Summer Stock Summary
As you might remember, I spent my summer working as the Assistant House Manager, doing summer stock for a huge theatre company—and loving it! But it’s now been officially a month since my contract ended. I haven’t missed it too much, honestly because I’ve already been so busy with college and all the papers I already have due. I’ll admit though, I have my fingers crossed I’ll end up there again next summer!
A few reasons why I’m really happy with my job:
- I’m really proud that my first professional job was theatre-related. Putting that major to use! The look on my parents’ faces was worth it.
- Out of all the companies I applied for, this one was the biggest and I thought for sure my application would get tossed out for lack of experience. Instead, I am one of their youngest employees and in my own, brand-new position!
- I really got a taste for not only independent post-college living, but professional, Equity theatre working. Owning a smartphone is a must, especially nowadays!
Some of the best parts about working weren’t even strictly job-related: I met and worked with so many wonderful, professional people (and help pull off a proposal onstage)! I had a fantastic opportunity to work with writer/actors David Hein and Irene Carl Sankoff, when they brought their (true-life story) production of My Mother’s Lesbian Jewish Wiccan Wedding—not only did we nearly sold out, but our regular audience loved it and we brought new people to see our shows. And aside from our regular performances, we also hosted twenty different musicals in creation to come and do a showing at our own little festival.
I learned a lot this summer, like how to house manage and what the House Manager does and that summer stock and alcohol go together. How to handle a rude audience member (I’ll take the drunken ones over rude any day of the week), that staying calm is a good rule of thumb… But now, a month of unemployment later, I think college might be harder than the “Real World”. I got to sleep in then, no eight o’clock call times and definitely no essays to write for that Theatre Management class.
On participating in the destruction of my own industry…
“Why do you participate in the destruction of your own industry?”
9/16/2012 – My roommate asks me this as I’m sprawled out of the couch at 11:30 pm watching Dance Moms on my laptop. I’m unsure whether he’s referring to watching reality television, as it takes away from jobs for “real” actors or the denigration of the dance industry as its portrayed in the series (though being a former competition kid, I find some hilarious parallels between the mothers on this show and the mothers at some of the studios I attended…). Knowing him, it’s probably both these things in addition to the destruction of our culture via embracing the norm of exploitative mindless garbage. I try to explain to him that it’s for “research purposes”, that since I’m about to begin working on a documentary theatre piece on dance competition kids it’s very important that I get a feel for where the industry is at. Neither of us swallow this BS and I finally just spit out, “but it’s the only reality show I watch” as if this will make it any more acceptable to him.
Why. Do. You. Participate. In. The. Destruction. Of. Your. Own. Industry?
9/18/2012 – My boyfriend receives a personal e-mail from a reputable agent’s office. “Dear Ryan”, it reads. “I saw you in your recent production and both myself and my assistant were very impressed with your work. We want to set up an appointment with you. For only $40, we’ll meet you, see you read and talk to you about some potential roles we would like to submit you for…”
“I’m confused,” Ryan says to me. “If they are so interested in my work then why should I have to pay to meet them? They get paid when I work. Technically, they need me more than I need them.” I call bullshit. He e-mails them back and politely asks if they would be willing to see him for free since this seems to be a personal invitation. They e-mail him back and politely say no. Apparently it’s an invitation to a “special workshop” and they plan on teaching him stuff. They remind him it’s by invite only. Their story has changed.
Ryan is one of those actors that was fortunate to book work and find representation right out of school, which doesn’t negate the fact that he has been busting his ass since graduation (and it’s been awhile since the boy has been a college student). He is at the gym each morning and in weekly classes working on his craft as an actor and singer. He is less interested in self-promotion than in doing stellar work that he’s proud of and finds challenging Ryan has never paid an agent, manager or casting director as a teacher to “develop” his talent yet he works regularly, has a number of big credits and gets called in for things I envy (i.e. “Sweetie, what happened to my lavender button down, I need it for my second Shakespeare in the Park call back?”).
So, are you going to do it? I ask him.
“Do what?” He is organizing work related papers for the following morning.
The workshop you were invited to.
“If I participate in this, it makes it okay and therefore normalizes this practice for other actors. It’s exploitation of a population that everyone already feels it’s okay to take advantage of. It’s unethical on their end and would look desperate on my end.”
He jumps up and looks out the window.
“Wanna walk the High Line while the weather is still nice?”
Dance Moms is on in 15 minutes.
I get why so many agents, casting directors and “industry people” host pay to play workshops. It’s a business. So many actors. So little time. So few parts. So few people can be represented at once. It’s a way to weed people out, albeit not necessarily by talent or looks or anything that would necessarily get an actor a job or representation (Who is willing to shell out the cash to be here? Who isn’t?). What it all boils down to is potential to make money. There are many people who are desperate for a leg up, who have the cash and are willing to pay whatever it takes to have a chance at “being seen”. And seriously – who can blame them for taking these workshops? Each day I hear from colleagues about the pressure to attend, how they feel it’s the unfortunate direction the industry in headed, how “everyone” is doing it, how they don’t necessarily get feedback outside of a few adjustments, how it doesn’t make them better actors only it’s a chance to be put on the radar by someone who could potentially get them work. What’s wrong with that? I’ve also heard from actors who have received auditions and work from attending pay to plays.
A few years ago I really wanted to work on my television and film acting skills. I had been having problems adjusting to acting for the camera and my agent suggested taking class. I was torn between several casting directors’ “Television and Film” 10-week intensives (some of which are reputable) or going to one of the many acting schools that offer classes in this. After careful deliberation and Facebook posts asking for recommendations, I auditioned and enrolled in class at Primary Stages/ESPA. I was certain it was the right decision based on the extensive credits and careers of the faculty and the reputation of the school (I’ve been enrolled in classes at ESPA ever since). I wanted to grow as an actor and artist so it was imperative that I feel safe enough in class to mess up and fall flat on my face. How could I have done that in a class advertised by a casting director who is actively seeking class talent for auditions? I give kudos to those who can but it certainly wouldn’t have been the smartest choice on my end.
After a year of classes I booked a role on Onion News Network, an independent film and was on hold for Boardwalk Empire and another feature film. Through auditioning, I created relationships with some of the casting directors that were regularly sending me mass e-mails about their workshops. I credit these bookings with the technique and on camera work that was gained from taking class with teachers who are passionate about growing talent and working with actors who want to better their craft.
I often think about what it would look like to put together a “meet and greet” or “panel” or “workshop” or “seminar” or whatever you want to call it with fierce actors and target all of the agents and casting directors who are regulars on these pay to play seminar lists, the ones I receive constant e-mails from to reserve my spot for “pilot season coaching – $600”, “Wicked audition coaching – $250”, “Meet Your Dream Agent Night – $80” etc. and tell them that if they pay $100, they will have the privilege of receiving headshots from some great actors, hearing them talk about their experience in the industry and seeing some work of theirs.
What would this look like?
What would it look like if actors collectively elevated their status within the industry and weren’t expected to pay to create genuine relationships?
This world is a mess. Perhaps at some point we all participate in the destruction of our industry. On this particular night I’m torn between watching the new episode of Dance Moms at its regular time on television or going for a walk with Ryan. I opt for the walk. For two hours we wander around Chelsea discussing the upcoming Presidential election and riots in the Middle East.
On this night destructive choices were avoided but it’s not always that easy.
Presenting…The Passionate Performer!
Before I introduce myself, let me just take a moment to gush…I cannot begin to describe how excited I am to be joining the ensemble here at The Green Room Blog! I have been reader for over a year, and it is such an honor to get the chance to share my theatre experiences with all of you.
Okay. Enough of that. So. Me. I am 23 years old, and just graduated from Siena College in upstate New York in May. I have a BA in Creative Arts and a Certificate in Theatre (basically the course work of a BFA without the title because it’s a Liberal Arts College…womp womp), a BS in Marketing/Management, and an English Minor (overachiever, I know). I am a singer and an actor who can move at this point, but I am working on that. I also dabble in solo performance. Other things you should know about me: First of all, I LOVE to learn, refine, and practice my craft. I am sassy, witty, addicted to caffeine, I know a ton of random, though sometimes useful, facts about Broadway, theatre, StarKid (anyone?), movies, television, and just random things in general.
How did I find my way into theatre? Well, I sort of fell into it. I started out as an avid audience member at first, then began breaking into performing through my dance and vocal performance background. My first time on stage in a theatrical production was back in 2002…fast-forward 10 years later, add a couple degrees and the beginning of a professional career, and it seems my world has changed.
Theatre has always been a part of my life. It seems daunting at times, especially because it’s been baby steps since graduation in May, but now that I have decided to make it my living, feel so blessed and so grateful to share this journey with all of you!
Peace&Love,
Sunday Summary — September 23, 2012
We had a fantastic five-post week here at Green Room! Catch up on what you missed:
The Granted Actor told the story of meeting Michael Clarke Duncan and what he taught her about being real.
The Redheaded Actress shared 6 ways to get an agent and her experiences with landing one.
The Enterprising Actor learned about how important it is to be your authentic self.
And The California Triple-Threat gave us her most favorite moments when working on a show.
As always, if you enjoy a post, please leave a comment for our fabulous blogger so they know it!
Favorite Moments
Every time I work on a new show I have something happen to me. Amidst the stress of memorization and the fatigue of tech, I’ll be struck by shimmering seconds of love for whatever step of the process I’m on. Sometimes it makes me sing the line from 25th Annual Putnam County Spelling Bee: “That’s my fav-o-rite moment of the beeeeeeeee” (come on, come on, you know exactly what song I’m talking about!)
These are the moments I live for! When I can’t imagine myself anywhere else in the world but exactly where I am, doing exactly what I’m doing, with this exact and special cast of people!
So, in an attempt to share my joy (as well as throw out some good karma in hopes that I book a new show soon) I have written down my ever-growing list of “favorite moments”. They are:
-Finishing reading a script for the first time
-Introductions at the first rehearsal
-Adding props to a scene and feeling like you got new toys on Christmas morning
-Nailing tough harmonies, and hearing them blend together
-After the first time a stage kiss is rehearsed
-The sitzprobe with the orchestra
-Deep discussions with c0-actors about back stories and subplots
-Getting so lost in a scene that you don’t think about what you are saying and instead find you are LIVING!
-Opening night with all its anticipation, jitters, well-wishes, flowers, and pride for the work done up to that point
And my very favorite moment:
-Full-company production numbers at the end of the show. I can’t even explain this one. There is something so special about a group of people who put everything out on stage and commit to sharing that moment together. The energy, the support, the love, the kinship is so infectious. And THAT, ladies and gentlemen, is why I do this.
What are your favorite moments? Are any of mine on your list too?
Notes Music Theatre Audition Masterclass
Some time ago, I had the great opportunity to spend three hours at the feet of Stan Tucker, music director for various Broadway shows, adjunct faculty at NYU, and associate at The Really Useful Group (you know, that company that manages Andrew Lloyd Webber’s theatrical properties). Tennessee Repertory Theatre, in Nashville, hosts a series of workshops for professional development each season. Their offerings are always interesting and solidly applicable to the life of a working actor.
Living in this Midwest/Southeast market, exposure to a person of Stan’s caliber, especially for such a reasonable price ($55), is unusual. It would normally involve me traveling to Chicago, New York, or LA to attend a similar workshop. Alternatively, if one were hooked in to an active university theatre program, opportunities like this might present more frequently. But then, one must usually be a student in the program to attend such a workshop.
The weather made the three-hour journey to Nashville a smoosh harrowing, but when I finally arrived, I walked into a lovely three hours at Nashville Public Television, soaking up priceless tips and tidbits from a person who is, right now, working in the industry in New York and around the world – literally, he just cast the Buenos Aires cast of Phantom…or was it Cats…regardless, the guy knows of what he speaks.
The theme for the night quickly emerged: find your authentic self, your authentic voice. It is too easy to mimic what you hear in others, to try to be something you are not. Each of the 14 or so of us assembled shared one version or other of, “I don’t know/understand my type” or “I am this type, but I kinda don’t wanna be ’cause there’s not a lot being written for this type.” At the end of the day, Stan kept reiterating, whatever you are, BE THAT, and by being true to your authentic self and your authentic voice, you will find more success. You will engage the folks behind the table, and then it becomes a matter of whether or not something’s been written in the show for your type. Quit trying to be a belter if you are a legit singer. If you can’t do rock, find the rock-iest thing you can do, but know your limits. Know your instrument – your voice.
How many times will I have to hear that before it sinks in? Probably, the answer will always be one more time.
Ways To Get An Acting Agent
There are many ways to get an acting agent, of course, but being that I’ve just recently signed with my first exclusive agency, I thought I’d share what I’ve learned about the process and give you some of my “stats” to hopefully help contextualize your experience — I would have loved some hard facts when I was on my hunt 🙂
I have met with 8 agents so far in my career (“met” meaning an in-the-office meeting/audition).
Of those, I have freelanced with 2 of them and signed with 1.
I met 3 by friend referrals,
4 by mailings,
1 by being in a show with another represented actor.
When I met with these agents, I got good “we could work together” vibes from 6 of them.
Apparently I was wrong about 4 of those.
1 was cold and rushed in our meeting.
1 was schmarmy (is that a word?) in a kind of used car salesman way…yuck.
Of all 8, 1 was a commercial agent, 2 worked on all areas of the biz, and 5 were legit agents.
Of the 8, 6 of them were women and only 2 were men (what does this mean about me??).
All 8 of these were at small to medium-sized offices (probably also helped along by the fact that those are the ones I’ve been specifically targeting).
There were many, MANY more that I spent hours of my life meeting at seminars. MANY of those were very positive meetings and I left feeling hopeful, but never was able to make a real meeting come about from any of them. I will, however, credit some of the valuable feedback I got from meeting them to my success in branding myself to other agents.
And for what it’s worth: a couple of the agents I had great meetings with but didn’t get signed by? They still read my actor newsletter. So I know they’re at least interested in my future 🙂
What has your agent hunting experience been? Do you have any other tips and tricks to add?
P.S. What do you think of the little graphic I made? I’m no designer, but I’m pretty pleased with it!
A Letter and a List to Myself 5 Years Ago
Age 22.
Hi Ashley,
Since the most effective way you communicate with yourself these days is by list, I have compiled a list of 15 things I’d like you to consider over the next five years.
1. Congratulations! You’re about to graduate Pace University in May with dual majors in theatre and anthropology and minors in women studies and Middle Eastern studies. Your dream is to be a political artist and to create theatre with marginalized groups in conflict zones. You’re reminded on a daily basis that there is no money in theatre, let alone political theatre but this doesn’t seem to bother you. Recall how people tell you that you should have double majored in something useful like business? Next year the stock market is going to crash and there will be no jobs in any industry. You made a good decision by following your passion. Pay the haters no mind. Continue to smile and nod because you end up doing it all.
2. Speaking of “doing it all”, let’s discuss your conflict over whether you’re an actor, director or playwright. Actually, let’s not. Spend less time being conflicted and more time updating your separate resumes because you book work in all three. You never stop working. Own it! Prepare more resumes. Add Artistic Director and photographer to your list. Make an academic CV too. If people are confused by it or don’t like it, chalk it up to their own ignorance and move on because you have a musical to direct, a Shakespearean leading lady to play and are commissioned to write a documentary play.
3. You have $75,000 worth of student loan debt but don’t really understand what that means yet. We’ll let this go for now because ignorance is bliss for only a few more years until Sallie Mae calls.
(If this were a letter to my 18-year old self, we’d have a long talk about student loan debt and college but since the loans have already been taken out at this point there is nothing we can do…)
4. What’s up with your excessive feelings of unworthiness? Seriously, girl. You feel unworthy of speaking up in class? Unworthy of being in the room with so and so? Unworthy of sharing your opinions? Unworthy of asking for things? Unworthy of the fully funded scholarship and graduate assistant position you have in your graduate program? Unworthy of making new friends? Unworthy of being loved? Stop. It’s going to ruin your time in graduate school and is the demon you will spend a lot of time fighting in the years after with your therapist who will be particularly helpful in finding the origins of these feelings but only you can change your thinking to empower yourself.
5. Get out of the habit of saying/thinking/believing “If I only achieve _________ then I will finally be worthy of _______ “. This will make you appear very ambitious to your friends on facebook in the years right out of college and grad school because you’re always busy with something (See #2) but don’t get into the habit of running on a hamster wheel because you’re chasing some imaginary idea of what you think will bring happiness, self-worth and love. Those things will not be found in material objects or jobs.
6. The prospect of being called Dr. Marinaccio is cool but do you really have a burning desire to get a PhD? Is that really your dream? Are you even in it for the right reasons? (Hint: Wanting the title of Dr. is not a good reason to enter a PhD program. See #4)
7. Remember that mentor you wanted so hard to impress that you applied for 10 PhD programs because you were so afraid she wouldn’t want to be your friend if you didn’t pursue an academic career? Guess what, she doesn’t want to be your friend because you do not pursue an academic career. And you are fine without her in your life. Better off, in fact. Congratulations! You are surrounded by people who love you for who you are and respect the decisions you make for yourself.
8. Don’t give people different versions of yourself you think they want to see so that you’ll be accepted in their circle. Don’t get in the habit of telling people what you think they want to hear. It’s more important to have honest relationships with others and most importantly, yourself.
9. You are not “fat”. You have never been “fat” and in 5 years, you still won’t be “fat”. There has never been anything wrong with your body. Media, industry pressure and social constructs will make you feel otherwise but ultimately, you are your own worst enemy. Stop the self hate talk. Embrace your body and the curvy shape it is. Reaching a goal weight on the scale will not make you any more or less happy. (See #4)
10. The relationship with your first love ends and you get your heart broken. It takes some time to recover but that relationship evolves into something else and you fall in love with the boy you met for two minutes in a brief introduction by your theatre partner in front of the Starbucks at Washington Square South right after grad school while stealing rehearsal space at NYU. He doesn’t remember this introduction but you never forgot his smile.
11. Write more often.
12. Practice stillness. Don’t squirm when you talk to people. Don’t twirl your hair or fidget with your bracelets. Be still.
13. oh.my.god. Will you just take that dance class already? Nobody cares about your imaginary fat ass, they are too consumed in their own issues. Stop replaying all the negative things people said about your body when you were a kid. (See #9)
14. Not everyone is going to like you or your work. That’s how it goes. You have nothing to prove to anyone. Spend less time worrying about what people think and more time being the kind of artist you want to be.
15. Be kind to yourself. I can’t stress this enough. Please. Just.Be.Kind.
Good luck with graduate school. Take your work seriously, but try not to take yourself seriously. Don’t lose sight of why you have chosen this career or what you want your place to be in this industry, and most importantly this world. Don’t let your ego get in the way of the work that needs to be done. Sometimes all you need after a hard day is a good night’s sleep and to start again in the morning. And don’t even begin to think that by age 27 you have mastered any of these things on the list above. There is always growing to do.
We only move forward.
– Your Older (and somewhat wiser) Self
The Green Room 