ABOUT THOMAS BARNETT

Creativity is Intelligence Having Fun

As a performer, Barnett approaches every task with gusto, thriving on any challenge life can throw at him and facing the challenge with everything he has until either the work is done or his body refuses to keep going. Armed with an iron will of determination, Barnett lives with the motto of "try anything once" before he decides if something is not for him. When taking part in a production, Barnett incorporates the method acting system explored by Stanislavsky and Strasberg, and tries to distance himself from his real life in order to better get into character, even if it means isolating himself from fellow cast members. As part of an ensemble, Barnett strives to be a team player and to help out when he is needed, as well as try to be friendly with everyone involved in the production, from his fellow actors to the volunteer stagehands. Dedicated to his craft, Barnett has a talent for keeping every scene he is in engaging and a joy to watch, even in the face of disaster. 

When performing a voice over for narration, Barnett does his best to come across as neutral in the events he is describing, whilst also sounding invested in the events unfolding.

When portraying a character through the art of voice acting, Barnett tries to give them a distinctive sound by observing their character design and trying different pitches until he is able to make a believable voice for the role. Treating voice acting a regular acting, Barnett incorporates the same approach he does to a voice session as he would a live rehearsal, though with the knowledge that his voice must be in reach of the microphone.

As a theatre maker, Barnett leads with the mind-set that "happy workers are productive workers" and tries to make his rehearsals and work spaces as relaxing and enjoyable as possible, though he is not afraid to pull rank when necessary and confront any problem that presents itself head on, though with the strength to be gentle when needed; if a performer is not doing their best, Barnett will talk to them before he takes any action, and is sure to get the full story from all parties involved when a dispute amongst his cast or crew happens. Leading with compassion, Barnett is always sure to be there if his cast or crew need a shoulder to cry on, or a sympathetic ear to listen to their troubles, and try to help them where he can. When push comes to shove, Barnett is willing to let a performer take personal time if it is needed, and let an understudy take their place, or play the part himself if he has no other alternative, embracing the saying "the show must go on".

When it comes to the process of making theatre, Barnett is more inclined to do realistic art; not out of prejudice for surrealism, but more due to Barnett coming to the conclusion that surrealism is the product of a specific mind and it being foolhardy to try and replicate someone else's work in such a manner. As such, when Barnett crafts a scripted show, it has a definitive beginning, middle and end that can be followed, and the characters are well rounded, with clear motivation. When devising a show from scratch, Barnett incorporates the suggestions of his cast, recognizing that they should have impute as the ones bringing the show to life, but always keeps the suggestions in check should they get too outlandish. However, he is willing to admit when he is wrong about doubting a good suggestion when he sees it being performed with his own eyes, in keeping with his "try anything once" methodology.

During early rehearsals for his shows, Barnett employs a more relaxed approach, allowing extensive breaks so as not to overwork his actors too early, and will often allow them to sit around and discuss topics to see if they come up with any ideas while in a calm mind set. He is even known to have his actors sing their lines for both amusement and to help them better remember their lines. As the rehearsal process reaches its end, though, Barnett will make his actors rehearse more fiercely until he is satisfied with their results. One approach Barnett takes towards the end of a production is to try to sabotage his own rehearsals to test his actors' focus, such as randomly shouting out as if he were a rude spectator or a crying infant, letting his ringtone go off, to even throwing harmless objects onto the stage to see how well his actors stay in character and ignore the distractions.

When working in small casts, Barnett will also incorporate what he calls a "Nit-pick Session", where he specifically focuses on one actor at a time to give them feedback on where to improve with their performance, often in note form, though he is known to stop them on stage if they repeat an action he had previously told them was not working in practice.