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25 Secrets to Giving a Fantastic Musical Theatre Audition
By Jonathan Flom
Copyright © 2010 by Jonathan Flom
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25 Secrets to Giving a Fantastic
Musical Theatre Audition
Copyright © 2010 by Jonathan Flom Published by Sean Pratt Presents
Copyright © 2010 by Jonathan Flom
3
INTRODUCTION As a director and a college musical theatre instructor, I work with a lot of talented performers every day. There is little fulfillment greater than watching an actor develop a role and work through a process in order to shine on opening night. I have the utmost respect for the craft of acting and for the collaboration between actor and director. However, it is so often the case that the immensely talented performer is overlooked and in spite of his abilities to craft a role and to collaborate, his name never makes it on to the cast list. Why does this happen time and time again? Because that talented actor is unable to navigate the treacherous waters of the audition process. Too many performers love the art of theatre while loathing the art of auditioning. I tell you, you must reconcile this conflict and learn to love the audition, for if you cannot command the audition your career will be non-‐existent. You must learn to think of the audition as your daily chance to perform. You must learn to master your nerves. And most importantly, you must learn to prepare going in and let go coming out. I see actors every day doing the opposite: Their preparation is shoddy so they bomb the audition and then to add to the injury, they beat themselves up and take rejection personally. Believe me, there’s no quicker way to stifle your ambitions of being a working actor. And so, over the years of watching people struggle mightily (and succeed phenomenally) in the audition room, I have put together this list of little helping thoughts, some do’s and don’ts—we’ll call them Flom’s Secrets—to giving a wonderfully successful musical theatre audition. In the pages that follow, I will walk you through a process that will make you more confident, more prepared, and more impressive in the room, whether you’re auditioning for community theatre, a college program, or a Broadway show. If you can create a polished audition technique, it will serve you in any venue. Along the way, we’ll stop to discuss some tangential thoughts outside of the 25 Secrets. The “Since We’ve Stopped…” sections will offer you some deeper, more advanced notions to set you apart from the crowd above and beyond simple preparation. And I’ll also make sure to highlight some of the most important guidelines in the “Jonathan’s Rules” side boxes. In this business, there is no guarantee of success. No program, instructor, book, or magic wand can give you a steady career in the theatre, nor can they make you win at every audition. It’s an ongoing process that you’ll have to continue to hone with practice, but if you follow these simple guidelines, I can assure you that the road will be easier and that you’ll start to find yourself impressing the director more often than not and your confidence will soar, leading to even better experiences and higher success rates.
Copyright © 2010 by Jonathan Flom
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Believe it or not, there is an art to reading casting notices and not everyone is good at it. Some teachers will encourage a young performer to go in for every audition possible—even if that actor isn’t right for any role in the show. I cannot disagree more emphatically with this notion. When a director or a producer is preparing to go into casting, he or she has spent a great deal of time researching and pouring over the script (and score) to arrive at a vision for the production. When the casting notice is published, it generally contains specific details about what exactly that director is looking for in the actors who audition. If you ignore the specifications and take up an audition time despite being completely wrong for any part in the show, it is perceived as wasting the production team’s time, and you may very well be thought of as unprofessional or downright ignorant. So don’t use the director’s time to hone your craft. It is your job to know what is being cast. If it’s a show that is already published or has been produced, you are expected to know the material. Make sure you either read the script and listen to the cast recording, see a production (or a video of a production—YouTube is your friend!), or at the very least, read reviews and summaries of the piece online. With the Internet at our fingertips, it is absolutely unacceptable to attend an audition for an existing show and not know the show going in. As you can imagine, this is a lot of work, especially if you are auditioning for 3-‐6 shows per week, as most actors in New York do. But as I always tell my students: If this were easy, everyone would do it! In the event that you are auditioning for a brand new show, the casting notice will generally give a summary of the plot, a detailed list of the characters, and a general idea of the style of the piece. Again, do as much research as you can, even if it means reading/listening to other musicals by the same author or composer to get an idea of what you might be going in for.
1. Know what you’re auditioning for and where you fit in that cast.
Copyright © 2010 by Jonathan Flom
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Once you have taken the time to really know the piece, cast yourself. Don’t be modest or think yourself egotistical to assume you should play a certain role. If it’s age-‐appropriate and within your range as an actor, a singer, and a dancer, and if you fit the part type-‐wise (more about type later), than make a decision to go for it. There is nothing more appealing than an actor who knows who he or she is and makes specific choices; conversely, there is nothing more bland and boring than being general. So often I have heard actors say things like: “I can see myself playing a few different roles, but I’m not sure how they see me. I’m just going to go in and show them what I do, and I’ll let them figure out where to put me.” Most of the time when this is the case, as a director I tend to think: “He really fell through the cracks. He’s not showing me a strong choice for any particular character.” And more often than not, the actor who makes generic, safe choices does not get called back. Once you cast yourself, it is then your task to find audition material that shows the director clearly where you fit into the show.
Another great turn-‐off for directors is when actors do not read or pay attention to the specific audition requirements. For example, the casting call may specify a 16-‐ or 32-‐bar cutting and an actor may come in and sing an entire song. The casting call may say to sing an up-‐tempo, comedic song, and an actor may come in with a sappy ballad. An audition notice may request that performers not sing a certain song, and there is always at least one actor who chooses either to ignore that request or to think: “I know they don’t want to hear that song, but they’re going to love it when I sing it!” No, they’re not.
2. The Casting Notice is like a puzzle. Read it for all its clues.
JONATHAN’S RULES
Make sure you know what show and role you are going in for. It is your job to do research on the
play or musical, the writing team, and the production team.
Copyright © 2010 by Jonathan Flom
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Read what the call says and follow the rules. There’s no harm in being creative and risky, but there is no sense in the type of risk that flies in the face of what the director is asking to see. How you choose your material based on the casting notice says a lot about you as a person. If you can’t follow simple instructions such as “prepare 16 bars of a standard ballad and be prepared to sing the entire song if asked,” than how will the director know that you will follow her instructions and take direction during the process. The next advice I’m going to offer you may contradict point number 1 about researching the show you are going in for: You must take the casting breakdown as “The Word.” What do I mean? Let’s say that you are looking at an audition notice for Oklahoma! and you know you’re perfect for the role of Will Parker; In fact, you’ve played the role twice in summer stock. However, you read the casting breakdown and it describes Will as “A short, powerful, gruff young woman.” If you’re not a short woman, don’t go in for that role. I know, I know, Will Parker is not a woman, but the casting notice is telling you what this particular director is looking for. It is so important to read the casting call in great detail because it often lays out information about the director’s concept of the production, which may be very non-‐traditional. Even if it flies in the face of everything you know about the show, just give the director what she wants or you may find yourself walking away empty-‐handed. A director may decide to do a conceptual revisionist production of an old musical and set it in a different style—for example, asking for punk rock selections for a Threepenny Opera audition. Just be sure to prepare your audition based on whatever specifications are provided.
Your headshot (usually abbreviated in casting notices as “pix”) and resume are your calling cards in the business. I cannot stress the importance of quality, professional photography and resume design enough—they are generally the first statement made about you before you walk into the room. Often, you are required to submit a headshot and resume in advance in order to even be granted an audition appointment, so you can understand why this is so imperative.
3. Nothing says “professional” like a dynamite picture/resume and cover letter.
Copyright © 2010 by Jonathan Flom
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I could easily spend 30 pages detailing the ins and outs of obtaining high quality headshots and designing a stunning resume, but instead, I’ll simply suggest that you take a look at my book GET THE CALLBACK for some nice details, templates, and examples. For now, suffice it to say that you need to invest some money in professional actor shots—do not let an amateur or a portrait photographer shoot you, since they do not know what actors need in terms of a photo. It’s not about how pretty or handsome you look in a posed shot; rather, it is about finding a shot that looks like you and states your brand (see “Since We’ve Stopped” under Secret #9).
SINCE WE’VE STOPPED…
…Let’s discuss resumes. For an actor’s resume, avoid using templates from Microsoft Word or other such business tools. The set-‐ups they offer are for the business world, and although theatre is certainly a business, the theatrical resume is very different than the standard business resume. I will give you a few guidelines here to get you started:
*Have your name in large, bold, attractive font at the top. *Include contact information such as phone number, email, and website, but omit your home address. *Do not include your age, date of birth, or “age range” on the resume. *List your experience in a neatly-‐spaced three-‐column format with columns for show, role, and theatre company (or venue). You do not need a fourth column for every director you’ve worked with, but if there are directors or choreographers that make a show stand out on your list, be sure to include that director’s name underneath the show title, indented and italicized. For example: Oklahoma Curly City Theatre Forever Plaid Sparky Seaside Rep Dir.: Joe Shift Take the “A” Train Ensemble New Musicals Wkshp. *Be sure to list your training, including names of people you’ve studied theatre with. *Be creative in listing your Special Skills for the final section of the resume. They can often be discussion points in the audition room. *Leave all-‐state choruses, talent shows, pageants, honors (unless they are Tony, Obie, Drama Desk, Jefferson, Hayes, or other such major awards), and classroom scenes off the resume. The final piece of the puzzle, if you are asked to submit a picture and resume in advance of an audition, is the cover letter. Just because your business is
Copyright © 2010 by Jonathan Flom
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acting doesn’t mean all the rules of grammar and style you learned in high school are useless! On the contrary, an eloquent cover letter can be a wonderful introduction that makes a director really want to meet you. When crafting a cover letter it is important to be brief and specific. Address the letter directly to the director, casting director, producer, or company (if you don’t have a person’s name) rather than a generic “To Whom it may Concern” or “Dear Sir or Madam.” Yuck! Then let the body of the letter detail why you are submitting yourself for this particular production. You may choose to direct their attention to something on your resume (“As my resume indicates, I have a great deal of experience in part singing and tight harmonies.”); You may tell them which role you are interested in (“I think I would be an outstanding candidate for the role of Ado Annie, as I am a short, spitfire of a woman.”); Or you may drop a name (“I studied with Jonathan Flom, and he told me I should let you know he’d be happy to provide a reference for me.”). Whatever you do, remember to be concise and specific. A cover letter shouldn’t be more than a few sentences that will get their attention and give an indication of your personality so that they want to look at your resume and picture.
Earlier I told you that being generic is the death of an audition. To that end, you must find a song that will sell you specifically in a role. It goes back to that idea of casting yourself. If a director doesn’t know you or your work you can really help him by showing him where you belong in the production he is casting.
Some might tell you that this degree of specificity will rule you out of any other possible casting opportunities. While this may sometimes be true, I
4. Find a song that casts you in the role you want.
JONATHAN’S RULES
Specificity is always best in the audition. Cast yourself going in, and don’t be general in your acting choices.
We’d rather see you take a (smart) risk and fail than be safe and boring.
Copyright © 2010 by Jonathan Flom
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would argue that it’s worth the risk. For one thing, you let the director know exactly how you see your particular talent being useful in the production at hand; knowing oneself is an attractive feature in an actor. And for another, you allow the director to see exactly what he will get from you should he cast you in the role you audition for. Not to mention the fact that you have to give the director some credit for creativity—just because you audition for Tony doesn’t mean he can’t call you back for Riff. Now, there are several ways to approach finding the right song for an audition. You may choose to sing a song from the actual show being cast. However, use caution when deciding to sing from the show—some directors prefer that you do not, so read the casting notice carefully. The second approach (which I feel is the best option) is to figure out what the essence of the character is—What type of personality does he or she exhibit in the show? What types of songs does he or she sing? What are some of the specific traits of that character?—and then try to demonstrate that essence in your audition. In other words, if you are going for a smooth-‐talking, suave character man, then find a song that sells you as smooth-‐talking and suave. It’s that simple. One of the most important criteria in choosing a song, however, is that the selection must demonstrate your ability to sing in the style of the musical. Therefore, if you are going in for a legit, classic musical, look for songs in the Golden Age canon. If you are going in for a contemporary pop/rock musical, be sure to show your belt and/or pop style. One way to generally be sure that you’re in the right genre is to look for audition material from other shows by the same composer for whom you are auditioning. Finding the right song will not only help the director see you in the best possible light for how he might cast you, but it will also demonstrate your professionalism, your preparation, and your understanding of the casting needs.
Okay, so I know I just spent a lot of time telling you to tailor the song choice specifically to the role you wish to play. Occasionally, you can do this while thinking outside of the box for material. In fact, sometimes creativity and
5. Nobody gets the role by playing it safe! Take a risk on song choice.
Copyright © 2010 by Jonathan Flom
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boldness can earn you a callback even if you don’t make a particular statement for how you should be cast. I know of a man in New York City who is over six feet tall, and has to be at least 200 pounds. He is masculine and charming and always gets cast as the manly man in Broadway companies. His go-‐to audition song: “I Feel Pretty.” Another friend of mine wanted to be remembered for his creativity, so he created an arrangement of the theme song from the 80’s cartoon The Gummy Bears. It sounds silly, but it always gets a laugh and it really shows off his range incredibly well. Risk taking is just what it sounds like—it’s risky. It can have a huge payoff, or it can sink like a lead balloon. But my feeling is always nothing ventured, nothing gained. Even if you aren’t right for the production they are casting, the fact that they will remember you is a solid consolation. As a director, I often reward that kind of risk with a callback just because I want to see what else the actor can do with the right material. A large part of the actor’s job is to be compelling, and what’s more compelling than taking a risk? Just be sure to observe the line between clever and tasteless. Don’t choose offensive material which may turn the artistic staff off to you and don’t be crazy just to be crazy. Remember, this is still an audition of your talent, so while savvy may be rewarded, stupid very rarely is. One area of auditions for which outside-‐of-‐the-‐box thinking usually pays off is when the casting call asks for a comedy song. There’s almost nothing harder than finding good comedy songs that are actually funny in the audition room. There are probably about five of them that work and they’ve all been done ad nauseum. However, there’s no rule against making a non-‐comedic song comedic. I do an acting exercise with my students called the “Wrong Choice” exercise, in which they must sing a song making extremely bold, extremely wrong choices. They don’t sing the song badly or incorrectly in terms of notes, but they are required to give it a wildly different context, and the results are almost always hysterical. The students are always surprised when I encourage them to bring those wrong choices into the audition room with them as part of their repertoire. But again, in the right circumstance, you can really make a bold statement and walk out having them remember you.
Copyright © 2010 by Jonathan Flom
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SINCE WE’VE STOPPED…
…Let’s discuss the repertoire book. After all the talk about finding the right song for the audition, I want to stop and encourage you to really develop a well-‐rounded repertoire book. This way, you’ll have an arsenal of songs that you can go to at any time, for a wide range of different occasions. It is never to an actor’s advantage to seek out new material on short notice specifically for an audition—you are almost guaranteed to fail or at least to give a weak audition if you don’t know the material intimately.
Every musical theatre performer should have a book of music that comprises a wide variety of genres and styles across most or all decades of musical theatre material. Thus, you should have a mix of ballads and up-‐tempo songs, driving dramatic as well as light comedic pieces. And you should be sure to have representation from the Jazz-‐ or Pre-‐Golden Age (Cole Porter, Gershwin, Harold Arlen); the Golden Age (Rodgers and Hammerstein, Lerner and Lowe, Styne); the 60s-‐80s (Kander and Ebb, Schwartz, Jones and Schmidt); contemporary legit (Ahrens and Flaherty, Schonberg and Boublil); pop/rock musical (Larsen, O’Keefe, Kotis); and finally, actual pop/rock songs (50’s rock, classic rock, 80’s/90’s power ballads, country, R & B). My book offers lists of possible repertoire for all types of singers, so feel free to reference it for more specific detailed song suggestions.
But the key to the repertoire book is that you must know every song in it like the back of your hand. Anything you bring into the audition room is fair game—you may choose to sing one song and afterwards the director may ask to hear something else. She may ask the accompanist what else you have in your book, in which case you better know all those songs perfectly or you’ll be quite embarrassed. Believe me, this happens all the time. So when you’re learning new songs, don’t bring them into the audition room with you. Only come in with songs you know at performance level, which won’t make you nervous to sing in the room.
One of the biggest, most common mistakes that performers make in musical theatre auditions is not having their actual sheet music prepared in a way that makes it easy for the pianist to read and handle. Rather than tell you all of the idiotic things I’ve seen people do with their “repertoire,” I’ll simply cut to the chase and tell you what you should do.
6. Make reading your sheet music idiot-‐proof.
Copyright © 2010 by Jonathan Flom
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1. Photocopy or print the music off on individual sheets of paper. Even if you own the book of vocal selections, do not bring in a bound, published book to the audition—they don’t stay open on the piano and they’re harder to page through.
2. Mark the music thoroughly for the following: a. Start point and end point. b. Any cuts or jumps that you intend to do. c. Any oddities in the music, such as key changes, drastic meter changes,
or dynamic changes that are important. d. Any lyric changes that you plan to perform. e. Anything else that might catch the accompanist off-‐guard and ruin the
perfect flow of your audition. 3. Be sure that if you’re using a song cutting that starts anywhere beyond the
first page to write the title of the song on the top of the new start page. 4. Once the music is marked clearly and cleanly, place the pages back-‐to-‐back in
NON-‐GLARE plastic sheets, ordering them in a way that requires the fewest number of page turns or facilitates the elimination of page turns in difficult places.
5. Place the sheets into a three-‐ring binder, where you will keep your entire active repertoire. It is best to keep the song you plan to begin with in front so it’s easy just to open up and dive in. If you are asked to sing two songs, put them both in front in the order in which you plan to sing them.
6. Keep an updated table of contents in the front of your binder so that it’s easy for you or the pianist to see what else you have in your book should the director request a second selection, and so it’s easy to find the song within the book.
SINCE WE’VE STOPPED…
…Let’s look at a sample table of contents.
Jonathan Flom’s Repertoire Book
1. “Tonight at Eight” She Loves Me Bock and Harnick 2. “Lucky to Be Me” On the Town Comden, Green, Styne 3. “All Aboard for B’way” George M. Cohan 4. “Brother, Can You…Dime” Americana Harburg 5. “Buddy’s Blues” Follies Sondheim 6. “Crazy Little Thing Called Love” Queen 7. “Grow for Me” Little Shop… Menken 8. “Larger Than Life” My Favorite Year Ahrens and Flaherty 9. “What am I Doin’?” Closer Than Ever Maltby and Shire 10. “Where Do I Go?” Hair McDermott, Rado, Ragni
Copyright © 2010 by Jonathan Flom
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Notice that I put my two “go-‐to” songs first, and then I followed them with everything else in alphabetical order. You might also choose to sort by decade, by genre, or by up-‐tempos/ballads. There’s no right or wrong way to organize your repertoire book, as long as it is organized. Notice also that I listed show titles and composers. This is a cheat-‐sheet for me but it also helps the pianist or the musical director who might browse your selections as well.
One other tip for the audition repertoire book that I will offer you is to have the entire song for each selection in your book with you at every audition. Even if the casting notice calls for only 16 or 32 bars, you must know the whole song and you must be ready to sing it (or at least another part of it) should the director ask. It’s so humiliating to learn only the necessary cut length of an audition piece and have someone on the artistic staff ask you to sing a portion of the song that you haven’t learned.
Finally, be smart with cuttings. When they tell you to sing a 16-‐bar cut, they don’t literally mean 16 bars. It’s painfully comical when an actor stops mid-‐phrase of a lyric and tells me it’s because he reached the 16-‐bar limit. The measure count is an approximation. When they say 16 bars, they want half a chorus and when they say 32 bars, they want an entire chorus. Basically, they just want you to keep it short and simple. But you must demonstrate an understanding of lyrical context as well as an ability to show your range in the minimal amount of time allotted. You can also generally get away with doubling the number of measures in brisk up-‐tempo and patter songs.
JONATHAN’S RULES
Always learn the entire song for everything in your repertoire book. Just because an audition calls for a 16-‐bar cutting does not mean that you
should only know 16 bars of the song.
Copyright © 2010 by Jonathan Flom
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This is the single most important advice I can give you. It covers every one of the 25 points I make in this guide, but it goes without saying, the more you prepare, the sharper you will be in that audition room. Every actor gets nervous, especially in audition situations. If you are reading this now, I’m certain you have experienced major audition anxiety. The best remedy for audition stress is preparation. Preparation includes the research you do prior to selecting your material. It includes knowing the song by rote, backwards, in your sleep. It includes knowing exactly what you need to say to the accompanist when you present him with your music (see Secret #16). And it includes knowing who is in the room and who you are. I assure you that if you really nail down the preparation and have all of your bases covered going into the audition, you will see your nerves play less of a detrimental role in the experience and you will walk out feeling like you really nailed it 95% of the time (we all have bad days, even when we’re totally prepared). Preparation will give you confidence. Knowing your material confidently will keep you from spacing out as you search for lyrics. It will keep you from forgetting to tell the pianist the tempo that you like to take the song. In general, it will keep you from looking like you don’t know what you’re doing. I don’t know how else to say this other than asking you this one question: How would you feel if I gave you a script for a three-‐act play? I told you what role you would be playing, and I told you that we would open in two weeks. In our two weeks of rehearsal, we rehearsed act two and act three, but never act one. Then I told you that you had to open the show having never rehearsed the first act of the play. Sounds absurd, right? Well, your audition is your own mini-‐play and you have to rehearse it all. Being unprepared with your material in an audition is no different than going on stage for a performance without having rehearsed part of the show. Again, prepare, prepare, prepare. And when you don’t have a specific audition coming up, use the time to prepare for auditions that may pop up on short notice.
7. Prepare! Prepare! Prepare!
Copyright © 2010 by Jonathan Flom
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You may think that a musical theatre audition is all about showing them how good your voice is. While the singing is certainly a large part of the requisite talent needed to make a musical audition successful, it is not the most important aspect: Acting is. Rather than having the oft-‐lamented stigma of a character who randomly (and annoyingly) breaks into song, you can elevate your audition to another level by showing a depth of acting work that allows us to suspend our disbelief and witness you actually experiencing a moment truthfully with an imaginary scene partner. We need to feel that you are not actually singing (because most people don’t sing in “real life” when they are dealing with other people, trying to get what they want), but rather that you are speaking with such passion and urgency of need that the emotion requires you to express yourself in the form of song. Here is my simple method for achieving great acting in a musical audition: First, treat the lyrics as a monologue. Take them out of rhythm and write them out as a paragraph. Then work the piece as dialogue with no singing or musical intoning. Analyze the piece to determine who your character is and to whom she is speaking (be specific—including your detailed relationship to the imaginary partner). Next decide what it is you want your scene partner to do. In other words, “I am speaking these words because I need her to comfort me by telling me everything will be alright.” Then, just like you learned in acting class, you continue to speak in pursuit of that need, employing different tactics until you get what you want from your partner or you decide to change your objective. Many students get muddled up in actual versus creative context. It is usually okay to make choices out of the context of the original source material, as long as you have studied the original and are making a choice for a specific reason. For instance, in How to Succeed in Business Without Really Trying, the lead character sings the song “I Believe in You” to himself in the mirror. You may just as well decide to sing that song to your best friend who is feeling down and it could be an equally strong choice. As long as you are making strong, clear choices, it is usually okay to alter the actual context. Honestly, most directors won’t care what your context is as long as they can see you have clearly chosen one and it is appropriate to the particular audition at hand.
8. Safe choices are boring choices.
Copyright © 2010 by Jonathan Flom
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Once you’ve broken down the lyrics and worked the piece as spoken dialogue, you should listen to the accompaniment and look for clues in the music to indicate how your character is feeling at certain points in the song. For instance, if the music is short and staccato, you must allow that to inform a certain anxiety or eagerness within your character. Do not deny the accompaniment—for in good musical theatre writing, the accompaniment is said to come from within the character’s gut, not from outside on the piano. Finally, learn the music perfectly as it is written on the page (not as it is heard on the original cast recording!!!). Most of the time, you’ll find that your smart acting choices will be enhanced by the musical composition—strong emotional peaks will be associated with high and/or long notes, etc. Only when you have a full understanding of the text of a musical selection can you be free to take selective liberties with the music in order to be expressive.
The only instance in which you are allowed to discard strong, specific acting choices is if you are singing actual pop music that does not come from a theatrical context. With pop in an audition, it is still important to know who you are singing to and what you want, but rather than creating moment-‐to-‐moment acting (which looks pretty silly, as you might imagine), you should simply figure out the over-‐all mood of the song and then just rock out and go for style points.
I’m not sure why this is so often the case in musical theatre, particularly with women, but there tends to be a stigma attached to musical performers that they do not dress appropriately for auditions. Musical theatre girls tend to
9. Cowgirls wear boots; Lawyers wear ties!
JONATHAN’S RULES
Don’t learn a song from the original cast recording; Then you are learning someone else’s interpretation of that piece. Rather, learn the song by reading it from the page as written by the
composer.
Copyright © 2010 by Jonathan Flom
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be… less than modest, shall we say? Short skirts and low-‐cut tops displaying too much skin and inhibiting movement are more restrictive than they are helpful. Conversely, for men, overdressing (suits, vests, ties, jackets) is often the default. You need to suit the clothing to the audition. Essentially, costume yourself. While it’s nice to have one or two go-‐to audition outfits that you look terrific and feel fantastic and free in, you must also consider what role it is that you wish to be seen for and ask yourself if the clothing you have chosen will help the director see you in that role. I will offer two examples: If you are going in for American Idiot, a contemporary rock musical featuring the music of Green Day, it is not only appropriate but it is actually essential to dress casually—jeans, flannel, tee shirts, sneakers, which seem wildly wrong and informal for an audition are expected in rock auditions. If, on the other hand, the audition is for My Fair Lady, the expected attire would be much more formal and conservative. This never means ladies in cocktail dresses and men in full suits or tuxes, but it certainly means dresses, blouses, slacks, button-‐up shirts, and dress shoes/heels.
The clothing you wear should help us see you in your best light, representing who you are as a person as well as how we could use you in the particular show we are casting. It must also allow you a full range of movement, should the director ask you to make an adjustment that requires walking or going to the floor. You must be certain that you can walk comfortably in your shoes (without an abundance of “clop clop” sounds that come from many sandals or heels) and that you can bend, kneel, or sit without popping out of your dress. One other wonderful piece of advice that my mentor, Cary Libkin, Head of Musical Theatre at Penn State, always offered to women in auditions is to wear underwear that makes you feel incredibly sexy. Even though we (hopefully) won’t see it, it will empower you and charge you with confidence. You can be modest on the outside and seductively sexual up against your skin.
JONATHAN’S RULES
Get your hair back out of your face! The eyes are the windows to the soul, and we need to see
them—boys and girls. Too often the face and eyes are obscured by bangs
and long locks. Don’t let this be you.
Copyright © 2010 by Jonathan Flom
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SINCE WE’VE STOPPED…
…Let’s talk about branding! One of the most powerful and sadly under-‐recognized tools an actor has at her disposal is the power of branding. You know what branding is: It is a tool used by businesses, usually visual, to create recognition with a product, such as McDonalds’ Golden Arches or Nike’s Swoosh logo. Well guess what, as an actor, you are a business and it is to your advantage to create a brand for yourself so that you will be remembered just like a product would. Actors often place this power in the hands of directors, asking the age-‐old question: What is my type? But while directors may type you in or out for a role or a project, you can control your fate by broadcasting your brand clearly and specifically. Branding is easily the subject of an entire series of books, but I will offer you some tips for actor branding.
1. Figure out what your bread and butter is. I know you’ve trained as a versatile actor who is willing and able to tackle a wide variety of roles and archetypes, but how are people naturally going to see you (or rather, how do you realistically want them to see you)? Are you the sweet, innocent girl or boy next door? Are you the loveable clown? Are you the seductive vamp? Are you the heroic masculine savior? Spend some time thinking about these qualities. Come up with adjectives that you and others who know you would use to describe you, and then figure out what it is you are trying to sell. 2. Once you whittle that down to something specific and concise, it is up to you to package your essence as consistently as possible. This means you need headshots that scream your brand. I should be able to know what you’re selling just by looking at your picture and resume, so also make sure that the resume represents you the way you want to be marketed. 3. Then choose clothing that stays “on message.” If you are selling yourself as the suave, sophisticated playboy, then it is certainly appropriate to audition in slacks, a vest, and a tie. 4. And finally, let your repertoire represent your brand as well. This does not mean that every piece you do should be the same style and the same character type, but it should mean that your strongest, go-‐to material should default to your specific brand statement. You will find that when you are specific and consistent with a brand, the industry will start to recognize and remember you. You may very well start out pigeonholing yourself into certain types of roles, but at least you’ll be working. Then you’ll demonstrate your talent and range and be able to expand outside your box once directors see how great you are in process.
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Here I go with preparation again. Are you starting to understand how important it is to the entire process? Good. Well now I want you to prepare more than just the audition performance, the music book, the headshot/resume, and the attire. I want you to prepare with the packing too! You never know what might happen at a musical theatre audition. They may ask you to stay and dance. They may ask you to learn a new song in a short time. They may ask you to come back in and sing again in a little while. They may ask you to work with a scene partner. You just never know. So it is best to be prepared for anything that might come up in these auditions. First of all, bring dance clothing. You should have dance attire that shows the line of your body, in which you can move comfortably, even if you don’t consider yourself a “dancer dancer.” Women should have both character heels and jazz or ballet flats to dance in, and if you’re going in for a show that traditionally involves tap, it sure wouldn’t hurt to have tap shoes with you. Although in a perfect world, everyone moves in a timely, prompt fashion, the theatre is anything but perfect. You may be in for a long wait, especially if you are attending an open call for which you have no appointment time. Therefore, it’s best to pack water and a nutritious snack so you don’t become dry or lose your energy. I generally like to bring a book or a crossword puzzle to auditions to keep my mind occupied during long waits, so add something like that to your bag of goodies. In cities like New York, Chicago, and Los Angeles, you never know what audition opportunities might pop up at the studio space where your intended audition is being held, so always make sure you have a variety of repertoire (not just the two songs you planned to sing) as well as plenty of extra copies of your headshot and resume. Finally, I suggest that a musical theatre actor always carry around a tape recorder or digital recording device. This way, if you should be given a piece
10. Need it? Pack it. Have it!
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of music to learn, you can get a pianist to record the tune and you can listen to it on your own to commit it to memory.
I just told you that theatre auditions rarely run on or ahead of schedule, but you do not get to be the reason they are running behind. Lateness is the cardinal sin for an actor. You must not, under any circumstance offer any excuse for showing up late for an audition appointment. Listen, trains get delayed, traffic happens, and weather can really slow things down as well. To that end, you must always know how long it takes to get where you’re going and leave yourself enough time to get there at least 10-‐15 minutes early even in the event of an unforeseen delay. It’s much better for you to get to the audition space and have to kill an hour than for you to run in at or after your scheduled time.
Occasionally they will actually, miraculously be running ahead of schedule. This is why you should warm up before you get to the location, so that you are ready to set your stuff down and walk right into that audition room and wow them. There is no excuse for not being sufficiently prepared to hit your high notes or move with ease. It is expected that you will walk in the room relaxed and ready for whatever the audition calls for.
11. Be like a thoroughbred…ready to
run.
JONATHAN’S RULES
Never be late or even on time to auditions. Get into the habit of being early instead. There’s
an old adage in theatre that goes: If you’re on time, you’re late; If you’re 15 minutes
early, you’re on time.
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This is one of those deep “insider tips” that I can offer that will give you an edge over the otherwise sufficiently prepared performer. Be sure to ask the monitor outside of the audition room who will be in the audition (including the accompanist). If the monitor can’t help you—or if there is no monitor—look for a flyer on the door that might list the names of the artistic staff involved. If you know who is in the room, you don’t have to spend your first moment taking them in and assessing how many people are behind the table, who they are, which one is the director, etc. You may even recognize the names, especially if you attend auditions frequently, in which case you will see the same people over and over. Knowing who is in the room before you enter may even play into your choices of material—if you know you’ve auditioned successfully for a director with a certain song, you may decide to pull it out if you know that he is behind the table. You may also know that someone in the room has particular pet peeves or preferences from auditioners. Better to go into the room armed and prepared with this information rather than being surprised when the door opens. A bit later we will discuss how you can use the knowledge of who is in the room, including the pianist’s name, but for now just trust me: Find out who is in there and remember it.
You may be shocked to learn that actors, particularly musical theatre actors are often deeply insecure. I know, you could never have guessed it, but it is true. Unfortunately, many of those actors deal with their insecurities by trying to shake up the competition. At any audition in New York, you will find the actor who makes a display of him or herself by warming up grandly in the holding area, particularly showing off extreme high or low notes. You will also find the actor who bombs his or her audition and promptly returns to the holding room proclaiming how rude the director is or how bad the accompanist was. Finally, there’s the actor who wants to “help” everyone waiting to audition by telling them what the director is looking for.
12. Make sure there are no strangers in
the audition room.
13. The quickest way to get psyched out is to listen to what the other actors are saying.
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The best thing you can do is to ignore all of these people. If you have done your full preparation (see Secrets 1-‐12!) then nothing should shake your confidence or rattle your senses. You know who you are and what you’re selling and you’ve made specific choices that market you as such, so who cares what those other frightened, less-‐polished people are saying or doing? The best thing you can do while waiting to audition is to immerse yourself in a book or listen to music on your headphones while you relax and/or focus on the choices you have prepared to make in the room. Allow yourself to tune out all the ambient noise of what other people are singing or how they are feeling coming out of their auditions. This is really hard to do, especially when you are young and new to the scene, but trust me, these people are preying on your vulnerability and you mustn’t let them distract you. Don’t get thrown by what you hear other people singing in the audition room. If the last two people before you have sung your song, don’t freak out and pick a new song last-‐minute (although, with your rep book as solid as I know it will be, you should be able to spot-‐switch your audition material and be just as stellar). No two people perform a song exactly the same, so just go in there with confidence and give it your own personal touch, and you’ll be successful. On the flip side of the coin, don’t ever allow yourself to be the aforementioned distraction for your fellow actors. When you wait in the holding room, be polite and friendly (connections and relationships are everything in this business), but avoid being ostentatious and stay focused on the task at hand. When you come out of your audition, people may ask you how it went or what the vibe in the room was. I suggest you simply be cordial (“I thought it went well. Break a leg in there.”) and avoid a detailed analysis of your audition. In general, you want to extend to others the same courtesy of focus time that you would want extended to you. Don’t be a snob, but don’t try to “help” your fellow actors either.
Earlier, I mentioned that you might be asked to sing a different selection than the one you prepared. Perhaps what you chose does not show them what they were hoping to hear from you. Maybe they want to see another
14. The water bottle – your secret weapon.
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dimension of your abilities. Therefore, it’s important to bring your entire book into the room, rather than just the one selection you chose to sing for them. Also, you should keep extra copies of your headshot and resume in the front or back pocket of your book, so if they should ask for another picture you are prepared to hand them one. The only other item I would suggest you bring into the room with you is a bottle of water. You never know when nerves are going to cause cottonmouth. It happens to everyone, believe me. It may even be that the room is particularly dry. Bringing water ensures that if you should get dry (maybe they ask you to sing another song for them and you need to wet your whistle between selections) you are able to remedy the situation without having to ask to leave the room for a moment. I generally bring my water with me over to the piano when I meet with the accompanist, and then when I’m done talking to him, I set my bottle on the floor just beside the piano. Not only does it function as a lubricant for your vocal chords, but the water bottle can also serve as a segue or transition for you in the audition room. Let’s say you sing your first selection and they start talking about you amongst themselves. You get the impression that they’re not done with you, but you don’t just want to stand there awkwardly staring at them. You walk up to the piano after you finish your song, and you take a drink of water. This way, if they ask to hear something else, you’re right there by your book to work with the accompanist again, and if they simply thank you for your time, you’re right there by your book to grab it and exit the room. As for any other personal items—purses, bags, key chains, etc.—I strongly suggest you leave them in the holding area. You don’t want to be encumbered with a lot of “stuff” when you walk in to audition. It kills the streamlined, polished approach that is so appealing. If you’re nervous to leave your things behind, find someone you trust in the holding room to keep an eye on them for you. I have never heard of an actor’s property being stolen while they were auditioning. There’s generally an honor code at auditions that people can leave their property without fearing theft while they audition.
A lot of actors when they get nervous will walk into the room and behave like an automaton. They come in, go directly to the piano, slap their music down, walk to the center of the room and perform, then leave coldly and brusquely.
15. Smile and the world smiles with you...or at least they won’t frown.
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I suppose many of these curt performers feel like they shouldn’t waste the director’s time and should just cut right to the chase and get in and out as quickly and efficiently as possible. While this is partly true—we don’t want you to come in and try and make small talk with us—we do also need to see that you are a human being with a personality. I cannot tell you how refreshing it is when someone walks in and genuinely says “Good afternoon. How are you?” I am one director who will reply and make light conversation. Others may respond coldly or not at all, but you must not assume that they don’t want to hear anything from you other than your prepared selection. Casting a play or musical is about more than simply assessing your talent; it is about determining whether we want to work with you for the next 4 weeks to 4 months or beyond. You can set a nice, relaxed, comfortable tone by walking in the room and being friendly. And don’t be rattled if they choose to ignore you, just go about your business and continue as planned. Most directors will respond, however, as they want you to feel at ease in the audition room.
One thing you should avoid at all costs is going in for hand shakes. No matter what your teachers, mentors, or parents might tell you, you should never cross to the table and offer to shake hands with the artistic staff. I’ll tell you the two main reasons: First, it is an invasion of their sacred space. I don’t want you to see what I’m writing at the table; I want you to stay a safe distance away and let me look at you from across the room. Second, many people (especially in New York) are germ-‐a-‐phobes and quite frankly, they don’t want to touch your hand. The only time you go for a handshake is if the person behind the table invites it. Usually this will only happen if you already know the person and have a previous relationship with him.
Let me repeat that: The person playing piano for you is your best ally in the audition room. Got it? This person is your scene partner. He will make every effort to help you succeed in your audition, so you must treat him like a dear friend. Let us now walk through the conversation with the accompanist as you place your
16. The accompanist is your best ally in the audition room.
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music on the piano stand in front of him. (One suggestion as you do this—try to position yourself in a way that keeps your face open to the people behind the table as you talk to the pianist, rather than closing them off. First impressions are everything in this business, and this is important face time. You want them to be casting you as they see you being friendly with the pianist.) 1. Remember when I said to learn everyone’s name in the room, including
the pianist? Well, here’s where you earn major brownie points and set yourself apart from everyone else who has auditioned before you and will audition after you. You begin by saying hello to the pianist and addressing him by name. “Hey John, how are you?” You will be one of the few, if not the only person who does this all day, and believe me this person will appreciate it and remember it.
2. You tell the pianist what you will be singing. 3. You tell him where you are starting and where you are ending. 4. You give him your tempo by singing a bit of the song while tapping the
rhythm on your chest, your leg, or the top of the piano. DO NOT SNAP!!! • It is important to both sing and tap the rhythm so that the
accompanist can hear how you plan to sing the song in rhythm, particularly if you plan to back-‐phrase or take liberties.
• Also be sure to point out any major changes in tempo that occur within the song. Be as clear and concise as possible.
5. You point out any cuts or peculiarities in the music (“I jump from here to the second ending and there is a modulation up here”; “I take the repeat as written but I’m using these other lyrics”; etc.).
6. You tell him how you want to start (“Play the introduction”; “Start with this chord”; “Just give me my first note and come in after I set the tempo”; etc.).
7. You tell him how you will signal him to begin (“Can you play my first two notes when I pick my head up?”; “I will introduce the piece, then just go ahead and start the intro”; “I will nod at you when I’m ready”; etc.)
8. You ask if he has any questions. This is a good catch-‐all for any of the above steps that you might have missed, so that all communication is clear.
9. YOU THANK HIM! If you can remember to follow all of these guidelines (remember to practice these as part of your audition package) and convey all of the above information, you will really increase your chances of having a smooth audition with no scary surprises. The accompanist will appreciate your preparation and professional demeanor as well as your friendliness, and believe it or not, after you leave they will often talk about you. They will tell the director if you are wonderfully kind and well organized or if you’re a
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rude jerk. This person can actually influence your audition even after you have left the room.
When your audition is over, be sure to thank the accompanist once again as you retrieve your music book. Even if things didn’t go well, honor this person’s work—he is the hardest working person in the room, as he has had to play for hundreds of people who are far less prepared and polished than you.
Sometimes there might be a line or an “X” taped on the floor to indicate where to stand. It does not mean you need to plant yourself on that spot; it simply means they don’t want you any closer than that. However, often there is no demarcation on the floor; so just position yourself in a place that they can see your entire body, including your feet, without having to lean forward over their table. And give yourself room to move forward in your audition. Forward movement is much more powerful than back stepping, so start far enough away that you can find one or two moments in your song to move toward the audition table without crowding them or making them feel invaded.
17. Stand and deliver.
JONATHAN’S RULES
Never snap at a pianist in the audition room. This goes for when you are setting your tempo as well as when you are singing and you want the
accompanist to speed up or slow down. Nobody likes being snapped at—it’s rude!
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In school we often practice slating, or saying your name and your selections, as part of the audition. In my book GET THE CALLBACK, I even spend a bit of time detailing the introduction. However, in reality, you will rarely if ever be expected to make a formal introduction. Before you walk in the room, your name is on a list and your headshot and resume are already in the director’s hands, so telling them your name won’t be necessary. In fact, they will often choose to address you by name when you walk into the room. Some directors prefer you to simply deal with the accompanist, walk into the space and sing your selection. I think this feels slightly awkward, so I recommend a very simple introduction of the piece by title only. So you finish at the piano, you move to your starting point, you get their eye contact, and you say “This is I Feel Pretty” or “This is I Believe in You.” I will very often try to break the ice (and the tension) by asking the actor what she will be singing before she even gets to that point. This is my way to keep things informal and comfortable rather than stiff and calculated. Be ready to go with the vibe. But do not make this introduction anything more complex than song’s title. We do not need to know what show it’s from, who wrote it, nor which character you will be portraying. Save that trivia for the director who asks you questions afterwards. Then you have an opportunity to extend the conversation.
SINCE WE’VE STOPPED…
…Remember your A B P’s (Always be Present!). The mantra that I teach my students to repeat when auditioning is “Always be Present.” You never know what can happen when you go into the room. They may be so busy that they seem to be ignoring you completely. They may act like you’re a long-‐lost relative that they couldn’t be happier to see. They may make jokes and small talk with you. They may be all business and cut to the chase.
18. Introductions: KISS. (Keep it simple, stupid)
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The point is, you never know. So you can’t be too calculated in how you’re going to deal with them. To some extent you’ve got to be relaxed enough to be present and feel the vibe they’re putting out. If they talk to you, stop and listen. Don’t rush to get to the piano and do your piece and get out. If they want to engage you in conversation, let them! Remember, face time and personality are keys to success. Always be present and listen and be in tune to what’s happening in the audition room. Don’t become the automaton.
In an average audition, the actor will move into the space, introduce the song, look at the accompanist and nod, and boom: we’re off. But I’m trying to help you rise above the average audition, so let’s consider this. The problem with the nod to the pianist is that now you are having your first “moment” as an actor looking at the accompanist, rather than as a character looking at her scene partner. I would like to offer you several options to clarify this moment. 1. One possibility is to create a signal other than a nod to indicate you are
ready to begin. For instance, you may tell the pianist that you will introduce your title and take a breath and then he should play your first note, chord, or introduction. Or you may tell him that you plan to put your hand on your waist and sit into your hip to start the audition. Some sort of clear, specific signal—you get the point.
2. You may choose the nod to the accompanist, but if you do, it is imperative that you incorporate that directional focus into the first beat of the audition piece. What I mean is that you should be sure that your acting begins with your head in the pianist’s direction. So nod to him and then create a transition to get your head forward. In this situation, it is probably best if you are starting the song with some sort of musical introduction. Then the accompaniment that precedes your vocal entrance provides the internal motivation to turn and look at your imaginary scene partner before you address him with words. Now the first moment and the signal are cleverly packaged together.
19. With a wink and a nod…
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3. The only other (sometimes) strong option is to actually start at the piano.
This is generally only appropriate when singing jazz standards or pop music. But you can start with a hand on the piano and make the interaction with the accompanist part of the performance. Just remember, don’t snap at the piano player!
This goes back to Secret #8 about preparing the song as an actor. Now you’re in the room and it’s time to make your preparation pay off. Make sure you establish a clear focus on your imaginary scene partner (do not sing directly to the people behind the table—it’s creepy and irritating). Think to yourself, just before you begin, about what the “kick-‐off line” might be. In other words, what has this person just said to you or done to you that launches you into sung lyrics. Always keep focused on what you want from that partner, and always play to win—meaning do not lament or mope about a problem; rather, try to find a way to rise above it and fix it through your song. One other trick about auditioning for theatre is that we love to see discoveries happen to characters on stage. So be sure that the entire song doesn’t feel rehearsed and routine. It must be rehearsed like crazy, but in the room it must feel spontaneous. You are not singing Oscar Hammerstein’s lyrics—you are singing Laurie’s (Oklahoma!) thoughts, which she is experiencing for the very first time right in front of our eyes. Show us that you think the thought at the top of the phrase, and then sing it aloud. Then think the next thought and sing it, etc. We must see these words occurring to you as if for the very first time.
20. Act the song. Act the song. Act the song.
JONATHAN’S RULES
Be sure to think before you sing. The character has never said these words before, so you’ll need to show us the discovery of the idea
before the words come out.
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And when you have repeated lyrics (as most songs often do), the repeated lyric must mean something different each time. It may be repeated for emphasis. It may indicate a movement from uncertainty to certainty or from question to confirmation. It may simply be that you are trying to get someone to listen to you and you need to repeat for emphasis. But whatever it is, it’s never just repeated because the music told you to do so. Get it? And finally, see the piece through to the end. Lots of actors know how to start, but they stumble on the dismount, so to speak. Make sure when you reach the end of your song you allow it to have a button. You’ve either said what you came to say and won your objective, or perhaps you are waiting for the other person to speak. But whatever your choice, make it clear and specific. Don’t just fall off at the end. “Stick the landing!”
This is another catch-‐all like the “Be Present” mantra. You must be empowered as an actor and own the audition room. Too often the actor comes into the room desperate for work and sublimating himself to the director’s power. But remember that you hold a valuable card in the audition room: The director needs to find the best possible cast for her production and you can offer her a solution to one of her problems. When you enter, believe that you are that solution; believe that your being here is going to make the director’s day; believe that her show will be better for including you in the cast; and believe that singing your song and performing your audition will lift people’s souls. It sounds like a tall order, I know, but that kind of confidence (without being an egotist) is palpable and attractive. What does it look like, you might ask? Well, it starts with walking in unhesitatingly and brightening the room with your energy and enthusiasm. It continues with your professional preparation with the accompanist. It then follows through with your strong audition performance. And it is completed with your sincerity and generosity as a performer and your clear passion for your art. What it does not include is being tentative when you walk in; being a shy wallflower with a weak voice; being unprepared or afraid to take the room
21. Own the room.
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and command attention; asking for permission to perform; and apologizing for anything, either literally or implicitly. No matter how much I stress the importance of owning the audition room, it’s no small task to accomplish and it’s not something that just comes naturally. It comes with a great deal of practice, so be patient as your work through all of these steps. The more you put yourself into audition situations, the more at ease you will feel with each passing experience and the more you will be able to walk in and own the room.
There is nothing more awkward than the guest who doesn’t know when to leave. Remember what I said about being present (Secret #18) and buttoning the song (Secret #20)? Well the finish combines both of these pieces of advice. When you finish your piece, after you let the last beat land and finish strong, you want to step out of character and return to yourself. The easiest way to make this transition is simply to take a breath, re-‐establish eye contact with the people behind the table and say thank you. Now here’s the sticky part: What happens next? They may immediately say thank you in return with a clear period at the end, meaning that they’ve seen what they need to see from you and they’re done. If that is the case, get your music, thank the accompanist, and head for the exit (thanking them one more time as you go out the door). However, sometimes it’s not that simple. Sometimes you finish your piece, you come back to yourself and thank them and they begin (or continue) talking quietly amongst themselves without including you in the conversation. They may be talking about what they saw or lacked in your audition. They may be deciding to ask you for something more. You have no way of knowing. But you must save face and not overstay your welcome. This is when the old water bottle can really be of service. If you finish your piece and suddenly they are in a huddle behind the table, just continue to own the room and head over for a drink while they deliberate. At the end of a few seconds, they’ll either ask you questions, talk to you, or thank you for your time. Either way, you’re prepared to handle it without standing there in the middle of the room looking like a fish out of water.
22. Finish like you started—with grace and charm.
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They may ask you to perform your selection again with a directorial adjustment of some sort. No matter how outlandish or odd it may seem, you must embrace the direction, say yes to it, and show them that you can perform the change that they are asking to see. They may also look at your resume and ask you to do something unexpected, such as sing something from a show you have listed under your performance experience or demonstrate one of your special skills—these both happen all the time in audition rooms. The best way to prepare for this is to not let anything be unexpected. If it’s on your resume, it’s fair game. If it’s something not on your resume, unless it is physically impossible for you to do it, than you give it your best shot. You never know what might be the little thing beyond your prepared audition that gets you the job. Sometimes it’s truly just a question of whether you can take direction or not. Just consider any adjustment or further conversation after your performance as a gift—it keeps you in the room longer and it lets them get to know you better.
23. Be a “yes man.”
JONATHAN’S RULES
Say “yes” to any directorial adjustments they may offer you in the audition room. Also say “yes” to any opportunity they may give you to show them
something more or to make conversation.
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Remember once again to thank everyone for his or her time, including the pianist. It’s also not a bad idea to thank the monitor as you go out, especially if he clued you in on who was in the room before your audition. You never know who the monitor is—it could be a budding young director or an upwardly mobile intern, so being friendly and sincere can have its benefits beyond mere manners. And remember to take care not to be the person who spouts off about the audition with other actors while you’re still in the building. You never know who might be around. Wait until you get out of the studio and onto the street (or better yet, into a cab, a train, or your apartment) before you call your parents or your friends to talk about how great or how awful the audition experience was for you. When you are in the room or in the building, it’s important to always keep your game face on and to appear calm and in control.
The last bit of work you must do at the end of the audition experience is to make notes in a journal about the details of the audition. I highly recommend that you check out Hold On Log and Performer Track (www.holdonlog.com) for the best in actor paper and online journals. This is when knowing everyone’s name in the room becomes important. You should have a journal entry for every audition that includes the following information:
• Who was in the room (full names and jobs) • What you wore • What you sang • Any adjustments or directions they offered • Any comments (other than “nice job”) that they made • Later on, go back and note whether you received a callback and any
feedback from the audition, and of course whether you got the part
24. Smooth, like butter.
25. Good actor—here’s a cookie.
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The journal will help you prepare for future auditions. Earlier on I told you that you would see the same people in the room over and over again the more you audition. If you keep a detailed journal of your audition experiences it will help you be prepared more fully for what to expect when you walk in the room, depending on who’s behind the table.
And at the end of all of that work (these were not 25 easy steps!), you should reward yourself for getting through it. It doesn’t matter if you nailed it or if you bombed. It doesn’t matter if you booked the job, got a callback, or never heard from them at all. The fact that you prepared, went in there, and gave it your best is enough to merit some sort of reward so that you associate the audition experience with something positive. So if you love ice cream, go get yourself an ice cream cone. If you love video games, promise yourself an hour of Nintendo Wii time when you get home. Get the point? If you know there’s a reward at the end of the work, it’ll make the work seem more rewarding!
An actor’s job is auditioning. There is really no such thing as a career in acting; it’s really just a series of jobs. Hopefully, it’ll be a long and mostly uninterrupted series, but no matter what level of success you reach, the bottom line is you can’t get there without auditioning. So you really must learn to embrace the audition process as something necessary. Dare I say you must find a way to love it?! Think of the audition as your daily chance to do what you love to do, because especially when you’re first starting out, it might be the only daily chance you get to perform. By promising yourself that reward that I talked about, you
26. BONUS: Repeat.
JONATHAN’S RULES
Always keep a journal with entries about whom you meet in audition rooms, what you prepare, feedback you get, etc. Visit www.holdonlog.com
for some great actor journals. Refer back to it when preparing your future
auditions.
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can make the audition seem less terrifying and more desirous. By looking back on earlier journal entries from past auditions, you can learn from your mistakes and chart what works and what doesn’t work and continue to prepare better. By preparing fully and being open to whatever may happen in the room, you open a world of possibilities. And by implementing all of these steps with continuous regularity you will eventually ease into the audition process and master owning the room and commanding successful auditions. I hope that this list of “Secrets” to improving your audition skills has been helpful to you. It will no doubt take some time and a great deal of practice for all of this to sink in and become second nature to you; but if you are persistent and determined, you will figure it all out. In the meantime, I would like to offer my further services to you as a private audition coach. If you are in the DC/Northern VA/MD area, I can work with you in person, and if not, there’s always the magic of Skype for a video conference. Either way, if you would like some personal help on finding the right material, exploring your brand, preparing a winning headshot/resume combo, or actually working a song with feedback, please feel free to contact me by email at [email protected]. For more information on what I do or to find a link to my book, GET THE CALLBACK: The Art of Auditioning for Musical Theatre, visit my website: www.jonathanflom.com. Break a leg!
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Jonathan Flom is a professional director as well as Associate Professor/Head of Musical Theatre at Shenandoah Conservatory in Winchester, VA. His first book, GET THE CALLBACK: The Art of Auditioning for Musical Theatre, was published by Scarecrow Press in 2009 and has quickly become a nationally recognized audition technique source. His second book, ACT LIKE IT’S YOUR BUSINESS: Branding and Marketing Strategies for Actors, is becoming a classroom staple in colleges across the country for teaching Business of the Business. Jonathan holds a BFA in Musical Theatre from Penn State University, and he also has the distinction of being the first ever graduate of Penn State’s MFA program in Directing for the Musical Theatre Stage. Notable directing credits include A Chorus Line, Ragtime, The Wild Party (Shenandoah Conservatory), The 25th Annual Putnam Co. Spelling Bee (NCCA Papermill Theatre); Forever Plaid, I Love You…Now Change (Tri-‐State Actors Theatre); Bat Boy, A New Brain (Penn State). Flom has also worked at Goodspeed Musicals, Struthers Library Theatre, and First Street Playhouse (Chicago). Currently, he also holds the office of Northeastern/Mid-‐Atlantic Regional Director for Musical Theatre Educators Alliance, Int’l., a consortium of musical theatre instructors from around the globe who convene annually to exchange ideas on innovations in training. www.jonathanflom.com
ABOUT THE AUTHOR