Auditioning...How is it going? Join Me at Northwest Film Forum for a great class

I hope all is well out there in audition land. I haven't posted in quite a while and thought I would check in. I was surprised to see how many page views there were and new followers have joined this blog! Welcome!

Here in Seattle we are in the middle of season auditions.

Theatre Puget Sound has come and gone.

The 5th Ave is doing auditions about every 4 months but because their season starts in the fall the May generals are a hot commodity.

Arts West just announced their season auditions and Village Theatre generals are just around the corner.

Renton Civic just announced auditions for Sweeney Todd and has an amazing creative team.

I'm spending most of my time in the film world these days. When things slow down a bit I'll do some film world posting! If you are interested in doing film and theatre but have no clue how to get started in film I am teaching a class at:

Northwest Film Forum April 26th and May 3rd - a total of 4 hours of newbie film information over those two days.  You can find the class sign up here

Actors Transitioning from Stage To Film


I'm not talking about leaving the theatre - no no no- but - expand your craft and footprint. Maybe make some money...maybe not. Maybe just have a whole lot of fun.

And -if you are so inclined - leave me a note on how your auditions are going. What are booking? What haven't you booked? How was the audition room? What are you looking forward to doing next?

I look forward to hearing from you! Happy Auditioning!

Question #5 and #6 - Music Director interview

Last summer I began an interview process with three lovely Music Directors. All work in different areas of the country so I wondered if their answers would vary widely to the SIX – very long – questions I asked them about what their preferences are when in an audition situation.

Jeff Caldwell works on the east coast in the New York area, on Broadway and Off Broadway.

Darcy Danielson is the resident Music Director at the Oregon Shakespeare Festival.

Kim Dare works in Seattle at various Equity and Non-Equity companies

Thank you to Jeff, Darcy and Kim! Enjoy the last installment! 

Jeff:

5.  Do you believe that there is such a thing as an overdone song? What is the song you do not ever want to hear in an audition - ever - ever again? Have you ever chosen not to cast someone based on their song choice?

There are very few songs that are overdone to the extent that you shouldn't sing them. My two best songs were standards on many "Never Sing" lists, and I always got a callback because they were perfect for me and my type. But if your song is done a lot, you'd better be awesome or have a great new take on it. 
Sometimes the less popular song from a show is good to look at. I'd rather hear "Someday" than "Come Out of the Dumpster", for example. You can find cuttings from extended solo sections in duets, like things from Title of Show and Urinetown. 

I don't ever want to hear Once Upon A Time or Someone Like You unless you can NAIL those high notes without sounding and looking like you're screaming. Same thing with Run Away With Me (which I enjoy playing) or At The Fountain. 

Generally JRBrown is so showy for the piano that you will be upstaged by a good pianist. Why compete with that?

I've never not cast someone because they sang a song I didn't like. But often you might not get cast if a song exposes your break, or reveals your weaknesses instead of playing to your strengths. I personally love to hear someone display control and versatility. The end of Someone Else's Story (for example) shows you can power belt, mix, and sing in contemporary head voice in 6 bars if you approach it that way. As a music director that gives me confidence that someone has a command over their instrument. 

Darcy: 

5.  Do you believe that there is such a thing as an overdone song? What is the song you do not ever want to hear in an audition - ever - ever again? Have you ever chosen not to cast someone based on their song choice?

I have to say that the auditions I've played in recent years are for either seasoned Shakespeare actors or college students. So I'm not plagued with overdone song choices.

6. What is a favorite moment you recall while watching (or playing) auditions.

Many of my (wickedly) favorite moments come from watching the actor who confidently chooses to sing a cappella, even though there is an accompanist at the ready.  The tune goes out the window, the rhythms are What?, and I'm thinking, wow, it would be hard to actually learn to perform the song that way.  Years ago, a woman sang "What I Did For Love" and changed key on every syllable of that song. Just try and recreate that yourself - it's darn tricky.  

I really enjoy the actor who comes in, sings a song, and is relaxed enough to know that they can't control the dynamic of the people at the table, but they can bring their piece in, sing it with good volume, and leave knowing that they did everything possible to prepare the music with a coach and schedule plenty of practice time in advance of the audition.  

Kim: 

5. Do you believe that there is such a thing as an overdone song? What is the song you do not ever want to hear in an audition - ever - ever again? Have you ever chosen not to cast someone based on their song choice?

I was asked this question in a master class recently. I don't believe that there is any 'overdone' song if it's done well and knocks my socks off. I do not want to hear a crappy version of Popular ever again. But, bring someone in who kills it and I will have more fun than you could ever imagine!!

6. What is a favorite moment you recall while watching (or playing) auditions?

For me – I always have a great time at auditions. I like to play my own auditions because I can gather information about how well the actor follows or leads the accompanist and owns the song. It also allows me to connect with the actor when they first bring the music to me. I can get a feel for how well they explain what they need from me and how well they communicate. If they are a little nervous, I look to encourage them so that they are freer. 

Music Director Interview - Question #4

This summer I began an interview process with three lovely Music Directors. All work in different areas of the country so I wondered if their answers would vary widely to the SIX – very long – questions I asked them about what their preferences are when in an audition situation.

Jeff Caldwell works on the east coast in the New York area, on Broadway and Off Broadway.

Darcy Danielson is the resident Music Director at the Oregon Shakespeare Festival.

Kim Dare works in Seattle at various Equity and Non-Equity companies

This is Question #4

When people are really great, but they don't get the part, what
have been some reasons you don't cast them?

 

Jeff

 Casting - ah yes. Sizes, types, other people. Most often if you don't get cast it is due to circumstances beyond your control. 5th Ave had to change some folks around years ago in a production I was involved in due to the height of the leading lady they'd hired from New York. But, here's a real insider tip: your reputation in the business can make a difference. Two stories - I benefited from this in grad school because of a voice teacher I played for. In a casting session she just said "Oh, I love Jeff Caldwell" and I got the role over many more deserving singers. End of story.

And a very talented actress was not cast in a very lucrative tour of a recent R&H classic revival because of who she'd be sharing a dressing room with. The sentence "Oh they hate each other" was said, and the director took her out of the consideration pile to protect the actress already in the tour. End of story.
So it works both ways: How you treat people, who you've slept with, what relationships you've ruined (etc...) all play an unfair but realistic part of the casting process.

Darcy

It nearly always has to do with either type or temperament.

Kim

Here are a few that I've seen VERY recently:

• The actor was too short next to the actor who had been hired to play against them
• The actor was terrific, but too mature in ways that could not be 'young-ed' down
• When paired with others in the reading (callback) there wasn't the chemistry that we'd have liked to have seen
• The actor was too young in ways that could not be 'aged'
• The looks just wasn't right. And, thus far, the shows that I've worked on have operated in 'color blind' casting manner – it wasn't a race thing
• It just didn't feel right. Super talented person, did great in the audition, just didn't feel like the right person for that role

Music Director Interview Question #3 -

This summer I began an interview process with three lovely Music Directors. All work in different areas of the country so I wondered if their answers would vary widely to the five – very long – questions I asked them about what their preferences are when in an audition situation.

Darcy Danielson is the resident Music Director at the Oregon Shakespeare Festival.

Jeff Caldwell works on the east coast in the New York area, on Broadway and Off Broadway.

Kim Dare works in Seattle at various Equity and Non-Equity companies in the Seattle area.

This is Question #3

If you could tell an actor one thing they SHOULD do in an audition
- what would it be?

 

Darcy

 Shine! Bring yourself fully to the room. Share who you truly are. That's who they're looking for. 

 Jeff

Have fun. And, be IN the room. Know who you're going to meet, who's playing, as you walk in assess the room and where your focal points will be. Pay attention to what is going on. If the monitor says your name, and the director says "Hi....(Insert your name here)" and looks at your resume, you don't need to then announce your name and what you're going to sing. Sing things you LOVE to sing. Control the circumstances you can - what you present as representing you and your talent.

Kim

Have fun! I love playing auditions and getting to meet new actors. They should consider an audition an opportunity to gather information about the theater and the production staff that is running the audition as much as the audition is an opportunity for a theater to gather information about them. And then – HAVE FUN (being prepared helps you be free to have that fun)!

Music Director Interview - Question Number 2

This summer I began an interview process with three lovely Music Directors. All work in different areas of the country so I wondered if their answers would vary widely to the five – very long – questions I asked them about what their preferences are when in an audition situation.

Kim Dare works in Seattle at various Equity and Non-Equity companies

Darcy Danielson is the resident Music Director at the Oregon Shakespeare Festival.

 Jeff Caldwell works on the east coast in the New York area, on Broadway and Off Broadway.

This is Question Number 2:

 If you could tell an actor one thing NOT to do in an audition -
what would it be?

Darcy

Apologize. The other total no-no is to learn the song the night before. That just never goes well. 

Kim

Don't come un- (or under) prepared. Also – don't make excuses! If your voice is tired, let it be. A good music director should be able to hear when a voice is tired or a person is sick or congested, etc. I hate hearing an actor stand there and give excuses – it's a weak place and really annoying and unprofessional! Certainly, if there is information that should be known, find a way to communicate without sounding like you're whining or making excuses. "Before I begin, I would like to share that I had my tonsils removed just 2 weeks ago. I don't expect an issue, but feel like that's information that you should have." would be perfectly fine!

Jeff

Don't ever snap, pound out the tempo on the piano, or set the music down and walk away. Rehearse your introduction and tempo setting skills all the time so it is second nature and easy.
The ONLY exception is if you're a jazz singer or doing a jazz standard as a jazz singer in character. Since even in the highest level clubs they will snap and count the band in, it is an acceptable practice in only a few circumstances. If you plan to do this, I would have a conversation with the pianist and ask them if they mind that. I personally am not a fan of someone sitting next to me to converse, or to putting their hand on my shoulder, unless we're super good friends. Don't set water or anything else on the piano. That's my domain in an audition.
And yes, be prepared. There will always be someone better prepared than you, so why not just set the bar high and be THAT person.

 

 

 

Music Directors - Interview in Five Questions

This summer I began an interview process with three lovely Music Directors. All work in different areas of the country so I wondered if their answers would vary widely to the five – very long – questions I asked them about what their preferences are when in an audition situation.

Jeff Caldwell works on the east coast in the New York area, on Broadway and Off Broadway.

Kim Dare works in Seattle at various Equity and Non-Equity companies

Darcy Danielson is the resident Music Director at the Oregon Shakespeare Festival.

This is Question Number 1.

There is much debate about "the book" that is handed to an
accompanist. Sheet covers - no sheet covers. Taped together - Or in a
binder. Or taped together pulled out of a binder. The list goes on
and on. Many of you play your own auditions when you are Music
Directing. When you do so, what do you like to see placed before you?

Jeff Caldwell – East Coast – New York, Broadway, Off Broadway

Never put plastic sheet covers in front of me. I've never met one that didn't reflect light, even the excellent non-glare ones. I agree with not having a book crammed full of music - it even makes turning pages hard. One practical use of sheet covers is to protect your copy of music, which you transfer OUT of the cover and into the binder before the audition. I personally prefer and recommend you have separate music for each version of a song you do. Please don't tell me to ignore the markings of your 16 bar cut when you're doing the full song. Just have a clean version for each.
Double-sided absolutely, and with an intelligent thought about minimizing page turns. A 4 page song should only have one turn, between pages 2 and 3. A 16 bar cutting shouldn't have any page turns. Don't have the intro on one page and the song proper on the next. Better to turn later after the song is established than after only a few bars.
If you have a cut involving a key change or feel change, don't make it at a page turn.

And, just ask a coach or pianist about these things. It's worth the investment.

Kim Dare – Seattle Area – Arts West, Balagan and others

• I like a book that is clean looking (not a bunch of paper that is falling out - it's scary when I see paper tucked all over the place).
• I like a book where the size if managed. I played auditions for a casting director with Book of Mormon last week. One gentleman came in with a binder containing no less than 30 songs in it - when he walked out of the door the casting director and I were talking and he said that that book was a mess which usually indicated a messy actor (not prepared – a little scattered). He wasn't saying anything that I haven't said or thought. Actors should have 2 'books' – one containing ALL of their music and one that they bring to auditions with carefully selected songs (no more than 5–6) that are appropriate for the show that they're auditioning for and that they know that they can do well.
• The only thing that I ABSOLUTELY care about is that it's 2 sided, preferably with as few page turns as possible. That being said, I don't mind if it's 'pull out' ready so that I have one long page. My concern there is that you never have a guarantee that the piano you're at will be able to support a string of pages pulled out.
• I prefer no glare sheet covers if there are sheet covers. But, I don't need or prefer sheet covers. Just clear music. Printed cleanly and not really crazily marked up. If an actor is doing cuts, they should cut the music up and provide so that I don't have to jump my eyes from page to page.
• I also prefer that if the actor is doing a selection from inside of a song that they write the name of the song on top of the page (if it's not available on that page) so that I know the name. And, if I'm only playing a selection, make sure that I can see the key signature and time signature. There have been times (it's rare in publisher printed music, but it's happened) where I'm given a piece of music and don't know the time signature – or the name of the song. I shouldn't have to hunt for that information – the vocalist wants me to be able to concentrate on making them sound good and playing the dots on the page – they should do everything that they can to make that possible.

 

 

Darcy Danielson

Sheet covers too often cause glare and can be hard to turn pages. My preference is back-to-back taped, three-hole punched in a black binder. Fold outs are great. Pet peeve: chord symbols, page nos., bass notes that are cut off due to poor photocopying.

 

I like cuts on a separate copy from the full-length tune, and I encourage younger auditioners to retain the whole song for their repertoire collection. You never know when that solo show or cabaret performance will present itself.

 

I love playing my own auditions, and it's such a joy to try accompaniment choices that check their musicality.

 

The sheet music apps for iPad are a swift way to bypass the photocopy model. They mail a PDF and I slide input into iBooks, or the sheet music viewers such as Stanza or Musicnotes. Again, there can be a glare factor.

 

 

Songs: Audition Cuttings Part 1 - The Verse and Chorus

So you’ve picked your song. First suggestion – learn the entire song.

Will you ever do the entire song for an audition? Probably not. Should you know the entire song? Yes. Why?

What if?

I have heard the stories. OH the drama! The fun! The “Oh-my gosh I’m so lucky –I’m so screwed!” – Stories!

·         An actor finished their 16 bar cutting and then they were asked to do the entire song.

·         An actor finished their cutting and they were asked to do 32 bars, or the verse and the chorus.  

·         An Actor finished their cutting and then they were asked to do another song. “Start from the beginning and go until I stop you.” (SO RARE, so Lucky IF you can do it)

·         An Actor finished their cutting and then they were asked to tell the story of the song they just did the cutting from.

It happens. Not often, but it does happen.

So – be prepared.

How do you cut a song?

You want to show off your voice AND tell a story. That seems impossible in 16 bars. It’s not. It’s just a very short story J Let’s start with something easier.

Today let’s talk about the request for the “Verse and Chorus”. Please remember these are not hard and fast rules. They are however pretty great guidelines that have worked for me and other actors I know.

VERSE AND CHORUS

v  Verse and Chorus

o   I usually start at the chorus and then go into the last verse. I do this because well – the chorus starts at a high point and then usually keeps building in intensity. It's INTERESTING. In most songs the last verse goes someplace new musically. That place is -usually -DYNAMIC! Doing this part of the song shows off your range and often the last verse has a money note. Think about it.

§  These are NOT SUGGESTIONS just EXAMPLES

·         Defying Gravity

·         The Wizard and I

·         There’s a Fine, Fine Line

o   The story is usually exciting at the end the song. Often at this point the song is telling the end of the story. Sometimes there’s a reveal. It’s wrapping up. We humans are pretty good at putting together what happened to get us to the end of the story. So you’re telling the climax of the story. The EXCITING part. You want to sound good. You need to sound good. But you need to tell the story. So as always:

Don’t forget to act!