Tag Archives: tours

Keep Calm

Staying Healthy and Fit: An Actor Exercises

Keep CalmWelcome back for our second part on health and fitness on the job.  In the last installment, I gave a very general overview of two of the three aspects I wanted to discuss, eating and sleeping. I did that on purpose, saving exercise for last, because if you get those first two concepts right, everything else becomes so much easier! But not giving them their due could result in wasted hours in the gym, poor results, and frustration.  And now without further ado…

Exercise on the Road

Or ship, or dinner theatre in the mountains of Alaska…

Many of you know that I’m a certified personal trainer as well as being an actor. So, here’s a chance for me to combine those two passions. I’ll start with a couple of caveats.

Number one, I don’t know anything about dance. My dance training ended…a long time ago. If you are a dancer, then you probably know what your body needs and when. Any advice or methodology I recommend going forward should be measured against what you know your body, and your job, requires.

Number two, I’m not a doctor nor a physical therapist. If you have an injury, you need the guidance of qualified professionals before considering anything I may suggest.

And number three, “fit” doesn’t mean “skinny.” Fitness truly comes in all shapes and sizes. The word fit means “able to do a task.” That’s it. Nothing more.

When I design an exercise program, it’s always tailored to the individual I am designing for. What I am offering now is a basic template, that I feel all exercise programs should include, and I will provide examples. You can use the template to create your own fitness map that can be followed in a gym, a park, or a hotel room.

Basic Human Movement

If there’s one thing you can count on it’s this: that the fitness industry doesn’t always agree with itself. There’s lots of “this is the right/only way to exercise,” coupled with “if you’re not following the grass, berries and bear meat diet then why are you bothering?” What I’m about to present however, is almost universally agreed upon in the industry.

The basic human movements are the push, pull, squat, and hinge movements. Some coaches offer a few others, like the loaded carry (where you carry something heavy for a predetermined distance), rotation/anti-rotation (what you probably know as core work), and ground work (like crawling, rolling, tumbling). Good workout programs are built around these movements done in different planes of motion (horizontal, vertical, sagittal, transverse…eh, did I lose anyone?). I’ll break it down.

1. THE PUSH. Easy enough, a push is when you exert force on an object in an attempt to get it away from you. Any pressing movement (bench press, leg press, overhead press) is a push. Pushes can be done in different planes, a horizontal push can be a push-up or a bench press (your body is horizontal), while a vertical push would be an overhead shoulder press. Pushing is one of the first things we learn to do as infants, as we push ourselves up from the ground to learn to crawl.

earthdowns

2. THE PULL. A pull is when you exert force on an object in an attempt to bring the object closer to you. Examples include the pull-up (bringing your body close to a high bar), the machine let pull-down (bringing the bar down to your chest) and the row (which is a horizontal pull). After we have learned to push, we learn to pull as infants, it’s part of learning to stand and walk.

3. THE SQUAT. A squat involves two major components, a maximal hip flexion and a maximal knee flexion, so that your pelvis and torso are closer to the ground. There are many arguments for the correct depth, but some basic guidelines I always give are: have the angle of your shins match the angle of your torso (see picture), don’t allow your knees to cave in toward each other (called a valgus knee), and in general, don’t allow your knees to pass beyond your toes. I say in general for many reasons, the most prominent is that everyone’s body, limb length and flexibility are different. Squats are easy to learn but may take a lifetime to master. Squats can be weighted with a weight in front of you or resting across the back of your shoulders, or unweighted, using only your body weight as resistance.

squats4. THE HINGE. Like the squat, the hinge has maximal hip flexion, but has minimal knee flexion. If you bend over to pick something up off the floor, you are most likely in a hinge position. The hinge is an extraordinarily powerful movement, as there is great untapped strength in the pelvic girdle (don’t giggle). Most professional athletes know that true power is generated in the hips, and the hinge is an excellent way of training overall strength. The most popular form of hinging is the deadlift, which involves pushing your hips behind you, picking up a weight (barbell, kettlebell, dumbbell) from the floor and raising it waist high, while maintaining a tight core and a neutral spine. Like the squat, it is easy to learn but may take a while to master.

bend snd snap meme

5. THE OTHER STUFF. With all due respect to the importance of these moves, for the sake of space, I must move quickly through them. From the beginning of mankind, we have carried heavy things. There are many variations of carries: the farmer walk, the suitcase carry, the waiter walk. These are excellent choices to increase your own work capacity. Rotation/anti-rotation exercises include wood choppers, moving planks, body rows. Groundwork can be tumbling, rolling, bear crawling.

Thanks for That, but What Do I Do With It?

Right. A theatre job can actually be a great time to “get in shape,” whatever that means to you. If you’re already strong and fit, maybe your goal is to be stronger. Or maybe you’d like to lose a few pounds. Or maybe you’ve never seriously exercised and want to start. I say this is a great time for two reasons: the first, you are likely away from home and away from the distractions of your day-to-day life (like friends, a day job, your favorite TV show on the DVR); the second, once your show is running, you have an insane amount of free time. Seriously, we work about 30 hours a week in theatre. What else are you going to do with all that time?

Whether or not you are an experienced gym-goer, take a look at the chart below. I’ve listed examples of the basic movements, pick one or two from each category, decide on a set and rep range (if you’re a beginner, start with one set of ten repetitions, and build from there as you feel you can), and go to work. When you’re finished with your session, take notes. How do you feel? What was hard/easy/confusing? Are you hungry or did the session suppress your appetite? Repeat the plan 3-4 times a week, resting after every two workouts.

Exercise chartI’m sure some of that will seem like Greek to some of you. Do a thorough Google search on terms you don’t understand, yes, the internet can be a wasteland of misinformation, but there’s good stuff there too. Find the good stuff.

Aren’t I Supposed to Be Running or Something?

I’m not a fan of traditional “cardio,” at least, not as a means to lose weight. I believe the best modality for weight loss is through diet and strength training. But that doesn’t mean you don’t need to exercise your cardiovascular system. Pick your jam (running, elliptical, cycling, walking, swimming) and get that heart rate up.

Admittedly, that’s about as general as it gets. I offer it as an idea, a map if you will, for the person who doesn’t know where to begin or maybe isn’t sure what’s missing from their own regime. As always, approach this work with respect, injury comes when we disrespect our own intuition.

I mean, you could always hire a trainer…

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packed suitcase-feat image

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!

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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.

the-full-monty-migeh1l3.m1p

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.

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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.

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Photo Credit: NETworks

National Tours: The Major Players

Back for more, eh? We begin our inside look at the National Touring market with a brief review of the major producers and presenters, and a look at some of the major topics surrounding the tour industry.

Before we go too far (or really anywhere), I feel we have to acknowledge the current tour climate. There are Equity (union) tours and Non-Equity (non-union) tours in the market, and there is much debate over the validity, marketing, and financial reality of each. We are not going to pick a side in this argument, nor am I going to spend time on what the separate sides desire. When I was non-equity, I did non-equity tours. And I’ve done Equity tours as well. The differences in many cases are obvious; there’s usually more money in an Equity tour so the production values can be higher, but aren’t necessarily. But I loved all of the shows, most of my co-workers (only human folks), and the experiences.

ThatsAll

Seriously, this topic takes us down a rabbit hole. Suffice it to say I am pro-union, but I believe there is a place for both types of tours, as long as there is transparency from all parties.

I can hear my editors now, “Move on, move on, for the love of all that’s holy, move on!”

Without further ado, here are the major players. This list is neither complete nor comprehensive, nor are they listed in any particular order.

NETWORKS

NETworks has been around for more than 20 years. Their home offices are located in Columbia, Maryland, and they are absolutely one of the leaders in the industry. Currently they are producing the National Tours of Cameron Mackintosh’s The Phantom of the Opera, Dirty Dancing, Elf the Musical, Finding Neverland, Into the Woods, Once the Musical, The Sound of Music, and The King and I. NETworks produces both Equity and Non-Equity tours. Full disclosure: I was on the 2001-2002 NETworks tour of Show Boat. Shown here:

Photo Credit: NETworks
Photo Credit: NETworks

Yeah that’s me. I was young(er) then. Also, “Hi Jodi!” For more information, please visit www.networksontour.com.

 

TROIKA

Any conversation about NETworks has to lead directly into a conversation about Troika, as one is born from the other. Also located in Maryland, Troika produces both Equity and Non-Equity shows, and their upcoming/current season includes Annie, 42nd Street, An American in Paris, Cheers Live on Stage, Love Never Dies, and The Bodyguard. www.troika.com

 

BIG LEAGUE THEATRICALS

Big League (more disclosure) is the producer of the first National Tour I was ever on, 1776. BLT (sorry, couldn’t resist) is actually headquartered in New York City—take that Maryland! Their current season includes A Chorus Line, How the Grinch Stole Christmas, A Christmas Story, and The Producers. It appears the current season is all Non-Equity, but past Equity productions have included Guys and Dolls, Chitty Chitty Bang Bang, and Ain’t Misbehavin’.  www.bigleague.org.

 

WORKLIGHT PRODUCTIONS

Worklight is located in Summit, New Jersey (an easy commute into NYC for auditions), and their current season includes the 20th anniversary tour of Rent, Cinderella, Mamma Mia, Crazy for You, and Irving Berlin’s White Christmas. Worklight also produces both union and non-union tours. www.worklightproductions.com

 

PHOENIX PRODUCTIONS

Another Maryland company (what is in the water down there?), Phoenix has been around for 17 years and is also part of the NETworks-Troika family tree. Phoenix has produced Non-Equity tours, and though a current calendar does not appear available on line, past productions include Ragtime, The Pajama Game, Camelot, and Peter and the Starcatcher. www.phoenix-ent.com.

 

BUT ROB, WHAT ABOUT THE “BIG” TOURS?

Glad you asked.

The “big” tours, and I’m talking about current shows like The Book of Mormon, Jersey Boys, Wicked, The Lion King, Hamilton, etc., are a slightly different animal. These shows don’t operate under a separate umbrella company, but rather are produced by the same company that produces them on Broadway (for example, Dodger Theatricals produces Jersey Boys both in New York and on the road). This includes major players like the Jujamcyn Organization, the Nederlanders, Disney Theatricals, the Shubert Organization, and others. Usually this is the case for the major Broadway hits and behemoths that seem like they will never close. My lips to the universe, right?

IS THAT IT?

Hardly. All of these above companies produce primarily big musicals, with the occasional straight play tossed in now and then. But there are several other touring theatre companies out in the world such as:

Theatreworks USA: Perhaps the leading producer of children’s theatre in the country, Theatreworks has been in existence 1961 and has presented theatre to nearly 100 million people across the United States and Canada. Producing both plays and musicals, Theatreworks shows can be lighter fare like Seussical or more serious work like The Diary of Anne Frank. Their alumni include such theatre luminaries as Judy Kuhn, F. Murray Abraham, Jesse Tyler Ferguson, and Henry Winkler, while directors Jerry Zaks and Gabriel Barre also plied their craft. Theatreworks is an entirely Equity company.

The National Players: Founded in 1949, The National Players are America’s oldest professional touring company. They have primarily performed adaptations of great works of literature (such as Animal Farm and A Tale of Two Cities), and reimagined works of William Shakespeare. The company is an outreach of the Olney Theatre Center in Olney, Maryland (seriously, who knew there was all this theatre in Maryland?). From their website: “National Players has performed in 41 states; in the White House; and for American military in Europe, Asia, and the Arctic Circle. Committed to artistic excellence and community engagement, National Players has brought literature to life for nearly three million people.”

Nebraska Theatre Caravan: The Nebraska Theatre Caravan was founded in 1975 as a joint project between the Omaha Playhouse and the Nebraska Arts Council “to bring together a small group of professional performer-teachers for workshops in Omaha and out-state.” Since its inception the Nebraska Theatre Caravan has produced over 100 fully mounted productions, many of which were new works, and has played to 160 Nebraska communities and hundreds of others across the nation. The national tour of A Christmas Carol has performed in over 600 cities in 49 states and 4 Canadian provinces, and has been seen by over 3 million audience members.

Photo Credit: © Copyright Stephen McKay
Photo Credit: © Copyright Stephen McKay

That pretty much concludes the broadest brush I possibly could have used in this article. Obviously there are many, many more companies, but I’ve tried to give you a glance at the ones with the highest visibility. When this series returns we’re going to delve into auditioning, casting processes, and more. If you have updates, corrections, other companies we have overlooked, please feel free to mention them in the comments section, we here at StageAgent can verify and include them. After all, we’re all in this together.

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