Sunday Summary — August 26, 2012
This week, The Granted Actor told us how she had a change of heart about networking (and shared an awesome pic of our West Coast Bloggers meetup!).
The Practical Artist detailed how she managed to rehearse an understudy to perform the lead in a musical in less than a week, and largely without the rest of the cast.
And The Enterprising Actor shared why she believes so strongly that work begets work.
Work Begets Work
Over the last two years, I have booked increasingly more work. This is due, in large part, to the fact that I am a brilliant actor. an increasing confidence and an increasing familiarity with casting folks.
The exponentially greater number of shoots I have auditioned for and booked have given me a greater understanding of what folks on the other side of the table want to see; I can read the specs and the sides and have a firm grasp on if I am likely what they are looking for, and how to approach the audition. For the casting folks, they have seen me submitted for so many things, they have a greater sense of what I can do. Plus, I’m pretty likable (once I’ve had my morning coffee).
A few of the jobs I have booked recently have been a direct result of being seen regularly. In fact, there are two production companies I saw monthly for the first half of the year, because they knew they could trust me to come in and get the job done in time, which equals within budget. Repeat clients are the best in any freelance business, but they only repeat if you produce.
A friend of mine recently booked an episode of Army Wives. While on set, one of the casting folks stopped by and chatted with her. He mentioned that part of the reason she booked the episode is because they had seen her so many times for so many other roles that they had an understanding of her range and where she would fit. Her number finally came up! He encouraged her to pass along to her colleagues that every audition matters because they, the casting directors, remember the people they see produce consistently good auditions. That was encouraging to hear.
Being on set, and being attentive on set, gives you keen insight into why you booked that job, and how you can book others in the future. Sometimes it is something over which you have no control – you had the right look – but sometimes there was something in your audition that clicked with casting’s goals. The more you are attuned to feedback, the more you are able to get yourself on set, or in rehearsal, and the more likely you are to get more jobs. It’s simply a matter of confidence – and numbers. I see a dramatic difference from my auditions of two years ago with my most recent auditions; not only am I more adept at reading specs and delivering what the client wants, I am less anxious about each audition, which translates into a more relaxed and confident audition.
At a recent audition for a commercial that would be filmed with coaches from the University of Kentucky, I knew that
- They needed the right look for the company spokesperson (don’t have control over that one – I do or I don’t),
- They needed someone they could trust to be professional around the coaches (I needed to exhibit that “I’m not crazy” aura),
- They needed someone to exude expertise and warmth (that’s my market – confident, warm and caring, authoritative).
As the camera rolled for the audition, I held these intentions in my mind, and then walked away. The rate was fantastic – oh my god, I really needed that job – but I couldn’t linger over whether I’d get a call or not. I had to let it go and look for the next opportunity. Fortunately, I did book it, and I filmed the commercial last week – yea!
Since I live in the hinterlands, when I’m in a (theatre) show, there is not a long list of industry professionals to whom I can send invites. Sure, I can send out announcements and hope that some of them come see the show, but it’s really hard to get traction outside of the region. When I submit for a role, or when I show up for an audition in the theatre, what’s more important is that I’m on my A-game. And I stay on my A-game by finding work to fill up my schedule when I’m not doing a paycheck show. (To be clear, by this I mean that I am just an actor doing a show and collecting a paycheck, in contrast to my solo show project*, where I am the writer/actor/producer/company manager…and currently props/costume/set, as well.) The more I keep putting myself out there, the less I agonize over each individual outcome. I keep track of each individual outcome – that’s an ROI issue – but I don’t agonize over it.
Certainly, the exposure that comes from being seen working is a priceless commodity, but what you are doing with the opportunity to grow as an actor and as a person on each job is even more rare.
Have you noticed a difference in your confidence when you are on a job-booking roll? What are you doing in between paycheck bookings to continue getting exposure?
*For more info about my solo show project, Things We Say to Girls, you can check out thingswesaytogirls.com, follow on Twitter (@TWS2G), and like on Facebook.com/thingswesaytogirls.
“In This Evening’s Performance, LEAD ROLE will be played by…”
I was recently put in the unexpected situation of rehearsing an understudy in less than a week for a lead in a full-length musical. The contract I was working under didn’t have understudies as part of the original team and when the situation was presented, the understudy chosen had exactly 6 days from reading the play for the first time to performing as the female lead before a sold-out audience. And guess what? There was only 2 hours a director was available to observe rehearsal and I only had 3 hours per AEA guidelines to rehearse the understudy with the rest of the cast (and this brush up rehearsal didn’t even have the entire cast present). From learning music, choreography, lines, character work, and blocking to figuring out costumes and working with props and a set she wouldn’t be able to see until 1 hour before curtain of her first performance it was a unique and complex situation that required careful time management, accurate information, and personality management so that actors never became self-conscious of the upcoming performance.
How this was accomplished:
Day 1: Story. The actress was hired as the Understudy in the morning, read the script in the afternoon, and attended a performance of the play with the original lead in the evening, thus hearing the music for the first time.
Day 2: Music. 1 Composer/Producer with the Understudy. The morning was spent at the piano learning lyrics, phrasing, melody, harmonies, and finding emotions to add to the musical numbers. The actress spent the rest of the day on her own rehearsing and reiterating the large amount of new information and committing it to memory.
Day 3: Blocking. 2 Stage Managers, 1 Composer/Producer, 1 musical director to represent a cast of 13 with the Understudy.
Day 4: Choreography. 2 Stage Managers, 1 Musical Director, 1 Asst. Choreographer, 1 Dance Captain, 2 Lead Actors, 2 Writer/Producers in a room 12’x15′ with some chairs and music stands to represent a 30’x22′ stage, countless props, and actor-motivated moving scenery.
Day 5: the Put-In Rehearsal. 2 Directors, 3 Stage Managers, 7 Cast Members, 2 Writer/Producers, 1 Musical Director, 1 Bassist, 2 Wardrobe, chairs, and music stands in a rehearsal room to represent the entire production.
Day 6: Re-Opening Night. One hour before the performance as the crew sets up the Understudy sees the props, hears a keyboard instead of a piano, gets mic checked, tours backstage, sees her spikemarks, stagelight, and moves the scenery before house opens a half-hour later. The near-flawless performance receives a standing ovation and the cast independently highlights the understudy for a second round of applause.
It takes a large team and careful planning to pull off rehearsing an unexpected Understudy in a such a situation. I’m proud of the teamwork and that my first Understudy process was such a success! A professional actor should be able to handle this type of schedule & situation with grace, confidence, and commitment. What do you think would be the hardest part of accepting a role as a Last-Minute Understudy, and would you be up for the challenge?
A Change of Heart on Networking
I used to hate the thought of “networking.” The very term sounded to me like something done on Wall Street in 1980’s large-shoulder-padded suits with false and manipulative undertones. Having been on both sides of the status structure for networking (as a BBC presenter, people WANT to know you, as an actress, lots of people DON’T) I found the whole premise to be, well, just icky.
But then I found myself in a position where it would be stupid NOT to network. A short film I star in is getting a lot of attention around the country, and when it was accepted into the Hollyshorts festival in LA, I knew I had to go… to take a little vacation, catch up with some friends, and yes, network… Gross. But did I mention the film was screening at Graumman’s Chinese Theatre in Hollywood? How could I miss it?! But eeewwww I was going to have to network… !!!
Well, I’m writing this blog on the plane ride home from a week in LA and can actually now say, “networking is fun!” What? Ew! Yes, I said it.
How did my mindset change? Well, on the plane ride over to LA, I was imagining the upcoming networking scenarios with dread. But at the same time, I was chatting with some other people on the plane and thinking about how much I like meeting new people and hearing about their lives.
And then it hit me… um, duh. That’s what networking can be! The key for me was to stop thinking it was a status play, a way for people to try to impress those who have something they want. If I could just look at networking as a chance to meet new people and hear about their lives, work, passions, etc, then it could actually be kind of fun.
So I tried hard to change my mindset throughout the week in LA. Whenever I got the sense that “networking was happening” I just kept repeating in my mind, “this is just me meeting new people, and that’s cool.”
The result: I met lots of cool people!
For example, when I let the West Coasters from The Green Room Blog know that I was in LA, The California Triple Threat suggested a great place where we could meet for coffee with The British Dancer and just have a chat. It was great. We don’t know each other at all except through the blog, but we had lots to talk about, regarding the similarities and differences in our career paths. It was great to hear about musical theatre in LA and their jobs and I told them a bit about life working on New York indie films. It was a nice talk and yes, I guess we “networked” but I never had the sense that anyone was manipulative or trying to get something from another person. It was just meeting new people. Networking with heart! Cool.
Another big chance to test my new networking modus operandi came at a panel discussion at the film festival. Four emerging screenwriters and directors talked about their challenges, breakthroughs and inspirations. When it came time for the Q&A I trembled a bit. I had a question I wanted to ask, but as an actor, feared they would think that my question was a thinly veiled attempt at shoving my headshot and resume down their throat. But I repeated my mantra: “this is just me, meeting new people, and that’s cool.” The panelist seemed to appreciate my question and answered it with honesty and friendliness. Later, I connected with two of them on Facebook, just authentically thanking them for their time. They responded, and I realized my new take on networking was working! It’s not about trying to get something. It’s just about people meeting other people. Very simple and enjoyable, and frankly, sort of what life is about: making connections and growing through that.
I can’t believe what a simple but profound mind shift this has been for me, and that I was so silly to not realize it before. I always loved “meeting new people,” but hated “networking.” Finally realizing that these concepts can be the same thing has been transformative for me.
Though I will admit, I still avoided the festival networking after-parties. Baby steps! But I’ll get there. Uh, I mean, baby steps ON THE RED CARPET…..(with Eljon Wardally, writer of Docket 32357)
How do all of you network with heart? I’d love to hear your experiences.
Sunday Summary — August 19, 2012
This week on the blog, we officially met our newest blogger, The Enterprising Actor!
The College Theatre Dork shared a very personal story and ruminated on what happens when a major accident derails your life plans.
And our fabulous guest poster, Katharine, gave us her personal pros and cons as far as grad school for actors goes.
Be sure to check out all of these great posts if you missed them the first time around!
GUEST POST BY KATHARINE: On Grad School
Please welcome to the blog guest poster Katharine Heaton! Katharine is a working actress in New York City, and she’s here sharing her personal experiences with a graduate school education with us today.
The Pros & Cons of Grad School
I went to one of the largest private universities in the country, and in NYC, after working an admin job at home for 2 years. I admit, the reason I decided to start auditioning for schools was because I had no idea where I was going, both personally & professionally. It turned out to be something very productive to do for myself, all on my own (PRO).
However, because of the school I chose, I am now literally saddled with almost 70k in loans (CON). I feel this could happen with any school though – all costs are through the roof now.
I was fortunate enough to have my hard work pay off with landing 4 roles (one each semester) and I worked with some amazing people, who were from the Broadway community (PRO).
However, I honestly went to that specific place because I knew it would culminate in an industry showcase, however it was a huge disappointment and we still do not know why. The Grad class was shocked when we got on stage and looked out and saw basically our parents and friends only (CON).
Since then, I have worked so hard at Actors’ Connection, One on One, The Network, etc meeting agents and casting directors and often feel left thinking “why did I have to go to grad school if I’m doing all the industry work in the years after??” (CON).
Sometimes I really wish I saved the 70k and then I’d have way more money for rent, food, classes, pay-to-play meetings, etc. However, the time I spent at school definitely was as productive as possible (I feel like there’s an art to this) because I made it such, so I wouldn’t say it was a ‘waste of time’. I would love to chat with anyone who is considering going back to school because I wish I had a mentor at such a critical life point.
Thanks so much for sharing your experience, Katharine! Feel free to ask Katharine questions in the comments section below, or on her twitter!
What are your thoughts on grad school for actors?
Accidents Happen
This post is more personal to me than the usual observational scribblings I do. Quick history: for the past year, my younger sister has been dating a young man who headed out in June to start his training to join the Navy. It was his dream, what he wanted to do with life. Two weeks into basic training—he broke his wrist (which had previously been injured before). He’s come home to recover, possibly have surgery done and nobody is sure what else will be done. His career just ended; there’s no telling if the Navy will take him back after he heals. He didn’t want to do college (he’s a more hands-on than an academic sort of person) and had no other goals aside from a lifetime of service—a lifetime that was just cut short.
It’s the scene from A Chorus Line, when one of the dancers fall and hurts himself all over again.
It could happen to anyone. A singer can damage and lose their voice permanently. If a dancer injuries themselves, there goes their dancing. What happens if you were to go blind, or deaf, or handicapped for life right now? There are many out there who making themselves a career in theatre who ARE blind/deaf/handicapped but I’m sure they’ll tell you how much harder it was for them. I can name only a few roles that could be played by someone who shares that disability—I’m not talking about roles like Nessarose (Wicked) or Colin Craven (The Secret Garden) in which the character ends up miraculously walking by the end of the show.
On a not-so permanent note, we had our leading lady sick the night before a show but she decided she was well enough to go on with the performance. Her family was in town and she wanted them to see her in the show. Halfway through the second number, she collapsed and was carried offstage to be taken to a doctor. Food poisoning is suspected. The show went on—her understudy stepped in and the audience was understanding; this is live theatre, after all! But it could have been so much more serious.
I know a dead artist’s work is more valuable but it’s the living artist who has to make the work. Go home, drink some tea, go for a walk, just take care of yourselves. Prevention’s the so-called best cure. And for when prevention fails, look into doing art for local healthcare (google it and tell me, is this legitimate? Because if so, I think it’s an incredible idea).
I’m not sure what he will end up doing now. Maybe he’ll recover and go right back to training. Maybe he’ll have to find something new for himself to do. Only time will tell. Maybe when I cross the street on my way to work today, I’ll get hit by a bus and never walk again. But the fear of getting hit by a bus can’t keep me from not going to work today. I’ll just look both ways before I cross.
Do What I Do, Don’t Do What I Do
Hello from the regions!
More specifically, hello from Louisville, Kentucky!
I know, I know, you wouldn’t think that Kentucky, or the Ohio River Valley, would be a hotbed of theatrical activity. And you would be right. It’s not. But it is the place where I live and work – quite regularly, thank you very much – at least, for now.
But I do have a dream. I dream of living in a bigger market. I dream of the day when going to an audition involves a 20-30 minute commute instead of a 200-300 mile commute. I dream of a bevy of theatrically-inclined folks with whom to celebrate and commiserate.
But for now, I live in Louisville, Kentucky. And I work in Louisville, Kentucky. And Cincinnati, Ohio. And Nashville, Tennessee. And Columbus, Ohio. And Charleston, West Virginia. And Lexington, Kentucky. And other southeasternly, midwesternish places.
I work as a commercial actor, I work as a host and actor for industrials, I work as a day-player, I work as a voiceover artist, I work as an essayist, I work as a playwright, and sometimes I even work as a stage actor. It’s challenging in a way that being a working actor in a major market is not, but there are also a lot of similarities because it is still the same business of show, whether you live in NYC or you live in the ‘Ville.
Regardless of the place you call home, to be a successful actor, you must become a hyphenate. In the past two years I have learned in order to be successful, I must become much more enterprising than I had been before, to branch out and start treating my career like a multi-pronged business. Because it is.
I landed in Louisville after doing time with the bus-and-truck-tour-thing and the itinerant-artist-teacher-thing. As the end of another contract approached, I went into NYC for an audition. I stayed with friends who had moved there right out of undergrad. They were in teeny, tiny apartments shared with 10 other people and worked temp jobs they hated, but couldn’t afford to take time off to audition — you know, the thing they’d moved to NYC to do. That was not the trap I wanted to fall into, so I decided not to move to NYC. An assortment of decisions led me, finally, to Louisville, Kentucky. In hindsight, that was absolutely the right decision – the city would have eaten me alive at that point in my life – but sometimes I have an amnesia-of-sorts and kick myself for not moving to NYC then and there.
Two years ago I was completing the run of a show with a theatre company I had been a member of for some years. I was the lead, it was a musical, I was having a blast. But I was so unfulfilled. I wasn’t being challenged, I wasn’t growing my resume in any significant way, and I wasn’t growing my network to help me grow my resume. I was stuck. So I decided it was time to move on. I told the theatre it had been a great run, I appreciated the work, would be happy to come back later, but I needed to go do other things and would not be auditioning for their next season. It was an exciting move, but a scary one. I was leaping and hoping the net would appear.
The past two years have forced me to finely tune what my idea of success in this career means. Certainly, paying my bills through acting-singing-writing and adjacent tasks (e.g. teaching acting-singing-writing) is the primary indicator of success, for me. Do I still dream of Broadway? Yes. Do I still practice my acceptance speech during the Tonys broadcast? Yes. And the Oscars, too. I also dream of seeing my name in print on the familiar Sam French script cover. But I know that to get there from here will involve a whole lot more than just the right agent, just the right audition, and just the right intangible something that propels an actor-singer-writer into that arena. It will involve a lot of work, and because I live in the regions, I have to get creative about how to do that work.
Not everyone is cut out to live in NYC or LA. Not everyone wants to deal with the lake effect weather in Chicago. At least, not all the time. There is work to be had outside of the major markets of our profession, but you have to be a little more enterprising to find it and land it.
What about you? Do you live outside the major markets? I’d love to hear why you chose that course! Or maybe you do live in NYC, LA, or Chicago – what questions do you have about work in the regions?
P.S. If you are in Louisville for the Humana Festival, tweet me or message me – here or on Facebook – and let’s get together for coffee, wine, or guacamole! I love guacamole!
The Green Room 