For me, Contemporary Musical Theatre arrived when Company opened on Broadway in 1970.
Stephen Sondheim had been around for years as a lyricist co-authoring masterpieces such as Gypsy and West Side Story. But Company was new. It was personal. It was modern. It pushed the art form of musical theatre to a new level. Even now it sounds like nothing else, not even other Sondheim, really. The score is heavily upbeat. The content has depth and nuance not typically seen on the musical theatre stage at this point. And the characters are, for the most part, three dimensional and far from stock. Even more notable, they are part of an ensemble. While Bobby is undeniably the “lead,” he’s almost a narrative vehicle introducing us to this world of grown ups. A true thinking, feeling, flawed, sexual and human grown up had been a bit of a rarity in the musical theatre at this point (I’d argue still). Let’s put it this way: We’ve come a long way from Floradora.
So Company is the moment for me.
Is all new musical theatre “Contemporary” by virtue of happening in the now? Not necessarily. Book of Mormon, while contemporary in content and sound (for some songs), is nothing less than a classically structured big book musical. “I Believe” is a contemporary showstopper, yes. But “Turn It Off” is a classic old school tap number. My point is, as an actor, it’s important to consider character as well as the show as a whole (Check my analysis of Herrod from Jesus Christ Superstar for further thoughts on this concept.). Those actors aiming for Elder Price probably want to stick to a Contemporary Showstopper in an audition. The McKinleys of the world might venture into Gene Kelly or Fred Astaire territory.
Or not.
Here’s the thing with auditioning for Contemporary Musical Theatre. If in doubt? Belt your face off. Sometimes creativity doesn’t pay off until the callback.
Or (insert long, dramatic, pained sigh here) … Ever.
I happen to think that sucks. When producers, casting teams, and directors are afraid to make a non-traditional choice because of money or perceived audience response or whatever, I think the work loses something. BUT if I didn’t talk about it, as a coach, I’d be doing you a disservice. A lot of the time, they go with what they know.
I think actors are artists, not imitators. I believe in deep joy and personal integrity (i.e. being yourself, not somebody else) when auditioning. Does that mean I often go home without the contract? You bet. And I think I’m happier because of it. I’m telling you this because I find that musical theatre…scratch that…..COMMERCIAL musical theatre is an undeniably prolific and astoundingly uncreative phase right now. That means there is a particular contemporary sound that is very popular and sought after. I also find a lot of actors trying to imitate it. And I totally get why. Typically, that’s the sound that gets hired. I just wonder what auditions would be like if everyone sang in their real voice.
Now, it should be said that Contemporary Musical Theatre is butter for some actors, and it’s the classic stuff that really stresses them out. I get that, and we’ve definitely covered that in this series. No matter what your personal struggle is, the solution is showing up as yourself. That’s scary as hell. If you show up trying to blend in, and you don’t get the part, at least you know that you weren’t really being you. You didn’t show EVERYTHING you’ve got. You’re protected. What they rejected was the status quo. But if you show up as yourself and you get rejected? Ouch. I know. You have to get a special place of secure in who you are to be able to do that, and sometimes it takes a really long time to get there. Mentally, I mean. Shit, it’s vulnerable for me to just write this.
Man, sometimes it takes a long time to sound like yourself. – Miles Davis
So why do I bring this up during a discussion of Contemporary Musical Theatre? Because it’s what’s happening now. And the human tendency is to mold oneself to the zeitgeist. I find that profoundly uninteresting. So here is where I tell you a little about me as a coach and artist, and some of my deeply held beliefs about an acting career.
1. Deep Joy. The journey is supposed to be fun. Hard work? You bet. Sleepless nights? Sometimes. Utter exhaustion? Absolutely. I’m in tech right now, folks. I get it. But if the journey is miserable, the arrival will be too. Some actors are profoundly unhappy people and they exist at every level, from storefront to Broadway. And I think that’s a choice.
2. Don’t judge a book by its cover. Sometimes opportunities come along that, from a sales pitch perspective, seem a little…small. They aren’t big and shiny. They might not impress the hoi polloi. But they feel good. They are fun. And they give you experience and value that larger venues may not be able to provide.
3. No comparing. No striving. The day I became a happy actor was the day I stopped caring about what the other guys were doing, when they were doing it, and how.
4. If I don’t want to, I don’t. I totally believe in pushing through fear. Auditioning is scary. Actors have to take big risks. Good risks. Leaps. But then, sometimes a project or an opportunity comes along and…it looks great. You know it’s an honor, or a compliment that it was offered to you. And yet, you kinda don’t wanna. You get tense when you think about it. You avoid dealing with it. It feels heavy.
Don’t do it. That’s how you get burned out. Deep joy. I’m telling you. It works. As actors, we know that we have chosen to sacrifice participating in some big life events with family and friends. We miss weddings. Graduations. Funerals. Holidays. But sometimes, in the words of one of my dearest friends, you just have to “be a human.” So yeah, sometimes you have to pass up an opportunity in the name of love and connection.
5. If I don’t get the part, the part wasn’t on my path. That might be a little spiritual and woo woo for some actors. That’s what I believe. And that’s how I show up as myself. And that means here, not just in the audition room.
6. I deserve to be here. I have to know I deserve to be here because no one else will ever tell me that I do. OR for every person that tells me that I do, there will be someone waiting in line to tell me that I don’t. This isn’t about entitlement. It’s about owning your happiness and your confidence and not needing a permission slip. Don’t make other people responsible for your happiness.
7. They are auditioning for me, just as much as I am auditioning for them. We all want to work with awesome people. Sometimes auditioning for something is a joyous experience. You would just flip to work for this company. Other times they are disorganized and joyless. Not people I’d like to spend three months or more with. Or sometimes the folks behind the table are great, but you find out more about the project and while it sounds spectacular, it also sounds like it’s in a style of theatre you don’t enjoy. So you pass. Or you stretch your wings and try it. Either way, it’s your call. Empowering, isn’t it?
8. You aren’t really competing with anybody until the callback. And even then…
9. It just doesn’t matter. This too shall pass. The good and the bad. It’s all in the ephemera.
10. This is awesome. We have the privilege of telling stories to other people in a room together. We are practicing an ancient art form that connects not only to the people we are with today, but to the people who practiced this art form in the past. Even if the story is simple or goofy or corporate or whatever. Entertaining another human is a divine thing. And not everybody can do it.
Cultivating a Gratitude Practice can change everything. When you say “thank you” right before you leave the room, mean it. Thank you for having me. Thanks for sharing this time with me. Thanks for seeing me. Thanks for giving me this experience.
And you guys. From the bottom of my heart, thank you for reading.
Right.
Let’s talk repertoire.
Way way back, when we started discussing the “A” Book, I suggested having at least a contemporary upbeat, and a contemporary ballad. If you are really looking to be prepared for absolutely anything, I would also suggest having both a classic AND a contemporary Showstopper. But what is contemporary? There is no generic “contemporary” sound, really. At least not a singular one you can harness or utilize for audition purposes. We can identify a piece as “sounding contemporary” but that’s academic, not practical. Avenue Q is just as “contemporary” as A Light in the Piazza.
I’ve spent a lot of this series offering up alternative sources (i.e. outside the theatrical arena) for musical theatre repertoire, but for this category, we want to stick to Contemporary Musical Theatre proper (with perhaps a well-considered trip to the Musical Theatre suburbs. Stay with me.)
The number one way to find Contemporary stuff is to go straight to the major composers or to the other works of the composer in question. I covered many of them in the post The Big Guys. If you are just generally searching for contemporary pieces, pick a composer and work your way (at least partially) through their work. Keep going until you find some keepers. If you are auditioning for a particular show, start with that composer.
The second way, and my personal favorite, is introducing yourself to the really New stuff. The website I recommended in Shiny and New: http://newmusicaltheatre.com/, is an absolute goldmine.
The third way, is the method I mentioned in You Need a Hero. Take the resume and solo album of your Broadway idol (or Off Broadway…what have you) and look to their roles and set lists as potential repertoire. This would be one of those “Musical Theatre Suburbs” I was talking about. As I mentioned previously, big time and up-and-coming composers often lend pieces that sound like musical theatre, but are not from a larger show, to these stars for their albums. These are great options for your book. Here’s Audra singing one of my faves: “Cradle and All.”
That would work wonderfully as a contemporary ballad even though it isn’t from an actual musical. It just sounds like it is. And “sounds like” is enough.
Fourth, pick your type, dig through some shows and find that type within the show. Sometimes the formulaic can be very helpful. So let’s say you are the quirky sidekick type. You might for a cute comedic number. OR maybe you go in the energetic loveable villain direction: http://www.youtube.com/watch?v=04uNN7yMwMY
No matter what, I find that using contemporary pieces is all about the smart cut. You want 32 bars with a money note and a 16 bar option. Easier said than done, but once you find it it will work for you for some time. You don’t necessarily need to end on the money note. In fact, in an audition, don’t save the best for last. From my own experience behind the table, I know within 10 seconds whether or not I’m going to call someone back. Your presence reads immediately upon entering the room. Sometimes it’s better if that big belt shows up quickly. The same goes for comic pieces, if you can crack the jokes early, you win over the casting team earlier. No bad thing. The filter is You. You decide your priorities. Just don’t make them wait.
So, let’s say you are a mid-to-late 20 something mezzo. (The law of averages says you are.) Let’s talk about different ways to approach a go-to 32 bar money note contemporary cut.
Here is “Once Upon a Time” from Brooklyn. This song offers quite a few options for a great 32 cut, with the potential with a couple of money notes:
Here is “A Way Back to Then” from [Title of Show]. It’s belt but not high belt. It’s got room for riffs (or not. Your call.)
How about upbeat? Here’s a piece from Legally Blonde (go to 1:21 in the video). This is Vivienne. It’s great high belt. It’s upbeat, and the character is awesome. Strong. Opinionated. http://youtu.be/3hEwcM0MmeI?t=1m21s
Here’s the thing about that 32 bar contemporary money note cut. I quote Amy from Little Women: “You don’t need scores of suitors. You need only one. If he’s the right one.”
Okay, two or three, in this case. So yes, it can be a bit of a challenge, but you don’t need a million options. Just a few.
While I may bemoan a certain lack of artistic risk in today’s commercial musical theatre, I am thrilled at the availability of scores, cast recordings, videos, sheet music, etc. that is available. Truly, you can just immerse yourself until you find something or things that you can’t wait to perform.
My other bit of advice is: Don’t search in a blind panic. Really try to give yourself some head space and some room to enjoy the journey. Also don’t type yourself out. While character type can be a guide and a filter to help you narrow down the vast amount of material that is out there, don’t let it be a tool for limiting yourself. If you absolutely cannot find something, throw type, gender and everything else out the window. Start with pure personal like or dislike. I don’t care if an 85-year-old hermaphrodite space alien sings the piece. If you like it, it’s worth considering. You may not be able to use that exact piece all the time, but you can look for pieces like it, pieces by the same composer, or pieces in the same style.
In short, finding Contemporary pieces is far more about strategy and personal preference than adhering to some generic sound. The cannon is far too large to leave yourself out of the picture. Remember: You Trump Everything.
We’re halfway through 30 Days to a Better Book! Let’s take a moment to review what we’ve done so far:
STOP
The focus so far has been threefold. First, we want to assess who you are, what you want to show off, and where you want to set your sights. Secondly, we want to come up with a system of organization that helps your plan, prioritize, and prepare efficiently and effectively. Third we want to combine both traditional and creative sources to find vibrant repertoire that seems like it was custom built just for you.
- On Day 1 – All About You – We talk about the number one consideration when building your repertoire: YOU! Your likes, dislikes, dreams, goals and abilities will always be the most important factors when building your book, as opposed to worrying too much about the uncontrollable stuff like what the casting team may or may not be looking for, your “competition”, and whether or not you picked the “right” piece.
- On Day 2 – A B C – We talked about one way to organize and prioritize your book.
- On Day 3 – The Money Tree – We talked about how to find, use and prepare the number one piece in your whole repertoire: The Showstopper.
- On Day 4 – The Vital Few – We focused on what I call your “A Book” – the most frequently used pieces in your whole portfolio.
- On Day 5 – Living the Dream – We talked about how to utilize your dream roles by mining them for material, using them to make self-assessments, and preparing to audition for them in advance.
- On Day 6- The Big Guys – We dove into the most traditional of musical theatre sources: The flagship composers of the 20th and 21st Century.
- On Day 7 – You Need a Hero – We examined our personal performance idols and covered ways to use their resumes and repertoire to show off our own personalities.
- On Day 8 – Comedy Tonight – We redefined what “Comedic” means in an audition setting and used creative ways to find truly funny comic repertoire.
- On Day 9 – The “A” Book Part Two – We wrapped up your Top Ten to Twenty go-to pieces by analyzing your “type” and your own personal story.
- On Day 10 – A Custom Tailored Vet – We took a look at transposition, musical notation, and all the nitty gritty bits that can make or a break a piece. The Devil is truly in the details.
- On Day 11 – Variations on a Theme(Song) – We considered Novelty pieces and assessed whether or not they belong in your repertoire. Plus we covered lots of potential sources.
- On Day 12 – Shiny and New – We looked at New and Original Musical Theatre as a potential source for truly unique repertoire.
- On Day 13 – Goodbye Yellow Brick Road – We stepped outside traditional musical theatre repertoire and examined some pop singer/songwriters who have a theatrical sound.
- On Day 14 – Flop House – We put on our shit-kickers and dug around in Broadway Flops, Obscure Older pieces, and Cult Classics.
So here we are on Day 15 and I’m bringing it back to you. What is the best source for musical theatre repertoire? YOU!
What I mean is you can handpick interesting, obscure, clever, and powerful pieces ’til the chorus girls come home but if they aren’t personal to you? If you don’t connect? It’s wasted effort.
How do you do that? How do you find the goosebump, tear, and laughter-inducing stuff that feels like it was written by a friend?
Immerse yourself, grasshopper.
LOOK
Source: This American Life
See shows. Lots of them. Not just musicals either. There are so many productions that you could call “Plays Where There is Singing.” And even completely non-musical shows are important too. It’s important to see what is happening currently because that is what you are and will be auditioning for. See a wide variety of shows and not just pieces where you suspect you are “right” for a role. Go to storefront stuff. Go to big budget stuff. Go to start up stuff. Go to established stuff. Access other cultures. Why? Because knowledge makes you better at acting. Experiences help you appreciate and create comedy. Empathy increases your capacity for the dramatic.
Most importantly you begin to build your own personal aesthetic. What shows do you want to do? The most ill-advised and potentially harmful, but all too common acting advice is: Audition for everything and take every role that is offered to you. That is a recipe for burnout and resentment. There may be an actor who followed this advice who reached all their career goals and is very happy and satisfied, but I’ve never met them. What you like counts. Seeing shows helps you decide what you like, who you want to work with and how to focus your repertoire in that direction. Your future directors, music directors, composers, castmates and crew are all out there working right now. That’s exciting! Go see what they are creating. Even as an audience member, you are a part of it all and that, my friend, is a wonderful thing.
A Note: I come from rural farmland, originally, so while it is easy for me as a Chicagoan to tell someone to walk straight out their door and right into a theatre, I know this isn’t possible for everyone. At least not on a big city scale. The big shows that do come through can be exorbitantly expensive and they are only representative of Broadway- not all the theatre that’s out there.
So what’s a little girl from Grover’s Corners to do? Widen your perspective. No, that community theatre production may not have Patti Lupone in the cast, but the material they are performing is the same stuff that once graced The Great White Way. Utilize libraries, particularly inter-library loan. Even the most rural place usually isn’t too far from a college theatre department. They would LOVE for a non-university affiliated person to sit in their audience. Plus, college productions can often be a little wild and weird. Youtube and Netflix provide lots of not-ideal, but not unhelpful recordings of musicals and plays. There are tons of fun movie musicals, and lucky for the folks of Fly Over Country (Again, I am you), movie musicals are popular again. And when you do visit the bigger cities, be brave and venture beyond the tourist areas and go to a little hole in the wall theatre. Yes, you may experience this:
But you also may experience this:
And listen, don’t knock the mid-size cities. The town you used to go to buy your prom dress just might have a couple theatre companies and I promise they want you to know who they are.
So do your research. Be a little brave. And you know, go have your life changed. Even just a little.
Special Note: Save your programs. I once got a comedy number out of seeing a revue. Programs have tons of information that might come in handy for your book. They list resumes of the performers. They also list all the songs appearing in the show. They may even list the director’s influences. The point is, they are a treasure trove and they are (not including ticket price) 100% free of charge.
LISTEN
Source: Masterworks Broadway
The irony of being an actor is that when you are actually acting, you don’t have time to go see other shows. Plus, you know…life and stuff.
Get thee some cast recordings and solo albums. This can be a bit of an overwhelming prospect. There’s JUST SO MUCH STUFF. One way I like to dig into a show is to pick a piece that has had a few major productions, and listen to the different recordings. This is particularly effective for shows that are 30 years old or more. You can hear the different styles of music and how current productions may or may not have adapted the material to make it sound more current.
Another way to approach the musical theatre cannon is similar to my advice in the post You Need a Hero. Pick a performer you love (or a director, or a composer, or a lyricist) and work your way through their resume: shows, movies, solo albums. Immersion (otherwise known as obsession) can refine your palette in a way that will allow you to notice subtleties you wouldn’t have otherwise observed.
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Source: Stage and Cinema
Aside from actually being on a stage, being a theatrical consumer is probably the most important action you can take to build a strong repertoire. Experiencing the work of directors, composers, playwrights, actors and companies you would like to work with is the absolute best way to familiarize and educate yourself. It is potent information when preparing for auditions, and even more, callbacks. Plus, the first place to witness a new work is always onstage. You can even attend staged readings and workshop productions of work that has yet to be fully produced. And who knows? You might just find something for your book.
Tomorrow, and for the next several days we are going to shift gears a bit and talk about different eras in musical theatre you may want to represent in your A or B Book – Day 16: Back to Before – Audition for Shows in the Style of The Turn of the 20th Century, Ragtime and WW I.
Source: Warner Bros.
Acting and auditioning can be so vulnerable and exposed that it is often comforting to rely on the tried and true with our material. It’s familiar. It’s good. There’s context. It feels safe and appropriate.
But sometimes it’s refreshing to go out on a limb and try something new. Really new.
NEW MUSICALS
You know how it feels like only big names get cast and the unknown actors don’t have a chance in hell? Well take that feeling and multiply it by 1,000. Now you know what it’s like to try to get a new musical produced.
But new musicals are out there. In droves. And they want to be heard. (And they aren’t all movie adaptations.)
Using pieces from original, up and coming, and/or unproduced composers is a great way to have a piece that is singular and special in your book. It also helps a fellow artist by performing their work in front of people that produce theatre.
How to access these pieces?
WORKSHOPS AND NEW MUSICAL PROGRAMS
Source: Broadway World
New theatrical work often goes through the workshop process wherein playwrights, lyricists, and composers get the chance to hear and see their work performed by actors, and have the freedom to edit, alter and rewrite based on what they are seeing. It is a wonderful thing to be one of those actors. No, workshops don’t usually pay much (if anything) but they provide connections and most of all, useable material, sometimes composed with you in mind!
In Chicago alone, we have big New Musical programs and projects as well as a long list of theatres that produce them.
Northwestern University hosts the American Music Theatre Project.
Light Opera Works hosts the Midwest New Musicals Workshop.
WEBSITES
Most composers have websites that allow you to listen to their work. Some even provide the ability to purchase sheet music. If they don’t, you can always contact them and ask if you can use a piece for auditioning or performing.
One major online resource for new work is: NEWMUSICTHEATRE
COLLABORATION
You can even try teaming up with an emerging writer or team of writers by putting together a joint cabaret or showcase, pitching a show to a theatre company, or self-producing. You could even commission a writer to compose a bespoke piece just for you.
Also, composers often have stand-alone pieces (much like I mentioned in You Need a Hero), that don’t have a home in any larger musical, but still deserve an audience. They may be willing to loan such a piece to you for auditioning purposes.
SELF-COMPOSED
Source: Hello Giggles
A trickier area, but let’s talk about it. Actors, like a lot of artists, usually have another art form or two up their sleeve. If you are also a composer, your own work is not completely off limits. Here are a few considerations:
- Self accompaniment – My rule (and you know how I feel about rules) is only when asked, whether in the posting or in the room. Otherwise, utilize the accompanist.
- Charts or Fake Books: Only provide an accompanist with complete sheet music. No basic notation or charts. If you can, make sure it’s not hand-written either. Even the nicest handwritten sheet music is difficult to read.
- Identifying the piece: Casting teams get a little twitchy and uncomfortable around self-written pieces. Partially, this is because they want to see how you handle material that is written by someone else because that is precisely what they are hiring you to do. Secondly, and I mean no offense, most self-written work that comes through the audition door is not very good. That doesn’t mean yours is bad. That just means by identifying your piece as your own, you’ve made your job more difficult by making the casting team immediately skeptical. While I don’t advocate lying to a casting team, you can be a bit coy if you need to. Rather than identifying the composer right off the bat, just say the name of the piece and the name of the show. If they like it, they’ll ask who the composer is. Tell the truth.
- Unless a posting or your agent or another source makes it clear that self-composed and/or accompanied work is acceptable or encouraged, don’t lead with this piece for a general audition and be very calculating about when you choose to bring it in. New work is one thing, self-composed is another. Remember, they are looking for an actor first. Not a writer.
- Hear the previous advice, but just know that it is merely advice, not a hard and fast set of rules.
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New Work is exciting and nearly demands attention because of it’s originality. If your book is looking appropriate but somewhat staid and traditional, check out all of these resources. Consider joining or auditioning for a workshop. You never know where it might lead.
This is a h/t to one of my best friends. (Source: zerohourshow.com)
“We have what we seek, it is there all the time, and if we give it time, it will make itself known to us.”Thomas Merton
Okay, that might be a little high-minded for 16 bars, but what the hell?
The point is we are what we admire. So I ask you, What are your dream roles?
I ask this of all my new clients. It tells me how they see themselves. It tells me where they want to head. It gives me an idea of what they enjoy. It also helps me direct their sails.
You can use your dream roles to prepare for auditions in several ways.
1. You can prepare your audition for that specific dream role in advance. One of my dream roles is Mama Rose (I would imagine you’ve picked up on that.) I’m a little too young right now, but in a few years I won’t be. What would I use today to audition for this piece? By preparing for your dream roles in advance you often find really great material you can use right now. Plus, you won’t be panicked when the real opportunity comes along.
2. You can use your dream roles themselves for actual material. In a couple days, we will talk about the second half of your A Book which focuses less on skill, and more on character, personal preferences and type. This is where your Dream Roles often live. Let’s say we had an actor who dreamed of being Henrik in A Little Night Music. In some way, he relates to this character. Maybe he is coming of age. Maybe he is confused about his desires. Maybe he enjoys Henrik’s melancholy disposition and dark sense of humor. Maybe he is intrigued by Henrik’s oppressive morality. Henrik’s piece, “Later” is a great piece for auditions and would have a happy home in any tenor’s book. While he may not use this exact piece to audition for A Little Night Music, most likely roles like this appeal to him and he would find a lot of use for “Later.”
3. You can use your dream roles to build your repertoire by assessing what they are and then expanding from there. What other roles out there are similar to your dream roles? Let’s say you want to be Ado Annie. Well, it’s not a far cry from Annie Oakley or Calamity Jane. All three roles are juicy audition repertoire sources, and they all compliment each other nicely. One of Melody’s Dream Roles is Lizzie from 110 In the Shade. She might do well to take a look at Laurie from Oklahoma.
4. You can use your dream roles as a compass for the kind of shows you like to do, and the ones you aren’t really into. Think about a show or a role you just don’t like. Why? Is it boring? Why is it boring to you? Do you find it offensive? Or is it just not your thing? Dig down deep. Now, what show or role is the opposite? Let’s say you just do not like The Music Man. (I love the Music Man, but a lot of people just can’t get into it.) Maybe the small town stuff isn’t your bag. Maybe the Golden Age of Musicals isn’t so grand for you. Maybe you’re a dancer and you want Fosse, not Shipoopi. Let’s say you don’t love that shiny Americana thing. What would be something that has some grit? Maybe RENT? What about something weird and off beat like Bat Boy the Musical? You can use your dislikes to define and hone your likes.
So what are your dream roles? Just brainstorm. Musicals, theatre, movies, tv shows, novels, historical figures. Even general types: The Spirited Girl. The Villain. Don’t even worry about gender. No rules. Just go.
What do they have in common, if anything. Is there a particular quality or feature or style that sticks out?
My Dream Role: Mrs. Lovett. Source: tvtropes.com
Let’s do some strategic and critical thinking.
Pick roughly five or so of your favorites that you could play right now (I would love to play Desiree Armfeldt but I’ve got about a decade before I need to worry about it) and ask yourself, if someone posted an audition for this role or a role like it TOMORROW, what could I use from my current book to audition for this? Ideally we want two somewhat contrasting 32 bar pieces. If you’ve got nothing, hold that thought. We’ll get there.
Do this exercise for all the roles and note what you’ve got.
Now, if you do have some things in your book already that would work…would they reaaallly work? Or would they just get the job done without raising an eyebrow? Imagine that magically Bob Fosse, Michael Shurtleff, and James Lapine are sitting behind the table. Is this what you would bring in? If so, awesome! If not, what would be ideal? What would be the perfect audition pieces not just for this role but for YOU vying for this role? What about you is in this role? What do you need to show off?
Chita River as Velma Kelly. Source: http://www.broadway.com
Let’s use an example. Let’s say you dream of playing Velma Kelly in Chicago. What is it about her that speaks to you? Are you a kick ass dancer? Or are you sexy as hell? A little bit of a bad girl? Maybe you’re funny. Or maybe you are street smart. Perhaps you’re feisty but world weary. Things haven’t quite worked out the way you planned. You know what it’s like to have to have to do a little quickstep to avoid paying rent for a couple more days. Who knows? No two actresses should approach this role from the exact same place. It’s almost impossible. I will always advocate pushing your comfort zone a bit. That said, there is no right or wrong, just what you like. So maybe you pick “Maybe This Time” from Cabaret and then something a little upbeat from Thoroughly Modern Millie to capture the spirit of the 20’s. Or maybe you decide it’s that flapper girl thing you just love, so you pick an actual number from the 1920’s and then maybe something from Kiss of the Spider Woman. Again, no right or wrong. It’s about what you want to stand up there for 16-32 bars and perform.
Okay so let’s say you’ve got the dream roles, but you don’t have the pieces. Where to begin?
Frank Loesser. Source: http://www.npr.org
Start with the composers, if the role is a musical. What songs or roles in other shows sort of sound like or have the feel of this role, and particularly this role’s signature song? Let’s say you are auditioning for your dream role of Adelaide in Guys N Dolls (Also, get in line, honey.) What other stuff has Frank Loesser written that has that Adelaide feel? I suggest Hedy LaRue from How to Succeed in Business Without Really Trying. Maybe her cut from “Love From a Heart of Gold”…
Or, we can leave Loesser behind and focus solely on “Adelaide’s Lament.” What other shows have a character that is Adelaide-like AND/OR that sounds similar to “Adelaide’s Lament”? Maybe “Why Can’t You Behave” or “Always True to You in My Fashion” from Kiss Me Kate. If you’re feeling saucy, maybe “Paris Makes Me Horny” from Victor/Victoria. Even Dolly Levi might work. You might even decide to keep them all! (I think I just did. Hold on…note to self…)
OTHER CONSIDERATIONS
Okay. So what if your dream role isn’t from a musical? Or even a play? Or maybe your dream role doesn’t exist yet. How can you use that information to help your musical theatre audition book? Remember that the roles and character traits we are attracted to are indicators of the types of roles you want to play generally AND how you see yourself. Critically thinking about them can open up a world of material you didn’t even think to access.
Benson. Olivia Benson. (Source: lawandordersvufans.com)
So let’s go with a non-stage example. How about Detective Benson from Law and Order SVU. What does this role sound like? What does this role look like? What era? What social class? What country? What style? What other roles or performers seem to invoke this feel? Detective Benson doesn’t exactly break into song. But she’s strong. She’s got a scarred past. She’s a cop in New York City. She’s single. She has seen a lot of crap. Am I seeing Eponine and Fantine here? Or maybe Lilli in Kiss Me Kate. Anita in West Side Story. Rosie Alvarez in Bye Bye Birdie. Penny from Urinetown.
Bow down.
How about Claire Huxtable? You could head in the fabulous Mame direction (The clothes!). If it’s Claire’s motherly warmth that appeals to you, maybe Erzulie’s song “The Human Heart” from Once on the Island appeals. If we are talking young Claire, say Seasons 1 and 2, maybe Della Green from St Louis Woman would fit the bill with “Come Rain or Come Shine.”
Source: Flavor Wire
What if you dream of being Ferris Bueller? Maybe you need some Billy Flinn or Skye Masterson in your book. On the younger side, something from Big River might work. If it’s the 80’s that really attract you, perhaps The Wedding Singer could have a song for you.
Let’s look at some real life examples. Melody’s repertoire is a great illustration of how to use your Dream Roles to focus and expand.
Melody’s Dream Roles: Lizzie from 110 in the Shade. I love her. She’s so smart and strong, and I’ve drawn to those ladies. I love Lily from the Secret Garden. Clara from the Light in the Piazza. Sarah from Ragtime…I KNOW (it’ll never happen, except in my head). Cathy from Last 5 Years. Any of the March sisters…Cinderella from Into the Woods…All of the First Wives Club.
This is awesome because Melody’s already using Lizzie. (I would challenge her to ask herself what pieces she would use to audition for Lizzie, if she couldn’t use anything from the show.) Meanwhile, yesterday she mentioned that she wasn’t as comfortable with contemporary musical theatre as she was with classic musical theatre. But her Dream Roles are packed with potential to beef up the contemporary offerings in her book.
I want to talk about a particularly illuminating Dream Role – Sarah from Ragtime. “I like Sarah because A. the music for that show is written so beautifully–‘Your Daddy’s Son’ especially and B. She’s emotionally complex, and I think ingenue roles are rarely written with that much opportunity for emotional exploration. Those are the people I want to portray on stage.” Sarah is African-American and Melody knows she won’t be cast in this role, nor can she use Sarah’s pieces from the show because it would be inappropriate and distracting in an audition. However, I would encourage her to look at the Flaherty and Ahrens cannon. A number like “Princess” from A Man of No Importance might fit the bill quite nicely. The character Adele is even in comparable circumstances to Sarah.
While Lily’s pieces from The Secret Garden are common in auditions, Melody is completely appropriate for the role and has the notes. I would encourage her to put “Come to My Garden” or “How Could I Ever Know” into her A Book. They are contemporary ballads that are sung by a character of a different class than Lizzie in 110 in the Shade, so they contrast in several ways. They are also active and not narrative which is very helpful from a performance perspective.
Melody could have a great time analyzing the First Wives. Hello, Dolly!
Melody and I talked a bit about the pieces she would use to audition for some of her dream roles. If she had to audition for Lily tomorrow, she would use, “As Long as He Needs Me” and “Simple Little Things.” This works, but switching out “As Long As He Needs Me” for something a bit more refined and contemporary might be just the trick. I would suggest looking at a character like Mother from Ragtime.
As you can see, it’s easy to interpret these characters in many different ways. You can use your Dream Roles to brainstorm piles of material, or gather information about your career desires, or just plain old prepare yourself for the opportunity to audition for one of them.
Stay Tuned for Tomorrow’s Post: 30 Days to a Better Book: Day 6 – The Big Guys
If I’m going to sing like someone else, I don’t need to sing at all. – Billie Holiday
Welcome to my September series – 30 Days to a Better Book! This series is intended for any actor who wants to build a great musical audition repertoire. I believe that an actor’s repertoire is an extension of themselves– an artistic representation of how they see themselves and the types of roles, shows, and careers they desire. These next thirty days will help you define, hone and most of all LOVE your audition book.
I paraphrase Rupaul. If you can’t love your book, how the hell is anybody else going to?
I did say paraphrase.
For this exciting 30 Days of Audition Book digging, you will need your audition book (of course) and a notebook or memo app to take notes and make some lists.
I should note, if you are just starting out or if you are a straight theatre actor who is looking to begin building a repertoire, fret not. This series will help you too. (My strategies also work for monologue repertoire.) Stick with me!
But first, a little philosophy. I have three hard and fast rock solid rules about repertoire building. Everything else is just a suggestion.
RULE 1: You trump everything. Your likes, dislikes, goals, desires, preferences, your gut. In my world, “I don’t want to,” is good enough. Now. Are there consequences for “I don’t want to,” ? Yes. I just want you to know that there is not perfect template, no one size fits all formula for the perfect repertoire. Your book is only as good as your investment in it, and your love of the material you put into it. So if I say, “Day 33 – Flamenco Ballad” and you say, “meh…” Don’t include a flamenco ballad. If, on the other hand, your heart flutters and you can’t wait to get to the library to find scores of flamenco ballads, honey, put that one near the front.
Remember: This is your career. You both own and ARE the means of production. You make the choices. You control how and when you show up, and what you do when you get there. You’re in charge of you. Always.
RULE 2: This is not a zero sum game. I do not believe that auditioning and casting, as cutthroat and competitive as they often feel, must mean that if one person “wins”, everybody else loses. On the surface, it seems obvious. If Person A gets the role in Show X, persons B, C, D and E do not and therefore “lose.” But here’s the thing:
It’s very difficult to be generous if you have this point of view… On the other hand, if you believe that great talent leads to more innovation and more productivity, which then lead to more demand, generosity is the very best strategy. – Seth Godin, Linchpin.
Art is never as black and white as the Win/Lose model. The Director may have cast Person A, but the Casting Director may have loved Person C and calls them in for the next show. Show X may get postponed or cancelled. Person A might have to step down and then Person D gets hired. Or maybe everything goes off without a hitch and person E decides to finally do that damn cabaret they’ve been talking about. And then it all comes together. Yes, there is loss in the performance world. Lots of it. But art expands. There is room for all of us here.
We just have to graciously show up as ourselves with guts and vulnerability, and be ready to joyously work your ass off.
RULE 3: There are no rules.
SELF-ASSESSMENT
Before we plow into the next 29 Days, let’s do some soul digging. Who are you? As an actor, sure, but even beyond that..what’s your story? Where are you coming from? What do you like to sing and perform? What are you interested in? What gets you excited?
Take out your book and let’s get cracking.
When I meet with my clients for the first time, I ask them a series of questions that helps me assess what shape their repertoire is in (both musical and monologue), where the gaps are, what the strengths are, and generally who they are and how they see themselves. For the purposes of repertoire, the following questions will help you similarly assess your own material.
1. Do you like the songs in your book individually? Go through, piece by piece and ask yourself, Do I like this song? That’s it. No other reasoning other than like. Don’t worry about age appropriateness, or if it’s overdone or blah blah blah. We don’t care right now. Anything you genuinely like, put in one pile. Anything you genuinely dislike or are at best indifferent about, put in another pile.
There is more than a small chance you’ve got a big pile of dislike, and nothing to like. That’s okay. Right now, we are just gathering information. No discarding yet.
If you do have a small (or even large) pile of pieces you do like, go back through and ask yourself, do I genuinely LOVE and ADORE any of these pieces?
If you’ve got one or two, it’s a very strong start.
I ask this question first because, as performers, we often put our own preferences aside in an attempt to do the “right” piece or to somehow mold yourself to the elusive “what they are looking for.”
By putting aside your own personal likes, dislikes, and joy, you’ve just discarded your own creative power, your presence, and your personal genius.
While I assure you that we will definitely address standard audition protocol and common categories of pieces you may want to acknowledge during this series, I want to start from the strongest foundation available to you: YOU.
What you like matters.
What you dislike matters.
What you don’t really care about matters.
What you desire matters.
How you show up matters.
It’s always worth asking: do I enjoy this?
2. Of the pieces that you dislike, why do you keep them in your book? What purpose do they serve?
3. For the pieces you like and love, ask yourself what is it about them that is appealing to you?
4. What are your strengths? (Don’t just stop at your acting and singing ability.) What can you do that nobody else can? (There’s always something.) What types of shows make you shine? What is your bread and butter? What do you want to show off? What about your personal story do you want to shine through?
5. What are your weaknesses? Where do you think you could use some help? What do you try to hide?
Full disclosure: I don’t believe in being well-rounded. See this post from one of my favorite writers that says it perfectly. Read it. It’s going to feel like divine heresy. Balance is boring. I don’t want to soften your edges. I want to sharpen them.
As we move forward I will continually ask you variations of these questions in regards to certain specific concerns. What is your ideal? What would work best? What do you dream about? What would be absolutely perfect, even if it seems impossible? Do you love it? Is it fun? Does it give you joy? Does it challenge you in that exciting creative way? Is it a drag? Are you dragging ass about this?
Those five questions are great filters for the rest of the this 30 day romp through repertoire. The ideal audition book should be a joyous, powerful collection of pieces that are an extension of you as a performer and you as a human being. Lyrics you love. Notes that make your voice soar. Comedy that makes you shine. Depth that evokes empathy. Novelties that seem (or very well may be) custom built for you. Most of all, they should each be pieces you look forward to sharing.
Thanks for joining me on this journey!
Stay tuned tomorrow for 30 Days to a Better Book: Day Two- A B C
I’m a big fan of TED talks just as a human being. However, in that actors are in the art of human behavior, many of these talks apply to our work in specific ways. I have two to share with you that have practical implications in your work.
First, Amy Cuddy talks Power Posing. Try some of her techniques before you audition. Why? Because you deserve to be there.
Secondly, check out Brene Brown who tells you to “lean into the vulnerability.” You guys. Go there. Go to the sucky place. In that weird actor way, if go to the dark place, you go to a higher level of performance.
Stage Manager
When under the tutelage of a great stage manager, somehow everything seems right with the world. The birds sing prettier, the sun shines a little brighter (or in my case, it goes behind a cloud a little more quickly. I don’t do direct sunlight.), the Advil and number 2 pencils are abundant, and the breaks come at regular intervals. A fantastic stage manager takes a production from good to great. They are paragons. They are rare. Like the unicorn, they are wonderful and mysterious creatures, I don’t understand them yet I just love them.
- Stage Manager
But.
The reality is we don’t always have access to the savvy motivated stage manager and their magic AND we don’t spend all of our time in shows and rehearsal, either. Nor is the stage manager meant to be the actor’s personal assistant or advocate. We spend much of our careers on our own, researching, auditioning, taking classes, running lines. While the movie stars have their staff, most of us are left to our own organizational devices, schlepping our shit and trying not to lose our delicate and fragile minds or cause others to lose theirs. I encourage you not to take advantage of the stage manager, nor bemoan their absence from your larger life, but rather emulate them.
I encourage you not to take advantage of the stage manager, nor bemoan their absence from your larger life, but rather emulate them.
They are artists, too. There is a reason actors and stage managers are represented by the same union. Their carefully and artfully timed cue is just as powerful as your own. And they have to manage a crew at the same time.
Stage Manager
We juggle multiple projects, dayjobs, social lives (sort of), auditions, family. It’s downright exhausting if not handled properly and let’s face it, we’ve all seen careers die just because actors didn’t want to juggle all of that anymore. The passion died because they needed a nap, a drink, and a system.
I can’t nap or drink for you, but I can help with the system.
Stage Manage Yourself
Our good friend the stage manager is a miracle worker not because they are actually mythical and magical creatures with time bending powers and endless access to office supplies, but because they are organized and they have a plan.
As artists, we often labor under the idea that we will be forgiven our flightiness or odd behaviors because our creative genius is too valuable to lose. Well, here’s the thing, there are a lot of creative geniuses who have their shit together. The actor who habitually shows up late, doesn’t do the work, behaves badly or obliviously eventually stops being hired.
There are a lot of creative geniuses who have their shit together.
Even though combining the word “business” with “art” is somewhat taboo in the land of non profits and mission statements, allow me to encourage you to think of yourself as a small business. A self-contained incorporation. It’s not about looking at profit margins because lord knows there aren’t any. It’s about asking who and what your team is, how it’s working for you, what you need to acquire, and what needs to go. Agents, publicists, your repertoire, your wardrobe,your education, your reading material, the classes you take, your headshots, your resume, even the office supplies you choose are all working for you. They are your employees. How are they doing? It might be time to have a staff meeting.
Before we dig full force into those larger areas – Girl, you need an executive assistant.
In theatre, we call them the Stage Manager. And for your career? It’s all you, baby.
I actually own a stage management handbook. While I don’t use the chapter on rail plots or working with sound supervisors, I’ve found a way to use almost everything else. Being self sufficient makes you easy to work with, gives you that soldierly sense of “Good to go.” Anna Deveare Smith says the rehearsal room and stage are sacred spaces. I agree. When the production staff sweeps and clears the stage or room in preparation for the creative work, it’s a ritual we need to respect and even emulate when it comes to our own process. We need to do the work it takes to prepare what Peter Brook calls “The Empty Space.”
“This whole creation is essentially subjective, and the dream is the theater where the dreamer is at once: scene, actor, prompter, stage manager, author, audience, and critic.” – Carl Jung
In this series of blog posts, I will give you an actor’s translation of a stage management handbook: strategies, systems, suggestions, and tools that will make life easier on you as a performer. Easy as it is to make fun of us performers, it takes certain conditions to be able to stand in front of a bunch of strangers and dig down into the depths of your vulnerability, technique and talent. The Back Stage Guide to Stage Management defines, in part, the job of the stage manager thusly, “…They establish a creative environment by combining the ability to prioritize and anticipate and solve problems, with calm sensitivity and grace under pressure.” They have to do it for a team. You only need to do it for you.
Define your process. Create your ideal conditions. Have what you need.
Stay tuned for Part One: On the Home Front. Coming soon.
You might be wondering about just what it is I do, how I do it, and how effective I am. For a quick run down on my auditioning philosophy, check out my About page. But for a more practical idea of what I actually DO as a coach, read on.
WHAT I DO
I work in several different ways. But here are some common types of sessions:
1. Monologue and/or song coaching. You have a particular piece you want to use in auditions. I help you make it sharp, specific and professional. We go through the piece moment by moment, upside down and inside out.
2. Repertoire consulting. I take a look at your repertoire (monologue and/or musical) and help you hone it, expand it, and focus it so that it is designed to show YOU off as a performer, and not anybody else. I find the gaps, the bulk and the weaknesses. Also, I make sure you have pieces that work right now, as well as a plan to develop more and better material for the future. More importantly, I show you how to highlight your strengths.
First, I send you a questionnaire that gives me information on your current repertoire and experience. Then we meet. I will have you perform a sample of the repertoire. Then we talk about creating a development plan. After our session, I will email you specific recommendations. Then if you choose, we can get together again to work on specific pieces.
3. Callback coaching. I will help you prepare your sides and presentation for the callback.
4. Audition Consulting – I’ll help you pick the right combination of material for your audition.
HOW I DO IT
Every actor is different and needs and wants guidance in different areas of their repertoire and presentation. After you contact me we will have a discussion about you and your goals. I tailor each session to the individual actor. I have a created a questionnaire that I will send to you and we will talk about your answers so I can really learn about you and the best ways I can assist you on your professional journey.
I tailor each session to the individual actor.
A sample session with me might follow this general plan: After you arrive, I have you perform your piece(s) immediately. Then we talk about the piece, the character, the play, etc. We also talk about who you will be auditioning for and what you hope to achieve. Then we will work through the piece moment by moment. (Lengthier monologues or songs may require a couple sessions to fully stage.)
After we meet, I will always follow up with a summary email about what we discussed. So many times coaching or classes are filled with tons of valuable information, but as we perform on our feet, we tend to forget many of the moments that spoke to us.
I’m an actor, too. I coach in addition to acting, so I am well aware of what you face in audition rooms. Rest assured I will help you to audition with a very current knowledge of theatre today.
THE RESULTS
You might be thinking, “Yeah, yeah. But I’m an actor and not exactly swimming in funds. How do I know if coaching with you is worth it?”
Let me tell you two things:
1. Everything I do, everything I write, everything I offer is created to provide value to you as a professional. I mean this down to every link I post on Facebook or Twitter. I write what I write because I wish somebody else would have written it first. I post links to articles that I think offer great insight, perspective or practical knowledge that will help an actor be a better actor. I do what I do because I wish somebody did it for me. I created my system for audition preparation because I needed one. I want it to help you too. Doing things cheaply, haphazardly or with bad intentions makes me feel all yicky inside. If it’s crap, I won’t send it your way. Truly, I care about your career and your successes. I read books about auditioning. I take all sorts of classes. I work. I have an investment in helping you to do well.
Everything I do, everything I write, everything I offer is created to provide value to you as a professional.
2. People I coach are consistently cast, called back and complimented on their auditions. Check out my testimonials page to hear directly from my clients. If you want more details from those I’ve worked with, please contact me and I will provide you with direct referrals. I can’t ever guarantee casting, but I can guarantee I will work hard for you.
People I coach are consistently cast, called back and complimented on their auditions.
I will boost your confidence and encourage you to spread your wings. You are not alone out there. The feedback and guidance I provide will calm your nerves and even make auditioning fun!
Don’t miss today’s Giveaway!
I talk a lot about the benefits of comedy in an audition repertoire. It’s an icebreaker. It’s a way “in” to you. What you find funny is great information for both you and the casting people. Monologue auditions are problematic by nature. One of the reasons for this is that the pieces you perform occur out of the context of the play, at least for the audience. It’s easier to connect to a comedic piece without context as opposed to a dramatic piece.
But sometimes we have to roll in the deep, as it were. Whether an audition posting requires it, or the play demands it, you have to have a dramatic piece available.
Whether an audition posting requires it, or the play demands it, you have to have a dramatic piece available.
And sometimes you have to get to its depths in 30 seconds in an audition room.
I’m taking an incredible Shakespeare class and in it I am getting my ass rightly kicked. I was given a monologue from King John, the role of Constance. Constance, as Asimov says in his Guide to Shakespeare, “has no parallel in literature for sheer intensity of anguish.”
“No pressure there,” said my Shakespeare teacher.
No shit.
With much assistance and digging in during class I was able to find a way in. But rehearsing at home resulted in less successful access to Constance’s “anguish.” Feeling overwhelmed by performance pressure and vulnerability blockages I did as many an actor before me and pushed the “hard” stuff aside and started to focus on an upcoming project that, at this juncture at least (i.e. I haven’t started rehearsal yet), requires much less of me than Constance.
I started watching the documentary The Theatre of War which is both a documentary about Bertolt Brecht and his relationship to conflict and also the 2006 New York production of Mother Courage starring Meryl Streep. The latter was my initial interest. It’s a rare look at motherf*ckin’ Meryl Streep in rehearsal. I was, to say the least, curious. What is her process like? How does she dig in?
Well, as brilliant as Meryl is in the role, and she is… (Watching Jeanine Tesori create songs written specifically for Meryl in front of your eyes inspires such levels of respect and envy in a much younger and much, much greener actress such as myself, I was rendered incoherent. As you can see, I’ve since recovered.) Still, as brilliant as Meryl is, the 2006 production faded into the background as Brecht’s assistant narrates the process behind the original Mutter Courage as played by Helene Weigel-Brecht.
She was Brecht’s wife, and judging from the audio recordings of her performance (even in German, a language I absolutely do not speak) and from the production photos, Helene Weigel-Brecht was incredible.
Yes. I said judging from the production photos.
There is a moment (spoiler alert) after Mother Courage has lost all her children, when her merchant side, her vicious facade, has faded away and she is in one particular moment, as Meryl says, “solely a mother.”
And she screams. They call it a “howl of despair.”
This is a photo of Helene Weigel-Brecht screaming.
Silently.
That’s right. Her choice was to make the scream completely silent.
Never have I seen a PRODUCTION photo that has evoked such an emotional reaction from me.
And in that moment, I understood Constance.
I hope I can pull the wagon by myself. Yes, I’ll manage, there’s not much in it now. I must get back into business.
Bertolt Brecht, Mother Courage and Her Children
Back into business.
Remember in high school when you said this a lot: “I can’t. I have play practice.”? Now it’s not “practice,” it’s “rehearsal.” It’s unfortunate the whole idea of idea of practice has somewhat gone away.
Ballet dancers have the barre.
Painters the canvas.
Photographers their camera.
Musicians their instrument.
Studio space. Sketches. Scales. Class.
Practice. It’s not a synonym for “rehearsal.” It’s a different beast entirely.
Actors have a somewhat different routine than other creative and/or performing artists:
Audition Audition Audition. Drink. Audition. Rehearse. Rehearse. Drink. Show. Drink. Rinse. Drink. Repeat.
Sure, we run our material for the audition. We may warm up a bit. We might even take a class. But most of us don’t cultivate the idea of true practice. Is there an actorly equivalent to a musical scale? Certainly, in musical theatre we can practice dancing and singing, but acting is a bit more difficult to pin down.
Miriam Webster’s definition of practice is as follows:
The obsolete and archaic versions are my fave: To plot. To intrigue. Ha! Think about it though. To practice IS a strategy. The one that REALLY trips my trigger is definition 1c: To be professionally engaged in. This implies that practice isn’t just blindly running material in your living room. Practice can be seeing shows with an open mind that is available for learning. Practice can be working out. Practice can be taking a class.
I know you’ve heard it a thousand times before. But it’s true – hard work pays off. If you want to be good, you have to practice, practice, practice. If you don’t love something, then don’t do it.
Ray Bradbury
The key, I believe, is in our repertoire. In it lie juicy opportunities to truly practice. Not just run them, but really dig in and discover them. A lot of times, when I’m coaching or when I ‘m working on my own stuff, there are discoveries that make an old monologue new again. So much so, that it seems unfamiliar. This is good. Nerdy as it sounds, scene study groups are a good idea. But so is individual work. The idea of the actor being a self-employed entity really comes into play when you are not currently in a show or rehearsal period. Some of us don’t practice well on our own. We feel overwhelmed and don’t know where to start. Grab a friend. Hire a coach. Take lessons. But find a way. Truly you can ONLY benefit.
Practice puts brains in your muscles.
Sam Snead
Don’t get me wrong. Rest is good. Rest is necessary. Vacation. Time Away. You shouldn’t be practicing ALL the time. This isn’t about stressing yourself. It’s about getting rid of the idea that when you are not actively employed as an actor, you are not an actor. It’s about getting rid of the vacuum that makes us feel helpless or useless without an actual performance space. You are not powerless. You are not helpless.
Practice means to perform, over and over again in the face of all obstacles, some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired.
Martha Graham
It’s not necessarily the amount of time you spend at practice that counts; it’s what you put into the practice.
Eric Lindros
Always be working. Even when you aren’t working.
Be professionally engaged in practice.
Authentic Auditioning 