So I've been shifting gears with acting the past month. Less theater and more film. It's not that there hasn't been the opportunities to do more theater, but I have to prioritize my time. Even before "The Producers" finished I'd been offered no less than three roles. I hadn't even auditioned for the shows, but offers kept coming. I'm eternally grateful for the confidence bestowed upon me and I'm continually amazed how far I've come in my craft. To know that I'm desired is a great feeling, and I value every role and production I'm in. But unfortunately, it comes at a cost; emotionally, financially and spiritually. Most of what I do is unpaid, and although I enjoy every aspect of the process, I am usually spending my own money for the shows I do. I can't do that forever. I also can't continue to sacrifice my relationships simply to be in a show. Of course I look forward to the next show, but I can't just jump from one production to the next without factoring in the effect(s) on me. Lately I've been wondering, "To what end will that role benefit me?" It's horrible that I would be so shallow, but if I want to advance in my career, I have to be more selective with the roles I choose to accept. When it comes down to it, I can't give three months of my life to ensemble work. Not here at least. I've paid my dues here, and unless I'm being paid, I have to choose shows and roles that either speak to me on a personal level, or in all honesty, look good on my resume. I know that there will be the occasional exception, but I also know that those favors will be returned. I'm trying my best not to be so selfish and conceited, but I honestly believe I've reached a level here in Vegas that requires me to either move forward or concede to theater just being a hobby.
That's why I'm trying to do more film. I have a very limited reel when it comes to the big/small screen, and if I want to move to the next level, I need to add more to it. Pretty simple. Of course it's a relatively new realm for me. The process is completely different and the timing is tough. Perhaps that's why I haven't focused on film as much in the past. I can't just take a week off of work to be an extra on a major motion picture in hopes of getting a bump to a speaking or featured role. That means it's the Independent and Student film run for me. I have to start somewhere, right? I actually am enjoying the experience so far. Not that I haven't done films in the past, but they've been so spread out before that each time almost felt like the first time. At present, I've had four auditions for local and student films in the past two months and I've been cast in three so far. Plus I've been asked to be in two others based on past work. Not too bad. Of course I had to back out of one due to scheduling conflicts and another may fall to the wayside for the same reasons. Still, I'm thrilled for the offers. The biggest issue is the fact that the productions are low/no budget, so their respective schedules are always in flux. Of course, I try to be flexible, but you can't just say to me, "Hey! We're filming tomorrow. We need you for 15 hours." Since I'm not seeing any $$ and I'm not under any contract, I can't be expected to drop everything for some student film maker when his mom lets him borrow the\ car for craft services. I would hope that they would have their shit in order by the time they begin casting, but.....you know...... Again, it's a learning experience for everyone, so I expect some bombs and some wasted time. As I'm building my reel, I will forgo these issues, much in the same way I did when I first started doing theater. I suppose I'll post again to bitch about that later.
All told, I believe that the strong theater foundation I've developed over the years will help push my progress in film that much faster. It may take some time to actually get enough footage to produce a solid reel, but I'm in for the long haul. I guess the proof will be when I move to a bigger market, or the bigger market comes to me. Till then, I'll be humble and professional and grateful.
Thursday, October 24, 2013
Thursday, August 1, 2013
Charmed I'm Sure.
I restarted this blog as a means to assist my depression therapy and while I find the process cathartic, I also find it beneficial to share pearls of wisdom.......or at least what I find helpful to artists reading these posts. Of course, if you notice, I haven't been too prolific as of late. Not my fault! I swear! I've been busy. Between work, rehearsals and shows, I've hardly enough time to maintain proper hygiene, let alone write in my blog. Still, there are moments of clarity that prompt me to share. I find that if I take note of the positive things and deposit them here, I'm likely to remember them and keep applying them to my career and my life in general.
So the past month has been full of experiences that have re-invigorated me and have given me the drive to push forward. Some of the opportunities were of my own doing, some were a result of something else I'd done and then there were some despite my own doing. The Recap:
*The Producers: Super Summer Theater - Sept 2013 - Roger De Bris
I'll start with this one since it goes back the farthest. I was cast a few years back in The Rocky Horror Show and impressed upon the director my acting/comedic/singing talent. That led to him asking me to play the role of John in Oleanna. That performance received some critical acclaim and praise. Fast forward to a couple of months ago. He's directing The Producers and wants me to audition. My confidence is much higher than in years past, but I still have to bring it. The role was mine to lose. The show opens in five weeks. I'm loving it.
*Raiding the Rock Vault: Las Vegas Hotel - Summer 2013 - Nash Freeman (host)
This one has the most impact. Never let anyone tell you to not audition for a role. If you think you have a shot, then go for it. So it was when the original call for actors came on this rock concert style show. I was told by a fellow actor not to audition.....I was too old. I trusted the individual as a peer and much to my chagrin should never have even considered his opinion. Whether or not I would have been cast is irrelevant. The fact remains that I was cast as the understudy for the exact role I was told I was too old for. Two additional notes: 1-I was recommended by a friend to audition. There were not public notices. 2-I was the only one that bothered to memorize the lines for the audition and the call backs.
I think you see the trend here. The work you do now may have residual effects months even years later. If you are professional and prepared, it will be noticed. If you believe in yourself, you can overcome assumptions and misconceptions. Even if you don't land that desired role, if you show who you are and give your best, someone will remember you. Be honest and true. Give respect to the process and the process will work for you.
So the past month has been full of experiences that have re-invigorated me and have given me the drive to push forward. Some of the opportunities were of my own doing, some were a result of something else I'd done and then there were some despite my own doing. The Recap:
*The Producers: Super Summer Theater - Sept 2013 - Roger De Bris
I'll start with this one since it goes back the farthest. I was cast a few years back in The Rocky Horror Show and impressed upon the director my acting/comedic/singing talent. That led to him asking me to play the role of John in Oleanna. That performance received some critical acclaim and praise. Fast forward to a couple of months ago. He's directing The Producers and wants me to audition. My confidence is much higher than in years past, but I still have to bring it. The role was mine to lose. The show opens in five weeks. I'm loving it.
*Raiding the Rock Vault: Las Vegas Hotel - Summer 2013 - Nash Freeman (host)
This one has the most impact. Never let anyone tell you to not audition for a role. If you think you have a shot, then go for it. So it was when the original call for actors came on this rock concert style show. I was told by a fellow actor not to audition.....I was too old. I trusted the individual as a peer and much to my chagrin should never have even considered his opinion. Whether or not I would have been cast is irrelevant. The fact remains that I was cast as the understudy for the exact role I was told I was too old for. Two additional notes: 1-I was recommended by a friend to audition. There were not public notices. 2-I was the only one that bothered to memorize the lines for the audition and the call backs.
*Caesars Entertainment: Training Video - Filming first week in August
Another instance of being cast without an audition. Having impressed upon my director for Sudoku the Musical at the LVLT Fringe Festival, he recommended me for the shoot to the production company hired to do the shoot.
*Los Acusados: Independent Film - Filming Late August
Yet again, cast without an audition. I was actually planning on auditioning for this production, but couldn't get out of work. The director got my name from another short film I'd done about a year ago. The director of that recommended me.
I think you see the trend here. The work you do now may have residual effects months even years later. If you are professional and prepared, it will be noticed. If you believe in yourself, you can overcome assumptions and misconceptions. Even if you don't land that desired role, if you show who you are and give your best, someone will remember you. Be honest and true. Give respect to the process and the process will work for you.
Now those of you actually following my sporadic posts know that I've been lucky with having a number of recent casting offered to me without auditioning. While that may be true, I didn't get cast in just as many. And I passed on ones that I didn't see myself doing. The difference here is that I'm moving in a direction where $$ is playing a factor. So much so that had I gotten the LVH gig from the get go, I'd be banking more for 15 hours a week than I do for 40 at my day job. I'm still about the craft. But Damn! It's nice to be paid.
So as a reminder to myself. Don't let the discouragement prevent you from being great. Don't let the opportunities be wasted with half-hearted effort. Don't allow others to determine your path. The worst anyone can say is "No". But even that "No" can lead to a yes later on. Some very positive feelings here.
I didn't add the week I spent at Faith Lutheran H.S. for the annual Mellow Dramatists camp. I think that deserves its own post. I also didn't mention the permanent hiatus of the Radio Show, Curtain Call either. More on that to come later as well. Don't let me forget.
Friday, June 14, 2013
A Super Summer
The summer theater in Las Vegas is in full swing and despite the frustrations one would typically feel with all the auditions, call backs, rehearsals or rejections, I'm feeling pretty good. That's another trend that I'm enjoying lately. Knock on wood.
The Music Man opened Wednesday at Spring Mountain Ranch, and I'm over the frustration of not getting cast as Professor Harold Hill. I'm also over not getting cast as J.B. Biggley in the July production of How to Succeed in Business Without Really Trying. I didn't even audition for the August production of Legally Blonde, but based on current casting needs, may have had a good shot at Professor Callahan. Blah Blah. Don't get me wrong, I would have been thrilled to be in any of those productions and would have enjoyed working with the directors and my friends. Things happen for a reason though and I can't complain. I won't complain; at least not much. And if I do, stop me. I've been fortunate and honored and humbled the past year with the roles I've been cast in and so, I will always defer to the directors' choices: good or bad.
So tonight, instead of trying to swindle River City, Iowan's out of their money, or being in one rehearsal or another, I get to be on stage in a short but very rewarding musical. The 4th annual Las Vegas Fringe Festival closes tonight with the "Best Of" encore performances of three shows; Sudoku [the musical] being the one I'm in. Four judges cast their votes for the two best shows and Sudoku had the highest number of votes with two others being tied for second. It's not billed that way as 1st, 2nd.....etc, but I wanted to take a little pride here in my therapy session to gloat. Albeit, the scores were very close. Still! This is my blog and I can state it here with somewhat immunity. And done.
I love when theater experiences transcend venue and money and all the other trappings of an actor's fragile sense of ego. Sudoku was and is a groundbreaking experience for me. This show, and the people involved with it have pushed me and my talent to a new level. I feel stronger as both a vocalist and actor and owe a lot to the expectations this show required. By expectations, I mean the writer, the lyricist, the composer, the director and my co-star. All of whom trusted me without question and gave me the confidence to believe in myself. No small feat.
So tonight and tomorrow night I get to solve the puzzle again and enjoy the triumph of "Theatre of the Heart". And so I say again, "Things happen for a reason." Had I been cast in Music Man, or H2 Succeed, or even Xanadu (maybe not as there were others in Fringe from this one), I would not have even auditioned for Sudoku. This is the first year I could have even auditioned for Fringe. I've been asked to in the past, but couldn't as I was committed to other shows. I haven't even done a new works festival or any kind of festival since 1997 when I was just starting out in Pittsburgh.
So I humbly thank everyone that has supported the project by coming to see it. Sold out every performance but the last one, and we were close on that one. I feel renewed and energized and ready for the next challenge.......which I am already prepping for........The Producers. And I'll need that strength since I'll be playing Roger DeBris, the Director of Springtime for Hitler and inevitably the lead in Springtime for Hitler as Hitler. And did I mention he's as gay as a three dollar bill? Heil Myself!!
The Music Man opened Wednesday at Spring Mountain Ranch, and I'm over the frustration of not getting cast as Professor Harold Hill. I'm also over not getting cast as J.B. Biggley in the July production of How to Succeed in Business Without Really Trying. I didn't even audition for the August production of Legally Blonde, but based on current casting needs, may have had a good shot at Professor Callahan. Blah Blah. Don't get me wrong, I would have been thrilled to be in any of those productions and would have enjoyed working with the directors and my friends. Things happen for a reason though and I can't complain. I won't complain; at least not much. And if I do, stop me. I've been fortunate and honored and humbled the past year with the roles I've been cast in and so, I will always defer to the directors' choices: good or bad.
So tonight, instead of trying to swindle River City, Iowan's out of their money, or being in one rehearsal or another, I get to be on stage in a short but very rewarding musical. The 4th annual Las Vegas Fringe Festival closes tonight with the "Best Of" encore performances of three shows; Sudoku [the musical] being the one I'm in. Four judges cast their votes for the two best shows and Sudoku had the highest number of votes with two others being tied for second. It's not billed that way as 1st, 2nd.....etc, but I wanted to take a little pride here in my therapy session to gloat. Albeit, the scores were very close. Still! This is my blog and I can state it here with somewhat immunity. And done.
I love when theater experiences transcend venue and money and all the other trappings of an actor's fragile sense of ego. Sudoku was and is a groundbreaking experience for me. This show, and the people involved with it have pushed me and my talent to a new level. I feel stronger as both a vocalist and actor and owe a lot to the expectations this show required. By expectations, I mean the writer, the lyricist, the composer, the director and my co-star. All of whom trusted me without question and gave me the confidence to believe in myself. No small feat.
So tonight and tomorrow night I get to solve the puzzle again and enjoy the triumph of "Theatre of the Heart". And so I say again, "Things happen for a reason." Had I been cast in Music Man, or H2 Succeed, or even Xanadu (maybe not as there were others in Fringe from this one), I would not have even auditioned for Sudoku. This is the first year I could have even auditioned for Fringe. I've been asked to in the past, but couldn't as I was committed to other shows. I haven't even done a new works festival or any kind of festival since 1997 when I was just starting out in Pittsburgh.
So I humbly thank everyone that has supported the project by coming to see it. Sold out every performance but the last one, and we were close on that one. I feel renewed and energized and ready for the next challenge.......which I am already prepping for........The Producers. And I'll need that strength since I'll be playing Roger DeBris, the Director of Springtime for Hitler and inevitably the lead in Springtime for Hitler as Hitler. And did I mention he's as gay as a three dollar bill? Heil Myself!!
Friday, April 5, 2013
Birds and Hands and Bushes
I think sometimes that as an actor I should stop fighting against certain trends. I've been incredibly lucky the past year having a string of successful shows and my reputation is, at least in my mind, improving. Never really felt like I had a bad one, but I can definitely say that having a good one is way more beneficial.
So should I just take advantage of that? Part of me wants to, but the purest in me wants to continue to put myself out there, and audition for shows. Even when I know going in that I'm nowhere on the Director's radar. Maybe that's presumptive of me, but after enough auditions, you can read the faces behind the table. Body language and facial expressions and the sometimes blase communique tell a lot. I expect that to some extent in the cattle call auditions, but not in call backs. All that is beside the point. If you bring your best and your still don't get cast....that's part of the process. I'm used to it and shrug it off. Regardless, I made a list of shows I wanted to do this year, and so far, I'm 0-2. Now technically I was in the first show on my list, but not in the role I wanted. Long drawn out story on that one. Probably commented in a past blog entry. But #2 I'm definitely not a part of. I only wanted the title role and made callbacks.....of course I got stuck in traffic and was late. Never a good sign, but I still felt I had a good callback. For whatever reason didn't happen. Move on.
But that got me thinking. I had two other shows I could have done. Two good shows with good solid characters and an opportunity to work in a different venues. And I passed on them due to my list. Now part of that was I wanted to play opposite of my girlfriend, but obviously that's not happening in this show. (She's still up for her role though). So what do you do?
It's the summer season in Las Vegas, and there are a ton of shows having auditions and I don't have a clue what to audition for. There's Super Summer Theater, Fringe Festival, LVLT, and a myriad of other theater groups with venues, but I'm still hung up on whether I should just prepare for all of them, or wait for someone to come to me.... Because that's what it's been like lately. I've had directors and producers asking me to audition. It's a great sign when someone says, "I'd love for you to come read for ___________. You'd be perfect for it." And I've passed on every one. I don't know what that means, but I can't help wonder if I should just follow that path and tell directors. "If the audition I didn't go to was good enough to give me a call back, then the call back I won't be at should be brilliant and you should just cast me now."
But I want the roles I choose to speak to me, or be intriguing or something that will challenge me. Sure there are a few roles that I want for the opportunity to be the lead, but those have their challenges. I don't want to just take roles because they're handed to me......unless they fall into one of the above categories. I'm humble, not stupid.
I certainly don't want easy, but I need to recognize that I'm not every director's cup of tea or coffee or whatever diet-decaffeinated-herbal liquid they're ingesting. Perhaps I should look closer at my options and decide what will advance me more in my career. Of course I say this after just being cast in another Strip Show that pays, and I'm complaining about doing theater for free.
Thank God it's Friday.
So should I just take advantage of that? Part of me wants to, but the purest in me wants to continue to put myself out there, and audition for shows. Even when I know going in that I'm nowhere on the Director's radar. Maybe that's presumptive of me, but after enough auditions, you can read the faces behind the table. Body language and facial expressions and the sometimes blase communique tell a lot. I expect that to some extent in the cattle call auditions, but not in call backs. All that is beside the point. If you bring your best and your still don't get cast....that's part of the process. I'm used to it and shrug it off. Regardless, I made a list of shows I wanted to do this year, and so far, I'm 0-2. Now technically I was in the first show on my list, but not in the role I wanted. Long drawn out story on that one. Probably commented in a past blog entry. But #2 I'm definitely not a part of. I only wanted the title role and made callbacks.....of course I got stuck in traffic and was late. Never a good sign, but I still felt I had a good callback. For whatever reason didn't happen. Move on.
But that got me thinking. I had two other shows I could have done. Two good shows with good solid characters and an opportunity to work in a different venues. And I passed on them due to my list. Now part of that was I wanted to play opposite of my girlfriend, but obviously that's not happening in this show. (She's still up for her role though). So what do you do?
It's the summer season in Las Vegas, and there are a ton of shows having auditions and I don't have a clue what to audition for. There's Super Summer Theater, Fringe Festival, LVLT, and a myriad of other theater groups with venues, but I'm still hung up on whether I should just prepare for all of them, or wait for someone to come to me.... Because that's what it's been like lately. I've had directors and producers asking me to audition. It's a great sign when someone says, "I'd love for you to come read for ___________. You'd be perfect for it." And I've passed on every one. I don't know what that means, but I can't help wonder if I should just follow that path and tell directors. "If the audition I didn't go to was good enough to give me a call back, then the call back I won't be at should be brilliant and you should just cast me now."
But I want the roles I choose to speak to me, or be intriguing or something that will challenge me. Sure there are a few roles that I want for the opportunity to be the lead, but those have their challenges. I don't want to just take roles because they're handed to me......unless they fall into one of the above categories. I'm humble, not stupid.
I certainly don't want easy, but I need to recognize that I'm not every director's cup of tea or coffee or whatever diet-decaffeinated-herbal liquid they're ingesting. Perhaps I should look closer at my options and decide what will advance me more in my career. Of course I say this after just being cast in another Strip Show that pays, and I'm complaining about doing theater for free.
Thank God it's Friday.
Friday, February 8, 2013
No Small Actors Need Apply
So Las Vegas seems to have hit a saturation point with the number of local theatrical productions and the apparent lack of "talent". I've mentioned this in a few prior posts, but I restate it here as it relates to this one.
There are no small parts, only small actors. ~Konstantin Stanislavisky
I've heard this quote many times over the years and always presumed to understand its meaning. It's not too difficult to comprehend, but I've been seeing a trend around here that I too am guilty of:
Personally, I have seen myself not appreciating the time and commitment necessary to fulfill the roles of non-principles or ensemble cast members. I've been there, and never received praise, never got acknowledged beyond the program or by family and friends that attended performances and never expected as much. I always saw it as paying dues. Over time, I accepted fewer and fewer roles of that nature. I don't think I've been in an ensemble in over 10 years. A recent article on a fellow Sweeney Todd cast member made me realize the importance of a strong ensemble. So I'm reconsidering possible roles for this summers SST lineup (see below).
Actors are driven to certain roles and some productions just call to you. I was struck with just such a situation with my current production, Next To Normal. It's a six person cast, and I wanted to play the "Male Lead". (I know. There are four Male roles, two adult and two teen. Technically there are two Male Leads. Whatever. Let me get back to my point.) I went into the auditions and did not put the supporting character as one I was interested in. I wanted to play opposite my girlfriend, and as it was, neither of us were offered the main roles. (Feel free to read backward in my blog for the deeper story of the casting issues I dealt with.) As it turned out, I was offered the role of Dr. Fine/Madden. And after some deliberation, I accepted.
I want to state, that this show in no way has small roles. It was never my intention to give any indication that that's what I thought. I wanted the vocal challenge that the role of Dan would offer, and with the "saturation" issue, I had other role opportunities. And that's when it dawned on me. I was considering other roles for shows that didn't speak to me. I realized, I wanted to be in this show. When I first heard it was going to be produced here, I was excited. The story and the characters hit so close to home that up until I accepted the role, I was waking up to myself singing the music in my sleep. Other shows offered good roles, and some shows I could have gone for the leads. That didn't interest me. There are certain shows that I would love to perform in, Street Car, Death of a Salesman, Glengarry Glen Ross, and more Musicals than I can list, but my time for those will come. This one is now and powerful and with a great cast. I wanted to be a part of that. I wanted to tell my story and be part of the larger story too. Can't do that if you are always holding out for the lead.
I told that to my girlfriend last night. We are going to audition together for Music Man (Her for Marian the Librarian and me for Prof. Hill). I told her that I'd take an ensemble role if she got Marian and I didn't get offered anything. It's about having the passion to share the tale. Sharing the experience together. I got to do that last summer with my daughter when we did Joseph together. It's not about padding your actor's resume........(sometimes it is, but that's another post). But you have to want it. The last time I felt that way was Oct 2011 with Avenue Q. I wasn't cast, but I called the director and told him I'd do anything. Just be Trekkie's right arm, whatever. I'd make my schedule work. As it turned out, I got to be Nicky for a few performances and a Bad Idea Bear for the run. A great experience. Ironically, our Kate Monster is playing Diana in Next to Normal and our Princeton is creating the music tracks.
I guess my point is that if the role doesn't speak to you, it doesn't matter what the offer is. I would never accept a role in a show I wasn't interested in, or had no connection to. Maybe there's a dollar figure in there somewhere that might change that, but I look at the above quote differently now. A small minded actor never sees the big picture, only the glory/fame/accolades of a role. A true actor sees every piece and knows where he/she fits. Those actors are connected to the story and each other and only by having that connection can the audience see the vision. That's what I want. I'll get that with Next to Normal.
There are no small parts, only small actors. ~Konstantin Stanislavisky
I've heard this quote many times over the years and always presumed to understand its meaning. It's not too difficult to comprehend, but I've been seeing a trend around here that I too am guilty of:
- Not taking roles because you think it's a waste of your talent.
- Or the opposite, only auditioning for the lead and not accepting smaller roles.
Personally, I have seen myself not appreciating the time and commitment necessary to fulfill the roles of non-principles or ensemble cast members. I've been there, and never received praise, never got acknowledged beyond the program or by family and friends that attended performances and never expected as much. I always saw it as paying dues. Over time, I accepted fewer and fewer roles of that nature. I don't think I've been in an ensemble in over 10 years. A recent article on a fellow Sweeney Todd cast member made me realize the importance of a strong ensemble. So I'm reconsidering possible roles for this summers SST lineup (see below).
Actors are driven to certain roles and some productions just call to you. I was struck with just such a situation with my current production, Next To Normal. It's a six person cast, and I wanted to play the "Male Lead". (I know. There are four Male roles, two adult and two teen. Technically there are two Male Leads. Whatever. Let me get back to my point.) I went into the auditions and did not put the supporting character as one I was interested in. I wanted to play opposite my girlfriend, and as it was, neither of us were offered the main roles. (Feel free to read backward in my blog for the deeper story of the casting issues I dealt with.) As it turned out, I was offered the role of Dr. Fine/Madden. And after some deliberation, I accepted.
I want to state, that this show in no way has small roles. It was never my intention to give any indication that that's what I thought. I wanted the vocal challenge that the role of Dan would offer, and with the "saturation" issue, I had other role opportunities. And that's when it dawned on me. I was considering other roles for shows that didn't speak to me. I realized, I wanted to be in this show. When I first heard it was going to be produced here, I was excited. The story and the characters hit so close to home that up until I accepted the role, I was waking up to myself singing the music in my sleep. Other shows offered good roles, and some shows I could have gone for the leads. That didn't interest me. There are certain shows that I would love to perform in, Street Car, Death of a Salesman, Glengarry Glen Ross, and more Musicals than I can list, but my time for those will come. This one is now and powerful and with a great cast. I wanted to be a part of that. I wanted to tell my story and be part of the larger story too. Can't do that if you are always holding out for the lead.
I told that to my girlfriend last night. We are going to audition together for Music Man (Her for Marian the Librarian and me for Prof. Hill). I told her that I'd take an ensemble role if she got Marian and I didn't get offered anything. It's about having the passion to share the tale. Sharing the experience together. I got to do that last summer with my daughter when we did Joseph together. It's not about padding your actor's resume........(sometimes it is, but that's another post). But you have to want it. The last time I felt that way was Oct 2011 with Avenue Q. I wasn't cast, but I called the director and told him I'd do anything. Just be Trekkie's right arm, whatever. I'd make my schedule work. As it turned out, I got to be Nicky for a few performances and a Bad Idea Bear for the run. A great experience. Ironically, our Kate Monster is playing Diana in Next to Normal and our Princeton is creating the music tracks.
I guess my point is that if the role doesn't speak to you, it doesn't matter what the offer is. I would never accept a role in a show I wasn't interested in, or had no connection to. Maybe there's a dollar figure in there somewhere that might change that, but I look at the above quote differently now. A small minded actor never sees the big picture, only the glory/fame/accolades of a role. A true actor sees every piece and knows where he/she fits. Those actors are connected to the story and each other and only by having that connection can the audience see the vision. That's what I want. I'll get that with Next to Normal.
Friday, February 1, 2013
When did I become a Diva?
I don't know when it happened, or what caused it, but lately I've just wanted to tell everyone, "If you need me, I'll be in my trailer." I feel that my acting is a commodity, and though I perform for free, I'm about to just tell directors to just cast me. It's frustrating to be asked to go to auditions and not get cast, but it's even worse when you don't go and then get the speech by a director/producer, "Why didn't you go? The part was yours? You would have killed it." If that's your assessment without me even auditioning, then obviously you should just give me the role. Don't make me feel guilty for not going. I have my reasons, ok? Like maybe I have four other shows that I have already been called back for. Which is something entirely different, since two of them I didn't even audition for in the first place.
I think Vegas Theater has reached its saturation point. With the number of theater groups putting on shows, and the lack of turnout (especially with musicals), it's hard to pick and choose what I'd like to do. There are some shows that won't ever go away (*cough* Camelot) and some that no one knows (Violet), and some where the timing is right for my age type (Music Man). Then comes the part where directors ask me to audition. I respect the process and if I'm interested in the show/role I'm all over it, but it's beginning to feel like I'd be better to just sit back and wait for offers. Too many shows right now are extending auditions. Camelot doesn't have a Lancelot? Nobody went to Violet auditions? And don't even get me started on Next to Normal.
I picked my calendar out last Nov/Dec and it was reasonable. Next to Normal, Urinetown, Music Man or How To Succeed, Producers, Into the Woods. Those were the shows I wanted to do. Roles were varied, but I like the character roles and strong leads. A little mix of that with these shows. Of course, I have to audition and be cast, but I'm confident in my abilities. If the Director has a different vision that I don't fit into, I'm fine with that. There was some overlap with these shows, so I didn't figure I could realistically do them all, but I love to perform and like I said, I trust my abilities........except my falsetto bridge.......a post for later.
So obviously, I didn't plan on auditioning for Irma Vep or Clockwork Orange or Guys and Dolls or One Flew Over the Cuckoo's Nest or Death of a Salesman or a slew of others. Maybe it was scheduling. Maybe I don't know the show. Maybe I don't trust the director/producer/likely cast. Doesn't matter. These were the fallbacks I guess. I didn't get cast for Next to Normal (wait for it), so I auditioned for Irma Vep, which I also didn't get cast. Fine. Urinetown was next, except I'm asked to come to call backs for two other shows, plus Tony and Tina's at Ballys wants me to come back for a fifth callback......another post for later. And to top it off, I'm asked to come back for Next to Normal. And still didn't get the role of Dan, though offered the Doctor....but only cause the first person cast had to back out.
So why am I busting my butt? Had I not gone into Next to Normal auditions, I probably still would have been asked to, simply because there weren't enough choices. Maybe the same results, but three weeks of stress averted. Now I'm stuck with callbacks for shows that weren't on my list, but I would enjoy doing, an offer for a role I didn't list as one I wanted, but for a show I've fallen in love with (more love/hate at the moment). And to top it off, I'm getting criticism for not going to other auditions and for considering a role I'm actually being offered. Ahhh. This shouldn't be so hard.
So, I'm tempted to just be "that guy". It will kill most opportunities I have, but I'm doing this for free. DON'T make me tell you that I have to be paid. DON'T make me just wait for you to come to me with an offer. DON'T be upset if I don't go to auditions. Be proactive. Just call me and offer me the role, don't tell me it was mine if only I'd gone to auditions. That's bullshit.
I've just realized I don't have a trailer. I've also realized that I'm not being paid, so why stress at all. Maybe I'll split the difference and tell people, "If the audition I didn't go to was good enough to get me a call back, then me not going to the call back should be perfect for me getting the role". I'll be in my SMART car if anyone needs me.
I think Vegas Theater has reached its saturation point. With the number of theater groups putting on shows, and the lack of turnout (especially with musicals), it's hard to pick and choose what I'd like to do. There are some shows that won't ever go away (*cough* Camelot) and some that no one knows (Violet), and some where the timing is right for my age type (Music Man). Then comes the part where directors ask me to audition. I respect the process and if I'm interested in the show/role I'm all over it, but it's beginning to feel like I'd be better to just sit back and wait for offers. Too many shows right now are extending auditions. Camelot doesn't have a Lancelot? Nobody went to Violet auditions? And don't even get me started on Next to Normal.
I picked my calendar out last Nov/Dec and it was reasonable. Next to Normal, Urinetown, Music Man or How To Succeed, Producers, Into the Woods. Those were the shows I wanted to do. Roles were varied, but I like the character roles and strong leads. A little mix of that with these shows. Of course, I have to audition and be cast, but I'm confident in my abilities. If the Director has a different vision that I don't fit into, I'm fine with that. There was some overlap with these shows, so I didn't figure I could realistically do them all, but I love to perform and like I said, I trust my abilities........except my falsetto bridge.......a post for later.
So obviously, I didn't plan on auditioning for Irma Vep or Clockwork Orange or Guys and Dolls or One Flew Over the Cuckoo's Nest or Death of a Salesman or a slew of others. Maybe it was scheduling. Maybe I don't know the show. Maybe I don't trust the director/producer/likely cast. Doesn't matter. These were the fallbacks I guess. I didn't get cast for Next to Normal (wait for it), so I auditioned for Irma Vep, which I also didn't get cast. Fine. Urinetown was next, except I'm asked to come to call backs for two other shows, plus Tony and Tina's at Ballys wants me to come back for a fifth callback......another post for later. And to top it off, I'm asked to come back for Next to Normal. And still didn't get the role of Dan, though offered the Doctor....but only cause the first person cast had to back out.
So why am I busting my butt? Had I not gone into Next to Normal auditions, I probably still would have been asked to, simply because there weren't enough choices. Maybe the same results, but three weeks of stress averted. Now I'm stuck with callbacks for shows that weren't on my list, but I would enjoy doing, an offer for a role I didn't list as one I wanted, but for a show I've fallen in love with (more love/hate at the moment). And to top it off, I'm getting criticism for not going to other auditions and for considering a role I'm actually being offered. Ahhh. This shouldn't be so hard.
So, I'm tempted to just be "that guy". It will kill most opportunities I have, but I'm doing this for free. DON'T make me tell you that I have to be paid. DON'T make me just wait for you to come to me with an offer. DON'T be upset if I don't go to auditions. Be proactive. Just call me and offer me the role, don't tell me it was mine if only I'd gone to auditions. That's bullshit.
I've just realized I don't have a trailer. I've also realized that I'm not being paid, so why stress at all. Maybe I'll split the difference and tell people, "If the audition I didn't go to was good enough to get me a call back, then me not going to the call back should be perfect for me getting the role". I'll be in my SMART car if anyone needs me.
Wednesday, January 23, 2013
Assuming In Theater Just Makes An Ass Of You.
What a week! Disappointing to say the least, but way more frustrating than any discouragement of not being cast. Two auditions, two rejections and two uniquely bad choices made my the productions of each. Obviously, this is my opinion, and any justifications/excuses provided do not change the general disrespect of the actor. I sincerely hope this isn't a trend. Suffice to say, I've lost something. I hate saying that because I love performing. Not sure what I've lost.........maybe some respect for individuals I considered friends. Maybe I've lost a little faith in this town and the throw-away mentality people here have; Actors, Producers and Directors alike. This ain't New York, we aren't paid Equity Actors, but volunteers in the Art we love. But, I digress. You probably want to know what happened. If not, then why are you continuing to read?
The first audition was for a musical and one that should have had more attention paid to it then what the turnout of actors indicated. Tony Award Winning and powerful story, but obviously not well known outside of NY. It's mostly singing and only 5 roles (Two of which fit my category), but perfect for a small Vegas venue. Maybe the location of performances turned away actors, or there were too many other shows that the actors were interested in auditioning for. Regardless, when you are the only age appropriate actor to audition, you tend to wonder. I'll interject that I still have nerves with auditioning, but I am way more confident then I used to be. The range of music for the show is in my higher register, and though I know I can hit the notes, I didn't "Bring It" to the audition. Still and all, I got a callback. Maybe my reputation provided a bit of consideration, but that apparently was it. Shortly after the callback notice, a public request went out, looking for more actors to audition for the part I was "being considered for", as well as the others. In and of itself, not bad, but the message it sent was, "Sigh, we might have to use you as a last resort." Now I understand that a Director wants to see more and different actors, but in such a small community it sends a horrible message. Not getting a call back would have bothered me less than getting one and moments later seeing that their first choice was still out there waiting to invited in. I inquired with friends that direct in town, and got the placating answers of "they're covering all their bases" or "they have to match for a whole family" or "want to see more and different, not necessarily better". However, from every actor I've spoken with, it's just rude and unprofessional. I even went to the production team to gain clarity and met the same answers. My issue is, why continue to consider me? Even so, I go into the callbacks poised, prepared and a bit more confident. No one told my voice that, however. Still, I was kept there for the duration, reading and singing and being paired up with other actors. Three days later another public request. Nothing said to me. What to think? Contact Production Asst. that sent out message..........no idea. Contact Producer/AD/Costumer/Et.Al...............I'm not being considered. When was I going to find out? Don't you think actors deserve a little respect? Don't cast me, that's fine. I understand not being the right ______________. But to let things drag on the way they did.
Alright, move on. There are a five more shows still auditioning in the next few weeks, so moving on to the next one. A comedy. A two-person show where each actor plays a number of characters. Not Greater Tuna. Not a big turnout either. I had more confidence with this one as 15 years of improvisation lends to creating characters. I read with three other actors and felt I gave changes in my readings each time. Again, I know the director, he knows me. Let the chips fall where they may. No callbacks on this one and less than 10 people showed for the auditions over the two scheduled days, so I felt good. Whereas the musical would have stretched me vocally, this show would have stretched me as a comedic actor. Maybe I didn't "Bring It" again, or the director thought I was already in another show, or whatever........, but two days later I find out who was cast on a public forum, and not by the Director or the Theater, but by a former critic turned auteur. Double check emails for form letter. Nope. Contact my friend, the Director. What? Contact the source. "I got it from the theater's website". Less than 10 actors and you can't give the courtesy of a form letter? WTF. Again, I don't get a role and I'm O.K. with that. But sloppiness and complete lack of control over information?......that's bullshit. To make matters worse, I receive a form letter an hour after I called out the oversight. Who the fuck is running these things?
I will stipulate that I expect to not be cast in most of what I audition for. I usually get callbacks, but even then I never assume a role is mine. I know my reputation is as an actor that works hard, is easy to get along with, respectful of the process and beyond that, moderately talented. I also know my limitations and would never waste a Director's time auditioning for a role I didn't think I could act/sing beyond their expectations. But I'm getting a feeling that the business end of the process discounts the actor's feelings. I would expect that in NY or Hollywood. Hell even here when it comes to something that pays. But there is a limited pool of talent here willing to do it for free, and though this may be isolated, it's still not acceptable or professional. I'll get over it as I know the intent was not there, but don't assume we don't have feelings.
For the record, I have spoken directly with parties involved and no hard feelings exist, but the sting lingers.
The first audition was for a musical and one that should have had more attention paid to it then what the turnout of actors indicated. Tony Award Winning and powerful story, but obviously not well known outside of NY. It's mostly singing and only 5 roles (Two of which fit my category), but perfect for a small Vegas venue. Maybe the location of performances turned away actors, or there were too many other shows that the actors were interested in auditioning for. Regardless, when you are the only age appropriate actor to audition, you tend to wonder. I'll interject that I still have nerves with auditioning, but I am way more confident then I used to be. The range of music for the show is in my higher register, and though I know I can hit the notes, I didn't "Bring It" to the audition. Still and all, I got a callback. Maybe my reputation provided a bit of consideration, but that apparently was it. Shortly after the callback notice, a public request went out, looking for more actors to audition for the part I was "being considered for", as well as the others. In and of itself, not bad, but the message it sent was, "Sigh, we might have to use you as a last resort." Now I understand that a Director wants to see more and different actors, but in such a small community it sends a horrible message. Not getting a call back would have bothered me less than getting one and moments later seeing that their first choice was still out there waiting to invited in. I inquired with friends that direct in town, and got the placating answers of "they're covering all their bases" or "they have to match for a whole family" or "want to see more and different, not necessarily better". However, from every actor I've spoken with, it's just rude and unprofessional. I even went to the production team to gain clarity and met the same answers. My issue is, why continue to consider me? Even so, I go into the callbacks poised, prepared and a bit more confident. No one told my voice that, however. Still, I was kept there for the duration, reading and singing and being paired up with other actors. Three days later another public request. Nothing said to me. What to think? Contact Production Asst. that sent out message..........no idea. Contact Producer/AD/Costumer/Et.Al...............I'm not being considered. When was I going to find out? Don't you think actors deserve a little respect? Don't cast me, that's fine. I understand not being the right ______________. But to let things drag on the way they did.
Alright, move on. There are a five more shows still auditioning in the next few weeks, so moving on to the next one. A comedy. A two-person show where each actor plays a number of characters. Not Greater Tuna. Not a big turnout either. I had more confidence with this one as 15 years of improvisation lends to creating characters. I read with three other actors and felt I gave changes in my readings each time. Again, I know the director, he knows me. Let the chips fall where they may. No callbacks on this one and less than 10 people showed for the auditions over the two scheduled days, so I felt good. Whereas the musical would have stretched me vocally, this show would have stretched me as a comedic actor. Maybe I didn't "Bring It" again, or the director thought I was already in another show, or whatever........, but two days later I find out who was cast on a public forum, and not by the Director or the Theater, but by a former critic turned auteur. Double check emails for form letter. Nope. Contact my friend, the Director. What? Contact the source. "I got it from the theater's website". Less than 10 actors and you can't give the courtesy of a form letter? WTF. Again, I don't get a role and I'm O.K. with that. But sloppiness and complete lack of control over information?......that's bullshit. To make matters worse, I receive a form letter an hour after I called out the oversight. Who the fuck is running these things?
I will stipulate that I expect to not be cast in most of what I audition for. I usually get callbacks, but even then I never assume a role is mine. I know my reputation is as an actor that works hard, is easy to get along with, respectful of the process and beyond that, moderately talented. I also know my limitations and would never waste a Director's time auditioning for a role I didn't think I could act/sing beyond their expectations. But I'm getting a feeling that the business end of the process discounts the actor's feelings. I would expect that in NY or Hollywood. Hell even here when it comes to something that pays. But there is a limited pool of talent here willing to do it for free, and though this may be isolated, it's still not acceptable or professional. I'll get over it as I know the intent was not there, but don't assume we don't have feelings.
For the record, I have spoken directly with parties involved and no hard feelings exist, but the sting lingers.
Wednesday, January 9, 2013
Characterize This
A new year and already knee deep in theater. I love it. I've resolved to balance my time better this year, but that doesn't stop me from performing. Just need to be a little more ............selective. Not sure if that's the right word as I would never accept a role I wasn't interested in playing. I guess I mean that I have to learn to not accept roles that will overlap. Ten shows in 2012 is quite a few. Some were short runs, but it's the rehearsal time that kills ya.
Speaking of rehearsal, that's what I did over my Christmas Vacation. Sounds like something you'd write about in grade school, and if that were the case, I don't think I could be more excited. Bucket List #1 is checked off my list, though not permanently. The remounting of Sweeney Todd happened last week, and to great acclaim. I'm in the production filling in for the title character on performances that the originating actor can't fulfill. As it stands, 3 of 12. Not great, but as many as I performed when I played Judge Turpin in 2011 and as many as I did for Sgt. Merwin J. Toomey in Biloxi Blues last November. I guess that's what I mean by selective. I had two weeks to learn the Judge and three to learn the Barber himself and the turn-around was quick. With Biloxi, it was a month of rehearsals for three shows in two days. A rewarding character, but not enough time.
Obviously, Sweeney is an exception. I was thrilled to be asked to, for lack of a better term, understudy the role. I say lack of, because it is Community Theater, you split the role. An understudy gets paid when they take the stage. Semantics aside, I wanted the role the first time around and though disappointed in not getting it, I certainly now get to show what I can do with the role. I didn't want the title character to play as a lunatic or a madman, but as an "everyman" who, through a narrow vision of revenge makes a series of choices that inevitably puts him over the edge. I think I accomplished most of what I wanted. Obviously, I had to follow direction and be shaped into the character the Director wanted, but it was clear to both of us that I couldn't and wouldn't try to mimic the other actor's portrayal.
The process was tough, and as rewarding as anything I've done up to this point. Musically, Sondheim is a son-of-a-bitch and Sweeney has got to be one of the hardest shows, but it being my favorite, I was certainly hungry for the challenge (pun intended). The show opened Jan 4, and I began rehearsing on Dec 16th with my first full dress/tech run on Jan 2nd. I was to perform in the soft open on Jan 3rd, so....yeah....time was crucial. Considering the holidays, there wasn't a whole lot of time. Did I mention this was my #1 bucket list role.? (Still on my list to do again).
I'm not likely to be reviewed, though feedback up to this point has been fantastic. I just hope the voice holds up. Had a bit of a scare earlier this week, but I'm not as bad off as I could be were I still smoking.
It all works out I guess. I didn't have to worry about work; Best Little Whorehouse at the Plaza Hotel went dark and I had no other conflicts save for finishing "Love Song". I'm quietly dancing for what I pulled off. I tend to be humble, but this blog is for some of my inner, gooey feelings and stuff. YEA ME!
Speaking of rehearsal, that's what I did over my Christmas Vacation. Sounds like something you'd write about in grade school, and if that were the case, I don't think I could be more excited. Bucket List #1 is checked off my list, though not permanently. The remounting of Sweeney Todd happened last week, and to great acclaim. I'm in the production filling in for the title character on performances that the originating actor can't fulfill. As it stands, 3 of 12. Not great, but as many as I performed when I played Judge Turpin in 2011 and as many as I did for Sgt. Merwin J. Toomey in Biloxi Blues last November. I guess that's what I mean by selective. I had two weeks to learn the Judge and three to learn the Barber himself and the turn-around was quick. With Biloxi, it was a month of rehearsals for three shows in two days. A rewarding character, but not enough time.
Obviously, Sweeney is an exception. I was thrilled to be asked to, for lack of a better term, understudy the role. I say lack of, because it is Community Theater, you split the role. An understudy gets paid when they take the stage. Semantics aside, I wanted the role the first time around and though disappointed in not getting it, I certainly now get to show what I can do with the role. I didn't want the title character to play as a lunatic or a madman, but as an "everyman" who, through a narrow vision of revenge makes a series of choices that inevitably puts him over the edge. I think I accomplished most of what I wanted. Obviously, I had to follow direction and be shaped into the character the Director wanted, but it was clear to both of us that I couldn't and wouldn't try to mimic the other actor's portrayal.
The process was tough, and as rewarding as anything I've done up to this point. Musically, Sondheim is a son-of-a-bitch and Sweeney has got to be one of the hardest shows, but it being my favorite, I was certainly hungry for the challenge (pun intended). The show opened Jan 4, and I began rehearsing on Dec 16th with my first full dress/tech run on Jan 2nd. I was to perform in the soft open on Jan 3rd, so....yeah....time was crucial. Considering the holidays, there wasn't a whole lot of time. Did I mention this was my #1 bucket list role.? (Still on my list to do again).
I'm not likely to be reviewed, though feedback up to this point has been fantastic. I just hope the voice holds up. Had a bit of a scare earlier this week, but I'm not as bad off as I could be were I still smoking.
It all works out I guess. I didn't have to worry about work; Best Little Whorehouse at the Plaza Hotel went dark and I had no other conflicts save for finishing "Love Song". I'm quietly dancing for what I pulled off. I tend to be humble, but this blog is for some of my inner, gooey feelings and stuff. YEA ME!
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