Between your Showstoppers, Dream Roles and the work of some of the Big Guys, hopefully at this point, you’re looking at (or have a plan to find) 4-6 nicely contrasting pieces that show off your vocal range, your personality, and contrast with each other vibrantly. You probably have (or are looking for) a classic ballad, a contemporary ballad, a Showstopper, and an lighthearted uptempo number. You may have a solid comedy piece and/or some pieces by specific composers you feel connected to.
So what next? In this post, I’m going to talk about a couple areas you might want to consider followed by several categories that are often requested at auditions. Please note that there is no need to have separate pieces to represent these categories. If you have a song that works in several ways, that is great. In fact, that is best.
THE “ME” PIECES – Personality and Style
In the first four to six pieces we’ve focused on your talent and skill. We also focused on contrast. Now we want to address your personality and your personal style — what I call “ME” pieces. These are songs that you love, that you sound good singing, and that you connect to as a human. It’s quite possible that your first four pieces fit this bill. If so, great! We want each piece in your top ten to serve as many purposes as possible. However, we all have that one number we sing in the shower that we just LOVE. It feels so YOU Like a composer knew you and wrote a song for you to sing. Sometimes these songs may not have a big money note, or a large range and we hesitate to use them as a first choice in auditions. If you’ve addressed those issues (range, power, depth, contrast) in your first songs, here is the spot for the personality pieces.
Let’s go back to Melody’s comments about “The Simple Little Things.” I love this one. I feel I can connect to it emotionally. I adore the character, and feel I could be cast as her. Talk about two birds, one stone! Melody’s go-to Ballad is also a “Me” piece. That’s awesome. She’ll use this song for a long time.
If you still feel like you are missing some of “you” in your book, take a look back at Living the Dream and You Need a Hero. These strategies are ripe for finding “ME” songs.
TYPE SONGS
Contemporary musical theatre is moving away from the stock character structures of classic musical theatre. However, classic musical theatre is still being produced, as is High Camp, Operetta and all sorts of revues, cabaret, and other mashups.
Some actors don’t seem to be one type or another. Other actors just reek. David Hyde pierce is downright nebbish when he wants to be. Robert Preston was the perfect Harold Hill. He’s a born salesman type. Faith Prince is sass and a half. The Proper Gentleman, The Villain, The Lounge Lizard, Fatherly or Grandfatherly are all some of the male types we find in MT.
For women there’s the Mother, Ingenue, Brassy Friend or Secretary, Sexy Bad Girl. You see the point.
Melody once again hits the nail on the head with “Simple Little Things.” This really is a wonderful piece for her. Melody’s from the South, originally. 110 in the Shade takes place during the Dust Bowl in the Southwest. Lizzie Curry, the character, is a small town woman is both a dreamer and a realist. This gives Melody a lot to connect to and a lot to work with. Here’s more from Melody concerning her “type,” I don’t think I really fall into any extremes, which is challenging. So, hopefully, I can be really likable. This tells me Melody is three dimensional and has the freedom to stretch her wings a bit when it comes to traditional musical theatre characters. In fact, her piece “A Quiet Thing” from Flora the Red Menace is just the ticket. It was a Liza vehicle original which indicates quirk, charm and belt. These are charactertistics Melody has, but they aren’t quickly obvious. “A Quiet Thing” would be a nice little surprise in an audition.
Don’t make the mistake, when considering “type”, of sticking yourself in a box. You’ve already established your bread and butter with your Showstoppers, Ballads, and “Me” pieces. Let the Type Songs answer to both the obvious, and some surprise. Take a look back at the Comedy post to see how to flip something upside down for your benefit.
If you don’t feel this way about any songs, don’t fret. Someday they’ll come along, those songs you love. Hopefully the two or songs you select in this category contrast a bit and show different sides of you.
Source SJE Records
POPULAR CATEGORIES, STYLES and GENRES
Now we are really going to start custom fitting your Top Ten. You probably have a specific idea of 4-6 that you are either searching for or already have. Let’s address what might be missing and what you might want to cover.
*Note – I will cover several of these categories and styles in detail in upcoming posts.
Dramatic pieces (if your Showstopper is dramatic but upbeat, you may want to consider a dramatic show ballad). While we did focus on contrast in the first four pieces, we spoke more along the lines of tempo, vocal performance, and style. Here, we are addressing content and context. What are the circumstances? What’s on the line?
Pop/Rock – Particularly a piece from outside the musical theatre cannon. This genre of musical is growing rapidly. While those of us that are a bit longer in the tooth may not need to worry about it, anyone under the age of 35 should really consider filling this spot. I also highly recommend looking outside the musical theatre cannon for this piece.
Jazz or Torch – for the mellow-voiced among us. I’ll talk about sources for these pieces in upcoming posts.
Classic Show Ballad – Think Rodgers and Hammerstein, Rodgers and Hart, Lerner and Loewe, etc. Something from the 40’s to the 50’s. The Golden Age. Melody has this covered with “Simple LIttle Things.”
Sondheim – See this post. He’s pretty indispensable.
Your specialty – Opera, foreign language, etc.
Patter – Patter shows off a certain ability with song and language. It isn’t so much about vocal chops as it is about delivery and rhythm. Having a patter piece in your back pocket can be just the trick for lighthearted Sondheim characters, comic relief, and villains.
The question is: what is it that you do the absolute best, and what pieces will it take to show that off? If you are a face-melting high belter, if you are a classic soprano, if you are a sultry chanteuse, if you are a squeaky clean all American boy, if you are a gruff bad boy…you name it, The Big Ten centers around that.
Does it have to be just Ten?
Not at all!
My A Book has around 14-20 songs in it, depending on the audition. That’s partially because I play piano, and I have extra pieces in case I need to accompany myself or play something classical. I also sing a lot of different styles including gospel and bluegrass.
This isn’t about hitting some arbitrary number. This is about a well-edited small collection of rock solid songs that you can perform at the drop of a hat.
The idea behind the Top Ten, your ‘A’ Book, is to help you prioritize and organize your audition preparation. Everything should be tailored specifically to you and what you need.
SPECIFIC AUDITIONS
The final touch to your A Book are a few singular audition-specific pieces. These pieces are individually pulled from your B Book as a way to shape your A Book toward a certain show or role. How does this work? Well, let’s say you are auditioning for Oklahoma. Your A Book is structured around YOU, not Oklahoma. So in order to feel really ready, you probably want to put your R&H piece into your A Book (if it isn’t already there). And you’ll probably want to have something uptempo from classic musical theatre – maybe Porter or Berlin. These don’t necessarily need to be the pieces that you initially audition with. They are just nice backups in case they want to hear something else. For some auditions, your basic A Book will work just fine, for others you may need to beef it up a little with some carefully selected pieces. Some directors like to dig through your book. Others cut you off at 12 bars because that’s all they need to see. Some have you sing the piece you brought in over and over from with different direction.
Now you’ve got a structure on which to build. It’s okay if you feel like you don’t have anything to put into your Top Ten. In fact, let’s put the structure of the Big Ten away for awhile. We are going to free form gather potential songs. If you are following along with this process, your only goal right now should be gathering vibrant and enjoyable pieces that showcase you and your talent. Don’t worry about fitting them into particular categories or priorities just yet. You’ve got your shopping list. Now where to we go to shop? I’ve covered some of the more traditional sources for material. Over the next few days I’m going to discuss some alternative ways to find exciting repertoire.
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The Incredibly Divine Ms. M
Who are your idols? Who are your faves?
I ain’t gonna lie. In my eyes, Ms. Bette Midler can do no wrong.
I mean have you seen this? It’s her performance on the final Tonight Show with Johnny Carson. It is the pinnacle of song styling. Genius. I cry. In fact, I cry so heartily that I should not watch this in public. Just one of the greatest performances of all time.
…I love Bette Midler because I love her sense of humor and the material she chooses. I’m attracted to her style and I look to her, not only for entertainment, but to learn because I would like to do what she does.
So who do you look up to? Who do you admire? They don’t even have to be performers. They could be your Mom or Dad or friend or a character. We all pick up on other people’s style. Whatever they’ve got that you really love and admire is probably lurking somewhere within you.
Take a look at your idols and their resumes. Look at their albums or body of work. Somewhere in their repertoire might be a piece just perfect for you.
Sutton Foster (Source: The Gazette)
Broadway stars and their solo albums, in particular are worth a look. Often big time or up-and-coming composers will write songs just for these ladies and gents OR they will provide them with pieces that never made it into a larger musical. This is how I found my Guettel piece, actually.
Note: I am not suggesting we turn into a bunch of creepy copy cats. This strategy is all about taking something you love and putting your personal spin on it. This is all about sourcing material, not changing who you are. It’s just one more way to utilize your preferences and sources of joy.
Special Note: The Signature Song
A warning: there’s sort of an understanding that only Judy does “Somewhere Over the Rainbow.” By now, you probably know I have a bit of an aversion to arbitrary rules. Yes, there is an argument to be made to avoid your favorite superstar’s signature number. You can try looking at their b-sides for more juicy stuff. However, a tweak of perspective can make all the difference. Take a look at Bette’s “One for My Baby” I posted above. That’s actually a big ol’ Sinatra signature. But she pared it down. Made it realllly personal, and subsequently made it her own. STUNNING!
Pant, pant. Okay. Sorry. I just…love that performance.
Common Wisdom says don’t set up bad comparisons. The idea is that if we sing someone else’s signature song, we are setting ourselves up to compete against some of the greatest performers of our time.
Another form of this theory is avoiding big popular numbers: “I Dreamed a Dream”, “Memory”, “Defying Gravity”.
Man, I hate rules like that. Here’s the deal. Is it a risk to perform songs like these? Yes. Are you setting yourself up for eye rolls and such? Maybe. But rules are made to be broken, baby. If you perform one of these undeniably, if these are the songs that speak to you the most , You just f*cking love them? Then do it. Try it out. At least at one audition. See what happens. You’ll never know until you try.
Another strategy is to do what I call the One Off. It’s not THE song. It’s the second song. Or the third. So you don’t do “Don’t Rain on My Parade”, but maybe you do “Who Are You Now” or “His Loves Makes Me Beautiful” which are also from Funny Girl.
Recommendations
Here are some interesting folks with quirky resumes who might just have a song or two in their career history that will knock you head over heels:
Doris Day
Robert Preston – He did a particularly horrific PSA in the 60’s that would be a brilliant comedic number.
Sammy Davis, Jr.
Lea Salonga
Tom Wopat
Marilyn Monroe
Rita Moreno – Quirky guest appearances (think kid’s programs, The Muppet Show, Variety Shows, late night appearances, cameos) can be ripe for the picking
Gregory Hines
Liza Minnelli
Nell Carter
Linda Ronstadt
Now, I understand you may be questioning my sanity, but I just want you to stretch your idea of what can go in your book. There is just so much good stuff and weird stuff and juicy stuff out there, you can have an absolute blast digging up pieces that may be hidden away somewhere just waiting for you to find it.
Remember: Your dreams and ideals are important. Music is written to be performed. Always question the status quo, and for the love of God, go for what you want with all your heart.
Tomorrow? Tomorrow we talk Comedy. Day 8 – Comedy Tonight!
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Stephen Sondheim
One common strategy to finding useful audition pieces is to dig into the work of individual composers.
Sondheim. Rogers and Hammerstein. Gershwin. Cole Porter. Schwartz. Herman.
These are scions of musical theatre. First of all, can we get a woman in there, please?
- Tesori
- Ahrens
- Comden
- Willis
- Childs
- Rodgers (Mary)
- Simon
- Russell
- Rodewald
- Stitt
Ah, that’s better. Now can we make a bigger deal out of them? Excellent.
Soapbox aside, certain composers require special consideration when it comes to audition preparation. They are iconic because of their individual sound and unique challenges. While there is no reason to seek out a piece from every arguably iconic composer, we certainly find ourselves attracted to the work of some over the others.
As we go through each name, I will offer suggestions for preparing pieces by these composers as well as alternatives that may have a similar sound.
But before we dig into ALL of them, let’s talk about five of them.
Rodgers & Hammerstein (Source: The Sound of Music Guide)
Rodgers & Hammerstein
In the idiocy of my youth, I went through an anti-Rodgers and Hammerstein phase. I was a child of of the 90’s and it all sounded so…old. RENT had just come out. Phantom, Les Mis and Miss Saigon were the big paragons of Broadway. Even Chicago, from the 70’s, at least sounded sexy and hip. Luckily, I regained my wits. I do believe that having a big Rodgers and Hammerstein ballad is a great idea for your audition book. Male or female. Young or old. They are what musical theatre is built on. They also contrast wonderfully with Showstoppers and contemporary pieces. If you are overwhelmed at looking for a big classic ballad, look here first.
Alternatives: Rodgers & Hart, Lerner & Loewe
Stephen Sondheim
Stephen Sondheim is easily the most requested composer and there’s a reason for that. His style is so distinct, and often so difficult, casting directors and directors want to know if you can handle his work right off the bat. When searching for a Sondheim piece, start with character. Who would you love to play? As I mentioned in Living the Dream, my Sondheim dream role is Mrs. Lovett. Now, Mrs. Lovett isn’t ideal in an audition for a couple reasons. 1. She uses a distinct dialect. 2. Her pieces are a bit difficult to arrange in audition-friendly cuts. Also, the piano accompaniment for Sweeney Todd can be shockingly difficult for a lone accompanist, which, in turn can makes things a bit wonky for me at an audition. So I decided to head in a couple different directions – ballad and funny. I’ve got “Not a Day Goes By” for two reasons 1. I connect very deeply to it on an emotional and personal level. I just “get” this song. I love it. 2. The accompaniment is easy for me (as a piano player) to work with at home. And, as such, it’s an easy sight read at the audition. I also have “Can That Boy Foxtrot” which was cut from Follies’ London production. It’s not standard Sondheim because it’s got a Vaudeville feel. But it IS standard Sondheim because the word play is second to none and it’s really funny. I am not an ingenue. I need some funny stuff. So that’s me.
Alternatives: It kind of depends on the piece. As a general rule, if they ask for Sondheim, bring Sondheim. But man, I love a cleverly broken rule… Bernstein, even some R&H (Hammerstein was Sondheim’s mentor), Guettel, Kander & Ebb, Weill, Jerry Herman, William Finn. Sondheim himself considers Porgy & Bess to be the greatest musical ever written. It wouldn’t hurt to check out some of the more complex Gershwin pieces. There’s more than a little Gershwin in Follies, in my very humble opinion.
George and Ira Gershwin (by Al Hirschfeld)
Gershwin
It is no bad thing to have some Gershwin in your book. First of all, the cannon is huge. Secondly, Gershwin is fun as hell to sing. Third, Gershwin pieces work for a wide variety of audition situations from actual Gershwin musicals, anything 20’s or 30’s, revues, comedy, shows that are dance heavy. While I try not to get too wrapped up in the “Overdone vs Obscure” debate, do yourself the favor of looking beyond “I’ve Got Rhythm.” If your repertoire is hurting for some classic stuff, particularly upbeat, dig into some Gershwin.
Also, it isn’t just about George. Ira collaborated with a lot of interesting folks over the years including Jerome Kern, Harold Arlen and (my fave) Kurt Weill.
Alternatives: Porter, Berlin
Cole Porter (Source: Yale)
Cole Porter
If you aren’t finding anything Gershwin that clicks, take a look at Cole Porter. To call the man prolific is an understatement. He also has a bit of a dirty side; really take a look at the lyrics to “Too Darn Hot” sometime if you’re feeling saucy. Having a Porter piece is like having a Swiss Army knife. It’s a multi-purpose audition tool. Some Porter pieces sound downright Vaudevillian, others sound way ahead of their time. Do you need both Gershwin and Porter in your book? That depends. If contemporary stuff is your bag, probably not. However, if you love jazz and more classic musical theatre, having both may benefit you. I have a Porter ballad, and a Gershwin uptempo. I use the Gershwin more, but that’s mostly because for me, a sassy jazzy number comes in handy more than a leading lady classic ballad.
Alternatives: Berlin, Gershwin, Mercer.
Gilbert & Sullivan (Source: University of Michigan)
Gilbert and Sullivan
For the Operetta (and comedic) minded among us, we have to talk about G&S. For a lot of actors, there is no need to include a Gilbert and Sullivan piece. However, I recommend taking a second look if you are having a hard time finding a comedic piece (I’ll cover Comedy in a future post) OR if you are looking for a Patter piece. Certainly, those actors who have Operetta in their skill set may want to look deeper into the genre and seek composers other than Gilbert and Sullivan. I have a Gilbert and Sullivan piece that I have not prepared. What? It’s B Book. WAY B Book. But if I need it, it’s there. If and when the time comes that I require a Gilbert and Sullivan piece, I don’t have to spend time searching for it. It’s right there. I just need to prepare it. Gilbert and Sullivan is a great example of a B Book piece (for MOST actors. Not all.) You just don’t need it a lot of the time. However, if you are interested in performing in pieces like Pirates of Penzance or HMS Pinafore, you need to have a game plan. Here in Chicago, these pieces get performed surprisingly often for the city famous for contemporary realism and improv.
Alternatives; Other operetta
Other Considerations
Now these guys — R&H, Sondheim, Gershwin, Porter and G&S– are certainly not the only players in this game. When auditioning for a specific musical, it often makes sense to pick a piece by the same composer. Here are some examples (by no means comprehensive) of some folks you might bump into.
Stephen Schwartz (Source: LA Times)
Stephen Schwartz
The Schwartz cannon is interesting because his career spans a time period where the musical theatre sound changed A LOT. As such, Godspell sounds nothing like Wicked. So a Schwartz piece from one musical may not work when auditioning for another. Also, shows from Schwartz’s earlier work are open to interpretation and concept. I bring him up because his work from the seventies sounds like the seventies. His work from the nineties sounds like the nineties. He’s also written for several Disney movies.
Alternatives: Alan Menken, Charles Strouse, William Finn
Kander & Ebb (Source: TheatreMusicDirectors.org)
Kander & Ebb
Dancers should consider having some Kander & Ebb in their book. It is Fosse-friendly, to say the least. It’s also sexy and clever.
Alternatives: Comden & Green, Bernstein, Cy Coleman
Lerner and Loewe (Source: Masterworks Broadway)
Lerner & Loewe
Look at Lerner & Loewe as an alternative to Rodgers and Hammerstein or Rodgers and Hart. Lots of big classic ballads and sweet little uptempo numbers and character pieces. These guys are about as classic musical theatre as you can get.
Alternatives: Rodgers and Hammerstein, Rodgers and Hart, Burton Lane.
Jerry Herman and some sparkly friends – Angela Lansbury and Carol Channing (Source: Ricky Skipper Celebrates)
Jerry Herman: One of my personal faves. Jerry Herman musicals are this magical mix of earth mommas and total glamour. Non-ingenues, take note. I mean, look at that picture!
Alternatives: Frank Loesser, Burton Lane, Jules Styne, Comden and Green
Comden & Green (Source: Film Reference)
Comden and Green: Their cannon is pretty huge. Their collaborations are impressive. Comden and Green shows represent the heart of 50’s and 60’s musical theatre.
Alternatives: Jerry Herman, Bock & Harnick, Jule Styne, Richard Adler and Jerry Ross
*****
Before I talk about a few of the big players in contemporary musical theatre, I want to mention that paying attention to the particular show or character matters far more than using something composed by the same person. I’ll use Jeanine Tesori as an example. She’s written an impressive amount of shows including Shrek, Violet, and Caroline or Change. These shows really couldn’t be more different, so picking a piece from Violet for a Shrek audition, probably won’t serve you very well. Better to take a look at the individual show. So, with that in mind, here are some thoughts on a few major contemporary names.
Jason Robert Brown (Source: University of Southern California)
Jason Robert Brown
I know I said I didn’t really want to get into the “Obscure vs Overdone” debate. I will only say this, most directors and casting directors (at least in Chicago) will hear most of the score of The Last Five Years during an audition cycle. Jason Robert Brown also has a bit of a Sondheim issue; the accompaniment can be very challenging when being sight read. It also often doesn’t relate much to the melody. So I will just say that Jason Robert Brown can be somewhat difficult in an audition situation. I’m not saying avoid it. I’m just bringing up considerations. Those are the practical concerns. From an artistic perspective, JRB pieces are undeniably beautiful and singer-friendly. There’s a reason he’s so popular at auditions.
Alternatives: Andrew Lippa, Pasek & Paul, Georgia Stitt, some Flaherty & Ahrens
Flaherty & Ahrens (Source: New York Social Diary)
Flaherty & Ahrens
I love these guys. Their work is beautiful and they tell important stories. My personal thoughts aside, the work of Flaherty & Ahrens is a great place to find a contemporary dramatic ballad. They also cover pieces that while written recently, cover a large range of historical eras and cultures. When preparing for a Flaherty & Ahrens audition, if you don’t find something to use that they actually wrote, look to the era or the culture the piece is about. I have a piece that is actually from the turn of the 20th century I’ve kept around for a Ragtime audition. It’s just another access point while preparing to audition for a particular piece.
Alternatives: Frank Wildhorn, Leonard Bernstein, William Finn, Adam Guettel.
Michael John LaChiusa (Source: Playbill)
Michael John LaChiusa
Rather than wax intellectual on LaChiusa’s work, I’m just going to put this quote from The New York Times regarding an essay penned by Mr. LaChiusa entitled “The Great Gray Way” in Opera News:
Mr. LaChiusa, who has written serious-minded musicals like “Marie Christine” and “The Wild Party,” committed what many in the industry consider an unforgivable breach: he published a scathing attack on many of his colleagues in the August issue of Opera News. The article… began by declaring, “The American Musical is dead,” and went on to assail a large percentage of the musicals that have played Broadway in the past few seasons, and their creators.
That might have been that, had not Mr. Shaiman’s wildly popular show, “Hairspray,” come in for particularly stinging criticism. Mr. LaChiusa labeled “Hairspray” a “faux-musical,” writing: “Instead of choreography, there is dancing. Instead of crafted songwriting, there is tune-positioning. Faux-musicals are mechanical; they have to be. For expectations to be met, there can be no room for risk, derring-do or innovation.”
He went on to say that in such musicals “all sense of invention and craft is abandoned in favor of delivering what the audience thinks a musical should deliver,” that there “is no challenge, no confrontation, no art – and everyone sighs with relief.”
Betta put ya big girl panties on for this fella.
Alternatives: Adam Guettel, Ricky Ian Gordon
Andrew Lippa: It’s best to approach Lippa from a pop/rock perspective. Lippa’s sound is really a microcosm of the current state of affairs in contemporary musical theatre. Film adaptations abound. While the popular music of the 40’s and 50’s often came from Broadway, the Broadway music of today is sourced from popular music. Lippa represents this trend. As a friend of mine says, “Lippa is very traditional contemporary music theatre.” If such a thing exists, there you have it.
Alternatives: Scott Alan, Kerrigan & Lowdermilk, Ryan Scott Oliver, contemporary pop/rock
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While the composer is the most obvious access point to picking and sculpting repertoire, it’s worth noting that it may not be the most important consideration. A director friend of mine says the following:
In a casting session, I want to see that you know what kind of show you’re auditioning for. If it’s contemporary, but has a very classical sound, let’s say you’re auditioning for Light in the Piazza, I would MUCH rather hear R&H, Bernstein, or even L&L over one of Guettel’s peers. The key is knowing the show, knowing the style, and doing your research. If you understand the show and your potential spot in it, it makes my life easier and it makes me want to cast you more.
Follow your instincts, and follow your desires. The role(s) you want and how you want to present yourself should be your North star.
Still, digging into the great pillars of musical theatre can open doors to material you didn’t know existed, new dream roles, and what do you know? A Better Book!
Tomorrow we will talk about your Mentors, Idols and Career Crushes and how they can help you shape and sass up your repertoire. Day 7 – You Need a Hero.
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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
Repertoire has the potential to get a bit unwieldy. There’s just too much great stuff out there to haul around with you to every audition. This post covers my personal system of organization. Please make it your own or even disregard it all together. While I will refer to this system throughout the 30 Days, there is no need to strictly adhere to it.
THE SYSTEM
I structure my audition book around the 80/20 rule, otherwise known as the Pareto Principle or the Law of the Vital Few. The idea is that you can prepare for 80% of auditions with just 20% of your repertoire. The other 80% of your repertoire will be an eclectic mix of pieces that will help you prepare for very specific audition circumstances. In a couple of days, we will be focusing on The Big Ten— that “vital few” that I call your ‘A’ Book. The “B” Book is about building a collection of far more specific pieces for auditions that require a particular genre, style, or need to be targeted to a specific show or character. The “B” Book will contain the bulk (around 80%) of your repertoire. The “C” Book, or the “Cabaret Book” is a holding place for pieces that aren’t presently appropriate for audition repertoire for myriad reasons like age, gender, or content.
I came up with the system for practical reasons. I had a repertoire that was working for me, but it had become impractical to haul to auditions, and frankly, unnecessary. Most auditions don’t require things like a Country piece or say a German art song (I’ve had it happen.) But then sometimes, that’s exactly what they require. So A or B book designation is not static and may change while preparing for individual auditions. What’s in your “vital few” this week may not be next week.
Each post in this series builds on top of the previous, so really digging into yesterday’s post about who and how you want to show up is key to selecting and organizing your repertoire. Remember, this isn’t about consulting a crystal ball and trying to figure out what “They” want. What YOU want and who you are is far more important. As we move along, we’ll talk about sculpting your auditions around the demands of specific shows or characters (Sondheim pieces, classic mid-century stuff, The Bad Girl or Boy, as a few examples). But for now…
We’re trying to put together your artist’s portfolio of your best, most shiny stuff that shows us who you are and what you like to perform.
The A Book – The Vital Few
This book holds your top ten or so pieces as well as a couple more specific pieces hand-picked for individual auditions. These are your rock solid, know-them-frontwards-and-backwards audition stalwarts. You can perform them at the drop of a hat and in any sort of cut form. They are comfortable and most importantly, you love sharing them.
The A Book is all about showcasing your best stuff that represents 80% of what you can do. There are certain specific categories you may want to touch on to build a comprehensive A Book like Showstoppers, Comedy, and Ballads. We’ll talk more about that later. I wanted to plant the idea of the “vital few” in your mind so that you can start to organize your thoughts as we move forward. The idea is to begin to figure out where you need to focus a lot of your preparation energy and what types of pieces will serve you consistently. For example if you are a Leading Man type, you may not need or care too much about a lot of comedy. But if you are the Sassy Sidekick type, you’ll need to bring the funny.
But don’t worry about filling in your A Book just yet. I just wanted you to have a guide and a compass for when we begin the actual search for the bulk of your material whether we find those pieces in your current audition book or not.
The “B” Book – The 80%
While the A Book is focused around general auditions and non-specific calls, the B Book helps you prepare for auditions that focus around a particular style, show or character. As each piece will have a more specific feel, the B Book can become quite large. That’s okay because most of the time, it won’t come with you to auditions. Your B Book can help you prepare for the future (what happens when they post an audition for your Dream Role? More later…)
I use my B Book to alleviate last-minute stress and further expand on my specific but not always in demand skills. For example, I have experience singing bluegrass. This usually doesn’t come into play, but when someone’s posts for say, Floyd Collins or an Appalachian concept, I’m ready to go.
The C book or the “Cabaret” book –
There are some songs you are going to love that you just can’t use very effectively in an audition situation for various reasons. However, this does not mean they should be removed from your repertoire completely. They can be used in cabarets and open mic nights. They can be used for extra special audition situations that require you to be a little creative. They can be used for your own personal singing for fun. I like the C book because when it comes time to make hard decisions about cutting some songs from your repertoire for whatever reason: you’ve aged out of them, they don’t sit right in your comfort zone, the accompaniment isn’t geared toward sight reading… the C Book is a place for them to go without having to say goodbye to them completely.
I always bring my A Book to auditions. I sometimes bring my B book along, too, if I think they are going to put me through the wringer. I rarely if ever bring my C book. However, the C book often comes out when I’m collaborating on a project or when I need a break from my serious repertoire. Sometimes I call it the “Vitamin C” book. It has great jumpstarters that help me get out of ruts and remind me why I love what I do.
The focus of 30 Days to a Better Book is on the A book. The B Book tends to naturally fill itself in, however, for those seeking to be uber-prepared I will be covering the different genres that might find themselves in someone’s B Book.
The key is that a category or piece that is A book for one person may be solidly B or even C Book for another person. While one actor may not have any interest in a gospel piece, a big rangey hymn might be a solid part of another actor’s repertoire. Remember my advice from yesterday:
You trump everything. Follow your instincts
Tomorrow, I will talk about the most commonly sought after and most powerful piece you can put into your book. In two days we will begin to talk about the A Book and the Top Ten Pieces you will want to consider as you build your repertoire.
But don’t stress about filling up your book as quickly as possible. 30 Days to a Better Book is about critical thinking and analysis. Quality and enthusiasm for the material matter far more. Patience, my sweet! Enjoy the ride.
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
Shhhh! It’s not quite September yet, but I couldn’t resist giving you a peek!
I am so thrilled to launch 30 Days to a Better Book on Sunday!
source: realitytvgifs.com
Here’s a quick sneak peek into what’s in store:
Days 1 through 4 are all about setting up a solid foundation. (Sample post title: The Money Tree)
source: realitytvgifs.com
Days 5 through 10 are about building on that foundation and where to find exciting material. (Sample Post Title: You Need a Hero)
source: tkyle.tumblr.com
Days 11 through 16 are all about unlikely sources for great repertoire. (Sample Post Title: Flop House)
source: realitytvgifs.com
Days 17 through 21 cover important eras in Musical Theatre you may want to consider when building your book.
source: realitytvgifs.com
Days 22 through 26 cover special genres (Sample Post: You’re Lookin’ at Country)
source: tumblr
Days 27 through 30 tie up all the loose ends and ensure you will always be prepared! (Sample Post: That Thing You Do)
source: buzzfeed
I will help you turn your book upside down inside out and sideways and back again. There will be advice on where to find intriguing material, resources, and all sorts of helpful stuff. Maybe even some freebies…. Make sure you subscribe – link on the right! You may also follow #30DayBetterBook on Twitter.
Tweets about “#30DayBetterBook”
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Take advantage of that Back to School feeling and make yourself a student of you!
I’m so excited to get started. Thanks for joining me.
And remember
source: realitytvgifs.com
I’ve never been able to completely define tech week to the civilians in my life.
ME: I’m sorry. It’s tech week.
THEM: What’s that?
ME: It’s when we add the lights and sound and band and all the technical stuff.
THEM: Fun! (alternately) Oh.
ME: Oh, yeah well it’s very exciting yes. It’s just…really exhausting.
THEM: Why?
ME: BECAUSE!
Just one more ephemeral thing about theatre, I guess.
Still, it doesn’t have to be QUITE so exhausting. It just takes a little organization and preparation to help keep things to a dull roar.
The idea of Stage Managing Yourself is very applicable to Tech Week in particular. The actual Stage Manager is going through a metamorphosis. She is learning to run the show, call the cues, and generally be the practical head honcho. The point is, there isn’t a lot of time for actor bullshit. Cue to Cue is always a bit of a reality check.
YOU: To be or not to be, that is the-
STAGE MANAGER: HOLD.
(Pause)
Okay, take it from the same spot.
YOU: To be or not to-
STAGE MANAGER: HOLD!
YOU: Cripes.
STAGE MANAGER: Quiet on stage!
Lest we get cranky, let me tell you from experience, as nervous as you are for opening night, the Stage Manager has not only you to think about, but also all the designers who are relying on her perfectly timed cues to realize their vision. It’s a load to carry.
But in the words of the great Lena Horne:
It’s not the load that breaks you down, it’s the way you carry it.
Source: Columbia Pictures
I find that, for me, Tech Week begins the weekend before at my home. I do absolutely as much preparation as I can. The following, it should be noted, is simply how I do it. It won’t work for everyone.
But for me…
FIRST THINGS FIRST
Let’s start with what you have. Go through your script and de-messify it. Look for any notes you’ve written to yourself during the process. Take an inventory of your rehearsal bag and supplies. What shape is everything in? Do you need a refill on kleenex? Mints? lozenges? ADVIL? Make a list and check it twice.
CLOTHING
You may be thinking, um, costume? You finally don’t have to worry about what to wear?
For my life, I require a certain level of dress for the rest of my life, and when I’m at tech, I want to be as comfy as possible. Still there are certain requirements. Lighting designers prefer, if you are doing cue to cue out of costume, that you wear dull colors or neutrals when onstage. No white, no black, and no bold stuff like neons or reds. True, some designers don’t really care, but some do. There are lots of exceptions to this (But my costume is black!) Still, it’s worth noting.
The point is, having a plan for your wardrobe let’s you sleep a longer and helps you avoid the Tech Week Mad Search for Clean Underwear or the dreaded, but we’ve all been there, undies inside out rewear. It’s no good, people. Rare is the actor who gets to Opening Night with clean laundry.
Except you!
Warning: The following is about to seem very anal retentive. It is. And it’s all in the name of getting as much rest as possible during tech week
Source: NBC
Shall we begin?
First grab your calendar and take a look at what sort of outfits you are going to need for tech week, day and evening, don’t leave anything out. Note if a trip to the dry cleaner is in order.
Then for each starting now through opening night, make an outfit plan for each day down to socks, undies and accessories.
Once you’ve got the plan, gather the items. Do any laundry you need to, and iron anything that is wrinkled. Then put the outfits together, a hanger or two per day. I even, wow I can’t believe I’m admitting this, label the hangers for the day of the week. In my defense, I have to say I can’t believe how much time and energy this saves. Our reserves are low during tech week, and the search for a rogue clothing item can be a make it or break it moment, emotionally. Not that I have experienced that. Not at all.
For further philosophy on making the most of your wardrobe, check out the fashion blogger practice of “Remixing”. I particularly dig this challenge from Kendi of Kendi Everyday.
Sigh.
Moving on.
FOOD
I feel this is the most important category when discussing tech week. Not just because food is awesome and I love it and I want to eat it all the time, but because it has a direct effect on our energy levels and our personal sustainability. Unfortunately, right when we need high quality fuel the most, we are the least capable of procuring it. Especially with that sub shop right next door to the theatre, Bless them.
Not only that, we are sleep deprived and our defense are down and melty cheesy things are what we are craving. Plus, as much as our higher intention is to calmly savor healthy stuff, we don’t even have the time to enjoy the crappy stuff. Plus we need our food TO GO. YESTERDAY. On top of that, show me a theatre person who can afford to drop ten bucks per night on dinner? You’re looking at close to 60 or 70 dollars by the end of the week, and THAT could have been drinking money for the cast party! PRIORITIES.
So what’s an actor to do?
Prep work.
I’ve done extensive research over the years on eating healthily and cheaply during the rehearsal period. While at some point, I admit, a Vito from Jimmy Johns is inevitable (I’m a vegetarian except for Italian subs. What.) most of the time I can manage some semblance of a healthy, tech friendly diet on the go.
Here are some suggestions:
- Bean salads: They are hearty, flavorful, full of protein, and you can make them Sunday morning and they are good all week.
- Jar Salads: Mason jars magically seem to keep romaine lettuce really crisp and fresh for extended periods of time. Here’s how I do it. I start with a vinaigrette in the bottom of the jar (I just whisk together lemon juice, a sploosh of white wine or red wine vinegar, a tsp of Dijon mustard, salt pepper. Then I slowly whisk in olive oil to taste.) Then I throw in heartier salad ingredients: fresh green beans, carrots, onions (marinating onions in the dressing takes the sting out a little. Perhaps avoid if you have a make out scene), beans, olives. Then I add in slightly less hearty items: celery, fruits, nuts (they can get soggy), seeds, bell peppers. Then I cram in as much romaine as possible. When I’m ready to eat, I shake the shit out of the jar, and I’m good to go. They really do last all week. You can also throw in a hard boiled egg right before you shake, or anything else particularly perishable.
- Sandwiches: Obv.
- Smoothies: You can make them up. Freeze them. They’ll thaw on the way to the theatre.
- Cheese and Crackers with a side of veggies and hummus. Super easy to pack ahead of time.
- Leftover Pizza: If you order veggie with thin crust and light on the cheese, it’s not horrible for you.
- Ploughman’s lunch: Think picnic on the Thames. A hunk of crusty bread. A nice high quality chunk o’cheese (or two), dried fruits, fresh fruits, nuts. You’ll miss the wine, yes. If you need more protein, try some rotisserie chicken.
- Baked Potatoes: If the theatre has a micro, you can bake regular or sweet potatoes ahead of time and then just nuke them when you get there. Portion your fave toppings into baggies so you can just grab and go.
- Pasta or Grain Salad: Choose lots of hearty veggies, marinated veggies and a vinaigrette base, and it lasts all week. Avoid things like spinach, fresh tomatoes (go with sun-dried), or any other particularly wilty things. One recipe I dig is a barley salad. You cook barley. Cool it. Then throw in lemon juice, minced garlic, olive oil, chopped fresh dill, and salt and pepper to taste. You can throw on cucumber or snap peas or anything else you want.
- Roasted veggies: You can roast stuff like potatoes, carrots, radishes, butternut squash, brussels sprouts with some olive oil and sea salt on Sunday. Then throw them into to go containers and eat them cold or warmed up. It sounds gross. I love it. Maybe it’s still gross, but whatever.
I also find having little baggies of nuts, grapes, string cheese, pretzels, etc. can be very convenient when nights get late.
MAKEUP, HAIR and GLITTER
Source: cosmeticsandskin.com
Getting my MAC pro card was one of the best moments of my life. I have this ritual around tech where I make my pilgrimage to MAC to stock up my kit. It’s therapeutic. Then I pop into Ulta and Sally Beauty for the rest. Although hair and makeup design can change quickly during tech, and theatres often supply hairspray, wig caps, pins and the like, I like my own stuff. I know what works for me, and I know what makes me feel better when I’m performing. Little annoyances, like a bad wig cap, hairspray with a bad fragrance, tights that bunch, all add up and intensify by 200% when you get onstage. A hair in your face on the bus ain’t no thang. A hair in your face during Rose’s Turn can derail the whole the thing if it were to poke you in the eye or something.
Just have what you need. And be flexible once you get there. If there is a problem you can solve yourself, fix it.
Currently, I am on the lookout for the perfect set (or two…MT people feel me) of hot rollers. Holler if you want to talk about it.
MOVING IN
Source: BBC News
Sometimes tech week is the first time in the actual theatrical space. Even if it isn’t, this is the time the actors move from the House into the Dressing Room. Over the years, I’ve started to make myself right at home in the dressing room. I even bring a robe, people. Why not? I bring extra makeup mirrors, fun little doodads to hang on my mirror. I like it old school style. I bring a kettlejug so I can have tea if my voice gets tired, and other actors like having hot water available too. Knowing what you like to have on hand in the dressing room can be the difference between smooth sailing and discomfort. It’s going to be your home away from home for several weeks, if not months, or even years in some cases. Might as well make it your own!
THE PLEDGE OF MONKLIKE EXISTENCE
There are two ways to approach tech week: like a party, or like a cloister. I find that tech week is when I really start to bond with my fellow castmates and the temptation to hang out after is strong. It’s a personal choice. Most of the time, I choose more sleep. 1. I can be a bit of an ice queen. 2. I don’t LIKE emotionally breaking down from lack of sleep, but it will happen if I’m not careful. 3. Lack of sleep, bad diet, and prolonged irritation is a breeding ground for an opening night cold.
So, that Sunday morning before tech starts (or Friday night, or what have you) I make a little pledge to myself. “I hereby solemnly swear I will keep my shit together this week, get as much sleep as possible, if possible, eat as well as I can, and generally treat myself with care. I will shun socializing after hours and do what I can to make this process as smooth as possible with the understanding that opening night, I am going to drink. Perhaps a lot. With friends. And sleep in the next day. Amen.”
THE ONE TIME CRY OF UTTER DISDAIN
I had a castmate who told me about this little tech tip. She said that during tech, each actor, crew member, stage manager or member of the artistic staff is allowed to openly bitch once and once only using the following sentence:
“THIS IS F*CKING BULLSHIT!”
But only once.
I actually love this practice. It works. It makes you realize that annoyances happen and we all have to get through this week together. However, the anticipation that builds around your ONE chance to cry out your grievances unexpectedly adds a sense of humor to the proceedings. You will say, this is it! I’m going to do it. And your castmates will delight in the moment someone finally shouts, THIS IS F*CKING BULLSHIT! And then the tension is released, and you can all go about your business. Sure, this adds up to about 30 “f*cking bullshits” over the course of a week, but we both know a mere 30 would a much more pleasant environment make. This is a lot of artists under pressure in tight quarters. Strategies are in order
PATIENCE, MY DARLING
Look, it’s going to be a long week, but misery isn’t inevitable. You’ve got things to do. Lines to look over. Actors get weeks to rehearse. Designers get a couple days. Stage Managers have to transfigure themselves. And directors have to let it go. Be flexible and hell, have fun! Watching the show take shape, hearing those sound cues for the first time, that magical moment of singing with the band are magical moments.
STAGE MANAGE YOURSELF- THE ANTITHESIS
I stand by every word I’ve written in the Stage Manage Yourself installments. It’s true. It’s just best to have your shit together. We do better work when we have the right tools.
But the irony is, I launched this series last summer at the pinnacle of me not having my shit together. I was in rehearsal. I had launched a business. I was matron of honor in my sister’s wedding. My grandfather had passed away recently. I’m married and I’m never home . I had a stack of plays taller than me I need to read. I was trying to see shows that friends were in. I had no clean clothing. I was drinking a very large glass of bourbon and watching back episodes of Louis while I recovered from bawling because it was suggested I may have misplaced the floss, when in actually I hadn’t really eaten in six days because I was feeling overwhelmed and what’s the point of flossing?
I don’t tell you this because to commiserate. I tell you this because I know you know what I’m talking about.
So…I’m no Martha Stewart.
I get it. Sometimes you can’t always have your shit together.
And…that’s okay. We’re artists. We feel vulnerable. We make shit up. We see shit that isn’t there. We get paranoid. We panic. We think we are irrelevant. We feel forgotten quickly.
Sometimes tech week comes when your parents are in town. Sometimes the big audition happens the same day as your bosses’ big presentation at work (that YOU don’t give a shit about, and yet having electricity and a roof over your head keeps you focused.)
And you know what? Dude. It’s cool. Here are all the things I’ve done (at least that I’m comfortable telling you here) that were the result of doing a lot of theatre at the same time as trying to function as a human:
- Got in a fight with my husband that ended in me crying and him saying “I’m sorry I don’t take your moles seriously”
- Putting the coffee pot in the fridge
- Crying in my car for no reason
- Wearing my friends underwear
- eating ricolas for dinner
- Drinking only diet coke for two weeks
- laughing at a Jeff Foxworthy joke
- eating subway for three meals in a row
- peeling eyelash glue off my eyes three days after the fact
- paying my gas bill for an apartment I don’t live in anymore
- never going to bed because that means it’s tomorrow
- Eating pudding cups and bologna sandwiches for a week straight
- Not showering. For extended periods of time.
- wearing the same outfit to work two days in a row (different accessories. They never said a word)
- Making your understudy go on just for your dance number because you are “afraid you might poop.”
- napping on furniture backstage
And I’m not the only one. I had a friend stop by and the first she did when she walked in the door was borrow my deodorant.
I get that.
But one thing I can promise is somehow, you get through it. Somebody backstage will wipe your tears and shove you on for your number. You will perform even when you feel like you’re going to die. People forgive. You discover your depths.
So maybe your rehearsal bag doesn’t have shout wipes or tampons. Somebody else’s will. And even when shit is bad. Really bad. Even when the show can’t go on. You’re not alone.
Somebody’s been through it.
So yes, stage manage yourself. But give yourself a break. You’re doing it! You’re out there doing it. If somebody makes a negative comment, or you feel inadequate, I quote one of my favorite comedians:
It is just about the easiest thing in the world to criticize something. You know you just move your little finger, “click” don’t like. You don’t need to have googly eyes or pipe cleaners to do that. You know, if you sing out your Batman poetry to a largely hostile Barnes and Noble crowd…if you think doing a nude clown opera, you write it, you cast it, and you actually f*cking do it?? That doesn’t show you’re insane. That shows the symptoms of being hard working and being a huge success. – Maria Bamford
You’re doing it, dude. Keep on keeping on.
And finally, thank your Stage Manager, would ya?
This post wraps up my series Stage Manage Yourself. I hope it’s been useful for you. Please add your tech, rehearsal, and prep tips in the comments! We’re all in this together.
Much love,
Your Audition Coach
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.
The number one question I get asked as a coach is “Should I take this job?” or “Should I audition for this job?”
Conventional wisdom says, “YES. ALWAYS.”
I say, well. I don’t say that.
I’m kind of grossed out by working yourself to death. What can I say? I’m a Pisces. We lounge. We actors kill ourselves with work and obligations and eventually risk turning into angry stress balls who resent the things we used to love. We take jobs we don’t want or are not jazzed about because of money, ego, prestige, goal planning, you name it. We give up a lot of time to a project, and if it’s a project of joy, we do it gladly, of course.
But sometimes joy is Mob Wives and a bottle of Menage. Not rehearsal. I say this from experience.
So back to the question at hand:
Should I take this job?
Ask yourself:
Do you want to? Put everything else aside. No obligations. Don’t worry about other people. Do you want to?
Do you want to take this job? Is doing this job better than Mob Wives and a bottle of Menage? (Feel free to insert YOUR hobby here) If the answer is no…
Don’t take it.
I’m going to say that again because it’s so simple and it’s also actor-heresy:
If you don’t want to, don’t.
Enter the What If’s:
What if the money is great?
What if I completely screw myself with this company?
What if I piss someone off?
What if’s screw like rabbits, by the way, and have broods of their own what ifs.
I’m not saying ignore the what ifs, I’m saying first and foremost ask yourself:
Do you want this job?
If the answer is a resounding joyful GOD YES, then girl, go for it.
If the answer is “I don’t know.” Then ask yourself this: Are the What If’s I’m having just plain ol’ fear? Or is it that feeling of “I know this isn’t right for me”? Plain ol’ fear isn’t a good reason not do something. That icky sinking feeling of “UGh…I don’t wanna. I know this isn’t my bag.” IS.
Do Less Work.
Do less work you don’t want to do, and more work you do. Do less chores. Do more joy. Do less slog. Do more jazz. Do less trudge. Do more fun.
Might that leave you with a little free time to…dare I say, relax? Why yes. Yes it just might.
Do joyful work. Work that makes you happy. You don’t have time for the other stuff.
Authentic Auditioning 