Tag: theatre

Some thoughts for people holding auditions… (make your job easier)

Auditions are HARD!!! For EVERYONE!!!

People always think about the folks up there showing they can sing, dance, act or whatever… but it is just as hard and nerve-wracking for the people who are casting the show – the ones who supposedly, “hold all the cards!” It isn’t easier on that side of the table at all!

Here’s a few tidbits of advice from my experiences….

1) TELL PEOPLE!!! What’s the point of auditions if no one knows you are having them? You need a lot of people for any show – even a simple little two hander. You want choice, right? You want selection? You want word of mouth? TELL PEOPLE! Don’t hold secret auditions. Don’t have them on a tough weekend, like a holiday or when the super sale at the mall starts… pick a good time – far enough in the future and PROMOTE IT!

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2) Tell people what the show IS! Sure it might have a title they recognize, but maybe it is a different version, or maybe you are planning to set it post-apocolyptic, (please don’t), or maybe you want TWICE as many actors as normal… if you don’t TELL THEM…. they won’t come.

3) Hold the auditions at convenient times. Evenings and Weekends work for community theatre – and make sure to mix that up. Don’t do just a weekend or just the evenings. Give people multiple chances to get out to see you. You need them, don’t you?

4) DON’T hold the auditions too far away from the show. You are only hurting yourself. If your show is in December, seriously, what is the point of auditions in January? So much can happen to people in between the time of the audition and when rehearsals start. Heck, they might even forget they are in your show! About 4-5 months before your show is fine, with rehearsals starting shortly after you cast it – but remember, if they don’t know about it, it doesn’t matter when you hold the auditions.

5) TELL THEM WHAT YOU WANT TO SEE!!! If it is singing – tell them what style. Provide examples if you can. Do they need to dance? Tell them. Be ready to teach that. Do you want a monologue? Comedy routine? Improv sessions? Don’t be afraid to shake it up and do something different – just be ready to answer their questions – cause they’ll have them!

6) Make your requests make sense for the show. Don’t ask for a WICKED inspired power ballad if you are doing a Shakespeare, and if the show is comedic, what IS the point of a classical monologue? Seriously, know what you are looking for when you prepare that audition statement.

7) Sit down with your team and discuss your dream cast. When I say dream cast – I mean it. Dream big! Who would you cast from all time of all the famous actors you and your team know? Build that EPIC cast list, (with options) and know what it is you are hoping to see walk through that door. Be ready though – cause it just might! OR – even more exciting – something you didn’t expect will show up and knock your socks off!!! Be ready for that.

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8) Prepare your banter. Know what you plan to say to each candidate and be ready with that. Have questions. Read their sheets/resumes/questionnaires. They took the time to come out and fill out those forms, have something you’d like to know about them. Be curious. Be genuinely interested in them because they are genuinely interested in you and your project. It’s the least you can do.

9) Be ready for the hard decisions. Here’s where it gets tough. The person you thought would really “bring it” might not. The unexpected will happen. Be prepared with challenges for your actors so you can know who is really going to deliver and make the project exactly what you want it to be. Don’t waste their time. They are there, working in front of you and delivering their level best. Challenge them. Have the callback materials ready – KNOW what you want to see. Then have the guts to make the tough decision and stick by it. Whatever happens. It isn’t easy. Art is never easy.

10) This should really be the FIRST thing you do… and I shouldn’t even have to put it here, but I do, cause you’d be surprised…. READ THE SCRIPT. Read it again. And then read it a third time. Make sure EVERYONE on your team has a copy. And do your best to give them time to read it. Discuss it. Have questions ready. Solve problems with it before you even audition. And if, for some strange reason, you don’t have the script and you are heading into auditions… what are you doing? Wait. Get the script. Read it. It’s the only way to be certain you are ready for the project and your people who are investing their time are also ready.

These are just a FEW tips. Do you have more? Mention them in the comments below.

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Auditions are nerve wracking… for everyone.

Did you know that when you audition for a show, the people behind the table are REALLY happy that you are there? Do you have any idea how happy they are that you decided to take the risk to come out and show them what you’ve got? It’s a pretty big amount of dependency on their part to even hold the auditions, and believe me, they are really, very glad that you are there.

Auditioning is stressful – for everyone. But for the people who are behind the table, they are extremely nervous that you WON’T show up. Think about it, they’ve chosen a show, or been given a show to produce/direct/choreograph, etc. and they don’t know if the right people or ENOUGH people will walk through that door! When YOU walk through that door and bring in your positive attitude and your energy, they are excited to see you and very, very hopeful that you will be the answer to their dreams.

You could be the boy who can sing that one part of the song that is integral to the show. You could be the girl who can do the right amount of acrobatic movement to sell the big production number, or you could be the person who wants to work behind the scenes to make everything better for all the people involved in the show. And in reality – when you show them that glimmer of what makes you special – the “scary” people behind the table are absolutely THRILLED to have met you. They just can’t show it, because they are supposed to remain neutral until the whole process is resolved.

If you are lucky, you might hear some stories later on about how happy they were when you arrived, but in reality, you may never know how important you were to the production. Just always think that to yourself when you audition – “I am super important to this production. And I just need to show them that!”

If you do, you’ll be an asset to any show. I promise.

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Why everyone should try an audition at some point.

“Everything you do, you still audition…” Putting It Together – Sondheim for B. Streisand

Everyone on the planet should audition for something at some point in their life. Everyone. And I think that everyone should take classes on how to audition and how to deal with the stress, nerves and anxiety of the audition space. Why? Because of what it teaches you and how you develop as a person from the experience.

Auditions are tough. Even when you’ve been at it for ages and you’ve won lots of great roles, it never stops being a difficult process. Top actors enjoy being at the top of their game because they start to get offers of roles without having to audition. Even the pros don’t enjoy it – because it is a really nerve wracking experience. But everyone should learn to do it, because everything in life is really an audition.

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The obvious things are: the job interview, asking someone on a date, even shopping for a car… all of life’s experiences with other people are opportunities to leave a good impression and show others how you belong on their team. In the reverse, every little experience in life is a chance for you to audition someone else. For example: making new friends is an audition process.

Think about it – you meet them on the playground. You’ve been forced together into groups because you all meet the criteria of an age group or learning ability and you need to figure out where you fit. You try a joke – it doesn’t land. You sing a little song – one person knows the words and hates it (they aren’t on your team), while another person joins in the chorus (potential friend). You start to play a game and three of you know the rules, but have to iron out which script version you are going to use for the game… All of these are mini-auditions.

If we actually had everyone practice the skills of getting up in front of a group of judgemental strangers, (not because they are mean – it’s their job to judge you), and give them your all to impress, people might begin to consider their everyday moves and motives with a bit of a critical eye.

But more importantly, people will learn the best ways to audition. How to put that best foot forward. How to impress others. Why it is important to impress others and how to deal with the stress of that everyday judgement process.

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Imagine how much easier the job interview/proposal/whatever would be, if you’d already practiced it?

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Why you should (almost) always audition…

I’ve been on both sides of the audition table. I’ve done the bit where you are new and you try to break into the group, where you are experienced and hoping for a bigger role and when you are a known entity and are experienced enough to know that the community holds a dozen more like you who are just as hungry for the role.

I’ve also done the artistic team side of the table. I’ve done it when the cast is fed to you and you just need to decide where everyone fits. I’ve done it when you have a clear idea of who may be right for the part – and they may or may not decide to audition. I’ve waited in the “audition hall” hoping for the right new person to come in the door and knock our socks off so we can have an incredible production and I’ve been on that side of the table when not enough people have heard about the auditions or been inclined to show up to commit to the production. I’ve also been incredibly lucky and had the opportunity to see amazing people come through the door and had an incredible time debating over who is just right to create the magic we need for our show.

My message is clear on this though, AUDITION. Always audition.

When you have another commitment, but you really love the show – audition. They might need you and accommodate you.

When you LOVE the part, but are afraid they’ll choose someone else – audition. You might change their mind.

When you are afraid of the show/role/team/time (or whatever) – audition. You will almost never regret it.

When you are inexperienced, but think it could be fun – audition. You have nothing to lose and they might adore you beyond belief.

In short – don’t be afraid of the audition. I know it is terrifying. I’ve been there. Especially when there is a lot at stake. But even if you don’t win the role, you can OWN the room for a moment and take something from the experience on to the next audition.

Regardless, always go into the room thinking, “They need me.”

Cause it’s true.

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Podcast #17 with Special Guests Ceris Thomas & Kerry Hishon!

Well here we are again….

Life gets busy and takes us away from things we’d like to share with you, our listeners. But today, Kerry Hishon and I are here to talk about things that inspire us, things that we love and the struggle to keep those things going when life gets busy.

Since you last heard from us the team has done a variety of exciting things… We’ve directed and performed in a bunch of shows, made puppets, created art, some of us moved house, just a whole bunch of creative things that kept us from this creative thing.

But we love doing the podcast so much, so we are back again and we have a plan in place to keep us coming back… so we are hoping that you will continue to tune in and tell us what you think.

We’ve missed you. See you soon.

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The Joy of Accomplishment – yours AND others.

So, the final show in my long list of shows has opened. Avenue Q had it’s first preview on Thursday and Opening on Friday.  It was great. Really, truly great. The performers have worked so hard and paid so much attention to the details of puppet manipulation. They developed such strong characters and worked diligently to find ways to let the puppet be the star. It isn’t an easy thing for a performer to do – have you ever thought of that? A piece of felt on your hand needs to get all the attention and applause and adoration that you would normally get. The thing is, once they got the hang of giving the puppet the focus, the overal performances improved exponentially. There has to be a lesson in there, somewhere. Something about relinquishing control, or giving over to a higher power, or letting the show be more important than you are… I’m sure there are several lessons in there. I’m just glad they learned them.

I’m not too proud to admit that at certain points in the show, I well up. Not because the story is so moving, but because the puppetry is so moving. These performers picked up felt and fur only a few weeks ago and we spent time working on manipulation, eye focus, lip sync, character, breath, gravity and all of that sort of stuff that makes a piece of fur on your hand suddenly seem to come alive. Also, we had the great privilege of having a guest come to one of their final rehearsals to offer some pearls of wisdom – did you ever watch Fraggle Rock? Zoboomafoo? Well then, you know that the guest we had was someone of influence with these young actors. They took his words to heart. As I always do – and I hope he gets the chance to see what they’ve accomplished. It’s pretty miraculous.

If you get a chance…. go see it. Be prepared to well up… if you know how hard it is to learn to puppeteer. Or not, just well up cause it’s good. And worth it. Go.
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The end of one… the overlap of the other!

This winter/spring has been intense. Intense with work and commitments all over the place. It’s funny how that can happen – the fall was empty and almost dull and the next season was incredibly packed. So packed in fact that was never any moment when only one project was on my plate.

January began with Sullivan & Gilbert, auditions, first rehearsals and all of those trials and tribulations. If you’ve been following this blog, then you will have read some of those stories. At the same time was Little Mermaid with OKTC, auditions, rehearsals and the show – all between January and March Break – INTENSE. And, if that were not enough, at the same time was Under Milk Wood. My commitment there was a little less intense, but it was another commitment that resolved at the beginning of March – my report to the board and the finishing up of all the finances took a little longer, but that was due to other commitments and my prioritization of them.

So in March, you’d think that life became easier, but no….. Auditions for Avenue Q, rehearsals, and such for that have been ongoing and I’ve been attending as often as possible, which is less than I’d like. With the end of Little Mermaid came the preparations for our Fringe Production: [They Fight!]. That just ended last weekend and we’ve already got a revival planned for July 3rd. Very busy and very challenging, but also very, very fun! If you missed it during the Fringe, I invite you to join us.

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All this while teaching and trying to maintain any of my own personal projects that I’d like to continue. For example, I’ve not drawn a thing, in months. I’m looking forward to getting out the sketch book again this summer and seeing what I can create, even if it is just for me. Maybe I’ll share a few with you folks.

Balance is off somewhere in this plan. It wasn’t really my plan, but I did go along with it. It’s been a great ride, let me tell you, but I’m definitely looking forward to the opening of Avenue Q and the summer where I can be a spectator, if only for a few months.

Poster Avenue Q

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It’s lonely at the top…

It can be very lonely being the director.

Once the show is open, your job is done and you don’t feel needed anymore. You miss out on all the backstage fun, shenanigans in the dressing room, headset chatter, inside jokes, etc. It’s a very strange feeling because you’ve been so involved for so long and now you aren’t part of the final execution.

Sometimes you can even get filled with great anxiety over the performance itself. If something goes wrong, you are powerless to help. When the lights flickered due to dimmer patch problems in my production of Gondoliers, I was quite stressed and couldn’t sit still in the audience as I was desperate to help the show in some way. You really shouldn’t be trying to help anymore as your people should be completely equipped to deal with any problem, but that doesn’t change how you feel when you are helpless in the audience. You always wonder if you did enough for them and if you could have done more – and if so, what?

Of course, there’s the insecurity as the show progresses with regards to the work itself. Is it good? Will it hit the mark? Is it rich enough?

Perhaps that’s why I feel so compelled to attend most, if not all, of the performances of my show. Maybe I’ll get more confident as I progress. We shall see. Til then, I’ll sit in the audience and imagine what I’m missing behind the scenes.

Backstage

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First Preview Night

So… we’ve made it through tech weekend – pretty near flawlessly.

We survived our black out in the middle of dress rehearsal last night and now we are at First Audience. My theatre does something we call Community Preview where at our Final Dress Rehearsal we invite, for free, members of our community who would not otherwise attend the theatre. They come in groups, because they are all members of groups – special homes, they have care-givers or case workers, etc. They mostly know one another – and yet they all sit spread through the theatre. It’s fascinating. Our house seats over 350 and tonight I see about 100 folks spread throughout the house, but they are all talking to one another – some across the rows and some from the back to the front of the theatre. It should be a lively night.

Two years ago, at our Community Preview for The Three Musketeers (the first in my Ken Ludwig Trilogy), near the end Milady was about to poison Constance with a beverage she said would calm her nerves. Someone in the audience yelled out, “Don’t Drink It!” They are a fun crowd and anything can happen.

Tomorrow night is Preview and then Friday is Opening Night! Months and Months and Months of rehearsal and it will all be over in the blink of an eye…. But that’s part of why it’s so addictive. The payoff is, generally huge enough to balance the effort.

I know I’m going to enjoy the payoff of this piece.

Here’s to a successful run!

Break your legs!

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