Notes on acting:

The art of doing a monologue is that they are scenes. Play to one or few people, otherwise you look like you are telling a story instead of how you feel about it.

Invite people to care. The audience will listen if you say "I experienced it", they will not if you say "I know it".

Plays are about events that change our lives. Each person gets 2 to 3 "play worthy" events in their lives.

You are never more important than your scene partner.

You are looking for one of 3 responses for your scene partner; yes, no, or no response. Your choice is what you do to get the response you want from the scene partner. "Your talent is in your choices" (Stella Adler).

Split difference between playing to the reader and playing out. For an on-camera audition, ask the reader to be as close to the camera as possible.

Cross out the stage directions.

With Disney auditions, don't play characters, make them real people and the jokes are played to the adults, not the kids, but the situation still makes sense to kids.

Notes on pop/rock:

Music theatre is about telling the story, pop/rock is about feeling the story. The pain is in the craving.

Be behind the note.

What does your music video look like? Move in slow motion and use the space (NO RULES).

Meeting the accompanist (he is your best friend in the room).

1. Ask "Hey, do you know this song?"

2. Tell them who the artist is. If it is 1950/60's tell the composer.

3. Sing the hook and tap beet with your foot and tap your hand to your chest

Need a song for each era. But, sometimes with 90's show auditions, they love to hear old stuff too.

I learned everything I know here from actress Sheri Sanders in her "Rock the Audition" class. Let her work her magic for you too: http://www.sherisanders.biz/class.htm.

Notes on singing:

Sing with the sound of 4, but the energy of 10.

ACTING ANALYSIS: Find the hope in every song. Think of a ballad as an uptempo and and uptempo as a ballad. Find what is not nice about ballads. What is at risk? Show you are strong enough to be still with ballads.

MUSIC ANALYSIS: The three most important notes in a phrase are the first note, the high note, and the last note. "Paint rainbows" with the phrase.

LYRIC ANALYSIS: Watch punctuation and capitol letters. Lyricists put capitol letters in the middle of sentences to encourage you to take a breath. "But" is the turning point of a song. With a pronoun, you have to match the verb's emphasis.

In an audition, your first song should show your personality. Save your legit song, it is meant to show you have musicality.

"16 bars" actually means 30 to 45 seconds.

Know the ranges and keys of your songs. Get two keys so you can decide where it fits best with you. Make it yours. You should be able to sing everything in your book on any day. Song selections are usually simpler than the score.

Notes on auditions:

Own the room, walk in like you have 6 other auditions today.

Nerves are your life energy wanting to come out.

On a good day, most actors give 65-75% of themselves, be better than most.

Casting directors forgive you for mistakes, they do not forgive if you do not make any choice.

It is more important to be alive than polished. Guard what is special about you. What makes you different from the last 100 people? The casting director needs to learn something about you. You do not need to give 100% of who you are in your 30 second audition, show an aspect of who you are and connect with your audience (the casting director).

Actors get paid by their ability to sell tickets, not by their talent. What do you have to offer that people would want to buy?

Understand the "world" that you are auditioning for.

Never memorize sides unless they ask you to (Mel Brooks likes sides memorized). Never sing a song from the show, unless they ask you to. However, if the composer is in the room, they are often flattered to hear their songs.

At a callback, don't change your original performance (unless asked). Your original performance was enough for them to call you back.

It is a good audition when you have achieved what you were working on in the piece.

Notes on going union:

Stay non-union until your card is handed to you.

Avoid getting your card through Theatre for Young Audiences (TYA).

Some theatres that are good places to get your card from. These theatres will see non-union and getting your card from them means you are "good enough" to get your card:

• Northshore Musical Theatre
• Theatre Under the Stars
• St. Louis MUNY
• Pittsburgh CLO
• Kansas City Starlight
• Stages St. Louis

So, now you have your card and have an agent, now STOP GOING TO EPA's. Why? Because, it sends a signal to the casting director that you are looking for a chorus position. If you have an agent, that means they have submitted you for an appointment, which is where the principal roles will be cast from. EPA's are before the appointments, don't let them see you before, and not give you an appointment.

"YOU, TOO, CAN PREPARE FOR THE AGENT INTERVIEW" BY BRIAN O'NEIL (BACKSTAGE, OCTOBER 8, 2009)

Question 1: "'Tell me something about yourself.' ... tell the agent whatever you decide you want him or her to know about you... you get to control the interview... prepare a seemingly off-the-cuff but well-thought-out presentation with a beginning, middle, and end. It should last less than one minute ad be a combination of personal and professional. Your presentation might include where you are from originally, where you went to college, and where you trained, and it may conclude what you are up to professionally at this very minute. Period. No rambling."

Question 2: "'Which casting directors know your work?'... Your list should be presented in descending order of whoever knows you best. Ideally then, you should start the list with the names of any casting directors who have been instrumental in your having been hired-- and what it was that you were hired for. Next, mention those casting directors who have given you callbacks-- and what the callbacks were for. Last on the list should be casting directors who've seen you in performance or whom you've auditioned for only once."

Question 3 (the most dreaded): "'How do you see yourself?'... concise-- presentation of the kinds of roles that you believe you are most realistically suited for at this time."

" ... make sure you have monologues and/or songs ready at all times."

'AUDITION AS IF YOU'RE REHEARSING" BY SIMI HORWITZ (BACKSTAGE, OCTOBER 8, 2009)

Film and TV CD Todd Thaler talks submissions and auditions:

"[On headshots]... photograph captures a moment that meakes me wonder what makes that person tick. My word is 'repose.' It means waiting. I like a photograph that captures the moment before the reaction, when the actor looks at the camera, listening" (Todd Thaler).

"On the resume, especially for newcomers... I'd rather see where the actor has trained and special skills... I prefer hearing about how an actor can touch his nose with his tongue or cry like a baby on cue. If you can cry like a baby on cue, I might be able to get you some voiceover work" (T. Thaler).

"Extra work can be mentioned parenthetically... 'Appeared as an extra in several projects including...' and then list those we might have heard of. If you have done extra work in a student film, listing the title won't mean anything to us. But if you've had a featured role in a student film, name the film and let me know if a video is available upon request or accessible on a website... DVDs can include clips from 'Law and Order' and also monologues taped in a studio" (T. Thaler).

"As for cover letters, I dont' want to see 'Enclosed is a picture and resume for review'... That's just redundant... I like cover letters to reveal something honest and personal... I like some kind of biographical information-- that's not drawn out of life stories-- that tells me something more than where the actor studied" (T. Thaler).

"TV and film work has to be subtle... 'When you think you're doing nothing, you're still doing too much'... that only comes with repetition" (T. Thaler).

"I like an actor who approaches an audition as a workshop... Actors who come in with smart questions turn me on... If an actor says before the audition, 'Is there anything you want to tell me ahead of time?,' I'll probably say nothing. But if the actor says, "Is there anything you can tell me about the scene before this scene? Did they just have sex?," that begs a response. I also like an actor who says I should feel free to interrupt him with an adjustment" (T. Thaler).

"As for actors coming in costume, I can take it or leave it... For TV, where they want camera readiness, it may be more important than for meeting me for a part in a feature film. But generally I don't think it helps. Of course, you can always ask..." (T. Thaler).

"Before and after the actual audition, actors need to be a good judge of the vibe. If I'm welcoming and curious about you, the door is open to have some conversation. But if I'm detached and clinical and strictly business, then you come in, do the audition, and leave. Of course, there are occasions when the actor is too closed down or nervous. I've had actors freak out and become speechless when they've found themselves readying with Robert De Niro or auditioning for Ed Harris, who was directing. That's the time to say, 'I'm freaking out and speechless'" (T. Thaler).

"After the audition, receiving a thank-you note is delightful. But again, those notes should be heartfelt, earnest, and sincere rather that boilerplate. Follow up postcards are fine too, but use them sparingly, only to brag about an achievement..." (T. Thaler).

"IS 'BEAUTIFUL' THE NEW 'UGLY'?" BY SIMI HORWITZ (BACKSTAGE, SEPT. 10, 2009)

The CD for "Ugly Betty" and "The Beautiful Life" reveals what he is looking for:

"The headshot is the passport into the casting director's office. It has to say something about who the actor is... let us know what we can cast him in... The picture has to make me feel that the actor could be part of the show's world. But I don't need the actor to write a cover letter telling me what he thinks he'd be good for" (Geoffrey Soffer).

"Acting experience on a resume grabs me. If it's a New York actor, I like to see that he's working in the theatre, has studied with solid acting teachers, or comes from a great school-- or great agency" (G. Soffer).

"I don't look at self-submitted reels. I may look at a reel if if comes from an actor I've met or an agent. A reel shouldn't be more than three or four minutes, and it's production values as well as the level of acting on it should be high" (G. Soffer).

"For any audition, you have to have a clear idea of who you are and what it is you bring to the story... The truth is, the casting director, the writer, the producer are hoping the actor will bring something to the role... have a vision of the character, even if it's the wrong vision. The only wrong choice is not making one" (G. Soffer).

"Preparation is so important. Know the line. Know the character. Know the show's style" (G. Soffer).

" Actors have to be able to see where they are, know where they want to be , and acknowledge the steps that have to be taken. It's a journey, and if you're able to accept that idea, that takes the pressure off what you're doing now" (G. Soffer).

"Following an audition, some actors like to send thank-you notes. It's doesn't hurt, but it's not necessary and it doesn't guarantee that you'll be brought in for the next audition... Still, postcards are a great informational tool if you've booked a film, for example. It keeps you in our minds. But it's not imperative" (G. Soffer).

"ASK AN AGENT" (BACKSTAGE)

"...Cover letters that stand out are genuine ones: the actors who write about what they are working on at the moment and describe their ability to make jobs happen for themselves despite their lack of representation or Screen Actors Guild card. The best ones are honest, direct, and display a passionate urgency to work..." (Julie Civiello, intern for Orion Barnes, Theatrical agent and owner of Rogers Orion Talent Agency, Sherman Oaks, CA).

"I recommend that every actor should intern at an agent's office for at least a week" (Orion Barnes, Theatrical agent and owner of Rogers Orion Talent Agency, Sherman Oaks, CA).

"TAKE FIVE" (BACKSTAGE, AUGUST 6, 2009)

"Sometimes a critic not only likes you and the show but totally 'gets' what they production is saying. You'll get a review that you couldn't have written better yourself. On those rare occassions, I'll sometimes break the 'unwritten rule' and write a note of thanks to the author. Why not?" (Leon Acord, Los Angeles Actor).

"Some of the actors' movements seem arbitrary to me, like they didn't know what to do with themselves. Others were perfectly still and only moved when they had to; it was as if they were very precise in their movements, and these are the actors whom I thought were the most effective. Their bodies were instruments to tell the playwright's history. These actors took the time to figure out what they would be doing if the scene never happened" (Victor Joel Ortiz, New York Actor, on Shakespeare in the Park performances).

"SCHMOOZE ALARM... MAKING CONNECTIONS IS A KEY TO SUCCESS" BY MIRIAM ISPAHANY (BACKSTAGE, AUGUST 6, 2009)

"attend every industry event... financing forums... probably the only actor there... 'I'm actually an actor,' you may get a project" (Dan Griffin, actor-producer).

"Actors must constantly look for work and stay in touch with their contacts... including Myspace, Twitter and the New York Film Exposure a group started by Amore Leighton Black... In addition to sending out e-mails about industry events and opportunities, Black sets up meetings around the city for members..."

"Singer also emhasizes the need to make the most of every opportunity. Early in her acting career, she had a role in an Off-Off Broadway play, and one evening a man was waiting for her after a performance. 'He said he used to produce on Broadway and that if he was still producing he would do anything to help my career,' she recalls. 'I looked at him and thanked him and that was it. I didn't have a networking brain. I should have asked him to lunch and gotten some contacts from him'... Even familiar territory, such as your school, can be a valuable resource... 'Ask them if they can mentor you or if you could work for them" (Lynn Singer, acting and vocal coach).

"LoGiudice also finds parties helpful in building her network. Because she's interested in film and wants to get to know filmmakers, she organized a monthly performance party and gets the word out through Facebook. 'Before the party, I organized a film screening and invited filmmakers to show their films,' she says. 'That was the way I met my collaborator on some of the short films that I work on now."... it's important to know what you want in your career and to listen to others who have experience: "I've built a community of artists who I really respect, who are really supportive, and who are very positive. Fifty percent of the work I've gotten has been from knowing friends of friends" (Lauren LoGiudice, actor and model).

Networking resources:

Dramalogue: Informative on auditions, writing opportunities, and classes, plus study guides and tips: http://www.dramalogue.com

GenArt: Showcases up-and-coming artists through film festivals and screenings, fashion shows, and music showcases http://www.genart.org

Sam Christensen: Marketing workshops for actors http://www.samchristensen.com

The Savvy Actor: http://www.thesavvyactor.com

"THE TOP 10 TIPS FOR BECOMING A SUCCESSFUL COMEDY ACTOR" BY SCOTT SEDITA (BACKSTAGE, JULY 30, 2009)

1. Find your funny: "Are you able to draw humor from your pain?"

2. Identify your comedy character: BOOK: "The Eight Characters of Comedy" by Scott Sedita.

3. Explore your comedy.

4. Stick to the script: "Comedy is about rhythm, timing, and pace, and it's your job as a comedic actor to identify those things in each and every piece of scripted comedy you perform... following the words exactly as written."

5. Learn to break down comedy scripts: "Comedy is made up of two things: desperation and the unpredictable... positive and negative forces that work against each other to create the humor in the script, especially in the dialogue."

6. Perfect your funny: "You need to identify the operative word (a word used over and over in a scene), call-back jokes (jokes repeated over the course of a script), the hard consonants (k, t, and p) used by the writer to maximize the effect of comedic dialogue, and the funny words (Vitameatavegamin)."

7. Stay committed.

8. Be still: "Any extra movement will distract from the comedic rhythm of the piece... keeping still and holding your intension while the audience laughs and waiting for the laughter to die down before continuing with your dialogue."

9. Watch the comedy maters.

10. Have fun.

"RED LIGHT, GREEN LIGHT: 10 DOS AND DON'TS FOR COURTING AN AGENT" BY "SECRET AGENT MAN" (BACKSTAGE, JULY 30, 2009)

1. Don't just show up.

2. Don't screw up chance encounters:"If that actor had a brain, he would have taken the time to make a personal connection [with people you meet] that he could have referenced at a later date."

3. Don't pick the wrong time: "If I'm doing something social, the odds are I'm not going to be in the mood for an actor seeking an agent."

4. Don't lie.

5. Don't suck: "... if you're not a great actor? Every opportunity you create will be wasted..."

_____________

1. Do get fantastic headshots.

2. Do become the best actor you possibly can be.

3. Do put your talent on display: "... the more you perform, the more likely you are to attract an agent's attention."

4. Do your homework: "Don't just submit to every agent in town, hoping someone will respond. You have to do some research... find out what kind of actors it represents. Are you experienced enough for this agency?... Try to dig up some professional or personal facts about this person... Maybe the agent said something revealing, like how much he loves sushi. That's something you can reference in your cover letter. Tell the agent about your favorite sushi bar... every little bit helps when you're trying to stand out from the pack."

5. Do have someone introduce you: "So build up a group of people who admire and respect your work. I'm talking about teachers, actors, casting assistants-- anyone who can introduce you to an agent... who will speak up for you."

"10 WAYS TO KEEP MORE MONEY IN YOUR POCKET" BY PAUL HABER (BACKSTAGE, JULY 30, 2009)

1. Use social networking websites to promote yourself or your project.

2. Use a good tax preparer: free tax advice at Volunteer Income Tax Assistant program (available through SAG and Equity).

3. Sell your electronics: Craigslist and http://www.gazelle.com

4. Cut the cord on your home phone

5. Dump your home Internet connection: "Starbucks, for instance, gives you two free hours of Internet a day through AT&T... all you need is a Starbucks drink card (not to be confused with a Starbucks credit card) with any amount on it. Register online and you're good to go.

6. Hold meetings at your house.

7. Barter

8. By used books and DVDs.

9. Get rid of your old analog TV: "LCD TV's use far less electricity. (But note that plasma TV's use more.)

10. Save tiny amounts whenever you can.

"THE TOP 10 MISTAKES ACTORS MAKE WHEN THEY SIGN A CONTRACT" BY JEFF B. COHEN, ESQ. (BACKSTAGE, JULY 30)

1. They don't read it.

2. They don't get the opinion of an attorney: "... whether the contract is with a studio, network, or theatre producer, you can be sure those of the other side will have a lawyer advising them. So should you.

3. They don't check exclusivity.

4. They don't confirm union status.

5. They don't get most-favored-nations language: "... the contract should clearly state that the actor's terms are a most-favored-nations basis, just so the producer doesn't get cute."

6. They don't get a merchandising clause: "... profit participation with respect to merchandising-- 5 percent of the net profits associated with any merchandising that uses the actor's image. So ask for it!"

7. They don't use a loan-out corporation: " If an actor is grossing in the ballpark of $150,000 annually, he or she may be able to save money in taxes by forming a corporation that contracts directly with the producer for the actor's services. This is commonly referred to as a loan-out corporation. Please consult with your attorney and tax advisor to see whether the benefits outweigh the costs in your situation."

8. They don't understand how long the contract may last.

9. They don't get pay-or-pay language: " A pay-or-pay provision means that even if the producer no longer uses your services, you still get paid your contractual rate."

10. They don't check the perks.

"10 WAYS TO ADVANCE YOUR CAREER" BY SARAH KUHN (BACKSTAGE, JULY 30, 2009)

1. Have an Advocate: "But talent reps aren't the only potential advocates. You can also cultivate this type of relationship by impressing your acting teacher with your work, by befriending and keeping in touch with more-experienced actor you meet on jobs, or by catching the eye of a casting director at an audition."

2. Find a Supportive Environment: "[Actor Blake Robbins] has a standing lunch date with actor and director friends. 'We talk about life, films we've seen, our experiences in the business, and the hopes and dreams we hold for each other and ourselves'... Robbins also attends Naked Angels' weekly cold-reading series, Tuesdays@9."

3. Do Student Films: "'When I'm on a student film set, I know there probably won't be a script supervisor who will pay attention to continuity issues, so I make a concerted effort to pay attention to where I am' (Kito Robinson). And once the project wraps, so your best to stay in the loop... be part of any life a film might have beyond the classroom--by attending festival screenings... 'But it's also one of the very few opportunities you get to mingle in a room full of filmmakers and industry pros who have just viewed your work'(K. Robinson)."

4. Create Your Own Work

5. Hone Your Audition Skills

6. Understand the Business Side of Acting: "... thoroughly research an agent or manager before signing a contract, and seek the counsel of fellow actors. 'Never sign a contract with representation without reading the full contract and getting legal advice to see if it's legit' (Ryan Revel, a manager at BenderSpink)."

7. Be Smart About Promoting Yourself

8. Find Your Niche: "'Take note of your habits and your quirks, the things you do over and over. How do you handle situations and confrontations compared to others? What choices do you most naturally and often make? Embrace those qualities and get comfortable being you.' (Mark Atteberry, http://www.beaworkingactor.com)."

9. Learn How to Network:

• "' ... identify people and draw them into your life by choice...' (LA Actor, Kristine Oller)."
• "What are you focused on achieving at this time?"
• "... it's not the quantity of your contacts that counts but the quality."
• "Oller says you can increase the odds of getting the response you want by tweaking the way you phrase your requests. So, for example, instead of asking someone, 'If I think of any other questions, can I e-mail them to you?' try the following: "If, further down the line, I had a question that fit your area of expertise, would you be open to having me send it your way?' 'This phrasing reassures them that you will not send them every single question you ever have-- or worse, become an unwanted pen pal,' she says. 'Also, this request is more difficult to say no to, because what you're actually asking is would they be open.' Lastly, many people equate netowrking with schmoozing and selling, 'but it's really about marketing, and marketing is just educating,' Oller says. 'I tell my clients that you're just educating people. You're saying, 'Let me tell you about what I'm doing right now in case you or someone you know might find it beneficial now or at some time in the future.' There's no pressure."

10. Get a Life!

"THE POSTMAN" (INTERVIEW WITH MANDY PATINKIN) BY JENELLE RILEY (BACKSTAGE, JULY 2, 2009)

"Back Stage: 'Many artists don't read an audience as well as you do'

Patinkin: 'If you don't, you're such an egomaniac that you think you're so gifted and brilliant no matter what, and you're not paying attention. I'm not interested in those people. You can always feel a performer who's just only listening to themselves. The thing is I've always loved about this genre of music is it's so lyric-driven... I realize I'm with the audience, listening to these words with them. That we listen together, that I'm not alone. And it's a great comfort to me knowing that I'm not the only one affected by what these people wrote, that other people like hearing it too'

Patinkin: "I feel his raison d'etre is his untiring journey to turn darkness into light. That is exactly what I strive to do every second of my life, an nobody writes it better than [Sondheim] does'

Patinkin: On Juilliard Professor, Gerald Freedman, "Gerry taught me the core element of my craft, which was to understand what an action was, how to define it, how to simplify it, how to make it connect to my soul, my experience, and be able to repeat it when I need to, Then there was Marian Seldes... And when the shit hit the fan, as it always would and did, she was there to hold you and help you remind yourself that you came here because you love this'

Patinkin: "But the real thing that always stops me in my tracks and wakes me up out of my day and makes me leave the planet that I'm on and do into their world is when somebody allows me into their genuine soul'

Patinkin: "We came here because of the deep conscious and unconscious desire to share something in our souls about the human condition that we want to try and get across before we check out... And I think for me that's the goal: to be able to somehow synthesize whatever I've picked up in life that's worth sharing and through my craft find a way to, un obtrusively, deliver the mail."

"TELSEY LATELY" BY DAVID SHEWARD ("BACKSTAGE", JULY 2, 2009)

"Smaller roles in film are also as difficult to cast, he adds: 'The actor who usually gets the part is the one who does that one line as if it's 50 lines and somehow finds seven different colors within the one sentence. They fill it out, and their role starts when the camera goes on, not when they start to speak'."

"Telsey emphasizes the importance of taking every opportunity to be seen by casting directors, no matter how insignificant it may seem. 'Being a reader is a great exercise and a great way to explore your instrument,' he says. 'You just learn so much from watching'."

" There's an art to auditioning, Telsey notes, and one of the most common mistakes actors make is 'not being available to what's going on in the moment in the room, because they're so worried about the nerves and all of that they're missing what I call the 'blind date' that they're having with the casting staff. You can easily tell when someone is not present. Another common mistake is not fulfilling the material by making a choice and being incredibly prepared'."

"... do everything and anything. We cast a million readings, and it always surprises me when actors turn them down. But if you did that reading, nine months later when the show got green-lit, the theatre would have just offered it to you, because often they don't have time to cast it with someone else... an actor's job is to say yes'."