Tag Archives: acting

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Teens Rule the Berkeley Rep Teen One-Acts Festival

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.

The process for the Teen One-Acts Festival begins in mid fall, when the school’s Teen Council—a diverse group of 9th-12th graders committed to cultivating the next generation of theatre makers and audiences—calls for submissions for one-act plays. The school holds a workshop, and playwrights have about a month to conceive their works. Plays range from period mysteries to futuristic multi-planetary adventure tales. Submissions are reviewed by a committee of select Council members, School of Theatre staff, and Berkeley Rep Fellows. The close-working relationship between the fellowship program and Teen Council makes this program unique—every year the theatre houses fifteen young theatre artists in a range of departments—artistic, production, development, and marketing—giving recent college grads a jump start on their career with real-world LORT theatre experience. Together the Directing Fellow and Literary Fellow help guide the committee in choose two one-hour plays the festival fully produces.

For teens like Morgan Saltz (center), the Berkeley Rep School of Theatre is a place that fosters imagination, exploration and creativity. Photo courtesy of kevinberne.com
For teens like Morgan Saltz (center), the Berkeley Rep School of Theatre is a place that fosters imagination, exploration and creativity.
Photo courtesy of kevinberne.com

After two plays are chosen, the playwrights are mentored through editing and revisions to tighten scenes, rework characters, and make the production feasible on the small stage of Downtown Berkeley’s Osher Studio. The next few months focus on outreach, getting teens from public schools, private schools, and home schools involved. Some are already Teen Council members, spending all four years working on the One-Acts Festival, others get their first glimpse at theatre outside of school.

The design fellows throw workshops, teaching the principles of costume, scenic, lighting, properties, and sound design. From these workshops teens sign up for technical disciplines, while others try their hand at stage management or producing. The Development and Marketing Fellows guide a small group of teens in publicity, graphic design, ticket sales, and promotion, a side of theatre rarely experienced before college.

Of course, acting and directing are the most coveted roles in the festival, but for those who participate multiple years, they usually get the opportunity to work both on and off stage. There challenges are similar to any high school actor’s: playing your peers parents or grandparents, swearing onstage in front of your parents, impressing your crush. The biggest difference is taking direction from a fellow teen. While any high school experience is met with the challenge of personalities, egos, and insecurities, the mentorship of the Fellow program keeps the experience focused on the process of creating professional theatre.

After casting and technical assignments, students begin rehearsal. Stage managers are trained to run rehearsals and note sessions the same way an Equity stage manager would. For many high schools across the country, the notion of a student learning anything about stage management is out of the question. Weekly production meetings are held with designers and their mentors, just like professional theatre. The teens are given the chance to teach themselves how to communicate effectively, skills that many designers and directors don’t attempt until half way through college. Berkeley Rep’s generous production department lends costumes and props, while the production fellows do the bulk of the physical labor, building student’s designs, hanging the lights, and training an eager pupil how to use a sound board. The work isn’t easy. Teens are balancing their festival duties with their school work, and the festival usually falls during AP test prep. The fellow class is always in the middle of a large production, the annual gala, and prepping for their professional lives after the fellowship ends. While both parties are tired, stressed, and overworked, students have the opportunity to learn from young professionals who were just like them a few years ago, while Fellows have their first shot at mentoring. The lines are blurry when it comes to where Fellows step in to tell teens how to create their festival elements—for the most part Fellows want to offer guidance, and teens are hungry for direction.

Caption: (l to r) Rachel Lee and Julianna Aker enjoy a costume seminar for teens at the Berkeley Rep School of Theatre. Photo courtesy of kevinberne.com.
Caption: (l to r) Rachel Lee and Julianna Aker enjoy a costume seminar for teens at the Berkeley Rep School of Theatre.
Photo courtesy of kevinberne.com.

In late spring, the year’s work comes to fruition with a two-weekend run of the festival. Everyone wears their company t-shirt (usually designed by the Graphic Arts Fellow). They sell concessions before the show. They give programs to their family and friends, and at the end of the two long weekends, they strike the show.

Many professionals from the Bay Area start their career, long before they know it, with the Teen One-Acts Festival. In fifteen seasons, the program has given over four hundred students the opportunity to take a show from idea to reality. Lauren Yee, playwright of King of the Yees, and actress Madeline Waters, Diary of a Teenage Girl, are just two of the amazing One-Acts alumni. Perhaps the greatest part about this after school program is that it’s completely free.

For more information about the Berkeley Rep School of Theatre Teen Council and One-Acts Festival, please visit their website.

 

Look Ma! I'm a meme!

How to Keep a Long-Running Performance Fresh

I’m sure we all remember it, heck, we might even be living it right now. Those halcyon days of educational theatre, where we spend months rehearsing a show, only to perform it two or three times over the course of a weekend in May. All that preparation, all that work, only to get a couple of cracks at glory.

That’s a reference to a typical high school schedule, where you must work around numerous conflicts and extra-curricular activities. By the time we’re in college, rehearsal schedules tend to clock in at 5 to 6 weeks, and performances tally anywhere from the high single digits to maybe 20 to 24. Hardly enough time to get bored, or the performances to become stale or uninspired. But what happens when we grab 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? We’ve finally been rewarded for all our 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?

A quick glance at my IBDB page might reveal I’m not an expert on this subject (I have a strict rule about the shows I do in New York City—they must be unpopular, even if they are very good).

Look Ma! I'm a meme!
Look Ma! I’m a meme!

But seriously folks, I do know a little bit about this. I’ve logged over 200 performances as Ravenal in Show Boat, heaven knows how many performances of the title roles in Jekyll & Hyde, and I just passed 100 as El Gallo in The Fantasticks. And I’m still going. And these minor feats aren’t even a blip on the radar to someone like Broadway star Howard McGillin, who totaled more than 10,000 performances as that creepy guy in the basement in The Phantom of the Opera.

Now, if that last paragraph of not-so humblebrag didn’t completely turn you off, stick around and let’s talk about how to keep your performances honest and true to the work, while the mileage keeps climbing.

As actors, we have certain responsibilities. We must stay true to the author’s and the director’s vision. We must keep our bodies and spirits in as good a condition as possible, so that we can access our own abilities. We are responsible to our fellow actors, to give them what they need to be successful as well. But how do we do this, when we’ve been doing the same thing, night after night, week after week, month after month? Ah, we have now arrived at one of my favorite theatrical bits of wisdom, one I couldn’t believe more strongly in if it were my own.

Okay it is my own. Don’t judge me.

sincere

As actors in a play, we are all kids in a sandbox on a playground. We can create whatever we want, build what we need, tear it down and start again. If I don’t like what’s happening in the center of the sandbox, I can go check out a corner for a while, and build something there. Maybe a friend will join me. Maybe everyone will come to this corner and we’ll all play together. Or maybe someone will drift to a different part of the sandbox and the whole process will start again. But there’s something none of us are ever allowed to do.

We can’t go play on the slide. Or the swings, or the merry-go-round. We all play in the same sandbox.

Do you follow me? We’re allowed to use different colors, as long as we’re all painting the same picture together. Some actors are comfortable giving the exact, same performance night after night. And that’s fine. Some actors are more comfortable listening and responding, and letting the performance flow more organically. Neither is wrong, both are viable, we just all should be striving for the same goal. Telling the same story, staying true to the direction and the text.

But what about the boredom? Doesn’t it get incredibly monotonous after a while? If the answer is yes, then maybe it’s time to move on to something else. I would argue that the show is never exactly the same from one night to the next. We are all humans, affected by the events of the day, and those events can (and probably should) have some impact on your performance. Sometimes you make the most amazing discoveries from the oddest of circumstance.

Not long ago in The Fantasticks, my fellow actors and I completely fell apart with laughter during one of the scenes (thankfully the scene is supposed to be funny). I can’t even remember what happened, I just know that we started to laugh and couldn’t get it back under control. The audience had a good time with us, and eventually we all got it together and proceeded with the show. The following scene is a simple, lovely monologue that I get to deliver, and I suppose it’s been fine enough. But this one day, after splitting our sides with laughter and tears rolling down our cheeks, I entered the speech practically exhausted. I was unable to do what I normally did, so I just said the words.

And the speech was never better than that one night, when I just got out of the way, and let the words do the work. The show has a handful of fans who see it quite often, and on this day our most loyal fan was there. We spoke after, and had to acknowledge the um…foolishness that happened on stage. But he offered up, the moments found after that were new, vibrant and alive, and I probably wouldn’t have found them otherwise.

So really, it’s not that hard to maintain a performance for a long period of time. Do your best to stay healthy, get along with all your fellow artists, listen and respond. Even if your performance is “by rote,” as long as you don’t shoehorn your work into the path of someone else’s, it can appear as fresh as opening night.

Now if you’ll excuse me, it’s almost half hour.

Photo Credit: Grant Mitchell, Creative Commons License

Choosing the Audition Song That Lets YOU Shine

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. Here are a couple of questions you can ask yourself to help along the way:

What show am I auditioning for?

It’s important to tailor your material to the specific audition at hand. You wouldn’t sing the same song to audition for Carousel as you would for American Idiot, would you? Think about the style of the score and make sure that you are showcasing your voice in a way that shows those casting that your talent would be an asset to this production. Pick out three to four songs in the right style so you have a couple to choose from.

Photo Credit: Grant Mitchell, Creative Commons License.
“You’re a queer one, Julie Jordan.” Maybe more than we’ll ever know. Photo Credit: Grant Mitchell, Creative Commons License.

What question can help you narrow down your three or four songs to one? What character am I auditioning for? Think about the qualities of the character you want to play and figure out which song best brings out those qualities in you. Is this character sexy? Meek? Loud? Quiet? Stylish? Clumsy? For example, if you’re auditioning for an nerdy, meek character, you might sing “Grow for Me” from Little Shop of Horrors. If you’re auditioning for a seductive character, you might sing “Whatever Lola Wants” from Damn Yankees.  Choosing a song that highlights your qualities that liken you to the character will make it easier for the folks behind the table to see you as that character. You can find hundred of audition songs to choose from on the StageAgent Audition Song Database!

Next is a crucial question that many overlook: Do I like this song? If you don’t like the song you won’t want to practice the song and you probably won’t do your best job performing the song. It’s that simple. If you don’t like a song, don’t sing it. Nobody wants to see you feeling bored or uninspired while you’re performing. We want to see you singing your heart out and living your dreams. That’s what inspires someone to hire you and want to collaborate with you to create theatrical magic.

Veronica wants to create theatrical magic with you, but only if you choose your song carefully! She has sequined flowers in her hair which means she is all-knowing.
Veronica wants to create theatrical magic with you, but only if you choose your song carefully! She has sequined flowers in her hair which means she is all-knowing.

So you have a song that you love in the right style that feels like the character for which you’re gunning. Now we come to a more difficult question and that is: Does this song showcase me? If you are a classical soprano and you’ve chosen a to sing a Beyoncé song, you simply aren’t setting yourself up for success. I’m not saying that you shouldn’t work on material that stretches you. It’s great to set goals and to work on broadening one’s skills, but those songs should be in a separate binder from your audition material. Maybe one day you can “Run The World” your way into the audition room, but today is not that day, boo (I can still see your Halo, though).

Just because Ron doesn’t have a halo, doesn’t mean he can’t see yours.
Just because Ron doesn’t have a halo, doesn’t mean he can’t see yours.

Remember that people want to get to know you during an audition. If a song doesn’t quite fit the style or make sense on paper, but you have a gut feeling that it’s the right song and you love it with all your heart, take a chance on that love. Originality and creativity go a long way and have the chance to help you stand out and make a lasting impression.

Casting Director Alison Franck

The National Tour: More Conversations on Casting

Last time around we had an opportunity to hear from Casting Director Bob Kale on the specific challenges of casting a National Tour.  That conversation bled into the much broader topic of auditioning for just about anything, with many more stones to be turned. I reached out to Alison Franck CSA, head of her own casting office (Franck Casting), for another perspective and further conversation on the casting process.

Alison has been casting everything from Broadway, Off-Broadway, Regional Theatre, National Tours, Television, and Film for more than 20 years. She began as an assistant for the legendary casting office Johnson & Liff, where she worked on such modest successes as The Phantom of the Opera, Les Miserables, Cats, and Miss Saigon (insert wry emoticon here). She took her formidable skills to the prestigious Paper Mill Playhouse, where over a span of a decade she cast more than 50 shows, including the Broadway transfer of I’m Not Rappaport starring Judd Hirsch, Anything Goes with Chita Rivera, The Full Monty with Elaine Stritch, and The Importance of Being Earnest with Lynn Redgrave. Her work has been seen on TV in the critical hit Freaks and Geeks, in commercials (as a partner at Liz Lewis Casting), and the children’s TV series Peter Rabbit.

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This series is focused on the National Tour, so we start there. I ask, “What should an actor consider before even auditioning for a tour?”

The main thing is, are they ready to live out of a box, a suitcase. And in my honest opinion, I think women have it tougher than men in this aspect.”

“Do you think it’s harder for women in general to be on a tour?”

It seems to me that guys adapt to tour life easier than girls do, but that’s certainly dependent on the individual. And it’s just my opinion, though I did tour for 2 years when I was still acting.”

“Any advice for people on tour for the first time?”

Go out and explore the area. When I would first get to a town, I would go walking by myself, see what was there, how safe I felt. I would see the country. Then I’d come back and work out, and prepare for the show. I was better about this process on my second tour than I was on my first. I just felt that I should use the tour as a real opportunity to see places I’d never been.”

“Some actors go out on tour, make potentially a substantial amount of money, but come home broke. Were you able to come back from your tours with some savings?”

“I was. I wouldn’t say that I was great with money back then, but I learned quickly. And sometimes you have to be willing to pay for your comfort. Do I need a single room this week? Yes. Yes I do. Sometimes you spend more money than you should, but you need that comfort. I would also say that you need to be aware of what is coming, like an unpaid layoff, which can happen frequently. Don’t let those things catch you by surprise.”

“How often does someone turn down a tour offer?”

“We do a lot of casting in advance, and by nature that results in losing people to other work. So we have to go to our backup files 2, 3, 4 times. Sometimes we need to have more auditions, and occasionally that’s the best thing we can do, get some fresh blood in the room.”

“How do you feel about the current practice of self-taped auditions?”

This is my soapbox moment. You need to know what to do and how to do it. Yes, you can use your iPhone. You shouldn’t do it yourself, however, get a friend to help. Don’t procrastinate, do it when you don’t have a job so you can learn. Take a lot of selfies. Take a class if you need to learn the technology. Find a big, blank space to shoot, don’t do it in front of your messy kitchen. Practice by taking selfies, then videotaping yourself with your phone, to know your best angles and where the best lighting is, then start working with friends, having them shoot you, etc. Our smartphones really are a tool to improve how well we do on tape.”

“For theatre, we want to see a full body shot. For TV and Film, a ¾ shot is normal. And make sure that even your self-taped audition is authentic, that it’s not the fifteenth take and you’re a little too polished.”

“How often do you actually look at websites or reels?”

“A lot. I look at it if I’m not sure who a person is, or what they can do. If you are a singer, have a website with some song clips. If you’re a gymnast, a dancer, same thing. Have a reel with shows you’ve been in, so you can show your work. Reels are important for TV and Film, but I will say you can’t throw commercials on a reel (for rights-related issues). Maybe if it’s a non-union commercial, but you have to be very careful about using them.”

“If you are a writer, and you are interested in creating and producing your own work, then I say go for it. It may not go anywhere, but at least you’ll have some material to show people.”

Casting Director Alison Franck
Casting Director Alison Franck

“What kinds of auditions do you remember most?”

“Auditions that make me laugh or excite me. Also, when people truly make me cry I remember them But I don’t think people should use sad material for everything and it shouldn’t be the starting point, but as a contrast to something that shows humor or joy. Someone just made me cry last week and I was blown away. But she had already wowed me with something legit and fun.”

For more information about Alison, please visit www.franckcasting.com.

masks tya

Theatre for Young Audiences: An Enchanting Genre

CC0 License https://pixabay.com/en/festival-mass-kid-994132/Children’s Theatre gets a bad rap. It isn’t just productions of Annie, cast with future child stars, or Shrek, performed by a company of 12 year olds. People say, “It’s for children; adults just have to sit through it.” Or, even worse, 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.

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.

For Performers:

How often do you get the opportunity to personify a crayon? How about playing a ladybug? My guess is, not very often. But in the wonderful world of TYA, wacky, strange, and thoughtful roles exist in every production. There are no boring bit parts. The work is hard, but it’s worth it. Every role matters, and the audience will make sure you know that.

Kids are the toughest critics. They see the joy and truth in the world the rest of us have forgotten. There is no dumbing down of scripts for TYA—audiences are young, but sophisticated. They don’t laugh when adults laugh. They sense actors emotions, and they know when performers aren’t giving 100% to their character. Acting for an audience of K-12 gives actors a thicker skin, while landing a special level of celebrity status. YOU are the infamous Fancy Nancy, or Pippi Longstocking, or Frog and Toad those children have spent so much time reading about, dressing up as, or dreaming to meet someday. You’ve brought their fantasies to life in front of them, no TV set required. That, my friends, is magical.

Photo Credit: Hanay
Photo Credit: Hanay

For Lovers of New Work:

Children’s publishing never has a dry spell. More picture books, chapter books, and epic rhyming poems take the page every year, ready for theater adaptation. Age-appropriate adaptations based on the classics is over—all the cool books become plays now. Nothing boring, nothing you wouldn’t want to watch yourself. Plays for children are no longer, strictly, plays for children. They are as smart and insightful as the books they are based on. Fly Guy, the story of a boy and his fly best friend; Fancy Nancy, the girl that loves to dress fancy; and the crazy adventures of Ivy and Bean are nothing like the stories that used to take the stage.

Authors are optioning their book rights to individual theatres or group of theatres, with plans to develop, write, and coproduce world premieres. We’re talking cutting-edge theatre about flies, spies, buddies, and bullies. This not only gives playwrights and directors the opportunity to develop new work, but it also gives designers the opportunity to be the first to create these characters and their environments. The rate at which TYA new works are being made today is staggering in comparison to the number of plays and musicals written for adults that hardly see a workshop let alone an actual stage. TYA new works are getting produced, period.

For Artists Looking to Make a Difference:

For many children, their first TYA experience is their first theatrical experience. Some parents might not be theatregoers themselves, but want to seek out enriching family experiences. The chances of those children and those adults seeing more theatre after their TYA introduction is huge. Future theatre audiences are cultivated during each performance. Early exposure to the arts sparks creativity in future innovators of the world. The children are our future, and TYA gives them an early introduction to the arts.

For children whose might not be able to afford shows, many TYA companies hold student matinees. Teachers have the opportunity to expand curriculum—focusing lessons around a play’s original book and themes, before and after seeing the show. Kids experience theatre etiquette and art appreciation, making connections between their lives, their books, and an art form they otherwise might never experience.masks tya: CC0 https://pixabay.com/en/festival-mass-kid-994132/

For Fun-Seeking Artists:

At the end of the day, we play pretend for a living. But, sometimes it’s nice to know the playing doesn’t have to be so serious. Developing, producing, and performing works for children challenges in the adult brain. Will this musical number hold the attention of a five year old? If not, how can we make it? Does this costume read as cat, but also give the audience a human to identify with? Is this lighting too scary? Can we get a grant to fund more scholarship field trips? These are questions asked every day in the world of TYA. The work is still hard, but after every performance, the entryway fills with dozens of excited little voices, ready to meet their favorite characters, read more stories, and eventually see more plays.

News, thoughts, opinions and advice for the performing arts community.