Actor groaned, filling the shocked silence. ” AAUUUUUUUUUGHHHH!” Then, he swore, loudly, in what I could only presume was Swedish. Then, he fell silent, his face contorted in pain, while he rocked back and forth, his injured foot cradled in his hands.

Again, the most agonizing silence, in which, we, the audience members, slid to the end of our seats, our compassion fully ignited, our collective hearts going out to this poor, injured man. We were now even more actively engaged with the action on stage, our senses at full attention, taking each moment alongside the Fallen Actor, not knowing what was going to happen next but more fully than ever along for the ride.

From across the stage, a murmured question from the Fallen Actor’s partner, also in Swedish. We could only assume from its urgency that the question mirrored the ones in our own minds: “Are you ok? Are you going to be able to continue?”

The Fallen Actor shrugged his reply. Then, he exhaled again, audibly and slowly. In and out, he breathed. In and out. With each exhalation, his face and body relaxed and unknotted. He opened his eyes, took in the audience around him. Then, he looked once again at his foot, leaned against the bench and used it to hoist himself into a sitting position. Then, slowly, carefully, he stood on his weakened ankle. Would it bear his weight? Taking tentative steps, he tested his foot, and exhaled once again. Then, with a vigorous nod to his acting partner, he suddenly launched into his set of lines, his voice raw with honest emotion. It was nothing short of breathtaking! We settled back in our seats and relaxed, only dimly aware of the actor favoring his right foot as he finished the play with passion and focus.

When the curtain dropped, we leapt to our feet in a spontaneous, passionate ovation. As we left the theatre, I couldn’t help but think that the ovation was particularly heartfelt because we had so fully identified with the Fallen Actor. He let us in on his pain, on the intense moment-by-moment reality of his situation. He took the time he needed to take to do what he needed to do: to howl in pain, swear, breathe, test out his body, and center himself. And he let us watch him do it, to share the moment with him. We felt privileged to be there, one human being observing and identifying with another. He turned his accident into a gift. He made a horrible moment into something magical and powerful.

And you can too: When your speech or presentation turns into a train wreck, take your cue from the Fallen Actor: Let yourself BE — I mean, really BE–in the given moment. Experience what you are experiencing, in all its anxiety/pain or fear. Take the time to feel what you are feeling. Then, breathe. Inhale and exhale fully and regularly. Like the Fallen Actor, use your breath to relax and to bring yourself out of your head, where you are judging yourself, and back into your body. Once you are centered in your body, bring your attention back to what you are there to DO (your intention)… and get on with it. You will not have abandoned your audience in the process. You will, in fact have done quite the opposite: You will have invited your audience to share in a real, honest, human moment with you, a moment of deep connection, one human being to another– a moment that can only occur when genuine empathy and compassion is stirred. You will, like the Fallen Actor, have made magic.