Chatting With Jasmin Tomlins

Normally here we discuss our reflection on the chats held with our featured artist, but in this very special case we have decided to let the players of Jasmin’s theatre company do the reflecting on our behalf. They have wonderful insight on what it means to work with Jasmin and in the space she has created, so be sure to read in on what they have to say.

Artemis
(she/her)
UK

Existing without the strain of being ; the only remnants are the kindness of our memories ; in an age where everything is proof for the purpose of something, and when we are contextually judged on how we appear, we are able to enter an ultimate stasis of relaxation via the fact it will not be recorded & the fact we are our voices entering a safe space conscious of the pressures of the day and providing a genuine truth of enjoyment -- wholly visualizes us via our characters in a way that allows for creativity we can regret as it isn't recorded or with an expectation of perfection - that's all what it puts out there, without even talking about the other cool factors.

Fourteenth night players provided & still provides a community in a time in which we were expulsed from the society we knew, and from this, a merry band of cousins was created, a forest of Arden - you're pulled into a “tragipastorcomicromanproblem” whirlwind that I know has been a breather for many people - a chance to learn and perform in a place contrary to all the reasons academia and theatre made people stop. the performances are accessible and of wonderful heartache and laughter, because accommodation and pastime does not make a sacrifice, but rather enhances; the definition of amateur is 'taking part in an activity for pleasure, not as a job' and it is a worthy, not dirty word.

Rex

(they/them)

UK

I used to love theatre in school, and some of my earliest memories were of running amok as a hatchling dragon in renaissance faires, making friends with jesters and telling stories while stood on hay bales or empty stages between shows.
But I learned shame very early on. In public high school, I not only lost my spark for creative arts, I snuffed them out, believing every word that someone who looked and sounded like me couldn't make it in such a competitive world to the silver screen, and thus it was a waste of time and money to pursue. (Except my drama teachers. They told me I could do it. I hope I've done y'all proud <3.)
Now, I have spoken Romeo, Benedick, the King of Scotland, Richard the Third, Duke Orsino, Falstaff, and Henry the Fifth. For the Grave Digger, for Oberon, for several messengers and sundry lords- twice for Aufidius in love. Twice for Lord Capulet and once Titus Andronicus, both with such fury I have set my cats running and made myself shake.
I have never felt more myself, as I have while on this stage, letting parts of me breathe life into characters familiar and new. No one has ever told me I couldn't say them because of the shape of my body or the natural pitch of my voice.
Jasmin is such a source of energy, encouragement, and inspiration for me. A great part of why I feel so confident after joining 14th Night is her gentle but firm shepherding and management style- and due to all that aforementioned shame I picked up in my life I am extremely sensitive to rejection, but there has literally never been a moment I've felt turned away or that I had anything to be embarrassed or ashamed of.
Online spaces can often foster harsh, competitive, exclusionary communities, even with the best of intentions- but at 14th Night, that's artfully avoided (no doubt partly by the subject matter and the gentler breed of nerds it attracts,) by Jasmin's deliberately and meticulously maintained policies of respect and encouragement for our fellow actors. We know that no matter what happens, either on stage or off, and because of the example she sets for us to follow, that everyone in the theatre is working with one mind to help each other grow, and to find joy in each other's triumphs.
Being able to stretch and strive and attempt and learn while surrounded by the love and encouragement and enthusiasm of people who have become true and genuine friends, has made me grow so much over what feels like now a much shorter year that could have been a lonely, quiet hell. But my house is noisy with excitement and early modern english belted at unsociable hours, and the earnest, joyful laughter that comes with it.

We might be far apart, but in this digital globe- O, we are never alone.

Ammmy
(she/her)
USA

During a stretch of time when physical spaces were difficult or impossible to reach, Jasmin created a virtual playing space with 14th Night Players that became pivotal to my creative life. I often joked with a friend when we chatted that I felt like I told her stories about 14th Night every time we talked; if I did, it was because it was the space where I felt most engaged, week in and week out. Jasmin not only created and organized a virtual space to create theatre, though that would have been plenty on its own. By enthusiastically embracing her role as artistic director/stage manager/fellow player, she encouraged members of the company to take big artistic risks, and to reach for roles or moods we might never have conceived for ourselves. 

Taking on parts as diverse as Beatrice, Iago, Horatio, Richard II and Brutus — to name only those I chose in advance — helped me to envision my own acting range in new ways. In 14th Night, I found a place where I could try out different approaches with the confidence that my fellow players would support me, whether those efforts succeeded or ended up as not quite the right fit. Jasmin has always been chief among that crowd of supportive voices. With a focus from the beginning on enthusiastic consent balanced with enthusiastic welcome, Jasmin fostered a community that truly believes in Shakespeare, and theatre, for all. My pandemic year would have been much poorer without it.

Ben Cordes
(he/him)
USA

I came to 14th Night Players when Jasmin recruited me out of the Read for the Globe charity marathon. Apparently a middle-aged guy playing Gloucester in King Lear over Zoom and smearing ketchup on his face to pretend his eyes had just been gouged out made her go “That’s the kind of dude I want for my Shakespeare company” for some reason? Go figure. 

What I found when I got here was an ever-growing community of folks who have exactly the right amount of [ir]reverence for the Bard. On any given night we might dive into the intricacies of poetic meter, talk about the production practices of the time, yell about our favorite conspiracy theories (All Antonios Are The Same Person), list a hundred reasons why Shakespeare Was A Troll, or just marvel at his storytelling and use of language. Or all of the above. At the same time. It’s been a wonderful place to practice my acting technique, goof around with iambic pentameter, learn how to footnote my dick and fart jokes, and frankly just revel in the joy of shared art with like-minded people. And all of this during a pandemic that’s robbed us of more traditional artistic outlets. What more could you ask for in a Shakespeare community? 

Okay, how about a production team that’s intentional about the space that they’re curating, in all the best ways? Because that’s what Jasmin’s built here: not just a Shakespeare reading group, but a company of players that is incredibly welcoming to new members. Not just a performing arts space, but one that encourages players to take artistic risks, to reach for roles that seemed inaccessible, to try that thing you always wanted to do but never had the chance. Not just a format with rules and rituals, but one that demands positive consent, encourages joy and playful silliness, and has just enough structure in place to pick you up if you fall. Not just a place to play and read, but a place to learn and grow as an actor. 

And the people! It’s always felt like magic to me the way that this company has come together: seemingly by accident, connected only by a spark of thought that says “Sure, jumping onto Discord to read Shakespeare sounds like a fun Thursday night to me.” We come from all sorts of Shakespeare backgrounds—from “read him once in high school” to “subject of Master’s thesis” to “professional actor” and many, many points between—and yet it’s immediately clear that, no matter what your relationship is to Shakespeare when you come through the door, we’ve got a place for you. You may not think of yourself as an “actor” or an “artist” right now, but that doesn’t matter. Whatever you want to bring to our table, we want to hear it. And if we don’t already have a space for it, we’ll probably make one! 

And then there’s Jasmin, herself. Relentlessly positive; supportive and considerate; inquisitive and thoughtful; always encouraging of whatever you want to do, and equally demanding that it’s a thing you actually want to do. She’s a steady hand on the wheel, whether it’s running a reading or managing the organization. Her love for Shakespeare (and for Shakespeare nerds) is extremely infectious. And to top it all off, she’s a better actor than she’ll ever give herself credit for. Trust me, if you haven’t heard her Grumpy Old Man voice, you haven’t truly “done” Shakespeare. 
Throughout the pandemic, 14th Night has been a haven for artistic expression for me. It’s been an anchor point that’s helped me get through the worst parts of the last year or so. As a means of escapism, having a place to go yell about the theater was a godsend. Finding that place full of people who can respond to the best Shakespearean insult with a devastating animated GIF has been a joy beyond description. I’ve known for a long time that I enjoy Shakespeare, but I don’t think I realized quite how much until I found this group of beautiful nerds to nerd out with. And I definitely didn’t think I would ever be able to say I’d read or performed at least one part in every Shakespeare play. But at this point, that does appear to be what I did with my pandemic summer.