Tag Archives: sa-talent

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Life on the Road: A Few Thoughts on Touring

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:

Photo Credit: anaa yoo
Photo Credit: anaa yoo

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.

Explore!

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.

At the Sinso-ji Temple in Tokyo. Photo Credit: Annie Edgerton.
At the Sinso-ji Temple in Tokyo. Photo Credit: Annie Edgerton.

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.

Finally…

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!

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.

Casting Director Bob Kale

THE NATIONAL TOUR: CASTING

Welcome back to our ongoing series on that exotic bird known as the National Tour. Today we jump to the other side of the table and get our info straight from an expert’s perspective.

“What brought me here is that I didn’t want to be anywhere else.”

Bob Kale has been casting theatre, television and film for more than 20 years. Originally from Toledo, Ohio, he came to New York City to attend Julliard at the age of eighteen, with the intention of becoming an actor. Julliard brought an education that many could only dream of, and from there he went on to study with Sanford Meisner (wow), and eventually became Sandy’s assistant. Mr. Kale went on to do musical scene study with Lehman Engel of the world-renowned BMI Workshop. He trained in voice with Felix Knight, a well-known Metropolitan Opera tenor, and he became an actor for the next 19 years. A happenstance meeting with Barry Moss (who was already casting at the time) at the local dog run led Bob to a partnership of two decades and a career on the other side of the table, where he could use all of his considerable education to help aspiring actors and directors forge relationships. Hughes/Moss, later Moss/Kale and Moss/Kale/Anastasi, would cast big Broadway musicals such as Titanic, The Who’s Tommy, and Jekyll & Hyde, plus the films Jack and Jill, I Now Pronounce you Chuck and Larry, and television including Cosby Mysteries, FX, Ed, Elmo’s World, and As the World Turns.

Casting Director Bob Kale
Casting Director Bob Kale

I always saw myself as inferior.” He wasn’t, of course, he was a very well-trained actor. But it’s a sentiment most actors can relate to quite easily. How strange it was to hear those words from a man so accomplished. It’s a reminder I guess, that no matter where we are on this path, just starting out or with many miles already logged, we all feel the same things. “I still feel in awe when someone like Maury Yeston or the late August Wilson walk into the room—I think to myself ‘what on Earth am I doing here?’”

In the interest of full disclosure, Bob was my first teacher in New York City. I enrolled in his musical theatre audition class right after I earned my Equity card, and have known, admired, and trusted him ever since. We had a chance to sit down over coffee and he shared his thoughts about the differences and difficulties of casting a National Tour, and the current state of casting in general.

My first question is the most obvious one: “What, if anything, is different about casting a National Tour versus casting a regional production of the same show?”

The numbers. A Broadway show may have a cast of 28, but a tour, where you have to house and transport not just the actors but the crew, the musicians, and so on, may only be able to accommodate a cast of 22. So you have to consolidate. This is where you can have the occasional actor that also covers three roles, but he isn’t genuinely right for one or possibly two of them and wouldn’t have been used in an Original Broadway production. It just has to be that way. And on a first National Tour, these decisions are made by the entire team, the Director, the Choreographer, Composer, Lyricist, everyone. That’s also why ‘tracks’ are created and usually adhered to. Once an actor has learned all of these parts, and costumes exist for each role, a replacement actor will often be very similar to the original both in physicality and interpretation. A hem can be raised, but not always lowered. It sounds inconceivable, but it’s true. And an actor that interprets the tracks in a completely different way throws off the actors who’ve already played 100 or 200 performances and are adjusted to the consistency of the show’s flow. In repertory, it’s essentially a new production and the theatre has purchased the rights to the show or play. It’s theirs to interpret.”

A sampling of Bob's work.
A sampling of Bob’s work.

I went on. “Does it ever come up, that one actor seems to be able to handle the life on the road, whereas another actor may not? Assuming the talent level is the same?”

“It’s like, say you have a final callback. And there are five actors, and they’re all wonderful, and they all bring something different to it. Frankly, they all could be cast. The team narrows it down to three. Who’s going to get the job? The one who seems more pleasant to work with. Can they handle this life on the road? If they are sitting in the waiting area crying because they think they’ve messed up their audition, then they probably can’t. Or if they slam the door on the way out, for any number of reasons, they’re probably not going to be pleasant to work with. There’s a lot of talk in the studio. ‘Do you know so-and-so? Can you call someone and find out what they’re like to work with?’ Happens all the time.”

Me again. “What’s the biggest challenge in casting a Tour, or really, casting anything?”

“The biggest challenge honestly is the audition schedule.”

I look at Bob like I want something more gut-wrenching, more personal, but this is the honest truth.

“When you are down to the final rounds, everybody has to be there: Director, Musical Director, Choreographer, sometimes Stage Management, Producers, Assistants…the list goes on and on. Everyone is signing off on every cast member. So when you’re an actor down to the wire for a show, clear your schedule as best you can according to the CD’s requests. Most of the people in the room are working on three, maybe four projects at once. So if I can get them all in the same room at the same time, I thank my lucky stars.”

“What do you wish actors, especially younger ones, could know to help demystify the casting process?”

“I say to everybody, when I’m doing a seminar or something like that, the only thing you can control is your audition. Everything else is out of your hands. The only thing you can do is be the artist. The business will take care of itself, you show up and do the best work you can do. One audition is probably not the beginning or the end of anything. And if it is, you’re probably not going to know that for a while so why worry? Actors make such a fuss and it’s usually things they are creating in their own mind that get in the way of giving a great audition.”

I have to admit, that part sounds a little too familiar.

Bob then shared this story, from Tony- and Emmy-winner Tyne Daly.
Tyne Daly was dying to be in this production of The Three Sisters, and there was a production being done at the Ahmanson Theatre in Los Angeles, which was run by Gordon Davidson. She got an audition and she was drilling Mr. Davidson for any information. ‘Gordon, what can I do? I’ve wanted to do this play my whole life, please tell me what can I do?’ Gordon finally looked at her and said, ‘Tyne, it’s a chance to act Friday at two o’clock.’”

“Actors need a perspective, a point of view,” Bob continued, “that each audition is part of a never-ending learning process. You go to an acting class and do a great exercise and that’s wonderful, but the next one won’t be. Or the next one will be average, then another good one, they’re all connected. Do you know the acronym for FEAR? False Evidence Appearing Real. That’s what I would give an actor if I could. That they could let go of the fear and really perceive it as an ongoing education because that’s what it is. Regardless of the impression you get of how the people watching you seem to be responding, you don’t genuinely know, and you mustn’t judge yourself—it’s artistic suicide. Do the best work you can, leave the audition at the studio, and get on with your life! Don’t ruminate on how evil the director is or, even worse, how terrible you are. These things are cerebral BS that just gets in the way of talent and craft. Of course, it’s easier said than done.

BReakFreeI thanked Bob, like I was his student again. Of course that’s exactly what I was in that moment. More than a dozen years ago, when I was actually in his class, most of this information would have travelled right through me with little impact—my mistake, not his. Now I get it. And I’m sure I’ll struggle to remember this solid advice when the chips are down, but if I just take a moment to breathe, the next audition will be exactly what it should be: a chance to act Friday at two o’clock.

Bob Kale is an “Advanced Musical Theater Audition Technique” teacher at the Musical Theatre Conservatory at New York Film Academy, https://www.nyfa.edu/musical-theatre. You can also find Bob’s classes at www.wbworkshops.net, or at his own website, www.bobkaleonline.com.

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