We are excited to announce new features for StageAgent members! First, on many of our show guides you can now take fun quizzes and earn points and badges. Further, to help you with class and preparation work, we have added a new section with two and three-person scenes from plays. And lastly, Pro members can now post unlimited job and audition opportunities to the StageAgent jobs board.
Our expert-written show guides help you study about the context, plot, and characters from plays, musicals, operas, and operettas. With our new theatre quizzes, you can test yourself on how much you have learned after reading selected guides. Question types include multiple choice (both single and multiple answer) and true/false and are typically worth 5-10 points each. If you pass enough quizzes, you’ll start to earn fun badges based on the following point scale:
Drama students are commonly assigned to work with partners to perform scenes from plays. However, finding and choosing the right scenes can be overwhelming. We now make this scene research process easier with our new play scenes tool. In the StageAgent scenes library you can search play scenes by length, number of male or female characters, style (comedic or dramatic) and period (contemporary or classical). For each scene we provide you with some scene context, the starting/ending lines from the scene, citation information to help you locate the script, and links to the character descriptions.
Featured Job/Audition Opportunities
We have expanded our auditions section to include not only performer auditions but also theatre jobs of other types including artistic staff, backstage and administrative jobs. If you are a StageAgent Pro member you can post unlimited jobs and auditions to the StageAgent theatre jobs board. So if you are a producer, you can use StageAgent to recruit performers, musicians, backstage personnel, and executive staff. Keep in mind that not only will your job or audition posting be listed on our website, but it will also get e-mailed out to our email list with 50,000+ subscribers!
We hope you enjoy these new features. Stay tuned for many more enhancements to come! If you have any suggestions for how we can improve StageAgent, please let us know.
There is a lot of advice out there on auditioning. A great how-to is even right HERE on this website!
But there are a few things that a ton of performers do which impede their auditioning. Here are five of them, and how to flip them into something positive:
1. THE BLITZKRIEG
Perhaps it’s mid-January to April, which means “audition season.” There are literally hundreds of shows being cast by theatres around the country, all at the same time. So on any given day, there may be five or six major auditions. And you try to hit them ALL.
I understand the “throw all the darts at the dartboard at once and hope ONE of them sticks” mentality; believe me, I’ve been there. But it just doesn’t work. You need to find the roles and shows for which you are truly competitive, and focus on those. Otherwise you will spread yourself too thin, and not give the more book-able auditions their due. In addition, you run the risk of showing yourself to casting directors as someone who doesn’t know his or her niche – which will make them dismiss you, rather than think of you for a different project.
Honestly, this even goes for when times are slower – choose projects to audition for that a) you’re really, truly right for, and b) you really, truly want to do. This will make you happier, and likely result in a higher audition-to-booking ratio.
2. THE UNIFORM
This is mostly one for the musical theatre ladies: DO NOT WEAR A JEWEL-TONE/FLORAL DRESS AND NUDE PUMPS. Or your LaDucas. (Unless you’re actually at a dance call.)
You know the look I mean – you think it makes you appear like a blank slate the director can project the image of the role on to. In reality, it’s the opposite. It’s a fairly universal truism that a casting director has decided whether or not to call you back THREE SECONDS after you walk into the room. That’s even before you hand your book to the accompanist.
(This applies to non-musical auditions as well; I see a lot of flowy dresses for Shakespeare seasons. But casting directors for plays make the same decisions the moment you open the door.)
Sure, what you do with your next two minutes and fifty-seven seconds can change their minds (both ways!), but they’ve already made a judgement call about whether or not you’re right for the role after three seconds. So a “blank slate” look will not help your chances one bit. They’re seeing a bazillion people –help them out! I’m not saying come in costume, far from it.
Echo the role, and don’t be afraid to show your personality and your individualism so they can get a sense of you from that first moment. And that goes for the fellas as well.
3. THE LENGTH
When theatres ask for 16-32 bars or “a short selection” for a musical, or a brief 1-2 minute monologue, they mean what they say. As referenced above, your auditioners don’t need to watch an entire character arc in song to decide if they want to see more from you. Initial auditions are like speed dating, seriously. Pique their interest. Then when you get the callback, you can luxuriate. At a packed chorus call when they cut it down to eight bars, you should hear the cacophony of groans. But it doesn’t matter! They really will see what they need to see to decide in that short chunk.
You should make it a priority to find short cuts of any song you put in your book. And time your monologues, with pauses, and get them to a minute. These long days of auditioning are pretty brutal on auditioners. (I’ve also spent some time on the other side of the table, so I can attest to it!) You will curry a lot of favor with short, intelligent choices. Less really is more.
4. THE NITPICKING
The accompanist was bad. The room was hot. You lost your place in the monologue. You gacked on the big note. The director asked you a question and you fumbled the answer. You were rushing from another audition and didn’t have time to catch your breath. You heard they already cast the role. You saw the person who snatches jobs away from you ahead of you in line.
I have seen people walk out of audition rooms and burst into tears. My heart goes out to them, because, again, we’ve all been there. But the BEST piece of advice I can give is to quote Elsa and say, “Let it go.”
If you obsess over all the tiny things you think went wrong, you’ll never get out of your head, and that’s a death knell. Here’s the deal – NONE OF THAT MATTERS. If the accompanist was bad for you, he was bad for everyone. Auditioners know that everyone gacks on a note now and then. And so on.
There are fifty things you don’t have control over, but you have control over how you handle them. Shift your mindset – it’s not, “Please, oh please, give me this job,” it’s, “Hey, I’m an awesome person and a great performer and don’t you want to hang out with me for six weeks?” Going back to the speed-dating analogy; if you’re totally into someone, and he spills a drink on you, you will still probably go out with him. So don’t freak out over the little stuff.
5. THE COMPARTMENTALIZING
One job will not make a career.
There are a lot of folks out there who think they’ll come to New York and book a Broadway show, and it will be gravy from then on. For a rare few – a very rare few – that might happen. But for most of us, after each gig, we’re kind of back at square one.
Yes, you’ll have another credit, you will have networked with more people, you may have grown as a person and performer – but that may not translate into a string of bookings. So you can’t live and die over one particular job.
It’s startling how many actors don’t think of their work in terms of a career. If you do, I promise everything will be more fulfilling. Rejections won’t matter as much (because you’ll have been brilliant and so they’ll want to work with you eventually). You won’t get jealous over friends’ successes (because that’s THEIR career, not yours, and we each have a path). Your day job will be less of a struggle (because it’s just a temporary means to an end).
If you think in terms of a career, in-between bookings you’ll create your own material–because you’re an artist, and that’s what artists do. You’ll get those creative juices flowing, and maybe also come up with something that fills your soul as well as your bank account.
# # #
Avoiding these five mistakes might not guarantee bookings, but you’ll be a much happier and polished performer. Break legs and be brilliant!
Hello, true believers (any of you that get that reference are awesome. And probably my age). As actors, we are taught to be humble and grateful for the work opportunities we are given. Though we will all likely encounter situations where humility and gratitude aren’t the first emotions that come to mind, for the most part, it’s a good idea to stay that way.
There’s no linear path to your career as an actor. You may be a college theatre student, perform in summer stock (Equity or non-Equity), graduate, work in regional theatre, go on tour, book a Broadway show, then lather/rinse/repeat the last three if you’re lucky. Or you may leave college before graduation for a Broadway show. Or you may work on Wall Street with your finance degree and decide at age 40, “Hey, I always liked acting, I think I’ll give that a try.” One person’s experience will not necessarily be someone else’s, a point I try to remember each time I sit down to write.
When actors are given a contract for most theatre jobs, they usually have finite terms, an “end date.” I would imagine that most contracts are honored by the actor, as work is hard enough to come by. But occasionally, we are lucky enough to have another company offer an opportunity before we have completed the terms of the current employer. Assuming we want to accept the offer, what do we do?
The first step is look at your current contract. What is the “out clause”? An out clause refers to the terms of terminating your employment. Sometimes these are as simple as providing ample notice of your intention to leave, it can be as little as two or four weeks. Be careful though, as there will occasionally be clauses in contracts that prohibit leaving during certain periods of the contract, such as during previews. Many regional theatre contracts are structured in such a way as to severely limit the opportunity for an actor to break their commitment. This may seem a bit unfair, but from a producer’s perspective, you are their choice for the job, and you agreed to the terms of the contract, so replacing you is certainly inconvenient and could possibly diminish the show, i.e., their product.
There are also contracts known as “run of show” agreements, whereupon the actor agrees to perform in the “run of the show” with no specific end date. These may sound restrictive, but can also be quite a benefit to an actor. My recent position as the standby for El Gallo/the Fathers in The Fantasticks was a run of show agreement, I could stay as long as I wanted, provided I was capable of doing the job I was hired to do and a good member of the company (meaning basically, not doing anything stupid to get myself fired).
Let’s say you’ve identified the out clause, and you are within your legal rights to terminate your contract. Now what? This can get sticky, but you have a few options. The first is the direct and professional route. You contact the producer (and you can do this verbally but I would always suggest a written follow-up, so there is a record of what was said) and let them know your intentions. The timing can be flexible, of course it must be per the rules within your contract, but let’s look at this scenario. Let’s say you are doing a show that runs for two more months, but you have an offer that will require you to be gone before the last two weeks. The out clause is four weeks notice. Do you tell the producer as soon as you can, or do you wait for the last legal minute?
The answer sadly is, “it depends.” If you have a good relationship with the company and want to give them as much time to prepare as possible, then this is your path. If you have an adversarial relationship with them, and fear potential retaliation (such as, they replace you sooner than you wish, leaving you with a gap in employment), then perhaps you wait until you reach your legal obligation. I’m not advocating or advising this option, but the truth is, the business can be really tough at times, and you may find yourself in this position, so there’s the information.
Now, let’s come back from the dark side of the force…
Any time you choose to leave a job, be it in theatre or “civilian life,” it’s optimal to leave on the best of terms. Your decision to move on has created more work for your employers and your coworkers, as they will likely have to participate in more rehearsal for your replacement. So try and make this easy on them. If you are being housed, make sure you leave that housing in AT LEAST the condition you found it in, and maybe even a little better. Your replacement may arrive before you leave, welcome them into the company and offer what you can—you may be refused for any number of reasons, but still make the offer.
Finally, remember that although this may be a tough decision and process, these are the kinds of problems you want to have, so don’t be too hard on yourself. At the same time, I wouldn’t make a habit of breaking contracts, whether you are legally capable or not, it’s not the reputation you want. Leaving a show, long-running or otherwise, is one thing, breaking a finite contract is another.
If you’re an actor who’s been reading Rob’s wonderful series on National Tours, you’re probably well-primed for getting out there and booking one. Once you have, congratulations! But whether you have five days or five months before you leave, there is a lot to think about.
Having just gotten off the road with my fourth big tour, I have some advice:
You will not need all those clothes.
Most actors on tour find themselves “trunk-shopping” or “suitcase-shopping,” when they stumble upon a shirt or a dress that’s spent the last four months wadded up hidden in the back, forgotten. On tour, you spend a lot of time in rehearsal or at the gym or traveling, and those clothes do get used a ton. But you do not need sixteen dresses or twelve pairs of pants. NO ONE WILL NOTICE you’re wearing the same thing you did last week. SERIOUSLY. You’ll be sending home a box of extra stuff before you know it, but then you’ll make room for something more essential, to wit:
A Nutribullet can be your best friend.
If you have room in your suitcase or trunk, (which you will, because you won’t overstuff it with clothes) bring something like this. You may not have a fridge and a microwave in every hotel room, but you can pick up ingredients to make protein smoothies without a lot of fuss, and it will save you time, money, and calories to whip up a shake for breakfast or before rehearsal. I also know people who traveled a George Forman grill, or a hot plate and a few pots and pans, but those are a lot easier to blow off. This one gets USED.
Your relationship will survive. Or it won’t.
Being on tour is a very difficult thing for people in relationships with someone at home. Your schedules may be opposite, you may be three time zones apart, you may only be able to schedule one visit in six months, and so on. You both will have to WORK on the relationship, much harder than usual. But it will survive, if it’s meant to. If not – it wasn’t TOUR that broke you up. It was an underlying issue: the demands of your career, fears of infidelity, wanting different things.
So have a frank discussion with your partner before you leave, and understand that both of you need to be extra communicative and considerate of this bizarre situation. And remember, you won’t be on tour forever.
Be wary of showmances.
For those who arrive on tour single and ready to mingle (or those whose relationships really weren’t meant to survive), there are often many opportunities to get a little lovin’ with someone at work. Full disclosure: I know a NUMBER of couples who have gotten married following their showmances!
But you must be very careful. If it does work out, you’re developing a relationship under scrutiny of a hundred pairs of eyes. And if things don’t work out, you have to see this person EVERY SINGLE DAY. A bad break up is not only your problem, it’s the entire company’s problem. If you do embark on an irresistible hookup, do so thoughtfully and with clear boundaries. Understand that tour life is lived under a microscope and is much more intense than “regular” life.
Your schedule on tour can be grueling. I can’t tell you how many times we basically had 10-show weeks, with a full understudy run-through and a put-in rehearsal scheduled on top of our regular 8 shows. If you stay up late winding down after the show, and sleep in to get your rest, that doesn’t leave a lot of time for exploring. BUT DO IT ANYWAY. You’ve been given a gift of a paid trip around the country or the world. Make time to find a cool museum or brewery tour or farmer’s market or whale watch trip or baseball game or Buddhist Temple. Those excursions will be the biggest memories you’ll recollect down the line.
The importance of TEAM.
Make no bones about it, touring is HARD. You’re in a different city every week (or more, frequently)! You have to deal with allergies, and horrific travel days, and theatres with six flights of stairs to the dressing room, and the person IN the dressing room who is bugging you, and being away from family and friends, and the list goes on. The ONE thing that makes this all bearable is that you’re on a team of people all going through the same thing. So honor that.
Learn the names of your crew members. (I can’t believe I have to say that, but, sadly, I do.) Respect other people’s boundaries. Be kind. Be thoughtful. Make “dates” for a meal or excursion with someone you don’t know very well. Don’t give in to “bitch sessions.” (While venting is necessary, do it with someone you trust, outside of work, and to get over an issue, not to drag other people into your muck.) Try and stay positive when things go wrong. Your tour family is a family – you’re not going to love everybody, but treat them with respect.
If you lift up those around you, they’ll respond in kind. So help create an environment of TEAM.
Get those points!
On many contracts, you are able to receive airline and hotel points, even if the company has paid for the ticket or the room. (Not all, so you’ll have to ask around.) Sign up for ALL those reward programs! When you check in for your flight, ask them to link your number. When you check in to your hotel, ditto. And it’s worth it getting a rewards credit card. There are numerous websites that compare rewards cards, so it’s easy to find one that fits your touring lifestyle.
Touring can be a magical and wonderful experience, whether you’re a replacement in the road company of Wicked, or launching a new tour like Bright Star. Be excited about it! And do what you can to make the most out of your road journey. Break legs!
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.
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.
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.