Every spring, the Berkeley Rep School of Theatre invites local teens to participate in a new works festival written, directed, designed, and performed by their peers. Unlike most opportunities for teens, recent college grads guide them through the production process, but the teens carry the bulk of the work. The process is exhilarating, exhausting, and inspiring to watch both onstage and off.
What happens when an actor grabs that brass ring at last, the long-running contract? It could be a tour, or a Broadway show, even some regional theatres that operate continuous schedules, producing the same show(s) for years on end? You’ve finally been rewarded for all your efforts, and that reward is…to do the same thing 6 nights a week for the next 6 months, even a year, maybe even longer? How can you manage it?
So you’re going to audition for a musical. You’ve got an appointment (or the strength and spirit to wait in line), and you are going to do your best to make your musical theatre dreams come true. You have your headshot and resume all ready to go and now all you need to do is to choose a song. Read the StageAgent blog to answer a couple of questions that will help along the way.
StageAgent interviews casting director Alison Franck for another perspective on casting a national tour. Alison has been casting everything from Broadway, Off-Broadway, Regional Theatre, National Tours, Television, and Film for more than 20 years. She offers some personal insights on touring and gives actors some valuable tips on the use of modern technology in auditioning.
Children’s Theatre gets a bad rap. Some think it’s a fluff genre, with no substance. It’s as if a play for children doesn’t merit the same artistic credibility as a play for adults. Glitter, polka dots, and silly songs, can’t compare to Brecht, Stoppard, and Mamet. But these misconceptions couldn’t be further from the truth. Theatre for Young Audiences (TYA) is making waves, breaking molds, and giving artists endless creative opportunities fostering the future of theatre.