It's ok to get it off your chest.
So I fell in love with a pop/rock song and want to sing it for auditions but sheet music doesn't exist for it. Looking for someone who can transcribe it (affordably hopefully!!) so have sheet music that sounds good with just a piano (was originally written with piano/guitar/drums). Any recommendations would be much appreciated!! Thanks!
You can get my info from Tom and get in touch if you still need someone.
Contact Dan at email@example.com!
So! A supervisor from an old job just offered me a big girl position at a new company. The job is full time. Compensation is Salary + Commission. This supervisor knows I'm an actor and that acting comes first. He said I'd still be able to audition as the job is flexible. I will get assignments in a weekly meeting and then work under my own schedule to complete those assignments. I'd have the freedom to audition whenever I wanted as long as I do my job. It sounds like kind of the perfect survival job. EXCEPT I'm wary of accepting any full time position as I don't want to get too bogged down and stressed with non-acting work that I stop pursuing auditions. Also, this job may be cool with me auditioning every week, but I don't know how cool they'd be with me having to take three weeks off to shoot a film.
Any advice? Do I take this probably flexible secure job that pays the bills? Or do I keep living odd job to odd job to maintain 100% freedom and flexibility?
I'm in the minority here when it comes to this kind of thing. I'm a huge proponent of moderate stability over total flexibility; even with the odd "flexible" job, you still have responsibilities and have to find people to cover your shifts. Additionally, what you sacrifice in flexibility with this job you are likely to more than make up for in increased sanity.
Honestly, it seems like an option worth exploring if nothing else. Neither you not your employer is going to have a practical idea of how it's going to go until you actually get into it. If it's mutually beneficial, great! If not, you can say you tried it for a few months and realized that the flexobity ended up being more important to you than you thought.
Best of luck!
I say take it - if you get the three week film gig you approach them, ask for a three week leave - if they so no, so be it and back to freelancing. I happily have an actor-friendly job and its been a godsend - they give me time off for gigs, I don't have to choose work or auditions anymore and I'm not stressed about money - all of which lead to better actor-head for me. Since its not your career, you can always quit. I'm sure there will be a day when my day job ends, but since its not my career, I won't be too upset about it :)
It really depends on your personality and what is important to you. I know that I like to have the stability and money in my pocket that my survival job provides. If that is what you want, then try out the job.
If flexibility and not worrying about work related stresses top your list, don't take it.
I would give it a shot though. I know the peace of mind my job provides me helps me be more relaxed in the audition process.
I have a permanent day job that is flexible with me. I have found in my years that if I have to worry about money I'm not as good of an auditioner. You know how they can smell desperation?... Having a day job that I like allows me to do pieces that I want to do, not stuff that I have to do.
And, like everyone said, you can always quit if it doesn't work out for you.
Raja pretty said exactly what I was thinking.
Solid advice you guys. Thanks! I'm meeting with my possible future supervisor to talk details on Friday. There's no harm in trying it out and if it doesn't work it doesn't work.
Ok, I feel like a horrible person for what I'm about to put i here, but I'd like to think that this is what the Bitching post is for and everyone has been trough this once or twice, so here goes: I just lost what was completely truly and utterly my dream job, made it to final callbacks, the director told me in the room that he thought I was wonderful, I actually thought it might work out. And what's more, before this I was questioning giving up, that auditioning was a hurdle I could never jump. While I know I should feel good about making it that far, right now I just can't, I actually feel worse than I did before, mainly because my problem is that they either hate me In the room at pre-screens/general auditons, or I make it very far, then don't get it. Again, I know in the bigger sense this is a ludicrous thing to be upset about, but right now I just need to ask: what do you do when this or something close to this happens to you. Again, sorry for this shameless self indulgence (in case it wasn't obvious, wine was semi responsible for this post...)
You have every right to be upset, and IMO there is nothing shameless or selfish about this post (if there is, I'm the most shameless and selfish person in the world). Think of your recent experience as a reminder that you have what it takes to make it; now all you need is to be in the right place at the right time. And also remember that having made it as far in the process as you did, there is the possibility of being a replacement if the project runs long enough to require one, and you have definitely made a positive impression on the creative team and thus have a high chance of booking another job with those team members.
This is something that invariably happened to everyone who's spent any time in this profession- The Perfect Job That Was Almost Mine.
Sometimes this situation occurs many times in a career. Only one of the all too many examples in my own case occurred decades ago when I lost The Job (national and international tour, big money and a great part) after two days of rehearsals because of an odd technicality in British Equity rules, a technicality which needless to say and without consolation no longer exists.
Taking me out of the equation entirely, every actor has stories of this nature to tell- firings, premature closings, performing across from someone who's spectacularly fallen off the wagon just before a show; these are the unfortunate realities of the business. You have our sympathy with no guarantee it won't happen again.
Take a deep breath, collect yourself and remember that progress sometimes means the ability to implement selective amnesia so the wounds don't keep hurting and you can continue to march forward. Sometimes this will be on autopilot as necessary now and again but eventually you will sign your next contract and best wishes for opening night.
What do you do?... You drink some more wine, take a shower, and wake up tomorrow morning. IT SUCKS. I'm sorry. I think that we've all been there (which doesn't make it any easier). I am a big believer in taking breaks. Sometimes, it's good to 'push through', but other times, its better to take a step back and relax and reevaluate. The holidays are perfect time for this. Take a minute, take five. Smile at how far you've made it in the process, and try to let go of the things that are out of your control.
OOF. Been there. In fact it happened to me TWICE this year. Made it to the final round of the audition process for that game changing job and didn't get it. Making it that far, and hearing praises from the creative team after you don't get the job stings %1000 times worse than just being rejected outright. The only thing that makes it better for me is to immediately do something productive that will contribute to my career. I sign up for a class, read a play, learn a new monologue, work out, etc. Immediately doing something productive helps me remember that it's about the long game and that a series of small wins will eventually lead to a big one in the end.
hokay, so I was just offered a job, and i'm waiting to hear on another. i want to write casting from the other show (i'd prefer to do the show i havent heard from) to let them know I have an offer and ask if i'm still in the running or if i should accept the offered role, but I don't know what exactly you're supposed to say. any advice?
Back in October I auditioned for One Day (non-Eq off-Broadway musical) and saw on here people got callbacks and it seemed to be a typical casting process. Except now I'm reading that almost all (if not all) of the LA cast is doing the NY run. Was anyone local to NY actually cast from the open call? Am I missing something, or was that just a completely misleading audition?
As a non-equity contract can be broken with no statutory penalties or Union recrimination I suspect the Creatives were making themselves aware of local possibilities in case one of their own people booked something better.
My friend booked it & she didn't do the LA run.
Not trying to be a killjoy here, but if it's non-eq it's not an off broadway show.
redredrose beat me to it! Same thought.
Is that true, redredrose? I'm genuinely interested. On many reputable newspapers and websites under Off-Broadway listings you can find many non equity shows.
It's my knowledge that it is about number of seats.
But I'd love for you to prove otherwise.
Seriously not trying to be a troll or disagree- trying to find out.
As far as I know, redredrose is right. What classifies a show as "Broadway, Off Broadway, etc" is the contract. Yes, the contract is based on the number of seats, but the show is technically not Off-Broadway without an Off-Broadway AEA contract (I think).
Regardless of whether the show is truly 'Off-Broadway' or not doesn't negate the 'bitch' of the original poster. Unfortunately, the only thing that can be said in response is that the producers can choose to hire anyone that they want...regardless of how many auditions, callbacks that they hold (and regardless of city that they were held in). There is currently no protection for AEA or non-AEA against anything like this. AEA must begin to be compensated for their audition time after a certain number of callbacks but that's it. Ultimately, this is a prime example of why this business is so unfair. That's showbusiness!!
Yes, I do apologize for changing the subject of the original poster. It's unfortunate that that happens. I know a few NYers were cast but not many. I guess they want to keep their options open with auditions...
And on the off-broadway thing. The Snapple Theater Center is listed as an Off-Broadway theater. We all know Fantastiks is union and considered Off-Broadway. But, in the exact same theater they play non union children's shows. These children's shows are on the off-broadway lists. So I guess I'm confused.
Anyone can rent a space. They don't have to provide an equity contract. Off bway= www.actorsequity.org
And now we even have www.actorsequity.org
Which is new, and I'm a bit fuzzy on it.
The original bitch is legit, and Ron is probably right, but this misconception is so annoyingly prevalent.
The issue is definitely prevalent.
Vital Theater shows are non-eq and considered Off-Broadway. Reading on their site: "Vital Theatre Company is proud to have been recognized with the following honors: 2012 Off-Broadway Alliance Awards Best Family Show: StinkyKids The Musical;"
Why would Off-Broadway Alliance Awards consider it Off-Broadway if it is not? Wouldn't they know better?
And, playbill.com is reputable. Here is their Off-Broadway list. I think like over half of these are non-equity. Shouldn't they know better?
Still confused.... although I did read your links.
the definition of Off Broadway has expanded in the last 10 years or so. It used to be that this referred to certain types of theaters geographically and one type of contract (the AEA "Off Broadway" contract). Now there are many kinds of AEA contracts that are under the umbrella of Off-Bway -- like ANTC that a lot of the non-profit use, the LOA-NYC contract that many reputable companies like Keen and Mint use, the LORT that the Pearl uses, etc. These are all considered "Off Bway" but don't necessarily use the Off Broadway contract. IMO, the Off-broadway designation should never be used for non-AEA productions in the same way a non-AEA tour should not be billed as a "Broadway" product. Broadway and off-Broadway should always be union. However, since anyone can rent some of these venues, their marketing teams can say whatever they want.....
For my own resume, I use the header Off Broadway for any New York theater where I was under a full Equity contract. Anything else, like a Showcase that rented an off-Bway space, I would put under a different header..
End of the day, you can call it whatever you want. If I do an improv show in the basement of Caroline's Comedy Club, I can say I did a show "on Broadway." But as far as your resume and other industry professionals are concerned, we know when you're trying to fudge and cut corners. We know that was a benefit concert, even though it happened to be at the Al Hirschfeld Theatre. When in doubt, err on the side of less, and save the "Off-Broadway" header for shows that are ANTC and above.
Raja, many off-bway companies such as the Mint and the Keen and others use LOA-NYC (below ANTC) but I would definitely include them. The one gray area I think is NYMF -- many ppl list that as off-Bway because of its increasing high profile, but it may better be suited to its own category.....but yeah, you're not fooling anyone when you list a non-eq rental show as off-bway
Maybe some people aren't trying to fluff or make their resume sound better. Truly. Maybe their producers, directors, and non equity contract called it Off-Broadway, and so they listed as such.
Guess I'll change my resume now. A few gigs years and years ago. But everyone who was "official" told me it's off broadway, so yeah, I put it on my resume as such. Wasn't trying to lie or make myself sound better.
Guess I'm an idiot and know nothing about my trade....Hope people haven't been rolling their eyes at my resume!
This conversation devolved, eh?
Off Broadway has become such a broad term, I don't think anyone really gives it much thought. Every actor in the city has a dozen "Off Broadway" credits.
I have seen people list senior showcases as Off Broadway. I saw a girl list an MTI Jr. Pilot as Off Broadway (because of where the pilot was).
Wow, some people are so insecure that they're attacking others about the definition of Off-Broadway? Hate to break it to you, but the vast majority of the theatre going public couldn't care less about the union status of the shows they see. They care that the show is good.
If you're so uptight about non-union people taking non-union jobs (no matter what they call them), maybe the union should do more about being inclusive so they can provide a true united front to producers, instead of dividing performers and making us fight each other.
My understanding is that if a theatre has fewer than 100 seats, it cannot be considered "Off-Broadway." Period. However, just because a theatre happens to meet that requirement, that does not automatically make it an Off-Broadway show. For example, I don't think NYMF and Musicals Tonight count as Off-Broadway, nor do most smaller LOA contracts. However, the stuff Prospect Theatre does, and shows like "Newsical," "Naked Boys Singing," and *some* per-performance contracts do (again, as far as I know).
My point in all this is that if you pad your resume, there is a perfect intersection between "people who will notice" and "people who will care." I'm not saying it's going to cost you a job or that they're going to roll their eyes so hard that their impression of you will be forever marred, but this is one of the few times it's better to be safe than sorry.
I know many people who list Musicals Tonight as an Off-Broadway credit. I personally don't.
I didn't mean to start such a debate! But this is an interesting thread to read. I know people on both sides with very strong opinions about what counts as Off-Broadway and what doesn't. To each his own I suppose!
I'm gonna throw this stone into the soup and see if it floats:
If your show was eligible for a Lortel award, then you can call it Off-Broadway. If not, then it's New York Theatre.
We were in a show together a few years ago. I haven't seen you since, but for some reason you find it acceptable to send me a weekly e-mail about your career. These e-mails have no unsubscribe option.
Now you've self-financed a web series because you read somewhere that was a good thing for young actors to do. You're the star, you wrote the script, and you begged all your friends to work for free.
All that takes a huge amount of dedication and time, so I watched the first episode in recognition your effort. It was the least I could do.
The problem is that your "hilarious" script wouldn't make it past Rob Schneider's intern. The sound is terrible and there are windows behind you in most shots so the light totally blows you out.
I won't go into detail about the acting, but let's just say Carrie Underwood got the callback and you didn't.
And now you're sending me e-mails that I can't unsubscribe to about it every week. Sometimes two or three times a week.
STOP THE FUCKING MADNESS.
Was gonna give a fistbump for the title alone, but after reading the whole post, there does my exist a nuke big enough to properly convey how fucking hard you crushed it just now.
* does not
Before we get into audition we've all got to figure out how to line up at an EPA! I know that people like to sign a non eq list, but please, for the sake of all the equity and emc showing up, either leave the room or stay in a line! We've all been there, new and unsure of how things work, but let's help each other. *steps off of soap box and gets back in line*
Amen! The worst is when someone starts an EMC list and confuses the other slightly sure EMCs. Just stand in line y'all.
I can't stand when the first 20 people leave 9 chairs in between each other and silently look at you like you're crazy when you ask who is at the end of the line. Yes there's only 20 of you now but there are 200 behind me. We will each be asking the same question. Don't look at me like I'm speaking freak. Make a line. This can't be EVERYONE'S first time!
This...thank you!!! I'm still new to living here but I'd been to quite a few auditions here before moving here and caught on quickly how auditions in general work and I can't believe people STILL rush the monitors' table after...we've...lined...up. Come ON people, this business is hard enough without everyone attempting to cut in front of others like snarky children, who made it a point to be up earlier than you! Let's be adults! You get there after someone else, you're in line AND sign up after that person. Simple as that.
Yes. It's New York City. One should not have to be here for more than a couple of hours to know: There. Is. Always. A. Line.
Has anyone used voices.com for voice over auditions/work?
I made a profile for free, but you can only submit to a job if you have one of the premium versions for like $35/month.
Is this source worth that?
lies. its $40 a month for the "lite premium"
Hey y'all! So I'm trying to download a video from a BU workshop but it's not working with my Quicktime or any program I have...I did some research and found a windows media player that accepts .wmv file types, however I'd have to pay for it...surely there's a free program that works for Macs that'll let me download/watch this video...right??
I just uploaded a MOV version to your profile. For future reference, this free program can usually convert it for you online with no software to download: www.online-convert.com
Ah you're wonderful Tom, thank you!!
On the struggle bus today? Sitting around at an open call forever and wondering how your life could get worse? At least you're not Lanky Scoliosis the hopelessly awkward character in this new web series:
Hope this brightens your day and although i know this is not technically a bitching post I hope it takes your mind off whatever was bothering you when you posted here :).
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