Consider Yourself

There is a new TV show called The Glee Project.  It is a reality show (aren’t they all?) about singers hoping to get cast for a 7 episode feature on Glee.  What makes this particular show a bit unique is that it really is an extended audition.  It is conducted by the show’s original casting director, along with its vocal coach and choreographer.  There are no audience votes turning it into a popularity contest, and the directors are looking not just for the next big thing, but for someone who can be an interesting character on Glee.  (You can watch it on oxygen.com.)

The show’s director specifically said, “It’s so subjective,” pointing out that it may not be the best singer or actor or dancer who is automatically selected.  They watch the hopefuls as they interact with others.  They watch for attitude and ability to be part of a team.  Being directable – able to cheerfully take suggestions and try something different when asked – is valued.  They don’t necessarily go straight for the most talented, but are drawn to the ones who stand out because of their special combination of abilities or personality.  I will be curious to see the fate of the pretty girl who has already declared herself on camera as one of the best singers there (or did she say THE best?).  Yeah, keep on telling it to the camera…

Spoiler alert – the first two episodes are over, and two people have been cut.  In both cases, the one who was “not called back” was dismissed because of attitude.  One was difficult to work with, the other viewed as being too negative.  I always find it interesting to see the process that others go through, especially professional directors, and found it especially interesting that it is pretty much what I do.  That isn’t to say I’m up there with the pros, but it does show that almost wherever you go, people will look for the same kinds of things.  I guess after all my preaching about the importance of the whole package – talent and personality – I am reassured to see professionals weighing identical concerns. 

I finally announced the (essentially) complete casting for Xanadu, after auditioning, doing call backs, trying to determine which qualities I really needed in which characters and how different actors would look/sound/perform together.  I am so looking forward to working with a group that is talented, excited about the show and who genuinely like each other and should work well as a team.  They say that casting is about 90% of a director’s job.  Yeah, my job is done!

Strange Magic

I finished my three rounds of auditions, then callbacks, and entered the deciding phase for both productions.  Even though one of the shows isn’t happening for months, I hate leaving people hanging.  I figure once they express an interest and willingness to be in a show, it is just common courtesy to give them an answer in a timely manner.  Selfishly, I want to get a commitment from the ones I want to work with before they are snatched up by some other director for a competing show! 

So, I just posted a cast list for Xanadu. Or at least a nearly complete cast list.  I still have a few decisions to make.  I also cast another show this past week, and started rehearsing it last night.  It has been a whirlwind of callbacks, deciding, considering, planning.  Hence, no posts for days.

Sometimes the whole process can throw me for a loop.  I’ve had people show up at rehearsals who haven’t been cast, still feeling hopeful, I guess, or perhaps not really understanding the audition process.  It’s bad enough to reject someone in an impersonal way (email:  sorry, you didn’t make the cut), but to have to essentially do it twice?  No fun. 

I’ve frequently had people drop out very early in the game. even between auditions and the first rehearsal.  It goes with the territory, and I sometimes even try to plan ahead for it.  I once cast a group of 80-some people for a large theatrical/choral production, which was more than I really even wanted.  What was I thinking?  By the time we opened, dropouts had brought us down to 63 people, which is about what I had aimed for initially.  It turned out for the best, as I didn’t need to replace those who quit.  More often, dropouts are a problem that must be dealt with by the director, but they can also work to an actor’s advantage.

My first big role in high school, as Lucille in No, No, Nanette (a show that no one ever does anymore, but is really very cute) was the result of replacing the girl for whom I was the understudy.  She got sick and had to drop out.  My most recent role on stage, as Truvy in Steel Magnolias, was also a role that was initially given to another, who also needed to drop out for health reasons.  I so appreciate people who are willing to jump in with a good attitude and not feel slighted for being a second choice.  Xanadu’s Broadway star, Cheyenne Jackson, who was a perfect Sonny, took on the role after the initial lead was injured in a (wait for it…) roller skating accident.  Only in New York!

Show Off

I have an opinion on everything (director, remember?), but realize whoever may be reading this will have their own particular theatrical interests. Whether you are a performer, fellow director, or just someone with a general interest in stage stuff, I hope there will be discussions here and there that are of value. I’ll try to keep the posts to one page, so some topics might span several posts. I welcome your comments.

First off, I want to address auditioning, as I am holding auditions next month for two completely different productions. First is Xanadu, the wacky Broadway musical, loosely based on the 1980's film that people love to hate. The other one is a religious musical program originally designed as a readers' theater, but which we are staging in a more theatrical way. So, I have two very different groups to look at, two sets of requirements, but the kinds of things I look for are similar in a lot of ways.

Auditioning is not a chance to show off, but the opportunity for the director to see if you fit in with her vision of the show. (To avoid him/her confusion, I'll just stick with the female pronouns ... since I'm a girl.) When casting a musical, singing ability is the starting point (although there are many other factors I consider, too). Selecting a song that will showcase your voice is an important first step. Usually you will want to select a song that is similar in style to the show for which you are auditioning.

Xanadu, for example, is all 1980's pop music. If someone comes in and sings something like "You'll Never Walk Alone" from Carousel as an audition piece, it is going to tell me very little about how appropriate their voice might be for Xanadu. I will learn some things about their voice, and it may pique my interest, but they are basically doing themselves a disservice.

Do some research, not only about the show, but about the desire of the director. Some directors specifically do not want you to select a song from the show for which you are auditioning. Some specifically do. There are good reasons for either way of doing it, but be sure you are presenting the picture she wants to see. Try to familiarize yourself with the songs from the show, even if you aren't auditioning with one of them. I've seen on the spot requests to sing a section of a song from the show if the director likes what she hears. You'll do better, appear more sincere and make a better overall impression if you come prepared for whatever you may be asked of you.