Summer is over. And we all know what that means...it’s back
to school time. For some that means moving to or coming back to the city after a
summer of performing in the regions. For some it means continuing their
training at studios and lectures and pay for play options. And still for others
it simply means getting back to learning.
Our first lesson of this school year is “Relevance”. Webster’s Dictionary defines Relevance as “Relation to the matter at hand”. To illustrate “relevance”, I’ll use five examples:
ANN: an actress working towards an Equity card
DONALDA: an actress desperate to leave a lasting impression
ZANDER: a frustrated actor leaving the City
ARTHUR: an old actor returning to the City
LISA: an industry recognized actress reaching for wider
recognition
ANN and her husband have been in the city for a while now.
We met doing a showcase a few years ago. Both of them are non-Equity. Both of
them work a lot as performers. Together they survive virtually on their
performing salaries alone. They are the sweetest couple you will ever meet.
Disney should make a move about them.
DONALDA is also married. Her husband is not in the Business.
She has a lovely little daughter. DONALDA
doesn’t work, per se, but she does manage to do a showcase or two around town while
taking care of her little one. I met her when she replaced the lead in a
musical I was performing in. DONALDA is quite a character.
I met ZANDER years ago while visiting a colleague doing
summer stock. ZANDER was fresh and young and just moving to the city to pursue
his dreams/goals of becoming an actor. He’s very smart and talented. And he’s “easy
on the eyes” as well.
ARTHUR and I met on my second job away from home. He was
older and sort of took me under his wing. My big brother guided me through some
of my first experiences and helped me to get acclimated to the city. ARTHUR has
just moved back to the city after a lengthy, but artistically and
professionally successful time away.
LISA is a friend from home. She is an award nominated
actress. I took LISA to see a colleague of mine in a cabaret performance. I
introduced her to some friends who instantly recognized her and lauded her for
performances in several shows.
Once ZANDER officially got to the city, he kept busy doing
acting projects here and there. Unfortunately those projects were low paying,
if they paid at all. As fate would have it we reconnected when he started
working at my day job. Through the years of being here, working the same day
job, we became friends.
Our day job pays well enough to live, but does have quite a
time commitment. It takes a scheduling pro to finagle working, taking class,
performing and Life. It’s because of this that ZANDER and I watched many of our
colleagues get drawn into the world of the day job. They were made numb by the
prospect of surviving without struggling.
The problem is that’s all they were doing. Not thriving or
growing, just surviving.
At some point ZANDER decided he wasn’t going to get caught
up in the lack of motivation. He started
to audition again, and take class and do all the things we as actors know we
should be doing. He even began a search for an agent through the pay to play
organizations.
ZANDER didn’t have much luck with finding an agent. He did
do some film work, a couple showcases and even starting working outside of our
day job. He decided that grad school would be beneficial to him in furthering
his career. It would give him more training and more connections.
LISA is pretty well connected within the industry. Casting
people know her, directors know her, other actors know her. She’s worked with
some really big names. I went to see her in a show once and Chris Meloni was
waiting at the door for her!
Everyone knows who Chris Meloni is, or at least heard of him and his body of work. Unless you
travel in her circles you’ve not heard of LISA and her body of work. And that’s
the problem.
In all that she’s done, she’s not yet reached the
status to garner her the roles she wants to play. Those coveted roles are given
to “Star names”.
“Star names” is a term used to denote the general public’s
recognition of a personality, performer or celebrity. These are the people who
are the “draw” to a show or movie. “Draw” means these people have the ability
to put butts in the seats simply because of who they are.
Chris Meloni is a star name.
After replacing the “star” in my show, DONALDA was ready to
take on the world while juggling her family life. I would run into her at
auditions all the time. We’d chat and hang out. I’d hear her singing through
the door and she sounded great. Add that to the fact that she’s really a nice
person, you would think the woman would work all the time. But she doesn’t. She
gets a few callbacks here and there but no big or semi big contracts ever
really pan out for her.
ARTHUR has been working on some pretty impressive contracts.
He’s been around the world doing tours and sit down productions in the UK,
Germany and the US. He starred in an Off Broadway parody show, that if you
haven’t heard of it per se, you’ve heard of the original.
ANN is one of the most resourceful performers I know. At any
given time she’s involved with 4 or 5 shows either on stage or behind the
scenes. The woman is always working. In the years that I’ve known here she’s
only had a single down period where she was doing one show. I guess that was
the equivalent of a vacation for her. She’s worked enough to be a few points
shy from getting her Equity card.
The union offers
the Equity Membership Candidate (EMC) Program for actors to earn points toward
membership. Candidates pay a $100 registration fee and then acquire points by
working at Equity theatres that are participating in the EMC program. Each week
worked at a qualifying Equity theater equals one EMC point.
An EMC must
accrue 50 points to be eligible to buy into the union. This is by far the best
way to get an Equity card. Afterward finishing, you already have a resume
packed with Equity credits and an already built network of support and contacts.
All of the
examples, ANN, DONALDA, ZANDER, ARTHUR, and LISA, are talented and smart. They’re
all at different junctures in their respective careers.
ZANDER applied
to grad school. He pick three of the most prestigious schools to n the country.
These schools each take about 5 grad students per year. He figured these
schools would give him the best chance of making the connections he needed to
further his career. He got an audition for all three of them
LISA decided to
move to L.A. Hoping to build more of a household name for herself she went
about auditioning and lining up prospects. During her time there she booked
some high profile projects, mostly on television hour longs. This included one
stint on the W.B. network, a network known for hiring pretty people.
ANN went about
getting new headshots. My bestie Thurston took some amazing shots. I think she
got just about every look possible. She also pursued getting an agent. She
ended up getting one. She also started to attend more Equity auditions in hopes
of being seen, in hopes of landing a union contract or at the very least the
final few points needed for her Equity card.
After his lengthy absence ARTHUR returned to the city and unfroze his Equity card.
If an actor
hasn’t paid dues or if he or she is going to work outside of the union’s
jurisdiction, overseas or on cruise ships for example, the union will suspend
membership. (This doesn’t give an actor the right to work a non-union job however.) To
be reinstated back into the union the actor only has to pay the back dues to
make the membership current.
ARTHUR is in the process of beginning his life here again.
He contacted his old agent, who was happy to take him back. He worked his
circle of friends to find a place to live and he’s pumped me for information
about audition procedures more times than I can count. He’s used his resources
well to get him set up.
DONALDA went about opening up her pool of resources. She
started going to the pay to play seminars and taking classes. She’s increased
the range of her talents by stretching out into areas of performance she lacks
knowledge and experience in. This makes her more marketable.
Each one of
these actors were and are working hard to achieve their immediate goals. These
goals were set up to help them move into the next phase of their careers. As of
yet none of them have broken into their “next level”. And the reason is simple: Relevance.
In my blog I use
factitious names. Every single person listed within these pages has been given
a name based only on stuff that goes on in my head. So there’s no way to
definitively know who I’m writing about, even if it’s you.
I went to an
audition for a show at a prominent regional theatre. The people behind the
table were looking to cast an ethnic guy in a traditionally non-ethnic role.
The role itself fit me and what I do, in fact I had been called back for the
role before. I got a call back for the role this time as well.
At the call back
the people behind the table wanted to regroup. I can only surmise that they
wanted to see what their casting possibilities were from the men they had
called back. All the men were called into the audition room. We were asked to
step forward when our name was called. When the actor in question was in the
spot light the people behind the table would discuss amongst themselves and
then the actor would go back into line.
As I’m listening
for my name, the people behind the table called for Juan to step forward. It
turned out that Juan was me. We had previously filled out an audition form that
the theatre provided. Because of my writing the casting director had thought my
name was Juan instead of Evan.
I don’t recall
how the mix up was figured out. I only recall the moment that it did was the
moment I lost the role. The people behind the table were interested in hiring a
“Juan”, a decidedly ethnic name, but had no interest in hiring an “Evan”, a
decidedly non-ethnic name.
ZANDER's stage name is akin to "Bob Thomas". Yet his looks say eastern European. Think good looking twenty-something boy next door type from the Eastern Block and that's him. He
applied to schools where actors with names like Lupita Nyong’o attended.
A possible reason ZANDER didn’t get into a school of his choice could be his name. “Bob Thomas”, a
good looking talented guy, could probably go to almost any other university for
graduate training. However “Bob Thomas” is literally not a name currently
relevant to the schools he applied to. He applied to the ivy leagues where the theatre culture caters to the slightly Avant garde or anything less than run of the mill.
Relevance is the relation to the matter at hand. The matter at hand is making the school’s reputation higher by having its graduates becoming well known in the industry. The schools want to boost their name by being associated with their alumni's names.
Going to school
and classes does help an actor gain more technique and experience, especially in
areas where he or she lacks such. DONALDA worked really hard to up her skills
to be noticed by the people behind the tables. And they actually do notice.
Unfortunately most of what they notice has nothing to do with her talents.
DONALDA is a
flashy dresser. There is always patterns and sequins and colors and flowing
stuff. If my dad were alive he would say “she dresses like a gypsy”. On top of
her cacophony of clothes, she wears “hooker heels”: The six inch stilettos
heels with the platform in the front (which, by the way ladies, are currently
out of fashion).
I was at an
audition waiting for my appointment when I saw DONALDA down the hall. I waved
and she came over to talk, which was great. She’s always good fun to talk to.
As she’s walking towards me I noticed what’s she’s wearing. I immediately surmised
that we are both there for the same audition.
The show I was
auditioning for has a role in it that is one of the most typically ingénue-y
roles every written. The girl in the show is pure and innocent, bright eyed and
in love and a soprano. This is the role I knew DONALDA was going for based on
the way she was dressed.
DONALDA had
toned everything way down. She was wearing a very subdued very pretty white
eyelet dress. She looked nicely tailored and professional. It was very
appropriate for the audition...until I saw her shoes. She was still wearing the
“hooker heels”. They were white but they were still stilettos with the platform
in the front.
DONALDA has issues with the way she looks and her height.
She tries to hide it all by the way she dresses. The people behind the table
spend time noticing and even comment on her choice of clothing and shoes.
Relevance is the relation to the matter at hand. The matter
at hand is the people behind the table want to see who the actor is as a person
and performer. They can’t do that if their attention is on the matching rhinestones
on your shirt and hooker heels. If your outfit takes the spot light and the
people behind the table comment on it and not your audition, your monologue or
song, you need to not wear that outfit again. Ever. ‘Cause it’s getting hired
while you’re getting cut.
ANN is a pretty woman who has an amazing wardrobe. Clothes
look so great on her. She’s always dressed nicely and appropriately for
whatever she does. And where ever she goes, men are always checking her out.
She doesn’t notice, partly because she’s blissfully married. I guess it’s also
partly because she just doesn’t believe herself to be sexy and alluring.
As an actress ANN can do just about anything, including
singing and dancing. She has the ability and talent to switch between the
ingénue and the femme fatale. So at auditions ANN has to choose between which
type of role she wants to target and what song or monologue to do for that type
of role. She has to choose how to dress
for that role. And she has to choose how to wear her hair.
She’s recently cut her hair from long and flowing to
shoulder length, which only exacerbates the issue. It’s in the middle, not
really short and sassy, but not really long and girly. I think she’s trying to
open up her chances of being cast by representing both, while clearly choosing
neither.
It’s ANN’s sexiness combined with an inner strength, a
determination, that I believe gets her work. Think of Rosemary Clooney in the movie
White Christmas or Cyd Charisse in Singing in the Rain. These
women are beautiful and talented, yet headstrong and powerful. (If you happen
to not know the movies or performers I’m referring to, I implore you to visit
Netflix. Tonight.)
Unfortunately playing upon this escapes her.
In non-equity shows an actor can play anything from a 90
year old man to a transvestite chorus girl all in the same season. While moving
up the success ladder of the Business, the scope of roles that an actor gets cast
in gets narrower or specialized. It’s then that he or she has to decide what
their most marketable aspect is and capitalize on it. That’s how people get
their Equity cards these days.
Relevance is the relation to the matter at hand. The matter
at hand is the people behind the table want you to make a choice. They want to
know that you’re secure in what your product is. That product has to be so
sharply honed that when they’re casting that type of character, your name pops
into their heads first and foremost.
LISA is firmly established. Playwrights are starting to
write plays for the type of character she portrays. Casting people think of her
when they need that particular type of character. Unfortunately LISA is done
with playing that same role over and over again. In order to play the roles she
wants to play, she needs to be recognizable.
LISA went to L.A. to get established there and to make a
name for herself, a big name. She had success in finding performing work both
on screen and off screen. But L.A. proved a tough nut to crack.
While LISA is talented and pretty (I mean hell she was on the
W.B. for chrissake and they only hire
pretty people) her physical product wasn’t up to L. A. standards. In short, in
that city she’s considered to be fat. Being fat limits what an actor can
portray because we all know from life that fat people are character types who
tend to be funny and who don’t have any emotional depth. At least that’s how
people with more than 5% body fat are portrayed in Hollywood. It’s one of the
reasons most of the successful funny actors and actresses suddenly decided to
lose weight. They want more and other opportunities.
Relevance is the relation to the matter at hand. The matter
at hand is L. A. is filled with beautifully perfect people. Regardless of
talent, most of those beautiful people want to be a star. To compete in L.A. an
actor has to be on top of his game, physically speaking.
ARTHUR is the right physicality for what he does. He’s a
large man with a bright smile and a huge laugh. He’s a big bundle of fun. He
knows his type. He knows the roles he should be going for. He knows how to
dress for his type. His “package” is almost complete. He’s working on
traversing the changed and ever changing landscape of performing, specifically
what happens behind the scenes.
When ARTHUR was last here things were different. Having an agent
meant more than it does now. Back in the day being represented by an Agency
meant that agency believed in your talent and would go to bat for you in
getting auditions. They would promote you to the people behind the tables.
The agents would work with you and for you. They would collaborate to make your career. To this end, agent auditions were always before the EPAs, ECCs and EPIs.
Don’t know what an EPI is? That’s because the business model
for auditions changed. An EPI is an Equity Principle Interview. Much like an
EPA (Equity Principal Audition) except at an EPI there was generally no
performing involved. It was a question and answer period of two minutes for
both the person auditioning and the people behind the table. Yeah it didn’t
last long for performers and has since been swallowed by the EPA.
There was an EPA being held for a show that had a role for ARTHUR.
In the breakdown it basically said “we are looking for you ARTHUR”. The show
was taking place at a theatre where ARTHUR had worked before leaving the city.
I called ARTHUR and asked if he was going. He wasn’t sure if he was going to
attend the EPA or just wait until his agent got him an appointment.
You see where this is going right?
I tried to convince ARTHUR that going to the EPA couldn’t
hurt. In fact it was best if he did just in case his Agent couldn’t get him an
appointment. At least he would be seen for a role that was perfect for him. And
the worst case scenario? His agent would get him an appointment and he would be
seen twice for the same role. And really auditioning twice for the same role in
front of one of the most prominent Casting Agencies in New York City is a
win/win situation.
In the end ARTHUR decided that he would have to get up too
early in the morning to go stand in line. He was confident his agent would get
him an audition. I don’t have an agent. I wanted to be seen for the show. I
didn’t have a choice but to get up early and stand in line in hopes of
being seen.
So I got up early. Stood in line. Got an audition time. Went
back home got ready and went back to the call. I was successfully seen by a
well-established New York casting director for a show in which I could be cast,
being done at a theatre I want on my resume.
For whatever reason ARTHUR’s agent failed to get him an
appointment. He did not get seen for a role that is basically him in real life.
He did not get the chance to perform for a very busy casting office. This
casting office wasn’t around when he was here and they don’t know him.
Relevance is the relation to the matter at hand. The matter
at hand is this is a business. Business models change. Any one engaged in that
business keeps up with the change or faces professional extinction. If an actor’s not seen for a role and
they don’t know that actor exists, the people behind the table can’t possible hire that
actor.
All five of our examples ANN, ZANDER, LISA, ARTHUR and DONALDA have temporarily taken a set back in achieving their goals. ANN hasn’t gotten her card or the last points. LISA has yet
to make herself a household name. DONALDA isn’t being recognized for her
talent. ZANDER hasn’t made the connections he wanted and ARTHUR has yet to
accept the reality of the Business.
The set back is only temporary if they’ve each learned
something from their exploits.
Relevance is the relation to the matter at hand. The matter
at hand, and the matter that tie all of our examples together is reinvention and
adaptation. Darwin knew what he was talking about. The fittest of the species
adapts to the changing circumstances and survives.
Or they don’t.
Or they don’t.
ANN, ZANDER, LISA, ARTHUR and DONALDA need to adapt.
ARTHUR needs to become aware of how the industry has changed
in his absence. He needs to reinvent and adapt his way of thinking. He has to move away from how
the Business was run twenty years ago and accept what he needs to do to
stay in the business. Slowly ARTHUR is coming around to this realization. Slowly.
If LISA wants to pursue a career playing a different type of
role than what she currently gets hired for, she needs to reinvent herself. By
losing weight, she’ll be put in a completely different category of actresses. While
losing weight she also has to reinvent the way she dresses and carries herself.
Which I know she’s working on while she’s working.
ANN needs to make a decision and fully see it to its logical
conclusion her Equity card. She should
decide to reinvent herself as a femme fatale. Cut her hair into a chin length
bob and break out all of her sexy clothes and attack auditions from that
direction. ANN’s open to suggestion but I think this one may
cause a bit of resistance. Owning one's power is scary.
DONALDA’s reinvention means scaling back on everything she
wears and throwing away all of her hooker heels, or at least not wearing them
to auditions. She needs to be confident in herself and her talent and not hide
behind a loud overbearing idea of style and fashion. Because that’s what she’s
doing, hiding. She’s hiding so well no one behind the table can see her and her
talent to hire her. Unfortunately I don’t believe she believes there’s an issue
here.
ZANDER has looks and talent and an easy style. To get into the school of his choice to make the connections he needs, he should simply change his name.
A name only
means something when a person gives it that meaning.
People build
and attach an emotional value to a name, especially if it’s their own. That’s
natural. What’s seems strange to me is holding on to that attachment if it’s
hindering advancement. What’s unnatural to me is keeping a name that’s stopping
a career from progressing, a name which someone else picked based solely on
their preferences.
So make a name change if it's needed. I did. Several times.
It doesn’t intrinsically change who you are. As Shakespeare says: “What's in a
name? That which we call a rose by any other name would smell as sweet”. I
planted the idea in ZANDER’s head. Let’s see if it takes root.
Reinventing yourself takes time. It takes concentrated
effort and research. Reinventing yourself can keep you relevant in the
industry. Relevance is the relation to the matter at hand. The matter at hand
is working, advancing and making a life for yourself in show Business.
One of the greatest reinvention stories in our time is
Madonna. Her actual talent or lack thereof is disputed in almost every circle.
What isn’t disputed is her business acumen. Each and every time Madonna stopped
being relevant (in the music industry being relevant means being current,
popular and trendy) she changed. She reinvented her style. She reinvented her
look. She reinvented her sound. She reinvented her brand. She was and is a true
business woman. And as a successful business woman, she does what everyone involved
in a successful and profitable business venture does. It's something we as performing
artists need to do as well...
...Find out what they like and how they like it and let’em
have it just that way.
