It's ok to get it off your chest.
Is it wrong to belt in a mix? It just feels so much better! I realize this comes off as silly, but I struggle with it.
Well...it depends on if it's appropriate to do so for a specific song. I mean a fierce mixed belt that sounds like a full belt never went amiss.
You're either belting or mixing.
The line is thin these days and most of the ladies playing leads on Broadway do both, but there's definitely a physiological difference between the two. And both are great for different things, but few agree on which. It's a personal preference.
But man, I get the sads when I feel killer belt note coming, one earned by the drama- from the toes through the groin and outya face.... and I'm given a Disney princess mix.
"But man, I get the sads when I feel killer belt note coming, one earned by the drama- from the toes through the groin and outya face.... and I'm given a Disney princess mix."
I haven't experienced someone as unprofessional as Jason Styres in years. His communication is last minute, full of informational errors- and his audition/callbacks have zero time schedule. I waited nearly an hour with no explanation on his end. I was asked to prepare a different packet prior to the callback, and when in the room he didn't know which role I was in for. It's so disappointing to see productions put in the hands of someone who isn't prepared to handle them.
I'm sorry you had that experience, but frankly, I've found Jason to be nothing BUT professional. In fact, it was Binder's office that I found unprofessional after Jason left. Interestingly, it was a similar experience to yours: got called in for a show. Then waited 40 minutes. Then got called in and Jay Binder said, "You're here for role X, right?" And I said, "No, you called me in for role Y. I'm happy to sing some of role X's material though."
After which he had me read the shortest side, not sing at all, and sent me home.
So maybe this shit just happens once in awhile with every office. Doesn't make it any more fun, but my personal experiences with Jason have been incredibly wonderful.
↕️↕️ I so wish I could say the same, trust me.
Any feedback/experience with this agency?
Not a fan. They ghosted me after a great meeting and strung another friend of mine along for a while before pushing a pay-to-play that didn't go anywhere. Another friend is signed and unhappy.
Laying it all out here: 15 dollars a month for online BackStage access. AA is FREE per month, but with a charge to upload basically ANYTHING (22 bucks for a minute of video though?) PLUS a fee for a submission. Even submitting to 2 things a week pushes the cost past the BackStage fee. So, I ask, is Actor's Access TRULY worth it?
Pay for the yearly subscription to AA and you'll get unlimited submissions.
Hey guys! About this Expo thing on Saturday...I've been before, but always just to casually mosey about the booths. This weekend I want to go just to attend Michael Cassara's open call, and I'll be on a bit of a time crunch. Does anyone have experience with how quickly signups like this fill up? Do people line up for this thing early?
I’m going to this as well and I’m a bit confused.
I signed up for a few afternoon seminars but I’m hearing about having to get their early to get in, bring headshots and all these things. I as literally planning on showing up half an hour before my first seminar. Has anyone been and can shed some light on this?
also “there”/phone typing. How embarrassing.
Anyone know any of the things?
Bump! I was also wondering if it's worth showing up to this. Have never been before...
Thanks to everyone in advance! I'm new at this and could use your expertise :)
Yes! Go ahead and submit. I forget the exact reason it says that, but might be an equity rule that they have to say seeking from equity. But, yes, totally still submit.
Thank you so much!!
Definitely submit! When I was non union I used to get appts for "AEA only" submissions. C.D.s don;t care as long as you're right for the gig.
Random curiosity question for the hive: does anyone know who is choreographing On The Town at Gateway? Thanks in advance!
The breakdown listed Scott Thompson as both the director and choreographer.
So I booked a summer (yea!) - it's not a career builder, but it will still be a nice diversion from the city, etc - but I was up for something else that would have been a career builder/helped me get to the next level. And I really, truly nailed that audition. And I'm just bummed I didn't get it. And now I'm looking at the other job like...eh? Like, I really don't want to go do it. I'd rather stay in the city and build upon something, but the other gig starts soon and I can't/don't want to put them in that position. So, how do you get your inspiration back? I just feel like I want to make important, interesting theater, and not just entertain old ladies in Florida, ya know? It just seems never ending.
You go do the job you've already booked; you let go of the one you didn't get.
You do the work.
And keep in mind that there are a *ton* of people out there who would kill to be in your position.
What they^ said. I'll take your contract if you're THAT uninspired.
Not sure if it is depression. I just feel like I'm too old to still be fighting to in a union that for some reason doesn't want me. Even though I've worked at a handful of Equity theaters, and had a few Broadway callbacks, and yet here I am doing non-union Summer stock. It's just..ugh.
Anybody care to share their thoughts/feelings/experience with Harden-Curtis? Especially concerning (but not limited to) freelancing?
I freelanced with them several years ago and while I loved the people in the office , I got very, very few auditions, admittedly I am a very specific type and am not a musical theatre actor, but they are a very good agency and have some great clients.
Did you find that as a freelancer you were only paid attention to after signed clients were taken care of?
When I met Nancy Curtis, I found her to be one of the coldest, least pleasant people I have ever dealt with in the industry. Take that for what you will.
I have no idea if I was only taken care of after signed clients , all I know was that I freelanced with them for about a year and got maybe 3 auditions, so I went elsewhere. Yes, Nancy Curtis can be cold but I found I didn't have many dealings with her at all.
Any other experiences with this office?
i have friends with them and they get great appointments.
I have many friends who are signed/freelancing clients of theirs. If you're signed with them you will probably get great appointments and they will work hard for you. If you're freelancing it's a bit dicier. A few of my friends freelanced and were never sent out and the relationship just kind of dissipated into nothingness. One friend though "freelanced" and continued to pursue work on his own and developed relationships with playwrights and casting directors. Eventually after a few years of "freelancing" but getting his own work, they signed him. Now he works pretty much nonstop. :)
I wanna bring this back. Anyone know if they like to freelance potential new clients still and how that is? Any updated info on them really would be great :)
Can anyone explain how these work to me? More specifically, for a show at Disney. I'm considering auditioning for a show there, and it's a CBA. I'm curious for non-eq how a CBA works.
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