The Director's Chair: Behind the Curtain

Broadway on a Budget-Part 2

noreply@blogger.com (Kerie) — Wed, 16 May 2012 00:33:00 +0000

Welcome back!! Last time, we talked about purchasing rush and standing room only (SRO) tickets. This time, I’ll talk a little bit about the Broadway lottery. This option offers tickets from $25-35 if you’re up to taking a chance.

First off, I know in my last blog I talked about some rushes are for everyone and others are just for students. Well, the lottery is for EVERYONE!! It doesn’t matter who enters. The lottery is just that, a lottery. You show up to the theatre of your choice on the day of the performance at the specified time. Again, each theatre has it’s own schedule so be sure to check. When you get there you fill out a piece of paper with some general info on it and the number of tickets you want. Sorry, only one or two tickets allowed per person. Once that’s done, you enter into a drawing and you wait. Usually, names are drawn a half-hour after names start being collected. (Klamkin, 2010)

Keep in mind that going this route is often hit or miss as well. The number of names drawn depends on the theatre and how many seats are available. That goes for seat location as well. Again, remember to bring cash. All lotteries are cash only. Here are a few tips and tricks to help the lottery newcomer.

1. Only one entry per person allowed. But, everyone in the party can enter and each can ask for up to two tickets. If you have multiple people in your party, you have more chances to win.

2. Don’t leave once you’ve entered! If you win, you have to be there to claim your tickets. Most theatres start taking names at 5:30pm, while others start at 6pm. If you don’t win the first, there is time to get to another. It’s called ‘lottery hopping’. (Klamkin, 2010)

3. Don’t be afraid to make friends. Mingle. If you all ask for two tickets and some of you win, you all can go. Or if you win more than you want, give them back or offer them to someone else in the crowd. That’s part of the fun!

4. Don’t be afraid of bad weather. Who wants to battle the elements for a chance to win tickets? The competition won’t be so tough.

5. Make a return visit. If you don’t win, that doesn’t mean you should quit. Keep going to lotteries. You’ll almost always see the same people at multiple lotteries.

Klamkin, A. (2010, May 12). Lottery 101:the ins and outs of seeing a broadway show for less. Retrieved from http://www.playbill.com/features/article/138607-Lottery-101-The-Ins-and-Outs-of-Seeing-a-Broadway-Show-for-Less/all

Image: http://www.wayneschulz.com/2010/08/how-to-win-the-wicked-ticket-lottery-nyc/

Broadway on a Budget

noreply@blogger.com (Kerie) — Fri, 11 May 2012 03:29:00 +0000

Planning a trip to New York City? Wanting to see some awesome shows on or off-Broadway, but can’t afford the expensive seats? Well, I’m here to help you out with some info, tips, and tricks on how to see your favorite shows, or something new on a budget. There are several ways to get discounted tickets but I’m going to focus on rushes and the lottery. This will be a two-part blog so stay tuned for the second helping. Part 1: Rushing.

Buying rush or SRO (standing room only) tickets is becoming very popular in the Broadway world. Having these policies really help build the theatre community by giving more people a chance to see shows that they normally couldn’t afford. These policies provide any person (some apply only to students with valid IDs) an opportunity to see Broadway or off-Broadway shows at discounted prices (sometimes up to 50%). Now, lets get down to the specifics.

Rush tickets are sold the day of the performance and are available as soon as the box office opens. Times vary depending on the different theatres but it’s usually between 10am and 12pm. Seat placement varies as well depending on what is available. The best tip to give is always carry cash because most box offices only accept it when purchasing by this format. Also, dress comfortably. Waiting in line is almost mandatory. Especially, for some of the more popular shows. (Blank, 2012)

Standing room only is exactly what it sounds like. Those willing must stand in a numbered square the size of the seat, usually in the back of the orchestra, for the entire show. For those who are not familiar, I do not mean where the band plays. I simply mean the back of the house. Now, these tickets are also purchased on the day of the performance but, only if the show is sold out. There is no clear way to tell if a show will sell out. Generally, the more popular shows always do. For example, The Book of Mormon, The Lion King, Wicked, etc. usually sell out. Unfortunately, this format is usually hit or miss.

All the theatres have different policies as far as these two options are concerned. If you’re willing to get up early and/or stand up through the entire show, you can almost always get good tickets at great prices. To check out the individual policies by theatre or show please visit the Playbill website or Studentrush.org and please check back for Broadway on a Budget-Part 2.

Blank, M. (2012, May 06). Broadway rush, lottery and standing-room only policies. Retrieved from http://playbill.com/celebritybuzz/article/82428-Broadway-Rush-Lottery-and-Standing-Room-Only-Policies

Image: http://www.ehow.com/how_2064157_get-rush-tickets-broadway-show.html

Leave the Acting to the Kids, Please!

noreply@blogger.com (Kerie) — Mon, 19 Mar 2012 04:07:00 +0000

As a Director, one of the biggest problems I have when working with children are the parents. Sorry parents, but sometimes all the help you provide gets in the way of the natural talent the kids have. To an outside eye it’s cute and helpful but to a trained eye, it’s bothersome to the director and actually undermining to the children. Parents, do everyone a favor and leave the acting to the kids, please?

In an article I found on the Backstage website, a casting director was talking about parents coaching their children. Hal Masonburg talks about what parents do wrong when coaching children.

Children have uniqueness about their acting that cannot be coached. Sometimes parents try so hard to prepare their children for auditions they forget to just let the children be themselves. Directors do not want children that are generic, but a child that can follow directions and change up the lines or scene. (Haber, 2011)

Coaching a child the wrong way can show through plain and clear to a director. From the moment the child walks in with the painted-on smile to the time they leave, the naturalness of the actor is all gone. Another way to tell is when the director tries to get the child to change something about the scene and can’t. It’s obvious that the child as rehearsed and rehearsed the scene the same way every time. (Haber, 2011)

When prepping any child for an acting job the best thing to do is pay for acting classes or workshops. Going to the classes helps keep the child acting as natural as possible. Another tip is for parents to simply break down the words of the scene for the children to understand exactly what they are saying. It always helps to know exactly what you are talking about to get the audition spot on.

To check out this article are other articles visit:

http://www.backstage.com/bso/advice-commercial-break/less-coaching-please-1005089462.story

Facing Rejection

noreply@blogger.com (Kerie) — Tue, 28 Feb 2012 18:25:00 +0000

Okay, so you recently auditioned for a show and the cast list just came out. It turns out you didn’t make the cut. Immediately you think, ‘Why not? I thought I did great.’ Well that may or may not be the case, but here are some of the top 10 reasons director’s give for not casting an actor(ess) and what could help for your next audition.

1. Another actor gave an interpretation closer to what the director wanted.

No two actors can read a scene the same way. It’s all in the way the actors understand the characters, the plot, the lines, etc. You could see the scene going one way, while the director could see something totally different. If you don’t happen to have the same idea as the director, or something close, you could be over looked for the part.

To help: Before you begin, don’t be afraid to ask questions about the scene or characters. Ask the director ‘How do you see the character?’ or ‘Would you like to see anything specific?’ Sometimes, before auditions start the director will tell a little about his vision and you won’t have to ask.

2. A different actor was more physically suited for the character.

‘Typecasting’ has a lot to do with why an actor is not cast in a show. If the character calls for specific height, weight, color, etc. then the director has to take those things into account when selecting an actor. It helps if you are willing to adapt to the physical needs, however if there is already an actor suited for the part, that’s less work for the make-up designer to do.

To help: Always try to look at the list of characters ahead of time and BE HONEST. Also, look at the storyline and time period. Knowing that information could give you a good idea of whether or not the characters have to be physically specific. Try to stick to characters you know you can physically play. Also, let the director know what you are and are not willing to change about your physical appearance. Remember: Once you’ve been casted, you’re committed.

3. You couldn’t deliver what the director wanted to see.

During your audition the director might ask you to change things about your reading. Not because you did something wrong, but because he wants to see how you handle direction or if you can adapt to his idea of the character or scene. When a director does this, it’s usually a good thing.

To help: The biggest tip here is to listen. Listen, ask questions for clarity, and try your best to give the director what they ask for.

4. Your reputation precedes you.

Your reputation is very important when it comes to auditioning. If you have a reputation of being professional and easy to work with, then it works to your benefit. On the other hand, if you are unreliable and don’t get along with the other actors, then that’s not a good thing. People, actors talk, especially, in a smaller community where everyone auditions for the same people. If word gets out that you are difficult to work with, you probably won’t get casted.

To help: The best thing to do is not a get a bad reputation at all. Some tips to remember:

Be polite.

Don’t argue with the director, stage manager, crew, etc.

Don’t bad mouth the show or other actors.

5. You did not attend all audition nights.

A lot of the time auditions are spread over a few days. It’s always a good idea to go to every audition night. You get a chance to check out other people auditioning and even get a second chance to read with different actors. Making an appearance every night is a benefit because it gives you a chance to be seen by the director multiple times.

To help: The best advice is to try and make every night of auditions. If you can’t make it work, try to go to the final night. By that point, the director has probably asked actors from previous nights to come back. When you audition, you will be fresh in his mind.

As both a director and an actress, I have come across these reasons and others for either not casting someone or being cast in shows. It’s never easy so either side. I hope my fellow actors/actresses find these explanations helpful. Please don’t be discouraged. Continue to audition, continue to bring art to life for all to enjoy.

To see the full list of reasons visit Community Theatre Green Room

Image received on February 27, 2012 from http://www.renolittletheater.org/archive/2010-2011/auditioning.jpg

Orlando Broadway Series 2012-2013

noreply@blogger.com (Kerie) — Wed, 22 Feb 2012 03:30:00 +0000

Okay, so who’s excited for the new Broadway season coming to the Bob Carr?? From the sounds of the opinions of people I’ve talked to…a lot of people!! In case you haven’t heard about it yet, it’s your lucky day. Here is a brief run down on the titles and descriptions of the shows coming to the Carr next season. First up is:

Beauty and the Beast is set to open Oct. 2, 2012 through Oct. 7th. This Disney classic tells the story of Belle and the Beast. This is the story of how love can overcome anything and that beauty is in the eye of the beholder. Based off the feature film, this family-friendly musical can be enjoyed by all.

Million Dollar Quartet opens Oct. 30 through Nov. 4, 2012. This musical tells the story of four music legends that came together in 1956 to make a recording. Little did they know it would turn into the greatest record ever.

Sister Act opens Dec. 4 through Dec. 9, 2012. This story follows Deloris Van Cartier, a lounge singer that goes into hiding after seeing something she shouldn’t have. Unfortunately for her, she has to hide in a convent. Based off the movie, this saucy ‘sistah’ shows her new friends what they really can do.

Opening Jan. 8 through Jan. 13, 2013 is Mary Poppins. Another Disney classic brought to the stage. This musical tells the story of a ‘special’ nanny that changes the lives of two children. This show is also a child appropriate musical with music that will touch the heart and keep the toes tapping. Includes favorites like ‘A Spoonful of Sugar’ and ‘Supercalifragilisticexpialidocious’.

One show I can’t wait to see is Priscilla, Queen of the Desert. It runs April 16 through April 23, 2013. Featuring already popular disco favs including ‘It’s Raining Men’ and ‘I Will Survive’, this story follows three friends (two drag queens and a transsexual) on their way to perform in a concert but also looking to find love and friendship. Definitely, some racy content so be aware. (May not be appropriate for children but the decision is yours.)

Rounding out the season is Memphis. This musical runs from May 14 through May 19, 2013. It tells the story of a white DJ who was the first to play ‘black’ music in the 50s. Memphis is a musical to keep you moving in your seats and I can’t wait to see it!

This season seems to be really great and I, for one, can’t wait to see all of these shows. Keep your eyes open for tickets. To purchase individual show tickets show tickets or to get season passes check out the http://orlando.broadway.com/season/

Images came from http://s3.broadway.com/mediaspot/2.2338.jpg

FantasyLand and OTN Christmas Party

noreply@blogger.com (Kerie) — Mon, 12 Dec 2011 06:33:00 +0000

Christian St. John and Jason Newkirk

Tonight I the privilege of attending the Orlando Theatre Network (OTN) Christmas Party hosted by those of the OTN and FantasyLand Theatrical Productions. It was at the POINTE Performing Arts Center in Pointe Orlando and I tell you it couldn’t have been more fun. If you missed it, you really missed out. First let me start by thanking Christian St. John, Jason Newkirk, and everyone else who helped make this event a success.

The day started with Yes, Virginia*, a family-friendly show for children. I took my daughter and she loved every minute. She even got to meet Santa for the first time! The evening then continued with Radio T.B.S. This was more adult-friendly show that’s full of laughs and good humor. Following the evening show, a potluck meal was served and friends got to mingle and EAT! We had a wonderful spread of food from appetizers to desserts.

The party was more then just a chance for people to sit around and eat. It was also a networking opportunity for the theatre community to get together celebrate and discuss live theatre. And more so, it was part of a toy drive that FantasyLand is hosting. We raised money for the theatre and collected a lot of toys for the less fortunate children of central Florida.

Shout out to the Orlando Theatre Network and FantasyLand Theatrical Productions. Like both groups on Facebook to keep up with the latest on what’s going on with the respective groups. Also, there’s one more weekend to see the FANTASTIC Christmas shows at POINTE Performing Arts Center. Yes, Virginia is at 3pm on Saturday and Sunday and Radio T.B.S is at 8pm on Friday and Saturday, and 7pm on Sunday. Trust me, you don’t want to miss it. Buy tickets online by clicking the link. Bring a toy to donate and get $5 off the ticket price.

*Yes, Virginia is a musical adaptation of Yes, Virginia There is a Santa Claus by Andrew J. Fenday.

Dealing with Talent

noreply@blogger.com (Kerie) — Wed, 30 Nov 2011 03:22:00 +0000

Several months ago I directed my first theatrical production (outside school) and opened it to the public. First off, let me just say that it was a lot harder than I thought it would be. Aside from casting and blocking the actors, I also had to focus on the business and technical elements (paying royalties, scripts, lights, sound, costumes, etc.). Previously, I had a professor and other classmates to help with those. This time, I didn’t have quite so much assistance. Needless to say, I’m not going to talk about those things right now. I’m going to focus more on the actors and how to manage them.

The show I directed was The Trial of the Big Bad Wolf. It consisted of 12-20 child and adult actors. I had 16 actors in my production. In any case, dealing with adult actors can be tough. Sometimes, dealing with child actors can be more difficult. Let’s start with the adults.

First, adult actors can be DIVAS! There are some actors that feel they know it all and any director should be lucky to have them in their show. Well, I try to stay away from those types. If a director is any good, he/she should be able to weed out that type in the audition stage. But the thing about actors, THEY ACT! They can act like they’re not a diva until they get the role. I came across one actress in my cast who had a lot to say about the other actors. I tried ignoring the comments and they didn’t stop. I tried out some of the ideas and that made it worse. Finally, I had to explain that I was the director and if she wanted to direct then she should go out and do it, but not in this show. Well, she got the idea after that and it was over. Unfortunately, that might not have been the correct way to handle the situation. However, it worked for me and in the end, that’s what matters.

Anyway, some adult actors can also be very helpful. In those cases, at some point in the rehearsal process, allow them some input as far as characterization. This does depend on the talent of the actor and how the director likes to work. In my situation, I wanted the production to be more like a collaboration so I wanted the adults to do what they thought their character would. As long as it wasn’t too extreme, I was okay with the choices they made.

Dealing with children is a whole other matter. Some children can be mini divas as well, but there are also some that can be as professional as adults. As a director of child actors, you also have to deal with their parents. This can be a good or bad thing. When I directed this show I started the rehearsal stage with a cast meeting with the parents of the children included. Some of the parents were in the show already, which worked out better. I informed all the parents that I would do my best to keep the child for as little amount of time as possible but still get the work done. I told them it would be a team effort and they had to help their child with lines outside rehearsals. The most important thing is that I still expected the children to be as professional as the adults. I spoke specifically with the parents who had children in the show and were in the show themselves and told them that during rehearsals I’m in charge, I’m ‘mommy’. All involved said okay however, I still had some issues because it was not a team effort on the parents’ behalf. To deal with this, I held my position as Director and continued to remind the parents of that fact. Ultimately, I think the best idea is to refrain from having parents and child in the same show altogether.

For tips on how to manage actors please visit http://www.dealingwithactors.com/

Image courtesy of : http://theethnogroup.com/?p=241

Opening Night Syndrome

noreply@blogger.com (Kerie) — Fri, 30 Sep 2011 17:39:00 +0000

So, you’ve got casted in the show, you’ve been through the rehearsals, and it opening night! You’re sweaty, nervous, and pacing so much your cast mates are about to scream. Calm down, take a breather, and think.

We’ve all been through this. We all know that performing in no matter what capacity can be tough, scary, and mentally draining. With some of these preparation tips, performing can be an enjoyable experience for all.

1. Breath. Take some time to close your eyes and breath. Find a quiet spot, by yourself, and take about six or seven deep breaths. Mentally prepare yourself for what you are about to do. Start putting yourself in the mind of your character. After doing this for a few minutes, you should calm and collected.

2. Be confident. Even if you’re scared or nervous. If you appear calm and confident, you WILL be confident.

3. Practice. Practice, practice, practice. Practice until you can’t anymore, until you can do the show in your sleep. You know the material. The more you rehearse the better you will feel about it and you’ll be able to do it in front of an audience. Make sure you practice your problem areas so they won’t be problems anymore.

4. Get enough sleep. The day before you perform always make sure you get enough sleep. It is important that you are your best and a good way to make sure of that is being well rested.

5. Be nervous. Ultimately, you’re going to be a little shaky. There’s no way to get rid of the nerves completely. You’re going to have to just get out there and do it. The performance should be as authentic as possible. If you weren’t at least a little nervous, you wouldn’t be human.

These are just a few tips to help get over the opening night jitters. Feel free to research more tips that could help. I hope they help you because they’ve always worked for me. Much love and BREAK A LEG!!

Hey Artist! You Need a Dollar?

noreply@blogger.com (Kerie) — Thu, 29 Sep 2011 01:53:00 +0000

In many cases funding a show can be a difficult task to master. Some do it by spending out their own pockets or continuously borrowing from banks. When finding funding for any artistic endeavor there are several roads one can take. You can find sponsors, work off donations, or receive grants/fellowships. Any of these work just as well. This time we’re going to look into grants.

There are many different types of grants available. Some are more definitive than others and can cater to the specific type of ‘art’ you want to fund. Others are more general and can be used on anything. Now, first thing’s first. You don’t just receive a grant because you apply for one. Sometimes, you have to apply more than once. Some programs only have a success rate of 25-40%. There is a long process that can take 6 months to a year to complete. There is a lot of paperwork needed before and after the application is done. In order to continuously receive grants a lot of information is needed after the show is complete. “…you have to submit an actual budget, attendance figures, any press, samples of marketing, outreach, and promotional materials, and an evaluation of the project which includes a synopsis, evaluation of goals, marketing, names of people involved…” (Piatkowski, 2008) This all might sound hard but as long as you are careful, determined, and you pay attention to detail you should be fine.

The National Endowment of the Arts (NEA) was set up in 1965 and has given (to date) more than $4 billion to support the arts. The group has many different programs to apply in both individual and organization categories. The website is very user friendly and provides a list of the different programs that you can apply for. There is also a link that provides tips to read before you fill out the application.

There are many opportunities for support of the arts. You just need to get out there and look for it.

Image reference:

http://getfreepaypalmoney.com/questions.html

Meet Ben Cameron

noreply@blogger.com (Kerie) — Sun, 04 Sep 2011 04:34:00 +0000

Recently, I had the opportunity to listen to Ben Cameron, Program Director for the Doris Duke Charitable Foundation. He talked about the competition between live entertainment and the World Wide Web. While it seems that the Internet is one of the most influential parts of our social lives, Ben still believes that those who play a role in the entertainment field will remain important in coming years.

When I first started listening to the speech I felt a little discouraged. Listening to the statistics almost made me want to reconsider going into the theatre industry (and there isn’t much out there that can do that!). “…Gen-X'ers spent 20.7 hours online and TV, the majority on TV. Gen-Y'ers spent even more -- 23.8 hours, the majority online. And now, …student arrives at college already having spent 20,000 hours online and an additional 10,000 hours playing video games…” (Cameron, 2010). However, I was inspired to continue to pursue my passion further because in this speech Cameron talks about our survival because of the extensive use of technology.

It is because of the Internet advancements that we can affordably make our own movies and distribute them without leaving our own homes. With all the social media sites on the web, anyone anywhere can access your movies, music recordings, etc. In doing this, a lot more aspiring performers, writers, directors, etc. are achieving notoriety. Cameron talked about how this could potentially take attention away from the ‘professional’ performers of the industry. Even so, he doesn’t believe this will destroy the need for live performance either.

Cameron states “…the professional artist, who works, not primarily in the concert hall or on the stage, but most frequently around women's rights, or human rights, or on global warming issues or AIDS relief for more…” (Cameron, 2010). He goes on to say they do this not to benefit themselves, but simply because the message is important and cannot be realized in the traditional way.

After listening to Cameron speak, my thoughts on live performance are confirmed. Live arts are alive and well and will be for years to come. This is good news for me because I don’t plan on going anywhere anytime soon!

Image Reference:

http://www.american.edu/cas/performing-arts/eals/arts-management-symposium-2010-panelists.cfm

Get Connected

noreply@blogger.com (Kerie) — Wed, 31 Aug 2011 03:29:00 +0000

Sometimes, when first starting out (or even as a veteran) in the entertainment industry it is good to become affiliated with an association or alliance. We all know that the entertainment field has a wide scope of these groups ranging many different facets. This time, I’m going to focus on just one specifically relating to my area of entertainment, Theatre.

I’m going to talk about the American Association of Community Theatre (AACT). This association represents more than 7,000 community theatres in the country with more than 1.5 million volunteers. As a theatre lover, I plan on taking advantage of this association and all it has to offer. Individual actors and whole theatre companies use this group to connect and network, find resources, and support one another in whatever ways possible. There are a number of different, affordable options for membership from group to individual to join as provided in their “Join/Renew” page. After joining, you are privileged to discounts on costumes, royalties, staging equipment, rentals, etc. Also, the website provides a calendar of different events and festivals available for networking and seeing what theatres are up to on the opposite side of the country.

From the looks of the website, there are many conferences in many different states. The most popular festival is the AACTFest. This festival is held every two years in a different location. Theatre groups can enter this festival to be adjudicated and hopefully move on to the regional and maybe even national levels. Ultimately, the theatre will be recognized for its talent. The AACTFest is used as both a “celebration of theatre and a learning experience for those of take part”(AACT 2011).

As far as wanting my own theatre company, this group is important because of the connection I would share with other companies. I would be able to receive tips and advice from other groups on how they run their companies or what shows to do at my theatre. The website other provides resources for those wanting to start a theatre found on the “Running Theatre” page, which is perfect in my case. I’m sure the discounts would help as well since I’d just be starting out and wouldn’t have a lot of money. Having access to the different festivals and events would bring ideas that I probably would not have thought of. Visiting the website and reading the newsletter would also keep me up to date on the legislative side since rules and requirements are constantly changing.

Image reference:

http://www.chapelstreetplayers.org/contact.html

The Actor's Image

noreply@blogger.com (Kerie) — Thu, 11 Aug 2011 04:58:00 +0000

An actor’s reputation is one of the most important things when it comes to his or her career. It can either make or break you in the industry. There are some keys to help earn and maintain a solid reputation among the theatres you frequent and even some you don’t (actors talk!).

First, continue to work on your craft. Never stop learning and fine tuning the skills needed to be at the top of your performance game. Your success relies only on you and how seriously you take your career. As an actor, no matter where I am performing, I always try to learn from other actors. I take that knowledge in hopes to use it in future endeavors. Going to seminars or master classes are a good way to learn more about your talent. Continuing to perform is another good way to practice and build up new skills to use on stage.

Second, audition. AUDITION, AUDITION, AUDITION!! I cannot stress that enough. Never stop auditioning. Never stop performing. Prepare your audition and get out there. The more you perform, the more your face will be seen and your talent will be noticed. Don’t just stop at theatre close to you. If you are up to traveling, go to theatres further away. Be adventurous and don’t be afraid to step out of your comfort zone. When deciding whether or not to travel, take into account time, distance, and of course the specific show. Be honest with yourself. If you really don’t like the show, don’t put yourself through the trouble.

Next, always remain professional. A director’s first impression of you as an actor is just as important as your talent. A director wants to know that you are dedicated and responsible. Knowing your lines and blocking, showing up to rehearsals/performances on time, and being respectful are all good tips for showing your professionalism. Remember, theatre people talk a lot. If word gets out that you are rude, you don’t take rehearsals seriously, or you consistently miss practices, directors can prevent you from being casted in future shows at that theatre, as well as in others. However, if you are known to always be professional, be on time, and are dedicated there is a great chance the director would love to work with you. The word will spread and other director’s could want to work with you too.

These are just some ideas to help you on your way to building a solid reputation in the industry. Creating a good image of yourself can lead to many career opportunities. Don’t forget! Your reputation is everything, guard it with you life.

The New Season

noreply@blogger.com (Kerie) — Wed, 03 Aug 2011 17:11:00 +0000

Hey everyone!! Now that the 2010-2011 theatre seasons are over... :( It's time to start thinking about next year. I wanted to help everyone out and cut short the search to find out what theatres are doing what and when. All the following links go directly to the respective theatre's website to see when auditions are for some of your favorite shows.

Theatre Downtown-Orlando
Breakthrough Theatre-Winter Park
Orlando Rep Theatre-Orlando
Moonlight Players-Clermont

These are just a few local theatres to start with. There are plenty more in the outer areas if you live further out. I hope this helps and BREAK A LEG on auditions!

Not gonna pay RENT!

noreply@blogger.com (Kerie) — Tue, 26 Jul 2011 21:00:00 +0000

Recently, I came across an audition for RENT the musical in Orlando, FL. Since it's always been my dream to audition and be casted I clearly took advantage of the opportunity. I immediately got very nervous first, because it's at the theatre I've never been to before. Second, because after looking into the audition requirements I wasn't sure I would even be able to pull it off. "Please prepare your solo pieces a capella." R U SERIOUS!?! Who does that? Why? That is the most nerve racking way audition. Performing is one thing. Anyway, my nerves aside I began to fumble through all my music to find the perfect songs to sing.

When picking a piece to audition with you should always pick a song that shows your range/talent. Second, try to focus on a song that shows the same type of characterization as the character you're auditioning for. Finally, make sure it's something you LOVE to sing. After finally choosing the songs start practicing.

Usually, 16-32 bars is all that is needed. The director will have specific details if something else is preferred. In this case, I needed to be prepared to sing with no music behind me. If that is the case, NEVER try to learn something new. You never want to run the risk of not knowing the songs 100%. After the song selection and the practicing it's time for the audition.

When preparing for audition first impressions are always important. You always want to look your best and be as professional as possible. When I arrived at the audition, it was clear I was the only one who didn't know someone else there. That didn't bother me. Actually, I noticed that few, if any, seemed to be dressed (what I thought) was appropriate for an audition. When it came to the actual audition those same people weren't even taking it seriously. Not singing, half singing, laughing. I'm not saying you should be a prude but professionalism is important. As a director, I would have found it very difficult to take the auditioner seriously if they couldn't themselves.

Regardless, the audition went well and I got a callback. I even got casted. Look for tickets!! Needless to say, it was one of the most interesting auditioning experiences of my life. Hopefully, some helpful tips were found. Come back soon!!!

References:
Unknown, . (2010, May 05). How to guide: pre-audition tips. Backstage Magizine, Retrieved
on July 24, 2011 from http://www.backstage.com/bso/news-and-features-features/how-to-guide
-pre-audition-tips-1004089065.story

Bay Area Educational Theatre Company, Initials. (2011). Audition tips. Retrieved on July 24, 2011
from http://www.bayareaetc.org/faqs/auditions.html