Archive | February, 2010

The Other Side Part 3: Callbacks

22 Feb

If you want to become a better auditioner… hold your own auditions! I swear I am still learning so much from being on the other side. Just when I think I’ve seen it all, someone throws me for a loop.

For instance,

Show up! If you’re given an audition appointment- you honer it. And that doesn’t mean 25min after your scheduled callback time. Sorry, buddy, got other things to do! And, no, I wont reschedule.

Make a choice! Now I really know what acting coaches, casting directors and the like mean when they say how important it is for actors to just make a choice, any choice, when they audition. After seeing auditioner after auditioner just come in and give this lukewarm read that was more or less the general mood of the piece, the actor that came in and did the work of coming up with a choice would undoubtedly stand out. Even if that choice was weird, or didn’t follow the logic of the rest of the sides, it didn’t matter. We were just excited to see someone commit to something! To watching something actually happen on stage.

No excuses! When we give you a re-direction please don’t get defensive. Usually it’s a good thing, anyway, because it means we actually want to see more of your work. But if we say “try it like this…” and you say “well, how am I supposed to do that if I don’t know the rest of the play!” then we think “have you never auditioned before?!” Usually sides are just that, sides, not a whole script! You don’t have to tell me that you haven’t seen the other pages– I know, I’m the one who sent them to ya! I don’t care if what you do doesn’t make sense in the rest of the play. All I care about is that you show me something, anything. Like I said before, make a choice.

Hold your script! These are callbacks, so yes, it’s best if you’ve memorized your lines. But if you don’t know the lines 110% then, please, spare us. We wont hold it against you that you’ve got your script in hand. A solid performance with a script is better than a rocky performance without the script.

Bring energy! Don’t suck it out of the room. There were some people who, maybe they were good, I have no idea, because they came in with such low energy I struggled to pay attention to what was going on. Then there were people who, may not have been the greatest actor in the world, but had such great energy when they walked into the room, when they were playing the part, when they were receiving the re-direction that they instantly went to the top of my list.

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Related Reading: The Other Side &The Other Side Part 2

CD Workshops, Worth It?

19 Feb

One of the great actor-friendly resources out there is this daily newsletter, Alex’s Info, and on it the other day was this cool list, which proves that Casting Director workshops may be worth it.

I know it seems kinda icky to have to pay to be seen, essentially, but I like to look at it as a valuable learning experience with the added bonus of a chance to be called in to read. I don’t see it as a guarantee and I try to not even think about that part while in the class. When deciding whether or not to do a workshop, however, it couldn’t help to do a little research to see if that particular CD tends to call in from their workshops:

  • Scott David with Criminal Minds
  • Eric Souliere with UDK casting
  • Allen Hooper with Jeff Greenberg Casting
  • Danielle Aufierro with FMW
  • Jessica Disla with FMW
  • Stephanie Laffin with David Lippens casting
  • Lisa Soutlau with Juney Lowry Johnson
  • Andy Henry
  • Dan Shaner with Shaner/Testa
  • Kari Audino with Shiff/Audino
  • Jami Rudolphsky
  • Kendra Castleberry with Donna Rosenstein
  • Marni Saitta with Days of our Lives
  • Felicia Fasano
  • Betty Mae
  • Todd Sherry with Patrick Rush casting
  • Kelli Lerner as an independent CD
  • Lori Sugar as an Independent CD
  • Mia Levinson
  • Kari Kurto with Dava Waite casting

Also, a fellow Theater of NOTE member, would add to that list:

  • Arlie Day (Bacharach – O’Neill)
  • Paul Webber

Actor’s Reading List

18 Feb

It never hurts to expand the mind with some good ‘ol fashioned reading. It also never hurts to improve your acting and career in more ways than one. (Like, seeing plays and not just acting in them or attending art galleries or creating your own artwork, writing or reading!)

Here are some books directly and indirectly related to acting that are worth looking into. Some are inspiring, some are informative, some are just plain entertaining and some are all of the above! (like Steve Martin’s memoir)

The Artist’s Way by Julia Camron

Respect for Acting by Uta Hagen

The Art Spirit by Henri

The Power of the Actor by Ivana Chubbuck

Born Standing Up by Steve Martin

The Actor Takes a Meeting by Stephen Book

The Last Lecture by Randy Pausch

Zen and the Art of Motorcycle Maintenance by Robert M. Pirsig

Importance of Auditing

17 Feb

Is it cruel that it costs TONS of money to begin a career as an actor and takes FOREVER before you see any of the return? Oh well. What are you going to do, right? They don’t call us starving artists for nothin’

Because it costs so much money and our dollars are so precious, it is really important to research every little thing you invest in (just like in other aspects of your life, right?) As an actor some of the things I have invested in, which I believe are the bare essentials, are head shots and  classes. This post is about the latter.

Acting classes in LA run about $300/month, on average. This is for your standard once-a-week scene study class, be it geared towards theater or film or both. Unless you’re independently wealthy or have the most awesomest parents in the world, $300/mo every month adds up and you might want to think twice before just signing up for any ‘ol class. That’s why it is SO important to audit. Sure name-actors on the class roster, or a famous acting coach can lure you in, but don’t let it fool you. Not every studio is for every actor. You really do have to find the one that will work for you in that particular moment of your career.

Years ago, when I was first testing the waters, I joined Carter-Thor studios after a strong recommendation from a dear friend and auditing his master class. I probably should’ve audited other classes to compare, but it worked out because Carter-Thor was wonderful and was just what I needed at that time. Two years ago when I tested the waters again (took a lot of testing before I went for the plunge), I really took auditing seriously and checked out three “name” studios (Larry Moss, Howard Fine and Ivana Chubbuck). After making my rounds, I chose Ivana Chubbuck. Yes, the “name” was important to me to have on my resume. Also, I read her book and I was interested in applying another technique, especially now that I’d found a balanced approach to acting techniques (my time at Atlantic Theater Co was not so balanced, maybe a post on that later). I learned a lot while at the studio and it was good for me then. Right now I’m on a little acting class break but I always get an itch to jump back in every 6 months or so.

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