La! A note to follow so...

In the blog “You begin with Do Re Mi…” I found that picking a song to use for an audition is a completely subjective decision. The concrete things I could offered were:

1.) Know what product you’re selling

2.) Pay attention to the audition notices

3.) Find music similar in style to the show you’re auditioning for

4.) Singing from the show is alright if you are comfortable doing so

5.) Know what you sound like singing the song

6.) Leave a positive message about yourself through the song

7.) Avoid iconic songs and the singers who sing them

8.) Target a specific role or show

9.) When in doubt, ask!

I’d like to add one more thing to the list:

10.) Avoid songs heard on reality TV and current TV shows. In fact as a performer you should be avoiding    watching reality shows in general. They cause you to lose jobs (more about that in another blog).

In today’s market it’s no longer acceptable to sing whatever you sing best, unless that’s what the people behind the table specifically are asking. Practically every call for singers, principal and chorus call alike, lists a type of music the people behind the table wish to hear.

I recently went to an Equity Chorus Call that asked for a “standard musical theatre song”. The music in the show isn’t really standard nor is it contemporary and it definitely isn’t Sondheim or pop or rock. I was undecided right up until getting in line. I had contemplated singing one of my “songs du jour” because it seemed to fit the bill of not really being standard or contemporary. Ultimately I had decided against it. The guy directly ahead of me sang it. As I walked into the room the people behind the table were discussing the previous auditioner. They were commenting on how the song he sang (my song du jour) wasn’t an appropriate choice for this call.

After I had scrapped the idea of singing that song du jour, I had narrowed my choices down to two other possibilities, one very standard and one more contemporary standard. Since I was still torn over which to sing, I asked the people behind the table which they would like to hear. The man leading the audition replied “We want you to choose.” I chose the uber-standard song. Considering I had to wait four hours before actually getting in the room to sing it went well. The man behind the table did comment on the song. He said “that was a good choice.”

Fats Waller was right. “Find out what they like and how they like it and give it to them just that way”. This means you as the performer need to be prepared with basically every possible style of music that may be requested at any audition…and probably some you wouldn’t normally sing.

Jamibeth Margolis is a New York based Director and Casting Director. She believes in empowering actors through knowledge and teaches a class called Musical Scene Study Class. It’s the only one of its kind that I know of in the city.  In class she pairs you with a partner. She then picks a scene with a song from the musical theatre cannon for the two of you to work. This scene with song fits your specific product. At the end of the several week session, the scene with song is then presented to industry professionals. When I took this class with Jamibeth we met and performed for an agent and a composer.

The Musical Scene Study Class is wonderful for many reasons. There are three that are highly valuable in today’s market:

The class gives you a direct link, backed up by actual vocal material, to what a casting director perceives your product to be.

The class presents you with a unique opportunity to gain insight from industry professionals on brand new work, without them actually seeing your learning process.

And specific to the topic at hand,

Jamibeth has compiled a list of the types of music that every actor should have in his or her “book” and shares this list with her students to assist them in choosing new audition music.

What to do after you choose a new song is pretty standard. In this, part two of “You begin with Do Re Mi…” I’m going to cover the more practical hands on things about the prep for a vocal audition.

Once songs are chosen, the sheet music should be put into a binder. This binder containing your collection of audition music is referred to as your “book”. Do not bring in actual books, scores, vocal selections, vocal scores or compilations for the accompanist to play from. In this day and age of technological advances it screams lazy and unprofessional. Besides do you want an accompanist using one hand to play while the other hand holds an actual book in place?

The look of your book should be professional and polished but still represent the best of your unique personality. A colleague of mine, Louise, loves the color pink. It makes her happy. The binder she chooses to keep her music in is pink.

A lot of singers have several different “books”, one for each type of music. They have a book for pop repertoire, one for contemporary musical theatre repertoire, one for standard musical theatre repertoire and so on. The audition they’re attending dictates which book they bring. If the show is asking for a “pop contemporary musical theatre” song, that is the repertoire book they bring. This can become a bit of a challenge when at the audition the people behind the table seem to suddenly change their minds on what they want to hear. This happens a lot. And it usually happens right as the first group is being lined up to go into the audition room. For just this reason I keep two books: a mega book and a working book.

The mega book is the entire collection of music that I can sing. The working book is all my songs du jour, the standard things that I sing at auditions, and all the songs that are tried and true and cross over into more than a few musical categories. When targeting an audition, I add specific songs from the mega book to the working book. For example when I audition for The Drowsy Chaperone, I take music appropriate to this call from the mega book and put it into the working book. I bring the working book to the audition. The things I sing for The Drowsy Chaperone are targeted specifically for the role of “Aldolpho” and aren’t necessarily wise choices for much else. At that call, I have my audition specific songs and a whole host of often used music in one book…with me. When that audition is over the sheet music that had been added is taken out to be replaced by the next set of audition specific songs.

If you remember from “You begin with Do Re Mi…” targeting specific roles and shows in a season’s audition, will be helpful to the people behind the table in casting you and thus beneficial to you.

Each piece of music in both books needs to be marked for easy access. Some actors keep a table of contents at the beginning of their book. Some put tabs on each individual piece. Some do both. You have to do something that makes it easy for you to find a song and find it quickly while under pressure while in the audition room. Eddie Schnecker (the Doctor from part one) says that actors who were asked to sing a second piece sometimes had that privilege revoked because they couldn’t quickly find appropriate music. Having the people behind that table change their mind has little to do with the actors themselves and more to do with time. Time is quite often a huge factor in the way auditions are run and how much you actually get to sing while in the room.

When picking songs for your mega book you need to be constantly asking yourself “Do I like the song?” and “Do I enjoy singing it?” Nothing will sabotage your audition quicker than singing a song simply because your voice teacher said you should or you learned in a class or a blog somewhere that you need this particular type of song. Your joy in singing the song should radiate throughout your entire being. That’s attracting. That will get you noticed.

If you’ve found a song that you enjoy singing the next thing to consider is whether it’s a good first piece or second piece. The piece you begin with has got to show your “star quality” straight away. Think of it as a vocal first impression. The people behind the table need to hear why you’re special and why they should hire your voice for their show. Once you’ve done this, if asked for a second piece, you can move on to other aspects of your talent.

You’ve picked a song you like. It fills a niche in your book. You’ve decided whether it’s a good first or second piece. Now you have to learn it. This may sound elementary but it’s really not. At the summer season auditions Dr. Eddie played for, he was literally astonished at how many performers, good talented performers, who didn’t know the introduction to their song. It resulted in a lot of false starts, which immediately highlights a performer’s potential weak point: homework.

Dr. Eddie advises in having some sort of introduction with either the piano starting or the vocalist starting. Having both starting at the same time could result in one trying to catch up to the other. Again this is a less than strong, confident polished and professional first impression. Set an intro and learn it.

Once your song starts, the music pages in your book should continually move forward. The accompanist should never have to flip backwards, even one page, to search for a repeat. The more accomplished accompanists will deal well with these types of musical markings. Whether you actually get to sing with an accomplished and competent accompanist is anyone’s guess. You could hire the same accompanist for every vocal audition you ever attend. For some auditions, particularly those asking for more complicated music like Sondheim’s, this is the best course of action. Incurring this expense on a regular basis isn’t a realistic option for most performers.

Take the time to write out all of the music. By “writing out the music” I mean take out repeat signs and codas. If the song layout is verse then ending one, go back for a repeat of the verse then ending two, and then the chorus, the music in your book should be laid out as such: verse one, verse two, and chorus. There should be no backward page turning. Why take the chance on the agility and adeptness of an accompanist you just met 10 seconds ago.

With that concept of keep your music straight forward and simple in mind, any measures that are not needed for your rendition of the song should be completely exorcised from your copy of the sheet music.

The sheet music in your book should be in non-glare sheet protectors. Putting the music in non-glare sleeves gives the accompanist a fighting chance to read the music under the glare of those wonderful fluorescent audition room lights. It helps save your music from wear and tear. It also helps save your music from accidentally being ripped out of your book by overzealous pianists and thus helps save a tree.

Every single piece of music in your book needs to be marked for a 16 bar cut and a 32 bar cut. Because of the current climate in auditions, I would say it’s not necessary to have much more than approximately a 32 bar cut of most of your songs. I know this goes against what everyone has been taught, including me. But today, even at Equity Principal Calls and invited agent calls, actors are being asked for “short” or “brief” songs. I was at an Equity Principal Audition recently that asked for a “brief contemporary pop musical theatre song”. The guy before me basically sang an aria, in style and length. Again I was torn between two songs. I offered both pieces to the woman behind the table. Because both are very long pieces, in offering I add that both have been extremely cut down. Her response was “That’s the right answer!” That casting director was now in my corner more than she normally would have been.

As an actor, you want to leave the people behind the table wanting more, not wishing there was less. This opens the opportunity to be asked for a second piece…which you already have, already prepared and easily accessible in your working book.

Please note that if you are asked for an “audition cut” or an “appointment cut” of a song, you are specifically being asked for 32 bars.

The exception to having only 32-ish bars of a song would be if you’re singing from the show for the show. In this circumstance you should be prepared with a cut version and be able to perform the entire song. In my book I have entire songs arranged for me to sing, no repeats and extra measures deleted. I make two copies of the pages that will be marked for a 16 bar cut or a 32 bar cut. I put the page with the demarcations in red in the sheet protector behind the unmarked copy. I have at the ready in my book the full song, a 32 bar cut and a 16 bar cut.

There is a lot of talent coming through those audition doors. It’s no longer enough to just sound good. When choosing a 16 bar or 32 bar cut, Dr. Eddie says it’s important to consider several things. The performer has to choose a cut that has a complete thought. This is quite easy in 32 bars. It can be challenging in a 16 bars. All it really takes is just one well written sentence. That sentence should start and finish within the 16 bars.

Another thing to consider is whether there is a build in the 16 or 32 bars. Does the snippet of music you’ve chosen start off at one level and stay there? If it’s all quiet, it can tend to not pop out and grab the attention of the people behind the table. Or if it’s all loud it just “blows their hair back”. In a word it’s called “dynamics”. Dynamics should be present in everything you sing, even a 16 bar cut.

As for the dreaded 8 bar audition…I wish you all the best.

The most important thing to consider while singing actually applies to all performing auditions. You have to be a living breathing whole person while in the room. The people behind the table are casting human beings. Because of the inundation of reality TV, a majority of casting people want the bona fide real deal. If they’re casting a rock musical the trend is to look for rock singers as opposed to musical theatre people who can sing rock. You have to know who you are, target auditions and bring the whole “you” into the room.

It all continually circles back to this one premise: You are ultimately the product you are selling.

There are so many variables in the process of auditions. You as the performer, as the sales person of your product, need to be in control of every aspect of the audition that is in your power to control. Properly preparing your sheet music for the accompanist, organizing your “book”, and having an array of different types of music at the ready are some of the simplest and most effective ways to exercise that power. It shows you’re serious about what you do. It shows you’re ready and willing to do all the homework necessary when you actually book the job.

It shows you’re a professional.

You begin with Do Re Mi...

My elementary school was less than a block away from my parents’ house. There was only one street to cross. It was a one way street with a stop light and a crossing guard. At six years old I could walk to school by myself.

At the end of the year all the neighborhood schools were closed. One huge school, miles away from where we lived was built. My mother had to drive me to school every day. And every day we had to listen to her favorite songs. Road trip rule number one: the driver gets to pick the music.

I live in Queens now. The subway drives me into the City and I get to pick the music. Choosing is easy to do when it’s underscoring for your commute, or grocery shopping, or jogging in the park. Choosing the right song for an audition however, can be just the opposite.

Several years ago I was doing my rounds of “pay to play”, paying a fee to audition for agents and casting directors at places like Actors Connection (more on those in another blog). An agent, who was suggested to me by some colleagues, was giving a seminar at one of these places. I took their advice and signed up.

When the audition time came, I walked into the room and made polite small talk. The agent asked me what I was going to sing. I had decided to sing my “song du jour”, my go to song that I could even sing well on my death bed. Upon hearing the title of my song the agent's reaction was, and I quote verbatim, “Oh Evan, no.” She continued on half-heartedly by saying “I guess I need to hear what you sound like so go ahead and sing it. But just know that I’m going to stop you when I’ve heard enough”.

I thought “Well this sucks. This agent is already biased against me because of the song that I’m choosing to sing”. I wasn’t mentally prepared to sing anything else so I sang what I had chosen. I got through the entire piece. The agent sat enrapt listening to every single note that came out of my mouth. Her entire demeanor towards me changed after I had finished.

Did I sign with that agency? No. Did I care? A little. Was it an amazing experience? Hell yeah.

I did that same song the first day of a six week seminar. The casting director didn’t come right out and say it, but she made it blatantly clear why she thought it was wrong for me to sing this particular song. She went through my resume saying that she could see me being cast in particular shows, but only picking out the “ethnic” ones. She asked me if I sang any Gospel, R&B or Motown, which I didn’t. Her reaction was “you need to decide if you’re serious about this business or not.”

It was a long six weeks. Something good did come from the experience. The accompanist for the six week seminar noticed the horrible treament I received. He gave me the name of a teacher he thought would be good for me. I studied with that teacher for four years and still go back to him from time to time.

That audition season there was a general call for a theatre’s summer line up. While waiting in line to sing, the monitor gave us our instructions. He told us to sing something we loved to sing. When my turn came I walked into the room and one of the men behind the table asked me what I was going to sing.

I told him about my song du jour. I said “I love ‘On the Street Where You Live’. But no one wants to hear me sing it". He gave me the go ahead. When I was finished he told me “You should be singing that song”.

When choosing a song you have to consider how you sound, naturally. Since we sound completely different to ourselves, you need outside opinions through voice lessons, vocal coachings, audition classes and seminars. It’s these places where you start gathering the empirical data to judge whether or not a song is worthy of your particular brand of talents. Always keep in mind that these opinions are subjective. Each set of people behind each table at each audition could have similar or opposite reactions.

My song du jour was right for me, my voice type, and my acting style. The character was one I could easily play.

Which brings me to something that we’ve all heard before: You have to know who you are. What product are you selling and does the song represent you. Casting people have a notorious reputation for being uncreative. Many of them actually believe that any song you sing in an audition is from a role that you believe is right for you. It causes quite a case of confusion when what you sing goes against who the casting people perceive you to be.

The agent at the “pay to play” initially didn’t like my song choice. After hearing me sing it she completely understood who I was and why I choose that song. The casting director from the six week seminar couldn’t get past seeing me as the sum total of the melanin in my skin and basically told me to leave the business. These were two very different reactions to the same person singing the same song. It was what each person behind the table brought to the audition that colored their reactions. Maybe the man behind the table at the summer line up didn't initially think of me as a “Freddy Ensford Hill”, but he sure as hell did after I finished singing the song.

I kept  my song du jour “On the Street Where You Live” in my book for years waiting and hoping for someone to do the show, to be open to Creative Casting and be open to singing from the show for the audition. Because of who I am and what my product is perceived to be, at times I have to be very clear about what role I’m auditioning for. I believe you can be no clearer than singing the character’s actual song.

A good majority of us however, were taught never to sing from the show for which we are auditioning. Why? It’s because our interpretation of the song or character may be very different than that of the creative team. You can never ever know how the people behind the table have envisioned the role. If you feel you are completely right for a particular role, you sing the character’s song really well and the people behind the table say singing from the show is encouraged, then do it.

I have to admit sometimes singing from the show is not a good idea even if the people behind the table say it’s alright. It all comes down to a judgment call, your judgment. It’s based on the homework you’ve done on the show, the theatre, the casting people and the creative team. If the casting director I took that six week seminar with was casting My Fair Lady and had encouraged people to sing from the show for the audition, I certainly would not, under any circumstances have song “On the Street Where You Live”. Hell I wouldn’t have even gone to the audition.

If you have the choice to sing from the show and are still unclear as to whether you should, offer two selections. Have ready an alternate song that the character you’re auditioning for could conceivably sing. Let the people behind the table decide if they want to hear the character’s song or something “similar”. For example I believe the character “Radames” from Aida wouldn’t sing “Me” from Beauty and the Beast. It’s not in his character type, and it has nothing to do with the journey he takes in the show. If you as the actor have the voice type for “Radames”, the song “Love Changes Everything” from Aspects of Love could work for the audition.

It comes down to the product you’re selling and fitting that product into a role or a show. “Bigger isn’t better” is far from the best song choice for a 6’3” man for just about anything. The product he’s selling is big. By singing this song he is literally telling the people behind the table not to buy his product. If Clorox had a commercial that said “we don’t whiten your clothes” you certainly wouldn’t buy it, now would you? However the same exact song, “Bigger isn’t better”, for a 6’3” man auditioning for Naked Boys Singing done with the right intention (wink wink nudge nudge) could help land the gig.

The song you sing has to leave the people you’re auditioning for with a positive feeling toward you. In other words you should avoid songs that make you, the singer, appear like someone unworthy of being hired, a loser. Certainly there are characters in shows that are losers and certainly they sing songs where they talk of being unworthy or unloved. The entertainment factor of watching these “losers” comes from the fact that they continue to attempt to win. The “loser” song is merely informing the audience of the situation. “Mr. Cellophane” from Chicago is a prime example. Through the song, Amos Hart is telling the audience of his dilemma. The casting people already know about his dilemma. How many times can they listen to actors bemoan the fact that “no one even knows I’m there” before they want to slit their wrists? Surely in the entire musical theatre canon there are other appropriate positive songs to sing for this role. I can think of two off the top of my head…but I’ll keep those for myself.

There is another type of song a singer should avoid. Never sing songs that have reached or are reaching mythic proportions. What does that mean? It’s any song that will be forever associated with one particular person’s version: “Somewhere Over the Rainbow”, “Before the Parade Passes By”, “Waiting for Life to Begin”, “Defying Gravity”, to name a few. Even before you utter one syllable, these songs will instantly get you compared to the vocalists who made them famous. It’s a very rare talent that can battle the titan-like ghosts of these singers and win.

Going the complete other direction is a less than wise choice as well. Singing songs that are completely unknown do you no justice. Sure the unknown songs may make the people behind the table actually pay attention. But the whole time they’re listening they’re trying to figure out what the song is, who wrote it, where’s it from. They may even seem to be enamored with your audition, when in fact they’re listening to hear the words and not listening to your performance of the piece. Your fight here is with the unknown. Any general will tell you fighting a battle against the unknown will always be a losing one.

I was having coffee with a colleague of mine the other day, Dr. Eddie Schnecker (more from the Doctor in another blog). Eddie had just finished accompanying a theatre’s summer auditions. He said the majority of the people who came into the audition were truly talented.  The people who made the best impression were the ones who picked a definitive direction, a particular role or show from the entire season.

In short call backs went to people who sang appropriate targeted material.

Recently I went to a call for a theatre that was doing two very different shows: one contemporary pop and one legit. Because of what the legit show was I thought it was a no brainer for me to be hired. It’s a show I know I’ll do. The other show has a supporting role that is on my bucket list. That’s the role I targeted. The music for the character’s song isn’t in print so I chose something in the style of what he sings. It went over like a lead balloon.  Had I finished all of my homework I would have known not to sing for the bucket list role. Sure I targeted a show, choose my music well and sang the heck out of it. That show was being cast with major dancers in all the supporting roles. In fact the singer’s chorus call notice, which posted after the principal audition, basically said if you don’t dance, don’t come.

A majoirty of the information you need will come from the audition notice. It’ll generally inform you what type of music to sing. It’ll say contemporary pop, contemporary musical theatre, legit, traditional musical theatre, jazz standard, swing, big band, rap and a whole lot more. Some notices will combine some of those words to make something completely new and undecipherable. And each one of these musical categories, even the “new” ones, will mean different things to different casting people. The only way to know what type of song is requested is to contact the people holding the audition and ask them. Will some casting people be too busy to take your call? Sure. But that’s why they have assistants and their assistants have interns. There will be someone who can answer your musical question. If that person steers you in a less than perfect direction, at least you’ll know his or her personal interpretation of the musical categories for when he or she becomes a full blown casting director. That’s future homework already done, so either way you win.

Each and every song will have a different effect on each and every person hearing it. You can’t control what the people behind the table bring with them into the audition or how they will react to your song choice. The only control you have is to do your homework. Be informed about the casting habits of each company. Be informed about what types of music or specific songs they like to hear and which they don’t. Be informed about who you are personally and professionally and what showcases you and your talents best. Then inhale deeply and take the advice that I heard for years while my mom drove me to school:

“…Don’t worry if it’s not good enough for anyone else to hear. Just sing. Sing a song…”

Just a little touch of star quality...

There was so much going on last week. Between the Oscars and auditions and opening a show, I didn’t have time to post a blog. And guess what? Strangely enough all three of these things tie into this week’s online discussion.

We’ve already established that Show Business is a Business first and foremost. We ascend our ranks initially through auditioning. Since show business is a Business then it stands to reason that auditions are merely job interviews. Both have a resume. Both have an appointed time to show up. Both give you that precious second to make a first impression and both give you a moment to sell yourself.

When I first came to New York I noticed guys dressed the same at auditions. It was the “audition outfit” and very few strayed from it. It consisted of khakis, a mono-colored long sleeve dress shirt, casual dress shoes and socks, a matching belt and maybe a multi-colored sweater vest, button up or slip on. It was crisp and clean. Everyone looked professional. The only worry was if someone showed up wearing the same vest as you, and that happened a lot.

I remembered alumuns Declan's advice from my senior year about the importance of dressing for your auditions. I quickly went out and purchased my version of the audition outfit. It was expensive but worth it. My roommate Sven and I even shared our outfits so we’d have more options. You couldn’t show up wearing the same exact thing at every audition. Then the outfit quickly morphed into the jeans shirt with khakis. Again it was time to shop.

What you wear to audition says volumes about you as a person and as a performer. The nanosecond you walk in assessments are being made on what you can do and what you should do. This is all based on how you look and how you’re dressed. Dressing nicely shows the people behind the table that you have respect for yourself and your craft, and respect for the job they could potentially offer you. You look the part of a professional.

My best friend Thurston was notorious for dressing badly at auditions…not badly just in my opinion, but sloppy. He’s a super talented guy, but talent will only take you so far. One day he had an audition for a casting director whom he’d been in front of a bazillion times. I styled him for the audition. I picked out everything from the shirt and pants to the shoes and socks. I thought he looked great. He wasn’t sold. Thurston is genetically predisposed to having an amazing body (which I hate him for!). The way I dressed him covered him up more than usual.

After the audition Thurston reported back to me. Whether or not he got the job I don’t remember, but he probably did. What I do remember is that the casting director commented on how he was really maturing into his talent and thanked him for looking good and dressing appropriately.

A few years ago I did a show with a guy named Eric. He gets call backs all the time. He’s a dancer and he attributes his callbacks to not just his talent, but the fact that he wears “booty shorts” to dance calls. And yes he does have a great backside; however he has yet to break through to the top gigs. He was actually shocked that I suggested the reason he didn’t book the top gigs was because of the booty shorts. I haven’t been to a dance call in awhile so I’m not sure if he still wears them or not. I do know that he’s been working almost non-stop since our gig together…

The smart performers get it. The smart performer understand that to make a good first impression you have to first look good.  The smart ones know what colors to wear. What cuts of dresses or pants “accentuate the positive” and “eliminate the negative”. They know whether to wear heals or flats. They know how they look under florescent lighting and how to “fix” it. They know how to suggest a period or a general feel without wearing a costume. And if they have the talent to back it up, they work.

I’m currently in a show that has a wide range of performers in it, from Broadway veterans to just off the bus, ages 22 to 50. It’s actually a really cool mix of people. I enjoy my time with them so much. In the cast is Teagan. He’s one of the chorus boys. He’s new to the city only having been here for 6 months. Teagan’s got the full package, and I expect he’ll go really far in the Business. He’s an incredibly good looking young boy next door type, with an awesome body, he dances and tumbles, he can sing and he’s got a great fun personality. Everyone loves him. The one thing that separates him from the other newbies is his smarts. He knows there are things he needs to learn and he’s willing to make the effort.

The other day Teagan told me that he didn’t like the way his regular dance sweats made him look so he purchased some new clothes. He bought jazz pants. Fortunately they weren’t the 1970’s shiny Lycra flared bottomed variety, but I suggested that he return them anyway. Teagan’s a good dancer but he’s not a concert dancer nor is he a ballet boy. You wear certain things and people expect certain things. You have to deliver what you set people up to expect. If you don’t, or can’t, then at best you’re considered clueless, at worst untalented.

It’s harsh but it’s true. I’ve been behind that table. I’ve seen and heard it. I know of a casting director who won’t call you back, no matter how talented you are, if you’re not dressed nicely. The smart ones who’ve done their homework know this and dress appropriately.

A few of the other practical things I’ve learned on my journey are:

     Most dancers tend to wear black. It is absolutely false that everyone looks good in black.

     Unless you are an absolutely amazing dancer with an amazing body who tumbles never wear jazz pants to an audition.

     Guys should never wear booty shorts. Ever.

     Women should never never never wear character shoes of any type to any audition where you sing first. EVER.

     Never wear character shoes outside of dancing or singing just after you’ve danced.

     Unless you’re a foot model, don’t let your shoes upstage your talent. If the only thing the people behind the table can focus on and talk about is your shoes, then you can kiss that contract good bye.

     Unless you are physically incapable of doing so or consider yourself to be on the tallest end of the spectrum, women should always wear heals.

     Unless you are a “broad”, women should generally steer clear of wearing pants to an audition.

     Red heads should never wear red. Period. Whether god blessed you with red hair or you blessed yourself with it, wearing red downplays the striking specialness of your hair.You will be hard pressed to find a photo of the world’s most famous red head, Lucille Ball, wearing red. She knew.

     Men should never wear sweats to an audition where you sing first…or flip flops, or shorts or "wife beaters".

If by some grace of god the people conducting the audition tell you what to wear ignore anything anyone has ever told you and WEAR IT. This business is not about rolling out of bed and flinging your talent in their faces. It’s about being informed and making informed choices.

     Wear color(s) next to your face. It helps combat the fluorescent lighting.

     Find the color that makes your eyes pop. If you have lighter eyes it’s generally about matching your eye color as closely as possible.

     Find clothes that represent the best possible you. If you are a sweats and t-shirt kind of guy,there are options that mimic that look. They make you appear to be dressed casually but not like you’re on the way to the gym.

     Women should always wear makeup. It doesn’t need to be applied with a spatula though. Hardly anyone is born with naturally good clear skin and a luminescent quality. That’s why magazines pay top dollar for pictures of A-list stars “au natural”. Be an "after" picture, not a "before".

     If you are of a skin type that visibly flushes during auditions cover those parts that redden. I see this happen a lot for fair skinned women who wear lower cut tops. They wear make up on their faces but leave their upper chest area natural. It turns reddish when they're excited or nevous. From the neck down they look as if they’re having an allergic reaction.

     Men shave. You don’t have to be “clean shaven” but you should be neat and trim in appearance. There are a precious few who can actually pull off stubble and still look professional and pulled together.

     Men invest in a nice pair of casual dress shoes to wear only at auditions. Better yet have 2 pairs of nice shoes, one black and one brown with matching belts. It’s an investment but it’s worth it. And Mom will be so happy.

     Women should almost have a different pair of shoes for every audition outfit they own. It’s tough being a woman, but it’s also cheaper.

     Always wear appropriate under garments.

     Men if you dance or move you should be protecting yourself by wearing a dance belt or something that mimics what a dance belt does.

     Women who dance and have even a modest cup size should be wearing sport bras. You can thank me when your 50 years old.

There is a caveat to most of this though. If you’re auditioning for a show like Mama Mia, which takes place on a beach and you have to wear beachwear in the show, then dress accordingly. If you look under the age of 30 and show up wearing a suit and tie, casting people will know you didn’t do your homework. And they hate that almost as much as an actor being unprepared.

Above all else be clean; your clothes, your body, your hair.

When you walk into the job interview for a show, you want to impress. You want them to notice your talent. You have to know your craft of course, but you also need to know how to appear professional and put together yet casual. It gives those behind the table and or camera a sense of calm. They can relax and enjoy your work. The people who “made it big” in the Business, know all about this. One way they’re successful is because they know how they look and how to look their best.  Doing it is so important, especially for the red carpet, that it’s become a multi-billion dollar industry.

I have to admit I’m not really a big fan of award shows. When someone wins someone else has to lose. As a child I watched the Tony Awards to see the musical numbers. That was heaven to me. It’ll probably remain the same until I’m on the Tony’s myself, nominated for one thing or another. Then I hope I’m the one performs and the one who wins. I promise my colleagues they can come and visit the statue(s).

As a child I also watched the Oscar’s. I watched it to see all the glamour and elegance, the diamonds and Dior, the stunning beauty of the people who walked, no, who worked the red carpet. It was a world away from the little suburb I grew up in. It never even occurred to me then that I could actually exist in that beautifully sparkling world. The stars were born perfection personified. I was born me.

Today I still watch the Oscar’s for the glitz and glamour. I now realize designers practically beg the heavy hitters to wear their clothes. I realize that the diamonds are on loan. As an adult, I know those people weren’t born that way. They pay for their looks one way or another. They have stylists, personal assistants, dressers, publicists, nutritionists, nannies, personal trainers and errand boys. So now I know that it’s totally possible for me, a small town boy, to be there walking that red carpet right alongside them. It just takes a little extra effort in picking your wardrobe.

It’s said that “Clothes make the man”. I’d like to amend that for the Business of show: Clothes make the Star.

So keep wearing your flip flops and sweat pants if you want...

I'll be sure to wave to you from the red carpet.

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.