Official D&D Stage Show Twenty-dovey Izakaya We are preparing for a national tour, but not before the legendary performers join the adventurers. This week, the guest is a veteran actress and tabletop creator, with more credits than you can list here, but you may know her Vampire the Masquerade: Night in LA A variety of otaku and miscellaneous shows. I have been a fan of her for a long time and was lucky enough to sit with her and talk about her latest role Twenty-dovey Izakayaincluding her tips on beating the horrors of the stage, how to use love to tell stories, and why it’s okay to cry in the corner from time to time.
Dan Arndt: You obviously have a lot of experience with live play with performances, but how are you preparing for your time? Twenty-faced Izakaya?
Becca Scott: Complete panic.
No, I’m really excited. I feel really ready Twenty-faced Izakaya team. They have a process of doing this, they know how to take guests and make them welcoming. I have a document about the schedule, they are raising me, they are going to take me from the airport, they give me all the characters. I have been researching and studying tapes from previous shows. They gave me a character sheet. This is much simpler than your regular character sheet. Because we are not walking around with most of the paperwork and not sitting in a chair. We’re moving around and the audience is rolling at times. I’m really excited to enter the rehearsal just before the first show.
Have you ever been involved with an audience before? How do you think you can handle it as part of the game as a D&D and performer?
Becca: I have never done anything like this except for the actual play of a live RPG on Gen Con with Gen Con Crowd, who I bought tickets. And I’ll run Chall of Cthulhu Game (don’t tell D&D) and the energy that has many bodies in the room waiting for you to exhale – you will react instantly. There’s no need to wait for media or social media reactions in a few months. It’s real time. I am the absolute good adrenaline pumping for performers, what people love and what they don’t.
When I first ran a campaign or session on stage, I just said improvisation. And it’s become all this that could be misunderstood, someone in the audience will either catch up or catch up when people call things. And I love that the audience is also the characters in the show in live performances.
I got off to the theatre. We are all theatre kids with a theatre degree, but it’s been a long time since they put one of them on stage. This is on a completely different level. I don’t have a table to protect me. However, it becomes a container for things that you want to see around the stage and move around inside my body, making the audience enjoyable.
You mentioned that you are preparing your character. Can you tell me anything about you? Twenty-faced Izakaya Warrior guest role?
Becca: I prepare three different versions of the warrior. These are based on pre-established characters. So, if I spend a little time making them myself and have a unique view on it, I am especially excited about Tabakshi Pirates. Cat Pirates, what do you have to love?
I’m excited to sink my teeth. It also puts a lot of pressure from these spinning performers, perhaps making the mind easier for producers to make it all of their work easier. There’s no need to generate characters from scratch. They have a fun bit to tackle the selection of characters that have already been created. So I feel like you’re sliding the gloves and you’re bringing your own unique self to what’s already created.
You were a cast member of the game or performance, but whether it was a real play, Twenty-faced Izakaya. How do they integrate into an already existing cast? You come as someone with knowledge of that performance and are your own take – how do you mesh with it?
Becca: It may seem scary to step into a cast that is already related to each other, but I love going with the flow, listening to the bits, and continuing the bits. And in reality, my move is to choose the person I love. There’s my secret sauce. Does it work in this particular setting? I don’t know. However, if you find a unique character game that may have nothing to do with the rest of the actual play, you have another player character with a unique connection with my sister. ” Or we grew up together. Or, “They’re my nemesis, but I’ll clarify that with other players in advance.” I don’t know if that’s the time, but that’s what I can do with my behind the scenes and with my own mental backstory to make me feel like I know where I stand in relation to other characters.
Have you ever been scared or trapped when someone throws a curveball on a table or on a stage? How do you adapt to that?
Becca: I used to do that in my head and was socially worried, but what people think, and one day I woke up and said, “What? I don’t care anymore. It’s okay. I’m having fun.” And I think the secret to improvisation and actual play is listening. That is, especially when you are a guest, it’s very simple and very difficult, with a little uneasy nerve. I’m not nervous about my predictions, but when I first get on stage, my heart rate beat speeds up. And what you need to remember is that because the impulse is free, my God, I have to do something, so you don’t just have to fill in the space and speak. But if someone else is doing something and you’re really looking at it, taking it in, and actually reacting through your lens as a person and as a character, no one can throw a curveball at you. If anyone is saying something absolutely offensive, look and say, “Wow, that was really strange. I’m going to stand here. I think the unique response is cherished by the headlights of “what happened.” I think it’s absolutely reasonable to say, “I don’t know what to say about it. How can you do it?” Then he blows away the storm and crys in the corner. I just have a big, emotional honest response and feel like I’m always making the right choice.
Is there anything you’ve learned about your performance or something you think you might be able to add to your tool belt from your time? Twenty-faced Izakaya?
Becca: I’m sure I’ll learn a lot. These performers do this in rotation and know everything. I’ll be floored on all of them. I’m sure it will be an absolute rich experience and I’m very excited to try something very new and different.
You can catch Becca as a warrior Twenty-dovey Izakaya Until April 29th. You can find tickets and details here.
Images from 20 pubs
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