It's ok to get it off your chest.
At a recent audition (ITR, the music director and a casting associate), when I finished my sixteen bars the music director sat up with my resume in hand and said, "Is that it?" I said, "That's sixteen bars." he said that it was "fantastic" and he wanted to hear more. I offered a longer cut or another song he said , "Not right now, but I want to see you again." He consulted my resume and commented on my range and said, "Thank you very much David, you have a beautiful voice."
I see on Audition Update that call backs are out for this show and not a word. I'm new to the industry (6 months in The City) though not young. I've dealt with my share of rejections in many areas of my life and I'm pretty good at doing an audition and moving on. However, I have never received such effusive praise in an audition and I have to admit I'm baffled and a bit gut-shot that I didn't at least get a call back.
Why would someone gush like that and then not call me back? There are surely many factors I'm not aware of, but I'm trying to learn as much as I can. I appreciate thoughts from people who have been around longer than me.
The person they are planning to hire in a role opposite you isn't a match.
He meant he's calling you for a different show.
They're moving in a different direction entirely.
He's just very nice.
....The list goes on and on and on. Congrats on the successful audition...here's to many more...but NYC is not the place to analyze praise, IMHO.
^ Exactly. There will times when you're basically told you've got the gig, then nothing. Once you leave the room, put that audition away.
Often you will get a lot of praise in the room if they genuinely liked you but they already KNOW they won't be calling you back for whatever reason. No job for you this time, but the person wants to let you know that they saw/enjoyed/appreciated your talent.
I'm thankful for you all and your never ending supply of sass and support.
SS = sass support.
SOS = Sass Overlapping Support
..been in a show that the director/creative team tampered with the script or music, and consequently was reported to either MTI or Rogers and Hammerstein? If so, what was the result?
Ha! Yes. West Side Story. The director wanted to do the movie version so rewrote the script. MTI found out and told us we had one day to change it back. 3 actors quit.
They're no longer a union theater by the way.
There was a well-known music department around here that was doing a concert of the Spring Awakening songs and got the rights for the show, etc. it was all cast and ready but MTI found out it was just a concert and was like, "you can't just DO a concert of a whole show..." So they had to have a full-out production even though none of them could act of dance or anything. Mess. But they sounded great!
I was in a chorus line and the theatre really wanted an intermission, so they added one. Someone came and reported the show. We ended up having to do the last week without an intermission.
I was in a show that was technically an original piece, but they took almost all of the songs from a very well known musical. It was a youth theater company in a smallish city, so I think it would have gone unnoticed except that the national tour of said show was in town at the same time. Someone reported us the day before we opened and I believe the directors had to go to court? Although I was young so I don't know all the details. Anyway we had to change everything for the second week of performances. I think there was also a fine involved.
HAHA I did Forum in high school and our director, lord love him, changed the original broadway version of the opener to the Nathan Lane revival version mostly because the cast album he/we had on hand was that particular recording. It wasn't reported or I'm sure we would have heard about it, but I had gained a basic knowledge of show even then, though I was just starting out, and had always wondered what would happen if someone of clout would have seen and reported it.
Ooh ooh I have another!
My boyfriend did this community theater production of Grease WAAAAAY back when he was a teenager. Well a few days before they opened, the production was shut down because the theater never actually paid for the rights.
Fatniss, can you guess this theater too? :)
There's always this.
Literally every time that story gets posted on here I read it in full detail with the same enthusiasm that I read the whole Zola twitter saga.
I am currently reading the Zola tweets for the first time and I am truly speechless.
I don't know what to say. I am forever changed.
I just spent the last hour reading Zola's tweets and accompanying articles on if it's true or not. WOAH.
Listen to siri tell the whole story on youtube
I just have to thank you all for the reading material as I sit at this reception temp job until 5pm.
Yeah, that was a wild ride.
Where's the dirt on Zola? On a long flight home and could use the entertainment.
A community theater from my hometown did Chorus Line and instead of having the same people get "cast" at the end of the show every night, the director wanted Zach to call up different names each night so they would be having real reactions of getting cast. Someone called MTI and they had to change it back to the original.
GOD BLESS YOU FATNISS THAT ZOLA SHIT WAS AMAZING
Tell me how to find the zola? This sounds good
This is where I read it.
Sorry for the repost! "Resubmitted" the damn "form." The sentiment still stands ☺️
Hi everyone. I am long overdue for new headshots, and I was just wondering if anyone could throw out names of photographers that I might not have heard of in the past. I am looking to spend around $500 or under. Thanks all!
Paul Greco is great: www.paulgrecophotography.com
EWS Photography www.ewspho.to
Just used Charlie H Ray and he was ANAZING. Under $100 and the quality is professional. Prices are low bc he's young and new to NYC but he knows what he's doing with a camera.
Thanks for the input. Anyone else have any suggestions?
Jonathan Conklin does a great job. Last I checked he was $135 for the hour
Michael Yeshion! www.michaelyeshionphotography.com
His work is gorgeous.
Y'all need to check out Michael Kushner! He's a sweetheart to work with, super talented, incredibly reasonable price, AND he's a musical theatre actor, so he GETS IT.
I second Jonathan Conklin! He was great and I only paid $125 for an hour which I was able to get 5 retouched looks out of. Although I do believe he moved and he mentioned that he would come back every once in a while to do shots so make sure to contact him in advance if you're looking to catch him
I had to post about this because audition update is exactly how I heard about the *In The Spotlight Audition Workshop* with Anthony Daniels (he's Casting Dir. for The Ogunquit Playhouse). I read such wonderful things about him and his classes that I signed up for one myself and WOW! I have never had the experience working in the room that I did with him. I just completed the three-week class and I can't rave enough about how kick a$$ this guy is! If you're looking for a fantastic class to push yourself as an artist AND work on certain audition techniques then TAKE HIS CLASS!!!!
I took the same class back in September and can only join in the praises. Anthony is one of the best coaches I have ever worked with and the way he built this workshop is genius. He's smart, challenging, and funny to boot! It was worth every penny and I've taken from him again since - love this guy!
i'm looking to get into something like this...do either of you have a website or contact information of how to find out about these?
There's a FB page (I think it's called Audition Success Coachings -- or something along those lines). But I am on his email mailing list, too. Email is: email@example.com He did just announce that he's doing the class in December.
Totally a fan of this class and Anthony! I've been working with him for months now after taking a class at Growing Studio that he taught. He's the most insightful and direct coach I've worked with in this city. Since working with him and taking his classes, I have become more successful in the room (definitely booked my last gig because of working with him on the material AND just signed with an agent all thanks to his coaching)!!!! Highly recommend him to everyone.
Give yourself an early CHristmas present and TAKE THIS CLASS!! He has been my coach since taking his class awhile ago and my work in the room has completely changed!!! I'm on this bandwagon :)
LOVED this class! LOVED this guy! I, too, am one of the folks who signed up based on the raves I read on here....BEST decision ever. Can't wait to continue to work with him bc he's the real deal ya'll.
Ok, I've taken the class too and I thought it was good, but the number of posts I've seen up on this site really make me think he is asking people to post for him, or is just posting himself. It was good but frankly all this makes me suspicious.
I just wanted to know about people's experience with One On One NYC and actors connection? What workshops did you take and anything come of it? Any agents you recommend meeting with?
Luke David Young
I firmly believe anyone who offers you representation or a callback from 3-10 minutes of knowing you and your work isn't anyone you want to work with.
I and many I know have gotten meetings with rep and even more rarely, audition appointments, but the tales of it actually turning into work are akin to winning the lottery.
I feel these "classes" or "seminars" where you basically get an EPA-style slot with them are a waste of time and money. You are far better off taking a multi week class where you spend several hours with the person, working with them, not just performing for them. And even then, in the case of an agent, they probably want to see you in something before working with you.
Do your research and be specific. Saves you a lot of time and energy.
agreed with the above. If you're new to the city, you should try to meet as many agents as possible (without breaking the bank). They're all looking for talent to varying degrees. The better thing is to do your own research on agents perhaps who you have connections to (friends, casting director referrals, etc) and seek those out first. As far as casting directors, I find it's useful to research what they all work on and figure out where and if you fit into their world. For example, if you're thing is musical theater, go to every Tara Rubin or Telsey workshop you can; if you're trying to get TV cred, check out Marci Phillips at One on One or the many TV CDs that come through there, etc
I've had some success with Actor's Connection and One on One. I would do the seminars to meet agents and managers, and multi-week classes to get to know casting directors. Don't tire yourself out frantically trying to hit up each casting director. Pick 5-10 that you really want to work with, and focus on those. Then do another class with them a few months later to keep on their radar. The main thing to bear in mind with them is: treat those classes like AUDITIONS. The second I started doing that, and not viewing them like a class, I started getting called in.
And don't forget, of course, about Backstage University!
Quick question. I'm an Irish actor new to New York City and I'm looking into Irish theater companies that do plays of the European nature, Scottish, Irish and English. I can do American dialects as well obviously but I think being from a continent where the work is produced gives you a closer feel to the text. Anyway, my question is what theatre companies do you know that produce this sort of work? Except for Irish Rep? I already know of that one :)
Thanks all :)
Anyone any input on this :)
Yeah, the only company I know of that regularly produces such work is Irish Rep, but you will see other companies that produce them every now and then, just not as consistently.
If you're willing to travel, Inis Nua in Philadelphia produces contemporary plays from the UK. They do pretty solid work.
Question: when you list a character you've played on your resume, do you list first and last name or just first? How do you decide?
Depends, for me, if my character has a last name! It doesn't need to be a constant, though, in my opinion. If you include one's last name, not all of them need to be there. If it provides clarity, maybe it's a good idea. If not, it's up to you!
Sandy in Grease? Probably don't need her last name in there.
Diana Goodman in Next to Normal? They refer to her by her first and last name a lot in the show, so it looks nice on there.
I think it just depends.
I think it just depends on how the character itself fin known in the show. I actually did next to normal also, but I didn't really see the need to put the last name, so I just put Natalie. I mean yes they has a last name, and I don't see the need for it for such a small show. But I see why you ^^thought so, and that's a good argument.
On the flip side, I also did Annie in Miracle Worker at one point, but that was a role I felt the need to put the last name. Not only is she is referred to as Miss Sullivan so often by Captain Keller (unlike Ms. Keller and James who call her Miss Annie) but audiences also when talking about her, will also say Annie Sullivan. So the audience also knows her by a full name. I also think it just makes her name sound more complete...who knows. I feel like it's the same with Christine in POTO. Her name just sounds more complete on a resume with Daae.
Elder Kevin Price
Any other? I like this game!
For anything resume related, all that matters is that the person behind the table should be able to quickly understand what you've done. So I would say that it generally doesn't matter if you include last names or not, as long as it's still clear what character you're discussing. Someone behind the table will understand that you played the lead in Crazy For You whether you list it as "Bobby" or "Bobby Child"...choose whichever you prefer.
Interesting side note: There are some roles that it actually feels odd (to me, at least) to include the last name, and some that it's the opposite. For example, listing the role in Les Miz as "Eponine Thernardier", while accurate, feels strange because everyone just calls her "Eponine"...I wouldn't include the last name then. Similarly, if I'd played the secondary male character in Oklahoma, I'd list it as "Will Parker" because it seems like he's almost always referred to by his full name.
WHY are there so many serving and hostess jobs for restaurants on Playbill???
I understand actors as always looking for survival jobs but COME ON
sign of the times....
Heaven forbid. See what I did there?
i hate that you have to pay to make a reel (or work for a very long time, sometimes for free to get enough good stuff), and pay to have it put up in your profile, oh and then the profiles with videos are listed first...
once again, mo money = mo jobs
As someone who has had to sort through many submissions through the last couple of months on Breakdown Express, I can honestly it really doesn't make a difference who's submissions are first. You're either right for the project or not. Unless it's a really big project that has 2000 submissions for a role it doesn't really make a difference where you are on the queue. Honestly I haven't even watched videos...just looked at resumes.
that actually makes me feel a lot better, I'm working on putting together a reel, but even getting the annual show fax was a big expense haha, so sometimes i just put youtube clips or my website if people really want to see me.
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