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!

I Hope I Get It

Many people, even seasoned performers, get nervous before an audition.  As a director, I actually enjoy the process.  Nobody’s judging me and I get to see lots of theater friends, old and new.  I get to see the beginning of the vision coming together as I put faces with roles.  It can be fun, at least  until I have to make the very difficult calls about who is in and who is out.  I know that I am going to disappoint many people, and there’s just no way around it.  I don’t like that part at all.

I once had a woman call me, wondering why she wasn’t cast when she didn’t see anyone else at auditions who she thought did better than she did.  She wanted answers.  She started singing to me on the phone.  It was … really awkward.   

I’ve had people come up to me immediately after an audition and ask what they could have done better.  I appreciate the desire to improve and to receive feedback, but sometimes my honest answer would be - be older, or be taller, or be a different physical type – suggestions that are not really helpful to them.  If you aren’t cast, it doesn’t necessarily mean you’ve done something wrong, but it may be that you just weren’t what the director was looking for, in ways that may be totally beyond your control. 

You shouldn’t automatically expect that the director is locked into casting the closest clone to the Broadway version of that character.  Very few roles are so specific that there isn’t creative leeway.  However, if you are far outside the typical type for a role, or don’t bring all the specific skills desired, be prepared to bring something very fresh and interesting to your audition to spark the director’s interest.  I have seen that happen and been pleasantly surprised, finding myself willing to go in a new direction.

In community theater, there are often compromises made, with few triple threats in the amateur world.  The director decides which talents are most important to the role.  Sometimes it won’t be the best dancer or the best actor, or even the best singer, who gets cast, much to the frustration of the best dancers and actors!  The point here is not that all directors are awful and capricious (a topic for another day), but that even if you think you are perfect for a role, the director simply may not agree.   Try not to take it personally – and try not to take it out on the director!

Razzle Dazzle

The auditions I’m involved with start this weekend, so let me add one last random note on vocal auditions.  I personally don't care if the song is memorized. I've heard lots of people apologize for not knowing the words, but I figure it isn't a memory test, it's a singing test. I have no doubt about your ability to ultimately memorize a song. However, your best opportunity to give a good overall impression may be just during the time you are singing. So, if you can really perform it, all the better. You don't have to put in pyrotechnics and backup dancers, but your personality and star quality will probably come through more easily if your eyes aren't glued to the page. If you can shine while glancing at your notes occasionally, that doesn't bother me a bit. Of course, I can only speak for myself.

If you happen to be sick, go ahead and mention it, but I find it often ends up sounding like an excuse, so try to not make a big deal of it.  I've heard too many claim illness as though they'd be Tony Award winners if only the pollen count wasn't so high.  I've heard people sing just fine while sick, even if not at their best. I can tell if someone's congested or if their throat is sore. Their voice may not be as well supported or strong, and range may drop.  But sickness does not destroy sense of timing or pitch or confidence, so most directors will be able to look past your sniffles and scratchiness. If you really think you need a healthy opportunity to show 'em what you've got, ask. Likely, they've been able to determine what they need, and will let you know if they want a second look.

Remember that the very worst thing that can happen is that they'll pick someone else. That's not really that terrible, is it?  I’ve never seen anyone injured or attacked at an audition yet.  They won't post a video of your audition to Youtube. They won't tell all the directors in town not to cast you. They won't prevent you from auditioning again in the future. Try not to let your nerves get the best of you, take a breath, and try to learn something from the process!

Final advice – be confident.  If you aren’t, use your acting!  Pretend!  Ask questions if you need to.  They want you to do your best, really.  They will be nice.  They’ll smile when you sing (the nice ones, anyway - the ones you’d want to work with).  They’ll say thank you when you’re done.   Let your personality come out.  They know you’re nervous, but they’re looking for potential.  Be memorable, be interesting.  

Razzle dazzle ‘em!

Putting it Together

There are lots of things I consider as I look at potential cast members, not always consciously, but they come into play as I think about who I want on my team.  Aside from a talented group, here’s my wish list for the kind of people I’d like to have around. 

I want people who play well with others, who are pleasant to be around and whose demeanor improves cast cohesiveness. I’d rather have a peacemaker than a gossip.  Those who can handle the inevitable stress and help defuse it are highly valued. 

I love responsible people, who arrive on time and arrive prepared.  They are the ones who pay attention to the rehearsal schedule, even the changes!   They let me know as early as they can what their conflicts are and yet do their best to make themselves available.  I actually had someone ask me once if she had a chance of a small part in a simple show if she could only rarely come to rehearsals.  Uh, no.

I appreciate people who are helpful, who are willing to assist with other tasks at the theater. Sometimes there is a whole separate crew to handle costuming, set construction, wigs, makeup, props, etc. Often there is not. People who are willing to pitch in are golden.

In a perfect world, all cast members would be mature and independent.  I can dream, right?  They’d pick up after themselves, remember to bring their scripts, realize the dressing room needs to be shared and that props don’t put themselves away.  Little things become big things when stress mounts.

I would love everyone to be a diva in terms of talent and general awesomeness, but not a diva in terms of being high maintenance and emotionally demanding.  I want to work with people who know the appropriate time and place to voice concerns, which is usually not at 90 Db in front of the whole cast.  I admire people who can have patience with themselves and encourage others when the going gets tough (or when the costume doesn’t fit or the song is hard to learn).  A positive attitude goes a long way in a situation that is, by nature, emotional and demanding. 

Oh, the drama!

Give Them What They Want

I’m doing something sort of unusual for the upcoming auditions I’m holding.  I have two shows I’m casting.  For the standard musical (Xanadu), I’m doing an impromptu choral audition.  For the choral work (My Servant Joseph), I am not.  It seems sort of backwards on the surface, but there is a method to my madness. 

Xanadu has a cast of 9 people, and 6 of them do extensive harmony singing.  It’s all pop music, with lots of “ooh-ah” in the background, with perhaps 7 singers split into 5 different parts.  It isn’t a setting where really any of them will be able to “sing what the person next to you is singing.”  It isn’t Rachmaninoff (the hands down most difficult choral piece I ever sang was his The Bells), but there’s a lot of stuff going on and each player has to be able to hold his or her own.

Paradoxically, the people I expect to be attracted to this show, to come and audition, are actor/singers who are more used to doing solo work.  I have worked with many talented performers who struggle with singing the notes on the page when it isn’t the melody.  For someone not used to reading music, hearing their own part in the mix, and being able to blend and balance with others (while remembering their choreography), it can be daunting.  I understand that.  It’s just a skill and it can be taught, but I’m hoping that the process of developing a great vocal performance will not eat up so much rehearsal time that we can’t focus on some of the areas that I would rather spend time on – like learning to dance AND sing at the same time.   Too often I’ve heard the vocal quality decline once the actors set down their books and get on their feet.  I’m hoping if we start from a better place (choral comfort from the get-go), that won’t be an issue.

For My Servant Joseph, I am expecting those who audition to mainly come from an existing choir.  I am confident that they are already comfortable in a choral setting, and will be able to, with fairly straightforward SATB music and several people per part, come up to speed quickly.  There will be no dancing and little to distract from simply doing their best singing.  In their solo auditions, I can assess their personal vocal qualities and put together a group that can blend well. 

At least that is the plan!  

Let Me Entertain You

Some more thoughts about vocal auditions. One of the considerations is song length. I have conducted auditions where I've seen over a hundred people. As wonderful as you may be, this is not a concert, and we don't have unlimited time. You've seen American Idol. You can tell for yourself within a few notes if someone is going to be good or not. It doesn't take 3 minutes to make a good first impression.

Most directors will want about 1 minute, so plan for that best minute. Skip the recitative intro, the repetitive verses, the instrumental breaks. Find the minute of the song, even if it needs to be nipped and tucked (half a verse, straight to the chorus), that showcases your style, range, power, tone and vocal agility. No one wants to be cut off before they get to the good part, and I can tell you it is awkward for me to sit there and smile while someone goes on too long. If you show that you know what you're doing and leave 'em wanting more, it is much better than just hanging on until the director tells you to STOP SINGING, which may be just short of the part you really wanted them to hear. Do yourself a favor and plan ahead wisely. Otherwise, even if you’re great, expect to be interrupted.

You'll want to know if you should bring sheet music or a recorded accompaniment (track). Generally an accompanist will be provided, but it doesn't hurt to ask. Unless otherwise told, assume that you need to bring your own music. Do NOT plan on an a cappella piece (no accompaniment at all). Most directors don't like them (myself included), and you'll only look unprepared.

There are lots of places you can get music without spending a lot of money. Sometimes the library will have Broadway music books. Some sheet music sites will have a e-version that you can print for a couple of bucks. One of my favorites is JWPepper.com.

Amazon is a good spot for downloading tracks for about a dollar. Go to their MP3 download menu and type in the song title along with "karaoke." Preview the song you want, buy it, burn to a disc and you're ready to go. Be sure if you're using a track that you decide where you want it to begin, which will often not be the start of the song.

Sing out, Louise!

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.

Another Op'ning, Another Show

Auditions are coming up again soon, and as a director, I often wish I could sit down with the hopefuls and tell them what I'm looking for, give a few pointers. Theater is so subjective. You can get passed over for any number of reasons and none of them are fair. So, I thought this may be a forum for sharing my perspective on some of those ideas.

I'm involved in community theater, that much maligned beast of dinner shows and shoestring budgets. But, I am a fan of it. I totally believe it has great value for the performer and the audience. People like to create, and some of the crazier among us do it in front of a live audience. But, it really isn't so different from the photographer, the gardener or the gourmet cook. We make something that wasn't there before and share a little of ourselves with others. It's just that most people don't do it with spotlights on and expect applause at the end.

First, a little background about me. For as long as I can remember, I have loved theater. On stage and off, I have been involved on a volunteer basis in different venues and cities. I am not a professional. I have acted, directed, sewn costumes, done sound editing, choreography and music direction. I'm a bit of a "jack of all trades, master of none," but this has given me a perspective on many different aspects of local theater. I would have a hard time limiting myself to just one aspect of production, but if I had to pick a favorite, it would be directing. I'll use this blog to share my ideas on shows, production processes, and maybe even reviews of shows I see. And I won't expect applause at the end!