Artist Profile: Kaylene Howard
Kaylene Howard is a California native who removed herself when she realized that “yeah, its always that hot there,” and opted for the snowy city of Milwaukee. She has a certificate in performing from the Pacific Conservatory of Performing Arts in Santa Maria plus continues to remain as active in the theatre as she can. When she’s not on stage, she can be found running the talent desk at Lori Lins Ltd. Talent Agency and watching Scooby Doo with her cat Sibella (that cat is addicted to tv).
What has supported your artistic growth in recent years?
Within the last few years, I’ve really leaned on the community for my inspiration. Being a non-native of Milwaukee (California born and bred), it was absolutely insane how much support and love I found in the arts community. It truly took me aback. The way people uplift each others’ art — actively work to support and celebrate it, overall encouraging others — has made me want to work to continue pursuing my love of art. It also makes me want to be an advocate and supporter as well.
Would you be willing to share one of your first formative experiences on stage?
Not exactly a first formative memory, but this is one I recall often when I perform: I was watching a reading of the play “Mary Jane” by Amy Herzog. This is an incredibly brilliant story of a mother taking care of her chronically ill, young son. She is faced with the unfathomable realities and existentialism that comes with loving a child so much — knowing that her child spends every bit of their energy just trying to stay alive. After the reading, I sat in on a talkback with the actors. The talkback also included an in-home caregiver who spoke about her experiences taking care of ill children as well as working with their parents. There is an irony in a show like this being put on because the people that are represented will never get a night off to come see something like this. And that stuck with me for so long — the idea of telling stories for the sake of making someone’s life, someone’s experience, heard…even if they weren’t there for it. It’s a type of honesty I strive to bring into my performances and every story I tell.
How does teaching shape or inform your own artistic practices?
Being that I’ve primarily taught young performances, it’s quite funny to me how often I forget the basics. I’ll say something like, “We’re going to work on memorizing our lines,” and a student will say, “What are lines? What’s memorizing?” I’ll have to pause and think, “Oh my gosh, you’re six. Why am I treating like you already know this?” I’ve worked that thinking into teaching and performing theatre as a way of reminding myself that I just need to remember the basics. Just tell the story. Do it honestly. But don’t over-flourish; don’t over-indulge. Just remember the basics.
What are 2 to 3 exhibitions, concerts, books and/or book talks, spoken word events and/or films you're hoping to check out this season in Wisconsin or virtually?
I'm particularly excited about a few things happening in the area! First, I'm stoked to visit Next Act Theatre's production of “Scarecrow,” written and performed by Heidi Armbruster. It's a solo piece detailing her time spent on her father's farm during the height of the pandemic. This is a great exploration into us as artists. It also works at making sense of our medium as a whole when it's been placed entirely on pause.
Second, I’m excited about the opera La Bohème at the Florentine Opera. Since it is one of the most beloved works, I'm over the moon to be playing a part in this production. It is my first performance in an opera. And we will tell the story set in the vibrant background of Milwaukee’s Bronzeville era in the 1940s.