Colour my world...

I recently read a review in the Arts and Entertainment section of LinkedIn. It’s by Gillian Gaar – Seattle Pop Culture Examiner:

Oklahoma!, the first musical by the legendary team of Richard Rodgers (music) and Oscar Hammerstein II (lyrics), has been a crowd pleaser since its 1943 debut... As written, Oklahoma! epitomizes the well-crafted musical. But the [theatre] can’t resist adding some modern touches, which don’t always come off. ..problematic is the racial integration of the cast, specifically the character of Jud. There are essay's in the show's program addressing this aspect of the production, stating that the Oklahoma territory did in fact have a substantial black population. But did blacks and whites mix and mingle in as free and friendly a fashion as shown here? As the historical record shows — no.

I love the classic musicals. I find them to be great fun, with amazing music and beautifully simple stories. One of my favorite theatre experiences is doing Oklahoma.

I saw the audition notice for the show and immediately got excited. The theatre was seeking “ethnic minorities”. I didn’t realize it at the time, but all theatres or productions say this. Because of prior legal action it has to be stated in the Equity listings that “Performers of all ethnic and racial backgrounds are encouraged to attend”. Check for yourself. It’s on the bottom right hand of every online Equity notice and in the Backstage ads.

This particular time was different though. The theatre actually listed which ethnicities they were interested in playing which roles. They weren’t excluding anyone but rather trying to include performers who wouldn’t necessarily attend the audition. Everyone in the Business is aware of the fact that shows like this tend to be cast “traditionally”. If you’re outside the “tradition” and you love the pieces, are suited talent wise and want to perform them, it’s a heartbreaking fact.

The definition of “tradition” is a ritual, belief or object passed down within a society, still maintained in the present, with origins in the past.

There’s a history of social segregation in America. In American “civilized society”, segregation ruled through Jim Crow Laws from 1876-1965. Blacks, and those perceived to be black, and whites were legally not allowed to publically share the same area, for example in restaurants, restrooms, elevators, and theatres. Therefore any show that was conceived and produced during this period, especially the early years, was cast either white or black. The exception would be the variety shows which could feature ethnic performers, as long as they entered the theatre from a different door, had different dressing rooms, dressers and the like.

The fathers of American Musical Theatre were alive and thriving during this period of social inequality. Most, if not all of their shows were originally cast using a dividing line of color. This established the “ritual or belief passed down” within the theatrical society. These people had no other choice, unless they wanted to take unlawful action and face imprisonment or worse.

The classic Musical Theatre canon has for the most continued to be cast in this way. Therefore by definition “traditional” and “non-traditional” is propagating segregation.

Times have changed and so have a lot of the social mores of America. No one is legally forced to use a separate drinking fountain or to sit in the back of the bus. To a large extent we as a culture have moved towards equality.

With a creative team actively seeking ethnic minorities I had a chance to transcend the “lines of segregation”. I was going to honestly be considered for an iconic role, a role that had “traditionally” been cast as “non-ethnic”. I was going to be the Rosa Parks of musicals!

I was the best little actor I could be. I studied the show. I learned the songs and lines. I had coachings on all of it. I went so far as to subtly “dress” the part. I even sang the character’s songs for the initial audition.

It worked. I got cast. I was playing “Will Parker” in Oklahoma.

On arrival at the theatre, the company had set up a luncheon for the local supporters and subscribers to meet the cast, and also for the cast to meet each other. I walked in and looked around at the other actors (you can always pick us out). My first thought was any one of these guys could be playing “Will Parker”. They’re obviously talented and not ethnic, which is the way everyone assumes the role to be cast.

During our first rehearsal the director explained to my co-star and me exactly why he had cast us, both ethnic actors, in our roles. He had valid reasoning and historical research to back up his choices. It made perfect sense, and still does.

The vast majority of the area’s population was American Indian and Black.

In 1865 the American Civil War ended.

In 1866 slavery was abolished the territory that would become present day Oklahoma.

In 1870 Hiram Rhodes Revels was the first African American in Congress.

In 1871 the first railroad entered into Indian Territory (Oklahoma), built by immigrant and freeman (black) labor.

In 1889 Freeman purchased land, along with the American Indians in the Oklahoma territory.

In 1906 O. W. Gurley, an extremely wealthy land owner, resigned from a presidential appointment and purchased 40 acres of land in Tulsa, Oklahoma to be used exclusively for the “Colored”. He was African-American.

The show takes place in 1907 when Oklahoma became the 46^th state.

The reasons behind the director wanting to cast ethnic leads went on. I was happy to have been cast in such a great role. I was ecstatic to have some historical information to debate the issue with people who believe in “traditional casting”, and thus believe that I should never play this or any role from the pre-civil rights Musical Theatre canon.

The director and choreographer were wonderful. The theatre was gorgeous with wonderful staff. The entire production went off without a hitch. It was amazing. I mean how could it be anything but with a cast that included Matt Hydzik (West Side Story) Amanda Rose (Wicked) Marcus Paul James (Rent) Leo Ash Evens (too numerous to mention) and Montego Glover (Memphis) as my “Ado Annie”: All great talents and all incredible people as well.

The audiences loved us; they do tend to love the classics. No one noticed or even inquired into the casting choices for “Ado Annie” and “Will Parker”. The theatre didn’t even feel the need to acknowledge the casting choices by putting any kind of statement in the program. There was one thing the director was apprehensive about and not even an eyebrow was raised on the subject. The character of “Andrew Carnes”, Ado Annie’s father, was unapologetically white.

In the production of Oklahoma reviewed by Gillian Gaar, I bet not one person other than her even cared that Jud was African-American. Ms. Gaar may think of this casting as “modern touches”, but this it sounds all too antiquated and familiar, dare I say “traditional”. The character is a dirty farm hand, with little to no education. The character is menacing. The character is misunderstood and he’s socially ostracized. Casting Jud as African-American is an easy out dressed up to look like progressiveness.

Unless the story or characters are racially motivated in some way, audiences don’t care who the actors on stage are and neither should the producers or directors or choreographers or reviewers. Some of my “colleagues” argue with points for casting Les Miserable, for example with: “there were no black people in France back then”. Okay. Maybe. But do people walk down the street singing and dancing, waving flags on portable turntables? No. (Okay maybe actors…I know I do). It’s Musical Theatre. If the show is not written to concern itself with “historical records” then that aspect should not matter. All that does matters is if the actors are good, the action and songs engaging, and the entire show well executed. Then everyone wins.
A good friend of mine, Chad, Facebooked me. He was thinking about attending an audition. Since he was going to have to travel some distance for it, he wanted to know if there was a chance he could get cast. He knew I had done the show and asked if there was anything in it for him. Chad is white. The show is Dreamgirls. I told him that ‘traditionally’ the show is cast all ethnic with one role for a white guy. I also told him that he should go to the audition regardless. Then he could experience what it’s like for ethnic actors at almost every audition.

Chad isn’t one of them, but some actors who fall into the “traditional” category are unaware of the fact that the ethnic actors are not being adequately represented in theatrical productions. They tend to point out that every show on Broadway has ethnic people in the cast. I point out that it’s usually one or two...in the chorus (unless a large African-American woman needs to “wail”)... and who usually partner each other.


This means that for every 10 chorus boys in a show, only one of them may be cast ethnically. While non-ethnics have a one in nine chance of being cast, ethnics have like a one in one tenth chance. This sole chance to be cast is usually shared by all the possible ethnic groups, which include the darker Jewish and Italians.

This is called “non-traditional casting”.

Perhaps that’s the whole problem; the phrase “non-traditional casting”. It has destructive, negative connotations integrated into it from a darker unenlightened time in our history. (Yes. I meant to say “integrated” and “darker”). Perhaps a phrase with more positive and empowering connotations could be put into play.

I propose changing both phrases of “traditional casting” and “non-traditional casting” to one phrase: “Creative Casting”. Even the sound of the words “Creative Casting” is more positive and inclusive. It gives everyone, producers, directors, theatres and actors, the license to breathe a whole new life into a piece, instead of re-making what’s been made before under strict legal guidelines and threat of death. The next generation of performers could then see themselves up there on stage, not just in new ethno-centric works, but also in the Classics. No matter what their ethnicity, the next generation should be allowed to dream of creating all aspects of our art form.

While growing up I didn’t see anyone of my complexion in the performing arts, and mostly that’s because I wasn’t taught to see such things. What I did see in theatre was this amazing thing being done by amazing people. I saw freedom and abandon. The Business has taught me to see color, and weight and age and so many other things as negatives, deterrents.


Now as an adult, what I do as a performer, like playing “Will Parker” in Oklahoma, falls into the realm of “Creative Casting”. I breathe new life into characters not necessarily played by the “looks” of me. I’m grateful for all those producers, directors and theatres that can and will see me as an actor first and foremost and not as the sum total of the melanin in my skin.

I think it’s time to put the whole notion of “traditional” and “non-traditional” casting to bed. Let it lay with the likes of segregation, Jim Crow laws and social inequality as part of our History but not our future. The Business of show, as a whole could take a clue from the journey “Tevye” makes in another classic show that I long to do but have yet to find the opportunity, Fiddler on the Roof.  

Perhaps it’s time to make new “Traditions”.

The dingo ate my baby...

The Audition season is in full swing here in NYC. I know this because my "drag bag", my wheeled luggage the size of a small child, has permanently come out of storage. It's now being used to transport my daily necessities.

This time of year every actor lives the movie "Sophie’s Choice". He or she has to choose which of their “babies” (auditions) has a better chance of survival (getting a call back/booking the gig). Do you attend the calls from places you want to work? Shows you want to do? Shows you can do?  Do you have to work that day? Does the audition fit into your schedule? Do you have the right material? Will you have time to prepare? Can you sing or dance or act through your allergies? Will you get enough sleep the night before? The questions go on ad nauseum.

You, as the sole proprietor of your business, have to make the choices…smart informed business choices.

I chose to actually attend only two of  four possible auditions this week. The third audition, had I been hired, would have me portray a character that is against my professional doctrine. The fourth would’ve required me to get in line at 4am to maybe get an audition slot. Maybe. The fact that I was already scheduled for rehearsal during the audition time made number four not a smart business choice. 

The two auditions I chose to “live” were the best choice for me at the time. I had the right music to sing, the right clothes to wear. The auditions fit into my schedule. They’re for theatres I want to work at and they’re shows I want to do.

One of the auditions was okay. I learned just how far I can push myself. I now know that I can pop up to a B-flat successfully 6 times a day. Unfortunately, I needed 8. 

The other audition was fan-freaking-tastic. I finally understood, through performing this audition, what it’s like to inform a highly specific iconic character with your own personality. The response to this was great. It also helped that the people holding the audition, the Equity monitor at the audition and the uber-talented accompanist, were all very professional, super nice, and incredibly supportive.

Imagine my shock and dismay when in direct response to my fan-freaking-tastic audition, I received the following email:

I sat for 4 days and watched candidate after candidate sabatoge themseslves because they don't understand what is required from them in the audition situation. So many of you have the talent, it is the focus that is missing. Of the over 700 people who performed, maybe 100 folks showed the depth and breath of their abilities. Most of you need to take a class, if not mine...someone's, please...for your own good. *** ******* or ** *****...but get into class!!

******* ***********

IS ACCEPTING STUDENTS for his CLASS

AUDITION THERAPY FOR THE MUSICAL THEATRE

FOUR WEEK SESSION
ONE CLASS PER WEEK

$300.00
(equivalent to $25.00 per hour)

Cash, Check or Credit Cards thru PayPal
PAYPAL must be done in advance of starting class
thru my administrative assistant *** *********;

***********69@gmail.com

2 Evening Classes; 6-9 PM
1 Daytime Class; Noon-3 PM

Monday Evening; *********** thru Monday Evening; **********

Tuesday Afternoon; ************ thruTuesday Afternoon; ***********

Thursday Evening; ********* thru Thursday Evening; *********

72 Hour Cancellation Policy

FOR A CLASS SYLLABUS
AND MORE INFORMATION

CHECK WEBSITE:****************.com

or Call: 212-555-5850

Maximum of 6 students per class

---

(The “*s” represent names and information that needed to be omitted.)

Other than the asterisks that is the actual email. I received it. My colleagues in the show I’m rehearsing received it. I’m guessing at least 600 people in total received it. I cannot imagine the amount of tears that flowed or the hurt this email placed in the hearts of girls and boys, men and women professional and novice alike. Not to mention the handful of talented hopefuls who, after reading the email, abandoned their careers.

After reading the email and taking a moment to send "postcards from the edge", I got myself together. When people began sharing the fact that they too had gotten the email, my first thought was Phew. It wasn’t directed to me personally. Then I started to really process it all and came up with a fairly succinct conclusion: “…Honey this is nasty business.”

There is no reason after an audition that an actor should ever receive a soliciting email. The actor could have been the most god awful ugly talent free thing on God’s green earth. That’s still not a reason for such an email.  Besides if a performer is that deluded about his or her abilities, nothing anyone could say or do can change that perception. It’s futile so why bother.

If someone behind the table, or in the room for that matter, is so moved to contact an auditionee for reasons other than a callback, a hiring or an invitation to audition for a different piece, it should be to give direct, helpful and constructive criticism. Most, if not all actors would relish the fact that someone in a position to provide them access to a job took precious time to share how their audition was perceived.

No matter what side of the table you’re on, it’s most important to remember that perception is only the reality of the person doing the perceiving. It’s not necessarily the Truth. It’s merely one person’s opinion. And we all know opinions are like butts…

Since Show Business is a Business at its core let's break it down in Business terms.

The people behind the table are the Human Resource Department for the Business of show. It is their job to help facilitate a meeting between a theatre and an actor, in hopes of procuring employment for the actor and filling a job opening for the theatre.

In the corporate world it is illegal to use an employee's or perspective employee's information, gleaned from a submission or interview, for anything other than the job in question. It’s considered an invasion of privacy. It’s one of the reasons why personnel files are locked and only a select few have access. Most corporations will terminate any employee who uses personnel files to solicit in any way what so ever.  

Performers are not incorporated together and cannot fire a producer, director or casting director. So what can you as the actor do should you find yourself on the receiving end of such a communication? If you’re union, you can let your union know of your disdain for the situation and demand action. If the union doesn’t know these things are happening they cannot help.  It will be interesting to see how the Actor’s Union handles this situation.

These days the theatre world is almost completely run by Corporate America. Most corporations only understand money and the bottom line. So kick’em where it hurts: the wallet.

Boycott the person’s auditions. He or she may seemingly have wonderful job opportunities. The question is do you really want to work with someone so crass and opportunistic? If he or she treats you like this at an audition, how will they treat you and use you for their own ends, when they actually work with you?

Familiarity breeds contempt.

A colleague of mine, Sebastian, is owed money from a legitimate, high-profile theatre job. It’s because of the unscrupulous actions of the person who cast the show. The situation is in arbitration.

Don’t take classes or seminars from him or her. Let the owners of places like Actors Connection, The Network and the myriad of  “pay-to-play” groups know that you feel their reputation is hurt by an association with the person in question. After all, many of the people who hold seminars at these places are only in it for your hard earned cash.

It’s a small Business world. An unprofessional person will get a reputation. I booked a show which some of my friends and colleagues, including a few heavy hitters on the Broadway scene, had refused. In fact they tried to warn me. Because of someone associated with the project they told me it was in my best interests to turn down the contract. Wanting to be employed I signed on. I regretted it from day three of rehearsals. It took me another three years to fully recover emotionally. (More on this story on another blog) When theatres or producers see actors are reluctant to work with someone, opportunities for his or her employment will dwindle. And for this person in question they have all but dried up.

Since most people, actors in particular, aren’t willing to give up the possibility of working; word of mouth is your best defense. Let other actors, singers, dancers knew what this person’s done. Then they can make their own  smart informed business decision about whether to proceed with the project in question or to walk away from a potentially harmful situation.

Words and actions have power. You wouldn’t be an actor, singer, or dancer if you thought otherwise.

I plan on contacting Equity about this email Monday morning. My other plan of action is to add to “The List”.

I’ve had dealings with a few people whose professionalism and suitability for the job was in question, including the casting director responsible for Sebastian’s monetary problems. In these instances I was treated no better than the "French lieutenant's whore", used, abused and tossed aside. I am a professional Actor. I deserve to be treated with dignity and respect. We all do.

I have grouped these people together on a list, albeit a short one. They are people I will not audition for, work for or with, take class from or associate with on any artistic or professional level. “The List” is one way I make my "Sophie's Choice". I assure myself of avoiding situations that are potentially harmful, personally or professionally.

Another way to avoid these types of situations is by being a consummate professional yourself, by following the rules of protocol and generally being a responsible adult.

I believe that one should have integrity not only in one’s art but also in the Business behind one’s art.

Look out for yourself...

The impact the internet has had on the modern actor didn’t begin to manifest itself to me until I signed with an agent.

I got my agent through an unsolicited snail mail submission. Yes those still happen. Every so often I would go in and chat with my agent about upcoming projects, past auditions and personal stuff as well. One day while I was waiting to meet with her I noticed the assistant/secretary/intern at the reception desk was surfing the web. I thought I want a job where I can sit and play on the internet all day and get paid.

When my agent’s phone call was finished, she came out. The assistant/secretary/intern called her over to the computer to obviously look at something interesting. Then they called me over to take a look as well.

They were looking at the MySpace page of an actor who was interested in working with the agency. (Yes MySpace…it was that long ago.) There were pictures and words and music and likes and dislikes that were offensive to almost everyone. Whether or not this person had an ounce of talent didn’t matter. His resume went into the trash and his name was put into a “do not call in” file.

You see, one of the jobs of the assistant/secretary/intern was to track potential clients on the internet: to read their blogs and their MySpace and Facebook pages, to look through their online profiles and pictures to determine if he or she was deemed acceptable to represent the agency’s good name in public.

As an industry professional we need to present ourselves in the best possible light…in real life and online. It all starts with your email address.

Now most of us are partial to our cool email addresses. They mean something personal to us or to our personal friends, make us smile, or define who we are. Growing up or at school it’s adorable to have an email address like tinydancer@aol.com or the8risgr8@hotmail.com or soulfulstepper@gmail.com.

As a business professional, “it aint cute.”

Email addresses not personally connected to you are hard to remember. An agent or casting director sometimes deals with hundreds of them a day. As an actor your name is your brand. It’s what you’re selling. It’s literally what your “product” is named. The email account associated with your business should be just that, your name. According to Equity and SAG, each actor has to have a distinct name. That is how important and vital your name is to your business.

It’s like buying soap. If you see a commercial for soap and the way you have to ask for it at the grocery store is “cleans real good”, when shopping how do you know you’re getting the right soap? They all “clean real good”. An email sent to a perspective employer is just that, a commercial. It’s aimed at getting you represented or getting you work. When the agencies go “shopping” for new clients how do they know they are getting the right client? There are plenty of people who are “diminutive dancers” and who think “theatre is great”.

If you have a fairly common name it may already be taken, not only by an Equity or SAG actor by also in an email address. If your name is taken, then be a little creative while keeping your name/product intact. Addresses like DavidGreenComedian@yahoo.com , BenWheelerStringmaster@ocu.edu or even 567ChandraWilson@aol.com still accomplish the same as if it were just your name alone.

This type of email address works because if a potential business partner (theatre, agent, casting director) has met you and or read your resume, they’ve gleaned something about you…David Green is a funny guy, Ben Wheeler plays violin, viola and upright bass and you guessed it: Chandra Wilson dances. It makes it easy when the agent or casting director goes “shopping” to find “that kid Ben who plays the violin”…

IF they have learned nothing about you from your resume or from meeting you, those are other issues to be dealt with in separate other blog posts.

Since everyone wants to keep their fun, funny, kooky email address, use it for your personal email. Having two email address also makes for a bit of a security blanket. You avoid submitting an email meant for your mother, your new sex partner or your therapist, to a potential employer. That would be highly embarrassing and you know it happens. We read about it all the time and laugh. With one slip of the mouse it could be you that we’re laughing about.

I’ve gotten flack from my friends about having more than one email account (and more than one name for that matter) but it’s a must for me. It makes things so much simpler in my world. I never have to worry about inappropriateness. Ever.

Email account names however are small potatoes in the world of career killers.

Everyone thinks they can use one Facebook account for business/networking and personal endeavors. But even the most seasoned professionals can be blinded by emotions sometimes. I think some people believe that by being “real” on Facebook it shows depth and character…I would gather they’re the same people who watch reality TV for the “realness”. (More on how watching reality TV can keep you unemployed as an actor on another blog).

This is an actual status update from a guy I worked with a few years ago:

WARNING: ANGRY MUSICAL THEATRE RANT
1. "WE ENCOURAGE PERFORMERS OF ALL ETHNICITIES TO ATTEND THIS CALL" and "This is a totally interracial piece" are statements in a breakdown that INVITE minorities to come audition. DO NOT PUT THIS IN THE BREAKDOWN IF YOU'RE GOING TO CUT EVERY SINCE PERSON OF COLOR FROM YOU CALL!!!!!!!!!!!!!!!!!!!!! Its a waste of everyone's time.
2. Tap shoes are VERY heavy. Asking for them in the breakdown and having no intention of using them in a call is RUDE. We don't to tote heavy tap shoes around all day.
3. Why bother doing a ballet cut for EVERYONE if only ONE person is required to do a ballet combo in the show. That's what callbacks are for. POOR USE OF EVERYONE'S time, once again.
4. Shetler Studios and Nola studios are red flags for dancers. If you hold auditions here we know that there's going to be something wrong. And...Look.

This was posted by a very talented, intelligent, young, up and coming Musical Theatre person. He’s having difficulty breaking into the next level of his career.

Would you hire him for your show or any job for that matter? There are some who would say maybe. Now add into the mix a lot of suggestive photos; photos at bars, photos drinking, and a lot of posts about how late this person was up partying and carrying on with so and so.

A major Broadway production costs at least $10 million to mount. Each person hired for a show is an investment, hired with the hopes that he or she will help to recoup these initial costs. Does this performer seem like sound investment to you?

It makes me wonder if "the powers that be" have Googled him.

Does your Facebook have pictures of you in “compromising positions”? Drunk or drinking alcohol? And the “I’m so cool I’m giving you the finger” photo?

Does your Facebook specifically list your political affiliations, religious views or lack thereof?

Do your Facebook posts and or status updates contain graphic language or sexual innuendo?

Do you argue or fight with people through posts?

Do you play copious amounts of Facebook games?

If you answered yes to even one of those questions then might I suggest having a professional Facebook account?  And since you have already have a professional email, you can link up the two.

Use the professional Facebook account for show pictures, and job announcements and networking. Keep the conversations, the photos, the posts and the status updates all about working and what you’re doing for your career. And always find a positive slant on every situation. Keep this account open to the public, so that anyone can find you and friend you. (It goes without saying not to put any personal information in the profile of this account: your address, telephone number, social security number, etc.)

Your headshot makes a wonderful profile picture.

Keep the fun personal Facebook account. But keep it on the highest level of security and privacy, blocking anyone that isn’t a close personal friend from finding you or seeing anything on your pages, posts and photos. Then say and do whatever the hell you want. There are ways you can still be found, but it takes a lot more effort and a lot more time.

In our Business we rarely get feedback. Rarely does someone tell us how we sounded, how we looked or how we came across, professionally or otherwise, during auditions and interviews. And if they do, it can sometimes not always be totally honest. In the end we only know whether we did or didn’t book the gig. And we want to book the gig.

Most of us originally got into the Business because we wanted attention; we wanted people to look at us. Well they are…and now they’re looking at us online as well. The virtual world is just one more variable, among hundreds that goes into getting an agent or casting a show. If you can do one simple thing that can tip the balance in your favor, like having professional Facebook and email accounts, doesn’t it make sense, good Business sense, to do it?