Acing the audition -- you can do it!

It's the absolutely inevitable, totally unpredictable, most nerve-wracking part of the business. And it can make or break a theatre artist's entire career.

The audition.

There's no way around it if you're a serious member of the industry. However, there are ways to ensure that you walk off that stage leaving the director with a smile on his face and a clear idea of who YOU are as an actor.

1. Dress appropriately. It is always acceptable to dress for the part, but it is never OK to do it in an unflattering way. The directors are looking for your personal character as an actor or actress above anything else. It's perfectly acceptable to add some edge to your outfit to portray a character trait, but do it tastefully.

2. Make eye contact. Especially during the deliverance of your monologue or song, it is essential to communicate to everyone else in the room that it should be you in this role and no one else.

3. Act professionally. Just as dressing professionally is essential, so is acting like everyone should take you seriously. Charm only goes so far in this business; overconfidence gets you nowhere. Your work and your professional attitude are all that matters.

4. Starting over is OK. We're all human, and therefore we all make mistakes. Losing your place is a natural side effect of your nerves; if you need to, ask to begin again or perform a different piece. The worst that can happen is the casting directors will say no. If so, politely thank them for their time and walk out of the room proudly. There will always be another audition.

5. Don't freak out when the audition is over. You did your best at the time. The directors have the final say, and nothing you do after your performance will change their minds. Do not seek them out or call to ask for an evaluation of your performance; just wait it out. Whatever happens, you'll learn from every audition and improve in all your future ones.

(Compiled from Essortment.com and Actingbiz.com.)

And here's my own little two-cents: Arrive early! Nothing screams that you don't take yourself or the project seriously more than arriving late for your audition. And although you may come prepared with a headshot and resume, there will often be forms for you to fill out before your audition, and if you're doing cold readings, there will be sides (small portions of the script) for you to quickly rehearse. In show business, early is on time, and on time is late.

Happy auditioning. Break a leg and all that jazz (and all that jazz...). I feel a jam session to the Chicago soundtrack coming on.

--DQ

Backstage at "Bug" - Part 2

It's opening night for Bug, which runs until Saturday in Towson University's Ruth Marder Theatre. Tickets are $2 for students and $5 for general admission.

Here are a few more behind-the-scenes tidbits from the production work this week.

First: deciding on colors for a door. It's a process, I kid you not.



Last: the set finally begins to take shape.



If the desire strikes you, enjoy the show; I'll be there Friday and will see you right back here afterward.

I remain your DQ.

Chatting with John Freedman

John Freedman, an American-born translator who lives and works in Russia, spoke to my Russian Theatre and Politics class today about his experiences both in Russia and with translating some of the plays we're studying.

With regards to choosing the title for the play Frozen in Time, a modern day Russian Romeo and Juliet, Freedman noted that the original Russian title, Exhibits, didn't exactly do the piece justice.

"It's interesting, the power of choices," he said. "'Exhibits' doesn't really give you a feeling. It doesn't give you anything. A title should point you in a certain direction, make a suggestion. I thought 'Frozen in Time' sounded much more influential. It implies not moving on, losing something that is part of human experience."

After seeing one of the first performances of Frozen in Time in Moscow, Freedman left disappointed and confused.

"For me, it lost a lot of course," he said. "You didn't get the way little things kind of build up and lead to the explosion. It's a difficult play to do. If I were directing it, I'd come back to this: you cannot create characters of these people. The ambiguity is very strong. You're encouraged to take sides and make judgments. If you have done that, you've started losing touch with the play. Everybody's life has its right to be expressed fully. The difficulties and conflicts we experience are legitimate. I love that ambiguity; it makes me accept everyone and everything."

Freedman also clued the class in about certain aspects of Russian culture. Infidelity, he said, while frowned upon, is not such a moral problem as it is in the United States. Gender roles that used to exist in the United States are still prevalent there, where in the most general terms, the females typically are the nurturers and the males are the protectors.

"There's a certain understanding of life that Russians have," Freedman said. "There's a sense that life itself is sacred, not the morals attached to it."

Freedman's endeavors in the emerging Russian theatre world will be transformed from page to stage this fall in the premier of the TU Theatre Department's "Russian Season," featuring several of the plays he's translated over the span of his impressive career.

For more on Freedman's experiences and life in Russia, journalism and theatre, head here.

I remain your Drama Queen.

You'll find forever, you've got to follow your heart

When and how did you find your passion?

It's not such a little-known fact that my passion is for theatre and everything about it, and that extends not only to performing, which is always a blast, but also to being a part of a production on a more personal level by adding something to it that can't be seen, like a costume or a set piece, or even researching the show. That's the magic of theatre; every little bit each person does comes together in the end to create this grand final product.

From my love of drama in high school, I sort of knew I'd always wanted to do theatre in college, but I didn't know I wanted to do theatre in college full time. The thought kind of scared me, actually, knowing that I'd be working directly with people whose interests lay within the same area, people who were probably better than me and knew way more about the field than I did.

I came into college as a Mass Comm major, and I don't regret that decision, because it's definitely one of my strengths and I've learned a lot about the field. But something was missing. Halfway through my sophomore year, I decided to give theatre a try. After hours of action-packed classes and invaluable experiences with some of the best faculty I've ever worked with, I haven't looked back.

When did you know that what you're doing now is your passion? How did you know, and did you sacrifice anything for it?

--Drama Queen

There's a moment when fear and dream must collide

It was a cruel realization when I signed up for the required theatre course, Lighting Crew, this semester: I'd have to face the one thing that theatre majors of all people should get over REAL fast.

My fear of heights.

In a field which incorporates hanging lights, pulling curtains, dropping in microphones, acrobatics, and the like, a fear of heights can seriously hold a theatre person like myself back from experiencing the finer elements of the technical work that goes on behind the scenes.

It was never a big deal for me riding roller coasters in theme parks or even climbing the 990-foot-tall Eiffel Tower. But get me on a lighting catwalk and my legs turn to jelly as I gaze down into the expanse of the theatre house below me, which wouldn't be such a comfy landing.

Alas, the day came when my fears came around to face me. On the first day of Lighting Crew, we were set to hang lights for August Strindberg's Miss Julie. I entered the Studio Theatre in Towson University's Center for the Arts with my head held high, even though deep down I was ashamed that someone involved in an art where anything is possible could possess such a fear.

As it turned out, I wasn't the only one. Some of the other crew members requested other tasks that didn't involve being so far above the stage. I opted to face my fear and do what I came there to do: hang lights. The cool thing about the Studio Theatre is that the entire lighting area functions on a giant steel grid directly over the performance area, so if the lights (or a person) should fall, they would be caught by the steel grid. The springy grid was actually quite fun to walk on, and after a while, I started having conversations with some fellow theatre majors on the stage below who were painting the set, and I forgot all about my apprehensions from earlier that day.

My light circuiting handiwork, which took several hours but was fun all the same, can be seen in Miss Julie, which runs until Thursday at TU. Tomorrow I'm seeing the show; see you after right here.

I remain your fear-conquering Drama Queen.

The cast is great, the script is swell, but this we're telling you, sirs...

A couple of entries ago, I mentioned that each theatrical season at TU involves not only the larger Mainstage productions, but also student-directed shows, where theatre majors have the chance to cast and direct a show of their choice rather than perform in it.

I spoke with graduating senior Andrew Peters, an Acting student who is directing a play called Bug this spring, set to open next month. As a young theatre artist, he gave me some insight into the directing experience.

What drew you to Bug and why did you have an interest in directing it?

I first read Bug a few years ago and I've always been drawn to how visceral and gritty it is. It's a love story, a thriller, a piece of science fiction, a dark comedy...all of these different genres all wrapped into one. As a student director, I wanted to direct something challenging and gritty, but something that would allow me to also flex a creative muscle so to speak. It also came down to what I thought would not only interest theatre artists, but the Towson student body as well. With most of its Mainstage repertoire, the Towson theatre department puts on shows that I feel are good learning experiences, but I don't always feel that they are chosen due to what students our age actually want to see. So I wanted to do something very raw, provocative, and fun, but still doable in a college environment.

Author Tracy Letts is also responsible for the Tony Award-winning play August: Osage County. Did this success have any effect on your decision to direct Bug?

The fact that Letts is becoming a huge name in the theatre world definitely influenced my decision. In general, I wanted to do this to get his name out there to a younger audience because I think he's going to be someone who continues doing work for years, and if I can spread his work around to as many people as possible, I'd do it in a heartbeat.

As a theatre student, how valuable is it to have this kind of behind-the-scenes, hands-on experience with a show?

You learn a lot about the process that certain things like classes and such won't teach you. I've been in a good amount of shows here at Towson, but directing a show has taught me so much more than I could've gotten from actually being on stage. You learn about the process and the ways to adapt to it.

What have been your favorite moments so far?

Sometimes, we've stumbled into territory I never expected. For instance, I love it when the actors take a risk with a way they deliver a line or an action they perform, and it completely makes me rethink my original ideas. Also, seeing the show on its feet as it progresses is incredibly exciting each step of the way. The first time we put together Act 1 in one night, I really got a sense that we were well on our way.

Do you have any advice for future student directors?

One, don't be afraid to take risks. Jump in head first! Second, think around the box. With Bug, there are a lot of technical things that I am working around now that I've been able to brainstorm solutions for, and I'm really excited to see how those choices will pay off when the performances start. It's a thrill to be able to see how you can play with a concept and adapt a piece of text to it.

Bug runs April 2 - 4, 2009, in the Ruth Marder Theatre at Towson University.

--DQ

Nothing lasts, nothing holds all of me.

OK, so I realize this is a bit out of the norm for a blog, but as this interview relates to my topic of discussion, I have to take a personal route here and do it. And you get to learn a little more about me in the process. Plus, theatre people generally like to talk about themselves a lot.

FAVORITE MUSICAL(s):
There are so many of these! My all-time favorites are RENT, Les Miserables, Joseph and the Amazing Technicolor Dreamcoat, Godspell, Damn Yankees, Guys & Dolls, You're A Good Man Charlie Brown, Beauty and the Beast, Avenue Q, The Phantom of the Opera, and Me and My Girl.

FAVORITE PLAY(s):
There are lots of these too, but if I have to pick a few, I suppose Anton Chekhov's Uncle Vanya would be near the top of the list. Marisol is also dear to my heart; I directed a scene from it in Directing I a year and a half ago.

FAVORITE ROLE OVERALL THAT I WOULD LOVE TO PLAY:
Belle from Beauty and the Beast!

YOUR GOAL IN SHOW BUSINESS:
There's no business like it! It's all about taking your performance seriously, of course, but it's also about having a good time and enjoying every minute.

FAVORITE DIRECTOR YOU HAVE EVER WORKED WITH:
After working for so many years with Mr. Trowbridge in high school, I can't say I really have a favorite other than him. But Naoko Maeshiba oversaw our directing scenes in Directing I, and she's so knowledgeable and interesting.

WHAT WAS YOUR VERY FIRST SHOW?:
Damn Yankees when I was a freshman in high school!

HAVE YOU EVER BEEN THE LAST PERSON TO TAKE A BOW?
One of them, but not the very last.

HAVE YOU BEEN TO NEW YORK?
What kind of theatre major would I be if I hadn't?

HAVE YOU BEEN TO L.A.?:
Now that I will admit to never having done. But I hear it smells, anyway.

WHAT'S THE SCARIEST PART OF AN AUDITION?:
I hate doing monologues in general....I don't really think they tell you anything about an actor except that they can play one specific character semi-well. The scariest part, then, is performing your monologue, although the wait for the cast list is never fun, either.

WHAT'S THE BEST PART OF AN AUDITION?
Usually no one knows you, so you walk in with a clean slate. Then you get one shot to razzle dazzle 'em.

NAME A SHOW YOU WOULD NEVER DO AGAIN:
All of the shows I've been in have been spectacular, but if I have to choose one, I'd say How to Succeed in Business Without Really Trying, only because it's close to three hours long. That's asking a lot of an audience.

NAME A SHOW YOU COULD DO FOR YEARS:
You're A Good Man, Charlie Brown! I would reprise my role of Lucy van Pelt in an instant!

DO YOU KEEP IN TOUCH WITH PAST CAST MEMBERS?:
Oh, heck yes. I've made some dear friends from being in shows with them.

ON A SCALE OF 1-10, HOW IMPORTANT IS GETTING PAID?:
It never hurts, but it wouldn't really matter to me. I've never been paid for a show before and I've always had an amazing time.

EVER BEEN NAKED ONSTAGE?:
I only left this question in because I actually HAVE been "naked" on stage. Well, a naked simulation. I was in Verdi's AIDA with the Baltimore Opera Company last fall, and I played Amneris' body double as she rises out of the bath. So my costume was a nude-colored bodysuit, basically, and it really looked legit from a distance. It was definitely the most daring thing I've ever done in my life!

IF YOU COULD CHANGE ONE THING ABOUT YOUR THEATRE EXPERIENCE, WHAT WOULD IT BE?
I wish I took chances more when it comes to auditioning for shows I really want to be a part of. I don't like auditioning, period, but unfortunately for me, that's how this business functions and how actors get their starts. You have to prove to the director that you fit what they already see in the character, and you only have a couple minutes to do it if it's a big production. It's a very unforgiving industry, so if you don't make an immediate impression, you're forgotten.

Congratulations. You now know more about me and my theatrical experience than you did two minutes ago. I think I even learned something about myself.

Always,
DQ

I can shoot a sparrow with a bow and arrow.

There's something to be said about small theatre companies putting on grand productions, especially in old theaters that have been around for a hundred years. It gives you a very rustic feeling that you're a part of the history of the building, and makes you wonder what the first productions were that ever took place there and how the company has evolved since then.

Tonight I saw Annie, Get Your Gun, a classic American musical by Irving Berlin starring the beloved Annie Oakley as she gives the local sharpshooter a run for his money and consequently winds up falling in love with him. I went to support my friend Kate, who was in the cast, but wound up having a better time than expected.

First, for a small company like the Broadway Theatre of Pitman, the overall strength of the production (singing ability, dancing ability, humor, ability to engage the audience, etc.) was quite good. I was captured from the opening number (the ever-popular stage tune, "There's No Business Like Show Business"). Well-casted characters and a chorus of talented singers allowed for an enjoyable production throughout. While the choreographer's introduction was a bit goofy, as were Frank's "missed" shots in the second shootout, which playfully "took out" members of the pit orchestra, the production overall was very professional.

Second, the theater itself is its own experience. As I mentioned before, walking into a theater that's been standing since the roads were made of dirt is an incredibly nostalgic feeling, especially when popcorn is served at the concession stand (a standard of the American film industry, not typically the theatre nowadays). My mother, who accompanied me to the show, admitted that she prefers theaters of that size compared to larger professional venues like the Walnut Street Theatre in Philadelphia, because of the intimacy of the atmosphere and just simply the old-fashioned feeling that overcomes you when you enter. You begin to wonder how many actors and actresses and dancers have graced that very stage, and whose careers were started there.

My AGYG experience was much more than I was expecting, which just goes to show that in the theatre, there's always more than meets the eye and hardly anything is ever what it seems.

--DQ