Olivia Hartle
Our Alumni Spotlight this month is Olivia Hartle, a 2009 graduate and a former EBoard member. During her time with Chappell Players Theatre Group, she served as a director, choreographer, costume designer, and performer. Since she has graduated she's not only directed, choreographed, and led workshops, but coached the SJU improv team from 2014-2018. With a Master's Degree from New York University and a PhD in Community Engagement from Park Point University, she focuses on bringing together Point Park's performing arts conservatory with the community engagement program to develop new community-based initiatives that use theatre as a catalyst for social change.
How was the transition from college to the real world? How was life after graduation?
It was tough, but I learned A LOT. The first job I took after graduating was as a character performer at Walt Disney World in Orlando. It was a valuable experience – and I was officially making a living as a performer – but I knew I really wanted to be in New York. So, I moved back at the end of the summer, and I reconnected with the Chappell Players. I directed the cabaret that Fall of 2009 (Cabarock) and I started working on a bunch of small theatre projects all over the city. I was also working three jobs – as assistant house manager at the off-Broadway Lucille Lortel Theatre, as an usher at the off-Broadway Duke on 42nd St., and as an entertainer and party host at Dylan's Candy Bar. I spent all my extra money on improv classes at the UCB. In 2012, I got together with a bunch of other Chappell Players and we launched BIG Theatre Company – a play on words with the Little Theatre – and in 2012, 2014, and 2016 we produced three original full-length productions in the New York International Fringe Festival (FringeNYC). We also partnered with other independent theatre companies to produce another 1-2 shows each year. It was nuts, but I never lost the creative momentum that I developed during my time as a Chappie. It really carried me through.
Did being involved in the Chappell Players prepare you for life after college? How so?
Oh yes. I honed my artistic talent, and learned how to collaborate and work really, REALLY hard to accomplish my goals. Plus, in addition to learning technical skills about lighting, sound, and set construction, I got my feet wet as a director, choreographer, and producer. I graduated from St. John's confident that I could direct, choreograph, and produce shows on my own, and launching BIG Theatre proved that. Our first show in 2012 was GRIMM: A New Musical and it was actually a show that we originally developed and produced as the CPTG children's show in 2009. In 2014, we produced a play written by CPTG alum Sarah Goncalves called Destiny is Judd Nelson. In 2016, we produced a play written by CPTG alum Mike Wirsch called The Curse of the Babywoman. I directed all three shows, and the cast and creative teams were made up primarily of CPTG alumni and friends. So, I learned a lot about how to make theatre as a Chappell Player, and I also formed a strong group of collaborators who I continued making theatre with long after graduating.
What is your favorite CPTG memory or performance?
It's too hard to pick just one! I remember my time with the Chappell Players as being a blur of warm and wonderful – creative, collaborative, fun... I met my best friends there, and I'm still close with many other former Chappies. It was also the springboard for BIG Theatre, which brought so much more warm and wonderful into my life. I owe a lot of my artistic and personal growth – and a lot of my happiness! – to being a Chappell Player!
Have you been able to remain involved with theatre as much as you hoped/wanted?
Definitely – and I feel very lucky for that. Launching BIG Theatre was huge. Plus, I had the chance to work on the front-of-house staff at two different off-Broadway houses, where I learned a ton and met a lot of amazing (and famous!) people. In 2010, I began working with a youth development nonprofit called the All Stars Project, where I was introduced to "applied theatre" and using theatre and improv in non-traditional settings. I also got the chance to direct, choreograph, and perform with their off-off-Broadway theatre company, the Castillo Theatre. I stayed there for five years (while running BIG Theatre, performing, and coaching improv) and then I started grad school at NYU. My master's research was on using improv and theatre in business settings. I finished my master's degree and moved to Pittsburgh in August 2018. Now, I'm working on my PhD, and my research is in applied theatre and applied improv. It's what I'm most passionate about, and I feel so happy and lucky that I've been able to do so many wonderful things. I can't wait to see what's next.
What is professional theatre like compared to what you did with the Chappell Players?
Part of what's great about being a Chappell Player is that you get to work directly with professional theatre artists. So, that experience is embedded and it's invaluable – you can learn a lot from them, and you should take advantage of that. Also, CPTG is run very much like a professional theatre. The same things about the work are challenging, and the same things about the work are wonderful. The biggest difference is consistency – we had a lot of time, space, and resources available to us while working at the Little Theatre. We always knew (at least in general) what our budget was, who the production team was, and where we'd be rehearsing and performing. But working in professional theatre is a lot less consistent. Every theatre you work at is different, and every project has a different budget and different kinds of personalities to manage. Some things do translate, though – for example, getting creative with rehearsal space. Space in general in New York is at a real premium, and renting studio space is so expensive. Sometimes we held CPTG rehearsals in classrooms or on the Great Lawn when we couldn't find another space; so, I'm never put off when minuscule budgets force us to get creative (like rehearsing in parks or in people's apartments).
Do you have any advice for Chappell Players going through college or those who have recently graduated?
Figure out what you like in life, and then learn as much as you can about it. If it's theatre, your time as a Chappell Player will be a game-changer. Volunteer as much as you can, and put yourself out there as much as you can. The more you put yourself out there, the more you'll see that opportunities will arise. When they do, take them! Even if you don't feel "qualified." Trust your experiences, and then really put in the work. Be kind, be appreciative... rinse and repeat.
How was the transition from college to the real world? How was life after graduation?
It was tough, but I learned A LOT. The first job I took after graduating was as a character performer at Walt Disney World in Orlando. It was a valuable experience – and I was officially making a living as a performer – but I knew I really wanted to be in New York. So, I moved back at the end of the summer, and I reconnected with the Chappell Players. I directed the cabaret that Fall of 2009 (Cabarock) and I started working on a bunch of small theatre projects all over the city. I was also working three jobs – as assistant house manager at the off-Broadway Lucille Lortel Theatre, as an usher at the off-Broadway Duke on 42nd St., and as an entertainer and party host at Dylan's Candy Bar. I spent all my extra money on improv classes at the UCB. In 2012, I got together with a bunch of other Chappell Players and we launched BIG Theatre Company – a play on words with the Little Theatre – and in 2012, 2014, and 2016 we produced three original full-length productions in the New York International Fringe Festival (FringeNYC). We also partnered with other independent theatre companies to produce another 1-2 shows each year. It was nuts, but I never lost the creative momentum that I developed during my time as a Chappie. It really carried me through.
Did being involved in the Chappell Players prepare you for life after college? How so?
Oh yes. I honed my artistic talent, and learned how to collaborate and work really, REALLY hard to accomplish my goals. Plus, in addition to learning technical skills about lighting, sound, and set construction, I got my feet wet as a director, choreographer, and producer. I graduated from St. John's confident that I could direct, choreograph, and produce shows on my own, and launching BIG Theatre proved that. Our first show in 2012 was GRIMM: A New Musical and it was actually a show that we originally developed and produced as the CPTG children's show in 2009. In 2014, we produced a play written by CPTG alum Sarah Goncalves called Destiny is Judd Nelson. In 2016, we produced a play written by CPTG alum Mike Wirsch called The Curse of the Babywoman. I directed all three shows, and the cast and creative teams were made up primarily of CPTG alumni and friends. So, I learned a lot about how to make theatre as a Chappell Player, and I also formed a strong group of collaborators who I continued making theatre with long after graduating.
What is your favorite CPTG memory or performance?
It's too hard to pick just one! I remember my time with the Chappell Players as being a blur of warm and wonderful – creative, collaborative, fun... I met my best friends there, and I'm still close with many other former Chappies. It was also the springboard for BIG Theatre, which brought so much more warm and wonderful into my life. I owe a lot of my artistic and personal growth – and a lot of my happiness! – to being a Chappell Player!
Have you been able to remain involved with theatre as much as you hoped/wanted?
Definitely – and I feel very lucky for that. Launching BIG Theatre was huge. Plus, I had the chance to work on the front-of-house staff at two different off-Broadway houses, where I learned a ton and met a lot of amazing (and famous!) people. In 2010, I began working with a youth development nonprofit called the All Stars Project, where I was introduced to "applied theatre" and using theatre and improv in non-traditional settings. I also got the chance to direct, choreograph, and perform with their off-off-Broadway theatre company, the Castillo Theatre. I stayed there for five years (while running BIG Theatre, performing, and coaching improv) and then I started grad school at NYU. My master's research was on using improv and theatre in business settings. I finished my master's degree and moved to Pittsburgh in August 2018. Now, I'm working on my PhD, and my research is in applied theatre and applied improv. It's what I'm most passionate about, and I feel so happy and lucky that I've been able to do so many wonderful things. I can't wait to see what's next.
What is professional theatre like compared to what you did with the Chappell Players?
Part of what's great about being a Chappell Player is that you get to work directly with professional theatre artists. So, that experience is embedded and it's invaluable – you can learn a lot from them, and you should take advantage of that. Also, CPTG is run very much like a professional theatre. The same things about the work are challenging, and the same things about the work are wonderful. The biggest difference is consistency – we had a lot of time, space, and resources available to us while working at the Little Theatre. We always knew (at least in general) what our budget was, who the production team was, and where we'd be rehearsing and performing. But working in professional theatre is a lot less consistent. Every theatre you work at is different, and every project has a different budget and different kinds of personalities to manage. Some things do translate, though – for example, getting creative with rehearsal space. Space in general in New York is at a real premium, and renting studio space is so expensive. Sometimes we held CPTG rehearsals in classrooms or on the Great Lawn when we couldn't find another space; so, I'm never put off when minuscule budgets force us to get creative (like rehearsing in parks or in people's apartments).
Do you have any advice for Chappell Players going through college or those who have recently graduated?
Figure out what you like in life, and then learn as much as you can about it. If it's theatre, your time as a Chappell Player will be a game-changer. Volunteer as much as you can, and put yourself out there as much as you can. The more you put yourself out there, the more you'll see that opportunities will arise. When they do, take them! Even if you don't feel "qualified." Trust your experiences, and then really put in the work. Be kind, be appreciative... rinse and repeat.
