SARA DONNES
Who are you and what significant contributions have you made to the organization?
My name is Sara Donnes. I graduated (officially) from St. John’s in January 2015. For the 2013 – 2014 school year, I was elected by my peers to serve as the Vice-President of the Chappell Players. As Vice-President, I produced the children’s show James and the Giant Peach. In my short time with the Chappell Players, I produced, performed, directed, worked backstage, and served as a strike enthusiast.
How was the transition from college to the real world? How was life after graduation?
The transition from college to the real world for me was a change in gears rather than change in direction. To be perfectly honest, my 9-5 work opportunities were fairly plentiful because I graduated with a BS in Accounting. Having a degree in accounting gave me the flexibility (timewise and financially) to devote to my true passion. That being said, there was definitely that period of panic that all students and young professionals go through… Am I going to make enough money to pay my rent? If I can manage that, will I still have enough money for food? Will I be eating ramen and tuna fish out of a can for the rest of my life?... On top of all that, moonlighting as an actor in New York City was just another added heap of stress… I can’t remember the last time I had free time. Will I have time to prepare that awesome new monologue I found? Dear lord! I need new head shots!
Did being involved in the Chappell Players prepare you for life after college? How so?
Being involved with the Chappell Players prepared me for my life after college more than tongue can tell. Being a Chappell Player put me in a room (or the Little Theatre, depending on how lucky we got on rehearsal space) with dozens of other people with the same dream… To put on a show. With this myriad of people you will take chances, win, and sometimes fail. But with each failure comes a lesson. As someone who now works in the administrative office of a Broadway theatre company, I can say that the difference between working in professional theatre and college theatre is basically the amount of money that is at your disposal. As Chappell Players, we make our best discoveries through our mistakes… I have found that this does not change even when you get to the big leagues. Whatever didn’t work last season, is addressed for the next season in order to mend together what is wanted and needed in the theatrical community, our mission as an organization, and (finally) our budget.
What is your favorite CPTG memory or performance?
I was a transfer student coming into St. John’s as a junior. I didn’t know ANYONE at St. John’s or New York City for that matter. I was jaded and frustrated from my experience at my prior college. But when I auditioned for You’re a Good Man, Charlie Brown with the Chappell Players it seemed like new doors opened to me. The energy was so inviting! It didn’t matter to me if I was cast or not, I just wanted to be part of the organization. So, when I was cast as Snoopy, I was through the roof happy. Then, disaster stuck. I became sick as a dog during tech week. I had completely lost my voice! I was mortified. I had finally felt like I belonged somewhere, and then I was going to let everyone down by being out of commission. During cue-to-cue, I struggled through my lines, my songs, my harmonies – just thinking about how disappointed everyone must have been in me. When I went on to do Snoopy’s big number “Suppertime,” I was preparing myself to be asked to leave. But I wasn’t. Lo and behold, as my song started, I started to hear voices of my fellow cast members from the wings singing my song. Then, the crew, then the production team in the audience joined in. I felt like I was being cheered on. Finally, I belonged… And, thankfully, I got my voice back by final dress...Woof!
Have you been able to remain involved with theatre as much as you hoped/wanted?
Thankfully, theatre has remained a big part of my life after college. After temping as a staff accountant for about two months after I graduated, I landed a job as the business assistant for a Broadway theatre company. I am in charge of accounts payable, construct the weekly box office statements, process checks, and fetch milk for the office. Outside of my day job, I have had the privilege to perform in readings, one acts, and even full scale musicals in various venues across New York City. And, as I’m sure you are already aware, I have the honor of directing this year’s cabaret, CabaLove.
What is professional theatre like compared to what you did with the Chappell Players?
As a Chappell Player, you are essentially part of a theatre company. You learn the ways of the trade through being part of a production from start to finish. Further, you grow as an artist by taking on different jobs within the organization from producer to director to actor to designer. While colleges that offer theatre degrees focus on teaching technique or design specialization, the Chappell Players focus on the practical and more well-rounded approach to theatre. What is this approach? Creating art from scratch. As stated before, the Chappell Players may not have the budget of a Broadway theatre, but the modest budget forces us to be quick on our feet while also keeping artistic integrity… These two things are absolutely essential to survive in professional theatre.
Do you have any advice for Chappell Players going through college or those who have already graduated?
My advice to current or recent Chappell Players is to get involved backstage. If you don’t get cast in a show, help out in some other capacity. It helps you to grow not only as a performer, but as a theatrical professional. See theatre as much as possible (and not just on Broadway). Make an honest assessment of yourself, and seek out classes or teachers that will work on skills of which you are the least confident. New York City is just beyond the gates and sprawling, green lawn of St. John’s, use it.
My name is Sara Donnes. I graduated (officially) from St. John’s in January 2015. For the 2013 – 2014 school year, I was elected by my peers to serve as the Vice-President of the Chappell Players. As Vice-President, I produced the children’s show James and the Giant Peach. In my short time with the Chappell Players, I produced, performed, directed, worked backstage, and served as a strike enthusiast.
How was the transition from college to the real world? How was life after graduation?
The transition from college to the real world for me was a change in gears rather than change in direction. To be perfectly honest, my 9-5 work opportunities were fairly plentiful because I graduated with a BS in Accounting. Having a degree in accounting gave me the flexibility (timewise and financially) to devote to my true passion. That being said, there was definitely that period of panic that all students and young professionals go through… Am I going to make enough money to pay my rent? If I can manage that, will I still have enough money for food? Will I be eating ramen and tuna fish out of a can for the rest of my life?... On top of all that, moonlighting as an actor in New York City was just another added heap of stress… I can’t remember the last time I had free time. Will I have time to prepare that awesome new monologue I found? Dear lord! I need new head shots!
Did being involved in the Chappell Players prepare you for life after college? How so?
Being involved with the Chappell Players prepared me for my life after college more than tongue can tell. Being a Chappell Player put me in a room (or the Little Theatre, depending on how lucky we got on rehearsal space) with dozens of other people with the same dream… To put on a show. With this myriad of people you will take chances, win, and sometimes fail. But with each failure comes a lesson. As someone who now works in the administrative office of a Broadway theatre company, I can say that the difference between working in professional theatre and college theatre is basically the amount of money that is at your disposal. As Chappell Players, we make our best discoveries through our mistakes… I have found that this does not change even when you get to the big leagues. Whatever didn’t work last season, is addressed for the next season in order to mend together what is wanted and needed in the theatrical community, our mission as an organization, and (finally) our budget.
What is your favorite CPTG memory or performance?
I was a transfer student coming into St. John’s as a junior. I didn’t know ANYONE at St. John’s or New York City for that matter. I was jaded and frustrated from my experience at my prior college. But when I auditioned for You’re a Good Man, Charlie Brown with the Chappell Players it seemed like new doors opened to me. The energy was so inviting! It didn’t matter to me if I was cast or not, I just wanted to be part of the organization. So, when I was cast as Snoopy, I was through the roof happy. Then, disaster stuck. I became sick as a dog during tech week. I had completely lost my voice! I was mortified. I had finally felt like I belonged somewhere, and then I was going to let everyone down by being out of commission. During cue-to-cue, I struggled through my lines, my songs, my harmonies – just thinking about how disappointed everyone must have been in me. When I went on to do Snoopy’s big number “Suppertime,” I was preparing myself to be asked to leave. But I wasn’t. Lo and behold, as my song started, I started to hear voices of my fellow cast members from the wings singing my song. Then, the crew, then the production team in the audience joined in. I felt like I was being cheered on. Finally, I belonged… And, thankfully, I got my voice back by final dress...Woof!
Have you been able to remain involved with theatre as much as you hoped/wanted?
Thankfully, theatre has remained a big part of my life after college. After temping as a staff accountant for about two months after I graduated, I landed a job as the business assistant for a Broadway theatre company. I am in charge of accounts payable, construct the weekly box office statements, process checks, and fetch milk for the office. Outside of my day job, I have had the privilege to perform in readings, one acts, and even full scale musicals in various venues across New York City. And, as I’m sure you are already aware, I have the honor of directing this year’s cabaret, CabaLove.
What is professional theatre like compared to what you did with the Chappell Players?
As a Chappell Player, you are essentially part of a theatre company. You learn the ways of the trade through being part of a production from start to finish. Further, you grow as an artist by taking on different jobs within the organization from producer to director to actor to designer. While colleges that offer theatre degrees focus on teaching technique or design specialization, the Chappell Players focus on the practical and more well-rounded approach to theatre. What is this approach? Creating art from scratch. As stated before, the Chappell Players may not have the budget of a Broadway theatre, but the modest budget forces us to be quick on our feet while also keeping artistic integrity… These two things are absolutely essential to survive in professional theatre.
Do you have any advice for Chappell Players going through college or those who have already graduated?
My advice to current or recent Chappell Players is to get involved backstage. If you don’t get cast in a show, help out in some other capacity. It helps you to grow not only as a performer, but as a theatrical professional. See theatre as much as possible (and not just on Broadway). Make an honest assessment of yourself, and seek out classes or teachers that will work on skills of which you are the least confident. New York City is just beyond the gates and sprawling, green lawn of St. John’s, use it.
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