Ask Al: Not all opportunities are created equal...

 Hello Al, 

I am a mid-career American actor and would appreciate your professional advice!

As background: I am a professional actor in my mid-thirties, I've performed leading roles in regional American theater, have appeared on concert stages, albums, and have covered multiple roles on Broadway.

I've recently changed agents-- a move I'm largely excited about! However, the very first audition my new agents have sent my way is what I would consider to be a really "poor match" for me and I'm experiencing concern. 

• Concern for how my new agents view me, 
• and for a possibly warped view of how I see myself
• concerned that my agent and I aren't on the same page 
  
• and for tarnishing new relationships by turning down an opportunity (however inappropriate I think that opportunity might be)

Do I take advantage of the base "opportunity to audition" even though the role/job is not one I want?

The project itself is something I have a lot of history with, is in line with my skill set, my personal history/identity, is with a company I would love to work with someday (perhaps on something else), and is indicative of the theatrical work I want to be doing. But the role I have been submitted for is traditionally played by an actor 10-15 years my senior, and as a woman in my mid-thirties, the role seems to be at odds with how I see myself both as a person and in the casting brackets of the industry.  

While perhaps I am indeed perceived as older than I regard myself and need to have a reality check, I think the larger concern is that my new agents and I aren't quite aligned. 

• Should I "suck it up" and take the audition? 
• Do I pass on the opportunity and not mention to the agents how concerned this makes me? 
• Or do I brooch a hard conversation with the new agents? 

I'm so conflicted. But equally, I'm surprised by how "emotionally activated" this situation has made me-- which usually indicates something deeper is at play—so I'm not responding with the clarity I'm accustomed to. I'd so appreciate your advice. 

Concerned

 

*

 

Dear Concerned, 

First of all, congratulations on being a mid-career actor in her thirties who is represented, working at what sounds like an admirably high level of skill and professionalism, and still passionate and committed to her craft in the prime of life! That's a lot to be proud of, and I mention it specifically because I think we often forget to appreciate how much we've accomplished and how far we've come—especially when we might be stuck inside a thought loop. So brava: you made it this far in your manifested artistic life. 

Next, rather than focusing on what the "right" choice is (because there is no "right choice"), my first advice is to get real quiet with yourself and get to the root of these activated feelings before trying to land on a preferred solution. 

Might this be about... 

• being perceived of as older than you are/feel/wish to be viewed and the judgements and emotions that brings up? 
• feeling misunderstood or misrepresented? 
• feeling anxious because you're a recovering people-pleaser, and saying "no—" especially in a new relationship—is extra challenging for you? 
• potentially being perceived of as "difficult" and/or "picky" or "a diva" by this new agent and the casting director and THOSE labels activate you? 
• a self-worth issue? ("who do I think I am to turn this down?") 
  
•  ...or something entirely different?

No matter the reason(s), getting real with yourself about the underlying feelings creating anxiety in this scenario will help you navigate it with better clarity. And I'll add—not ONLY this scenario, but future scenarios that activate your anxiety as well! (And as a post script: your identity as a female on planet earth does not make the above perceptions easier. Women do indeed fight stereotypes about being difficult/a diva/high-maintenance, that in men would be applauded as "knowing their worth" or "having standards...")

Finally, after you've done that, I'd "change the lens" on this for yourself and regard it as an opportunity to have a deeper, more meaningful conversation with your new agent about the kind of work you want to do, the way you wish to be represented in the industry, and to engage in meaningful dialogue about that in a back-and-forth that can only provide data for you both going forward. Just like a misunderstanding in a friendship or romantic partnership, these moments can be ignored and cause fragility, OR they can be the catalyst for a deeper conversation that gives everyone a chance to gain more understanding. 

Your agents might respond with something simple:

• "the casting director asked for you specifically and I felt obligated to send it your way!"
  
• "I figured why not? An audition is an audition, right?"
• Thank you for this feedback-- let's pass and then dig in to other opportunities! 

I'll lightly warn: there is the possibility that your agent will not respond positively, or with the open heart and mind of your design. They might get defensive, double-down, or use language that re-activates some of your fears (for example might say something like "you can't be so picky" or "a lot of my other clients your age are going in, why can't you just trust me?") That is a distinct possibility, and I offer that the quality of their response is equally good data for you going forward.

While opportunities are wonderful, not all opportunities are created equal. 

And while this audition opportunity is one worth considering, the opportunity for deeper discussion is one that should definitely not be passed up!

Al

Ask Al: Trust Your Struggle

Dear Al,

I am about four years out of college / drama school. I moved to New York three months after graduation and have had some moderate successes since arriving, plus a couple of really close-calls! But mostly, it has just a series of disappointments—the competition is far more intense than I ever anticipated, and the atmosphere far more hostile. I’m pretty broke, basically a professional temp, and can’t even really afford to take the lessons or classes I feel might keep me in shape and inspired.

I wonder all the time if it’s as simple as changing my look/agent/ headshots/ audition material.
Or, if it is about completely re-training, moving back home and starting again.  Everyone in my life is desperate for me to “wake up” and change my path. But the thing is, I just feel in my bones like this is what I am supposed to do…

I’m banging my head against the wall and feel like a failure.
What can I do to change my circumstances?
Or is it about changing everything altogether?

I’ve read and been heartened by your blog for a long time, and would just love your perspective.

Thank you so much,

Daniel

*

Dear Daniel,

My sweet, courageously honest friend, you are NOT alone.

This was a brave letter to write because part of truly addressing a struggle is admitting feelings of defeat and frustration—those feelings are the birthplace of change!

These questions are faced universally—not just by struggling artists like yourself. The need for external validation, the constant feeling of being a pawn in the Chess game of Life, the “am I good-enoughs,” and aaaaallllll questions related to of life-purpose are experienced by all people, of all ages and walks of life, in every culture, since the dawn of time.

[*Thunder!*]

The details change, the feeling do not.

At the end of all the pesky details, that universal feeling boils down to this:

WHAT AM I DOING?

...Bummer.

The thing is, I can’t tell you whether your story is about your original dream, or about creating a new one.
Neither can your parents, girlfriend, or any random stranger on the subway.
Only you can do that.

Allow me to validate that there is NO SHAME in changing your path. There is a huge difference between "giving-up" and strategic disengagement. Changing your path does not make you a failure, it makes you a Motivated Badass, a Survivor, and a Winner. If you know you have gifts to give the world, sometimes it’s about dreaming new dreams and making THOSE happen! Again, that does not make you a failure, that makes you practical, gritty, and deeply awesome.

Here is the thing: it is far cooler to be the best Physical Therapist/Social Worker/Small Business owner/English teacher the world has ever seen, than yet another listless and unhappy not-actor cleaning their naval in deepest Brooklyn...

So. Just in case you were one of the zillion people concerned that changing the path = Loserville-Failure-Sauce, I am here to tell you: Nope.

Look. Even with all my ‘success” (which is a whole other blog post about what the definition of THAT truly is…) I’ve still had huge periods of self-doubt. On my more positive days I’ve:

• Talked that talk.
• Thought those attraction thoughts.
• Written letters to The Universe.
• Journaled
• Planned big plans
• Sat with a Jenga-esque pile of self help books threatening to smother my cat.

But I have also:

• Sat around so depressed on my sofa when I could have been doing something (anything)
• Made awkward first-impressions
• Done preposterous things for money
• Avoided meeting people altogether
• Seriously burdened my manager and mother
• Perfected my (suuuuper-special) knowledge of 90s crime shows on Netflix
• Padded feebly from the bedroom to the fridge in 'The Bathrobe of Shame'
• Been overlooked for things I thought I was completely capable of doing
• Stared at the black-hole that was my bank account
• Totally (and I mean totally) blown auditions like the fourth of July
• ...and silently cried when I couldn’t get an audition/ job/ date (and I really do mean that).

Essentially? I’ve been in Loserville myself.
Yep. Even awesome lil' ol' me who you are asking for “insight.”

If you’ve done all this too but are still confused, single, overweight, feeling like you’re being a total weenie, here are 8 tips I have for the spiritually downtrodden. 


1. Eyes on the horizon.
I, like every other human has had upsets and taken steps backwards.
It happens. It is a part of life.

I do a little exercise with my students. In their warm-up, I have them identify and name their deepest “want” for that day/class/lifetime—whatever is most appropriate for them in that moment. They say it out-loud, they re-define it if it is not JUST right, they say it again.
Then we visualize a horizon—a landscape meaningful to them which could be anything from a mountain range, a sunset over a body of water, an open highway, or even a treacherous road or a spooky forest path.
We fill in all the details—sights, sounds, smells, temperature, down to the qualities of light. Then, right on the horizon line, I have them put their “want” in the center and walk toward it.
Every step they take, they are closer.
There it is—something concrete and tangible like the next job or relationship; to something entirely abstract like belonging, freedom, love, wisdom, or hope.
After a while, they can see that they “Want” is in the shape of a living creature, one with eyes and a soul, and that want is greeting them with happiness and expectation.
Soon, they are face-to-face with their Want, making eye contact and communicating with it silently.

Then I ask them to keep their eyes locked with the Want—and take two steps backwards.
Can you still see your want? I ask them.
They nod. Of course they can.

The lesson? Two fold:
First, your next "thing" is ahead of you—it could be in the next 5 minutes, tomorrow or in a year, but it IS ahead, and every step you take, and every day that passes you are getting closer to it.
Second, even when you feel that you have taken two steps backwards, if your eyes are still on the horizon, it is all progress. You are endowed with the ability to choose whether you take another step back, remain still, or walk forward, but as long as you remain focused, you can’t lose.

2. You have to scare yourself.
And no, not in the mirror after you’ve pulled a double shift. I mean really scare the crap out of yourself almost every day in your deep place.

Get quiet and ask: what are you ACTUALLY afraid of?

• Rejection?
• Failure?
• Being scorned by your family?
• Being misunderstood?
• Laughed at?
• Some jerk’s “I-told-you-so?”

Or…

• Are you actually deeply afraid of success?
• Of being the huge superstar you know you can be?

Make a list of your fears. Challenge them. Address them. Then face them. You’re not gonna make magic happen from the lace-lined-bassinet of your comfort zone.


3. Don’t try to change the unchangeable
Attempting to change the unchangeable is a Sisyphean feat of wasted time and energy. Don't... do that. Hilariously, have you ever noticed that we always seem to think we are the exception to that rule? Somehow we convince ourselves that we are the super-human who can BEND SPACE AND TIME. Been there, done that, bought the t-shirt.

Truth: There are things you can, and things you cannot change. Just for the sake of clarity, let’s go over those in detail, shall we?

Hooray! You can change:

• What you do
• What you communicate to others
• What you know
• How you choose to think 
• What you hope, dream, and aspire to. 


[*Sad Trombone*] You cannot change:

• The past
• The facts (skin color, sexual preference, white blood cell count, and, unless you are a criminal, your social security number)
• The laws of physics
• The weather
• The life and career path of any other person
• Human nature (yours or others)
• Personality traits (yours or others)
• Another person's deeply-held beliefs or thoughts (unless they choose to change)
• Who you are related to
• Human needs (you should eat and sleep in a shelter with roof and door.)
• Your level of innate talent (you can only improve what you innately possess)
• Things, which, for whatever reason, you simply do not acknowledge.

Recognize and accept what you can and cannot change, and move forward with your life.



4. Success really is preparation meeting opportunity.
So, you have to put yourself in the sight of opportunity (meaning, you can’t stay in your house binging on carbs and Breaking Bad… at least not every night...). That means networking, going out to career-related events, being informed about your world and your industry, and above all: knowing what you want so you can ask for it.

But crucially: You must be ready. All the time.

That means planning, skill-drilling, practice, fitness, readiness. For an artist, that looks like this:

• Devouring plays, films books, media and anything related to your passions and skills
• Practicing your art every day
• Staying on top of emerging artists
• Sight-reading (it is the first skill of an actor’s to get rusty—I read out loud every day)
• Constantly working on new songs and monologues (you might not need that speech or song today, but you *could* need it to be #onfleek tomorrow). I recommend having at least 5-6 contrasting speeches, and 6-8 songs ready to go at performance standard at all times... Seriously.
• Creating your own work and opportunities.
• Expand and improve your skills
• Being informed about, ya know, the actual world...


5. The more you give the more you receive. 
Thank you Ghandi, Buddha, Jesus, Moses, Martin Luther King Jr., and, oh, PHYSICS.
It's science, really: Give more. Get more.

Pour every last scrap of your heart and soul into a large collection of living, breathing human beings/animals/plants (such as a gaggle of beautiful, life-enhancing students) and your heart and soul will be flooded right back—most likely with interest. Giving makes you better at everything. 



6. Turn crumbs into a feast.
Man, we can be such jerks to ourselves! Have you ever had that mean-voiced ticker-tape loop in your head chanting on repeat that you have "never been in a relationship/made money/had success in your career?"
Snore.

Instead of making insulting decisions about yourself and your life, try asking yourself questions like these:

Dude. Is this absolutely true? 
Have I never booked a gig/ been in a relationship/ made money? EEEEEVER?

We’re so quick to decide that if we haven’t totally nailed it standing-ovation-style, that we suck.
Dig deep, look for where you have had success, no matter how teeny-weeny, and build upon it.
You decide what’s true for you, so if you aren’t staring at a reality that lights you up, change your perception, and change your life.
Sometimes, we have to turn what we perceive of as “crumbs” into a feast.
That's okay—it teaches us to be both innovative and optimistic.


7. The path to success is curved.
You will probably never be able to predict the exact path of your life. Why? Because life is unpredictable.

Also curved? Your BFA might not be a part of a linear success story from 5th-grade talent show winner to Tevye in High School, to Julliard, to glittering stardom.

It might be that your BFA is on the scenic route to your true destiny as an empathetic and world-rocking politician (like my beloved childhood boyfriend Justin Flagg who is kicking ass and taking names), or as a invaluable tigress for one of the world’s biggest consultancies (like my friend Jessica who is the moving to India to kick ass with her dashing diplomat husband). Or Vera Wang who changed her path from figure skater to world-class designer at the age of 49. 

Who knows what your true calling is? It might not even be an idea you've had yet.
So be patient and give yourself a chance to have it. 


8. Trust your struggle.
Your BFA in Whatever might not mean you are destined for Sutton-Foster-level validation.

Look at the unconventional artistic success stories like that of the glorious Billy Porter, Octavia Spencer, Samuel L Jackson and my one and only idol Angela Lansbury. These are great actors and human beings whose conventional "success" came later in their lives.

After Carnegie Mellon, Billy spent years (years) making art, writing, teaching, and being generally misunderstood by the industry, rejected over and over again, and then one day? Boom. Kinky Boots. Tony, Grammy, stardom.

Octavia Spencer was told she was weird-looking and “not for Hollywood.” Suck it haters: she now has an Oscar.

Samuel L. Jackson recovered from a crippling addiction to cocaine and heroin before landing Pulp Fiction at 46. He then went on to become Samuel L Freakin' Jackson.

And even though Angela Lansbury was nominated for an Oscar at 18, a Goldwyn girl, a movie and gigantic Broadway star, she wasn’t a complete and utter household name until she starred on Murder, She Wrote which she began at the age of 60.

Not to mention Ariana Huffington starting The Huffington Post at age 54.
Or Charles Darwin, who was 50 years old before he published On the Origin of the Species in 1859.
Or Julia Child who published her first cookbook at 39; and made her television debut at age 51.

Repeat after me: Trust. Your. Struggle.

No matter what this chapter is, trust that it is all part of the story, and it refines, defines, and ultimately: makes you better.

Ask Al: Recovering from your 'not-so-best' moments

Dear Al,

I just had the most embarrassing audition, and I'm having a tough time recovering / moving forward. It was so bad that they asked me to come back and do something else,  then I came back it was even worse than the first time…! I felt genuinely humiliated and don't know how to get out of this funk.


*

Dear Funky,

Okay first just remember you are going to be okay! Maybe not in an hour, maybe not in a couple of days even. But someday and soon this day will be a learning moment and nothing more.

Sometimes we have a LOT going on in our lives.
Sometimes we are distracted and have every right to be.

But sometimes we spend weeks on end on the sofa, unable to lift our limbs, watching Daytime TV, and cleaning corners with a Q-tip LIKEABOSS; our interests only in padding feebly from room to room, napping, procedural crime-drama marathons, and shoveling pre-packaged food into our drooling gobs…

…Oh dear.

Listen:
We all have an ‘off’ day or two.
We must be kind to ourselves and try not to torpedo into “I’m-a-failure" mode because of a bad day no matter how bad it FELT.

So! Here’s how to turn your not-so-proud moments into AWESOME-PIE.

When we get to that [hermit-bathrobe] place, we must do the following:

     1.) Stop talking. 

     2.) Look within—not outside—for the answers.

By spending time in silence, reconnecting with what I like to call your “Highest Self,” (i.e, the version of you that is your most compassionate, wise, understanding and non-judgemental) and maybe even having a chat with your good ol’ pal The Almighty Universe, you remind yourself that every single thing you need is within you. Worrying, doubting, forcing, obsessively planning, dramatizing, tensing up, bracing yourself, overworking….all this does is cut you off from what is naturally trying to reach you.

When we tend to that which is within, we allow the desires that we perceive to be outside of ourselves to manifest in the real world.

Basically: When you spend some time in silence, you emerge feeling like you can bend a bridge in half.

Then, when you emerge from Silent-ville, surround yourself in treasured friends who are smart, fun, and the good kind of tough-on-you, who are also ambitious about their own lives, high-vibration-y, creative smarty-pantses. Being around that energy will inspire you to take care of business, YOUR business to be specific. (Meaning: you don’t want someone to sit down in the muck with you who is also a muck-monster. You want a fellow kick-assasaurus.) For, you see, one must truly roll up their sleeves and reach deep into the plasma of their own ass-kickery… in order to…ya know, kick some…ass.

Cuz listen: rejection and sucking at things you are normally good at?
It sucks.
And boy oh boy, it always will—
     from crappy auditions
to horrible dates,
     from breaking bones while doing a workout DVD
to accidentally hurting a friend,
     from I-thought-I-knew-how-this-electrical-circuit-breaker-worked-BEFORE-that-fire
to I-killed-another-plant...
…All of the above, by the way, I have done—and I still consider myself to be awesome in general.

And while I totally understand that it is embarrassing and awful to feel like you did poorly in front of people that really matter to you, it isn't the end of the universe.
You didn't end up in prison
or get humiliated by the mass media
or tank for Steven Spielberg…
    and you know what?
Even if you did do any of those things— it wouldn’t be the end of the universe either.
Why?
Because of  little thing called the power of perspective.

Examples:
You had a bad audition
     and you will have dozens of other chances to do good work
     because you're a PERSON and allowed to have moments like this.
AAAAND
We’re not slicing brains or fixing Syria.
It’s professional pretend.

But on a grander scheme: people are not perfect and perfectionism is a very real form of self-sabotage directly linked to personal shame. If we can recognize and make peace with our shame, we can accept that perfectionism isn’t a realistic, attainable or healthy goal and incorporate our less-than-awesome moments with our glorious ones and recognize that they are all part of our over-all awesome selves.

But that said: it stinks.
This is your life’s work and you had a bad day.
But it is NOT  the end of the world.
It is an opportunity to grow.

I really really promise.

I know this because I both
     sang on the Grammys...

and set fire to my ceiling.

So lick your wounds, get back in that practice room, pick yourself up and keep going.
We can't nail it every single time. I've bombed more auditions than I can count.
And I'm still alive and have self respect.
…Maaaaybe not self-respect about keeping plants alive— but certainly in general. 

Al

x

Ask Al: Contemporary Speeches

Every once in a while I get emails from people asking for help or for advice. With their permission, I always think it is helpful to share these Q&As with everyone just in case any of you have the same questions out there.

This on was from a young woman about to audition for drama school in the UK.

* * *


Hey Al,

...Loved your blog on Auditions but is there any chance that you could recommend a couple of contemporary speeches? I have an audition for Mountview coming up and am struggling to find something.

A


* * *

Dear A,

The best I can offer you is to think about a "type" you fit. Think about a film actor whose personality/type represents the truest sense of you--your essence, a kind of kernel of your inner self. It is important that you distinguish the difference between
     who/what you want to be
or
     WHO AND WHAT YOU WOULD LIKE TO BE
but dig deep and think about
     WHO AND WHAT YOU ARE 
and also importantly,  
     HOW YOU ARE PERCEIVED
This takes a fair bit of self-awareness and sometimes quite strict self assessment.
And Dude: it can be brutal.

So. Sometimes I play a game with students when I am teaching that attacks this issue with a bit of whimsy (that's right, I just said whimsy)-- I ask them what Muppet they think they are. [*She pauses a moment for you to take that in....*] This covers all the Jim Henson canon from your straight up Muppet movies to Labyrinth, Dark Crystal, Fraggle Rock and beyond. Go for gold, people! Then we sit in a circle and WE TALK IT OUT AS A GROUP. Yes. Like, as in, yep-I-am-aware-this-is-higher-education-acting-class-and-we're-supposed-to-be-discussing-Meyerhold-but-let's-talk-Muppets-instead kind of talk. Real, serious, gritty talk.
For over two hours.

Things progress thus:

Blonde Guy: I think I am Animal.
Al: Okay, great. Why?
Blonde Guy: Because I don't like to say a lot, but I like to act out. 
Al: Alright. Is that it? 
Blonde Guy: What do you mean? 

Then we talk about how he is so much more than just that one sentence, and how actually, he just wants to be Animal because, let's face it-- Animal is awesome.

Then things continue:

Al: So what do you guys think of Blonde Guy as Animal?
Dark-Lipstick Girl: I dunno.
Al: Why?
Dark-Lipstick Girl: I see him more as Bert from Seasame Street.
Blonde Guy: WHAT?!
Al: Why do you say that Dark-Lipstick Girl?
Dark-Lipstick Girl: Because even though I agree he is quiet and can act out at times, I think it comes from a sort of adorable "fussiness" that reminds me a lot of Felix from The Odd Couple-- you know, the way you like to have all your pencils in a special order, and the way you dress so impeccably even for movement class and the way you never like to get sticky?! THAT IS TOTALLY BERT!

[flabbergasted and thoughtful, Blonde Guy thinks this over...]

Blonde Guy: Is all of that true?
Al: No. The pencil thing is true. I don't really want to know if the sticky thing is true. But ultimately, the character behaviors are only ever a reflection of what is happening inside. The person's essence moves them to make certain choices. So. No, it is what they perceive to be true.
Blonde Guy: I am Bert?!
Al: Look. I need you to breathe. I'm not trying to crush your Animal dreams here. You could be a little bit of Bert as well as Animal. We could throw in a healthy side dish of Prairie Dawn if you're feeling frisky. That's possible. These people might not know you as well as you or they think they do.
Blonde Guy: ...I guess I am a little bit like Bert. I didn't know people saw me that way.
Al: Well...that is what this whole incredibly ridiculous exercise is about.

Yeeeeeep. That's why they pay me the big bucks people: to get real about Muppets (and to sing loud, cry on cue and throw tarot cards at Danny Pino's head...of course.).

Now. Just so we're clear, this is genuinely a helpful exercise for any kind of material because it is important for us to understand our strengths and natural abilities, as well as the things we need to work on. I make it about Muppets because it is non-threatening and creates a levity in the classrooms of the English speaking world's most serious acting environments...and also because I love the Muppets...duh. 

But the exercise can be as "Oprah Aha-moment" as you deem it necessary to be. Get a journal. Talk it out with your close pals. But be prepared for a few surprises. Proceed with caution.

This knowledge, incidentally, is not always as important for classical material because naturally there will be an acting adjustment made for the time period, heightened language, etc. Contemporary stuff is deceptively challenging because you have to be your in touch with your natural, present-day self in a different set of contemporary circumstances. (This naturally applies to all acting, but these discrepancies can be ever more evident in contemporary work.)

For instance, the second I came to grips with the fact that I am a "Meg Ryan" a whole world of contemporary stuff opened up for me....

Now what the hell does that mean, exactly? I'm a well-read, highly educated neurotic American young woman with a penchant for word-sparring, situational and physical comedy that turns on a dime to become deeply affecting and emotionally serious, usually about matters of the heart. Bazinga. Obviously there are other actors out there that fit this category, and I draw from them too-- but mostly, I'm a Meg Ryan. (I'm also a Valerie Harper).
Whatever. It's a place to start.

Once you have this figured out, then, start by adapting a speech from one of their films. It is just a place to start. You can branch out from there. I find contemporary speeches very difficult (let's just take one little look at my professional work thus far and you will see that I pretty much always cry and wear corsets-- that is a strength of mine). So, when the contemporary going gets tough, I steal from Meg Ryan films. My RSAMD showcase scene was from French Kiss. It was a hit.

Oh, and for contemporary, my advice (particularly in the UK where this issue can get hairy) is to stick to your own accent. It is just better in a million ways. As you begin to feel more at ease with the genre, you can branch out and try other stuff. But always begin "close to home."

End of the day, do something you know you are going to rock at no matter what it is... even if it is from, like, Evil Dead 2, Felicity, or something you patched together from The Corrections.

That's my advice. I hope it's helpful.

Al

* * *


Honestly, that is possibly the best advice I've been given! Thank you, will let you know what I end up doing! Just got to work out my type- feel plenty of discussion will ensue.

A

I've Been [*Special Edition*]: A Word Puzzle

Directions: Find all of the words from the list below- the remaining spaces will reveal the hidden message!

B R P A T R T O F B E I N G H
S A E A R E E S T I N G A C T
R I D T T R R E S S I S A A E
C E N C N D R A I L L I U J B
T U B G R E A L B L Y G D S A
E T T O I I C I N A G A I D Z
Y D I Y T N M Y R E C S T N I
T N C E U C G E D Y L H I E L
G H N H G N O E D E X Z O I E
P K P O I X T B R R N E N R A
D S W T G R E Q A V A N S F R
W F I V O A C K T T R M E O R
R R A I F J H N C E Z D A K E
W A T P I O S A R I E L L E I
A S T O R I A U M F U Q M I S

ARIELLE
ASTORIA
AUDITIONS
BADCRIMEDRAMA
CABARET
DETROIT
DIY
ELIZABETH
FRIENDS
JUILLIARD
KENNEDY CENTER
MAHAGONNY
OCTOBER
SIERRA
SINGING
WRITING 

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Ask Al: Finding Your "Type"

Hi Alexandra,

I just read your Contemporary Speeches blog - and it was very informative. I have also found finding contemporary speeches really difficult... classical seems easier.

I'm more concerned with "type." How do you really find out your type? And I mean a specific type (like the example you gave of Meg Ryan versus "just the ingenue"). 

It's something that I'm really trying to figure out, especially with graduating Stella Adler this year. I've been trying to figure it out myself, and I'm getting somewhat closer - but a concrete description is the key.

Thanks so much, I really appreciate your help!

L

* * *

Dear L,

Right. The truth is, there is no formula for this and no one can help you with it but yourself. And, it is always evolving. Growing. Your type is in constant flux because we are always, growing, changing, becoming older, wiser, more cynical, less cynical, fatter, smarter, etc. Frank Langella says "it is incredibly important to constantly re-envision yourself as an actor, to constantly keep up with your own changes. A 60 year old matinee idol is a not only a joke but is unbelievable and embarrassing. Losing your hair? Gaining weight? Getting older? Change yourself. Consciously. "He's right. Not only is it exciting to constantly re-invent yourself, but think of all of the things a young actor gets to look forward to: not just fantastic ingenues but the mature characters of Cleopatra, Blanche DuBois, Fagin, Mama Rose, and King Lear. Wonderful!

Think about it with yourself. Perhaps write it down. Do a few jottings in a journal, or whatever allows you to see your thoughts most effectively. I believe first and foremost it is important to ask yourself what YOU think you do well. Does classical material roll off your tongue? Do you find it easy to access a feeling of a certain period? Is there a side to you that is easily aristocratic? Is there a side to you that is easily bohemian? Nerdy? Stoic? Can you really get inside the body of a drug dealer or a prostitute-- (I have a friend who, incidentally, has never played anything in her professional life other than a prostitute)? Get in touch and get REAL with yourself. There is a business side to this industry and an artistic side, and both have their place, business is

Examples from my life:

I find it extraordinarily easy to play arty boho characters.
And highly intelligent characters.
And kooky weirdo characters.
And period pieces.
And sexy people.
And shy people.
And reeeeeaaaaallllly sincere people.
And psychologically damaged people.
And children.
And neurotic Americans.

I cannot, do not ask me, do not send me in for "contemporary girl about town" characters (without a LOT of work) because I will look like an IDIOT. I won't go. Don't ask me. It is someone else's job. Believe me. If I have enough time to work on something, of course I could manage it with time, but I'd be, as they say, "playing against my type." (Incidentally, something else I never thought I would do is "rough" or "blue-collar" or "tough" characters, I find that really challenging to access and it was interesting to do my most substantial television role on Law & Order: Criminal Intent in exactly such a type).

Which brings me to my next point. Your type has a lot to do with what comes very naturally to you. "stretching yourself" as an actor and achieving versatility is something you should do in your training and later on in your career when you feel you know your craft better (this is just my personal opinion). Stretching yourself is about the skinny girl playing Falstaff in the safe classrooms of Juilliard, about the 19 year old playing Dr. Dorn at Guildhall. Alternatively, it is about Cate Blanchett playing Bob Dylan because she is Cate Blanchett and she has (deservedly) achieved a status within the artistic and industrial world of acting, and the public want to see HER act in as many ways as they can. I'm generalizing, but you see where I am going with this. Even Simon Callow and Blythe Danner and Ian McKellan have their "types".

To use a few examples from my own experience, I will add this: when I was in college, I NEVER never ONCE played an ingenue. There was a girl in my year named Siobhan who was "small" and "sweet looking" and I looked like her MOTHER... and guess what? That is pretty much exactly what I played for the majority of my career in college. Mothers. And the maid. And Electra. And Helen of Troy at 40. And in one show I played 8 men and a puppet.

...Because being at Drama School (through no fault of it's own) is like being in a VERY small Rep company-- you have the people that do X and the people that do Y, and the people that do the weird anal characters and the people who can get away with giving the "old people" to.

Sometimes people are given "stretching" roles to work on in production (I found Varya in The Cherry Orchard a particular challenge in my first year when I was learning all about "less is more"-- that is a perfect example of RSAMD giving me a wole against my type to challenge me. I am would pin myself naturally as an, admittedly young, Ranyevskya or Arkadina "type")-- but more often than not, the stretching occurs in the classroom. Which I think is good; a safe place to experiment.

Life at school can feel very small, and situations like that can force you to view yourself against other people in your group, not against other people in the whole of the world. Guess what my first job was? An ingenue. As ingenue-y as it gets-- Laura Fairlie. Yes, the dark American girl played quintessential blond English girl and the rest is history. My next job? A Jewish ingenue. The one after that? A New-English ingenue. ... do you see where I am going with this? For ages, I pitched myself as "older," when the world saw me as I really was -- YOUNG. What is great is that by the time those slightly older roles come around I will be more than ready. These three incredible characters also have another thing in common... which brings me to my next little point...

I AM FUNNY. You are reading this blog, you know that. I am funny people. Anyone want to write a letter or two to a casting director out there? I am funny and I even won the RSAMD "Best Comedic Performer" award when I graduated. I AM FUNNY AND I HAVE BEEN CRYING FOR MY ENTIRE CAREER. Watch this space. A comedy better be next or I might actually dissolve in my "deep well of sorrow" (as a certain accent coach once put it).

But what I mean by all this kerfuffle is this: sure, there is a lot that I can do, and I fit a few different "types," but Young and Sad are what I'm working right now. In many ways, I'm making it a specialty and selling it because that is what it is about at the end of the day. And I'm not complaining. Well I am a little because I spend a lot of money on mascara. But in the long run, I'm fine with it. Does that make any sense? "Embrace it," is the message.

So, back to you: when you read a piece and can actually feel the words in your mouth, when you watch something and think "I can do that with my eyes closed" then you are getting closer. This has nothing to do with what an actor looks like, it has to do with what they ARE like. I wish you the best of luck, and I hope this is helpful. I know it is vague, but it is an art, not a science. Self-awareness is an actor's most potent and powerful tool.

All the best!

Al x

PS) If you are a person who is capable of discussing yourself with others and not becoming emotionally involved then by all means ask people what they think, but be prepared for some shock. Asking people what they think is like seeing yourself as unflattering in a photograph everyone else sees as perfectly normal, or listening to your voice on a tape. It can be a shock, so be prepared for that. You've been warned.

I've Been...

Adjusting. Capital A.

Reading like crazy thanks to Audible.com: (Outliers, Foreskin’s Lament, When You Are Engulfed in Flames, The Partly Cloudy Patriot)

Loving Jeremy Piven with all her heart: not only does he have a J name, but he also, simply a total freakin genius.

Adventuring with Ta'u Pupu'a to see Laquita Mitchell bust out her Bess! (Masterclass reunion babayyyy...)

Getting back into her beloved running routine (as well as doing ancient early-90's Buns of Steel VHS like a flippin' pro...)

Al & Ruthie reunion slumber party? Hell yes.

Returning to London...


Singing with Lance Horne (and Leanne Jones and Paul Spicer) at Freedom Club

Watching one of my closest friends and my absolute life-saver Tasha get married. (And speaking at the wedding!) Literally the most enjoyable wedding I have ever attended.

Reeling over how much I love Victoria Jayne Hinde. She wrote me a poem. Victoria, I love you.

Recovering from Amy Maiden breaking the news to me that she hates yoghurt-covered-things. [Record scratch followed by female screaming and cataclysmic crashing sound] She felt we "we there..." Whatever...

Standing outside the Palace Theatre on my 5 year London anniversary. *Sigh.*

Pounding the pavement!

Witnessing theatrical magic. Peter Stein's beautiful, 12-hour adaptation of Dostoevsky's The Demons with an entirely Italian acting company on Governor's Island. Thank you Lincoln Center Festival. (Needless to say I was 'Possessed' by excitement.) If you ever have a chance to see this production, it is a life-altering experience. 

Literally obsessed with the Radiolab Podcast. You must check it out today…

Ask Al: Auditions, Drama School and Conservatory (Part One)

Dear Al,

I am considering auditioning for Drama Schools next year, and would love any information, insight, or general "tips" you might be able to offer? I am sure there are a lot of out in the big wide world who are interested in picking your brains on this topic!

So I guess the specific questions are these: 
1. What should an applicant expect on audition day? and 
2. What should an applicant do to prepare for it?

Thank you so much,

Andrew

* * *

Dear Andrew,

OKAY.

BIG STUFF HERE.

I've watched a few people succeed and many, many more fail and have long felt that a significant proportion of those who "failed" did so because of factors other than lack of talent. I didn't fully appreciate what those "factors" were, and I came to the conclusion that too many people fail not because they don't have talent but because they are not properly prepared. So you are already asking the right questions about preparation, what follows is my personal interpretation of said preparation.

As I have said before if in my general audition blog, auditioning is a talent of it's own. The competition is well known to be very tough. Here are the facts on how tough it actually is: in 2004 the drama schools with 'accredited' courses received between 1,000 and 3,000 applicants for intakes that range between about 25 and 150 students across all of their courses. The most famous schools will probably accept 1 applicant in 100; this proportion rises to between 3 and 5 per hundred at the less famous (but not necessarily less good) ones. What follows are some basic preparations you can make to enhance your chances by making sure that your talent is shown off at its best:

1. FIND OUT ABOUT AS MANY PROGRAMS AS YOU CAN
Most of them advertise and most of them have web sites. Then ask for prospectuses and application forms for those you like the look of. When you apply you will be sent details of what you will be required to do when you go for your audition - some schools now have these details on their websites.

* * *

2. READ THOSE AUDITION REQUIREMENTS CAREFULLY
Read very carefully what each drama school requires you to do. For instance, a few ask you to prepare three audition speeches - and could well ask you to do all three. I've seen a number of people come with only two prepared because most other schools only require two. (In fact I believe that it's better to prepare many more - say between six to ten - to open up your options for each circumstance.)

Make sure that you've got the right kinds of speeches. Many schools define "classical" as "Shakespeare or contemporary" or "Elizabethan or Jacobean" (which mean roughly the same period), but some specify verse"; others don't. Others are less restrictive in what the mean by "classical".... Be sure what each means by "modern"; to some that can mean over the last hundred years, to others just the last ten. The best tactic is to put together a portfolio of at least six speeches (and preferably more) so that you can choose to suit the varying circumstances.

Some schools will ask you to prepare a song (even if you're not applying for a Musical Theatre Course) - you should prepare this with as much care as your audition speeches. Remember, that a song well acted can tip the balance if your auditioners are at all equivocal about your speeches. Think of the tune as an 'underscore' to the words - and, as with a speech, it should appear as though you're inventing the words on the spot and are saying (singing) them for the first time. NB Some schools ask you to sing unaccompanied; others with accompaniment. If the latter, make sure you've got easily readable sheet music.

It is essential to plan ahead. Check out deadlines for applications - they vary considerably! Bear in mind that once you've sent of your application you can be called to audition at any time - occasionally within in a few days. And some drama schools are resistant to changing audition dates. I suggest that it is best to start sending for prospectuses a year in advance of your hoped for entry.

* * *

3. DON'T JUST APPLY TO ONE SCHOOL!: Apply to as many of the 'good' schools as you can afford. How do you know which are 'good'? First, read the contents of their prospectuses. Don't be fooled by smart graphics - what do the words say and would their kind of training suit you? (Be very circumspect about a loose use of the word "method" and the name "Stanislavski" - what do they actually mean?) Second, try to find people who know something about the recent work of each particular school. A drama school is only as good as its current teachers. A list of famous graduates or a glossy prospectus doesn't tell you what it's really like now. It is essential to ask around and get several opinions - which may well be contradictory.

Especially if you are just starting out it is important to get to get used (a) to the actual act of auditioning, which is always different from what you might have anticipated and (b) to learn how the varying audition systems work. At a guess perhaps 50% of ultimately successful applicants don't get a place first time round (for all kinds of reasons) so think of your early assays into the field as exploratory exercises to learn from rather than the 'be all and end all'. You'll also make a lot of friends as you go round the drama school circuit. [I know one young actor who got her place at RADA within three weeks of her first audition (including two recalls) and another who took five years on the audition round before she got a place.]

* * *

4. YOUR SPEECHES
As is well known the audition speech is the traditional form of assessing an actor's potential (or otherwise). Unfortunately it means that you've got to be at your best for the 2 or 3 minutes that it takes. At least you've got 2 or 3 hours for a conventional exam. You could argue that at least the agony is over quickly but too many people fail because they seem to give a similarly brief amount of time to (a) the content and (b) how they do it. Your problem is that the competition is so fierce that there is a sense that your auditioners are looking for ways of eliminating people for whatever reasonable reason. Also (and crucially) their time to watch you is so brief (they will get some ideas from interview/singing/movement sessions etc., but the speech is almost invariably the most important) that you have to find ways of really impressing them in just that 120-180 seconds. "Not fair!", you cry; it isn't, but it's just like the profession so start getting used to it. Your only advantage is that you are being watched by people very experienced in assessing potential as opposed to the "complete actor"; but even so that "potential" is too often masked by silly mistakes (choosing a character who is totally unsuitable for you, for instance) and no drama school wants a "silly" student. You have to be together and organised to do both the training and the job.

SELECTING YOUR SPEECHES
At least one school issues a blacklist of speeches not to be used and every auditioner has a mental list of those he/she is fed up with sitting through AGAIN. The fact is that you've got to do one of these popular speeches extra well to stand a chance. How can you know if a particular speech is "popular" or not? This is difficult, but you can help yourself if you avoid anything from those books of audition speeches because a lot of other people are selecting material from them. It can be a good idea to do a speech from a play you've done or from one that you otherwise know well. It may well be that there were no speeches long enough contained in anything you know, but there will be scenes in which one character is 'running things' and it is reasonably easy to cut out other people's lines and perhaps with a little bit of rewriting make a complete speech that nobody else will be doing. AND, it is a fact that the "original" speech (provided that it's well-written) will put you at a distinct advantage. The other advantage of taking a speech from a play you've done, or know well, is that you will have a very good idea of what the whole play is about from the inside - essential to a good performance of that speech.

A few schools provide a list of speeches from which you have to choose. How can you be different from everyone else in this circumstance? Go for the more obscure! It'll mean that (a) you'll have to ask advice about what's obscure and what isn't and (b) they often require more preparation, but choosing one of these can be well worth it.

REHEARSAL OF YOUR SPEECHES
(See Auditioning [Part One])

OUTSIDE HELP
Several schools counsel against this and I have seen numerous circumstances when the outside help is downright misleading. There seems to be a cottage industry out there of people happy to take your money for their guidance. How do you know if you're being helped properly? In general, it is best to find someone who has close contact with the profession and not someone whose experience is concentrated in speech and drama exams. The latter have very little to do with modern acting. If you can't find anybody whom you feel is suitable, then at least try you speeches out in front of somebody first. They may not be able to give you detailed constructive criticism but at least you'll get a gut reaction and doing a speech in front of only one person is very different from doing it by yourself.

* * *

(to be continued...)

"Bad Crime Drama"

Now. Let me just explain something. I LOVE CRIME DRAMA. I don't know how it happened, I don't know why. But I love it ALL. My love for crime drama is RAMPANT. From the truly incredible to the truly atrocious, it doesn't matter. Bring it on.

Perhaps it is due to the fact that one has to use their brain a little bit, they have to do a little bit of thinking, it isn't idle "grazing" it is active and engaging. Sometimes it mixes crime with science (CSI), sometimes with math (Numbers), sometimes the focus is on trauma (L&O: SVU), and sometimes on missing people (Without a Trace).

OR perhaps it's because at it's best you get to see some pretty decent (sometimes utterly excellent) actors in circumstances involving very high stakes (or, in the cases of both Dr. Quincy and Jessica Fletcher, the stakes are VERY HIGH ALL. THE. TIME. with the exception of the first and last two minutes of every episode, culminating in a frozen frame of said characters laughing with appropriate light-hearted music to accompany the feeling that even though murder follows these people around like a stray dog, life really is okay).

The "chunk chunk" sound associated with Law & Order is so divine it creates a Pavlovian reaction in me. I drool for a good re-run with the wonderful Jerry Orbach! I luxuriate in the vintage glory of a Sunday afternoon Poirot on ITV3, and Without A Trace on every day this summer on Channel 4? Better than ice cream or sunshine or kittens.  

CSI: Miami is so bad it's good. I laugh at CSI: Miami more than I become intrigued or moved or genuinely interested. But one has to admit, on the whole, Miami is an incredible setting for crime. Miami is twisted. It's truly creepy. What with the heat, the sultry, sweet, sexy, Southern thing, the voodoo-ish subculture, the crocidiles, and the connection to Latin America and it's subsequent language, social and religious barriers; the truly twisted nature of it's plots far exceeds the general prostitute and gambling crimes of it's predecessor, and could never match the stories we've heard on every other New York based crime show. (I don't like CSI: New York, and wish it were CSI: Chicago).

Plus, David Caruso works the one-liners and specs. And he works them like they’ve never been worked before. What a facial tic is to Robert DeNiro, what a cane was to Charlie Chaplin, sunglasses are to David Caruso. In uniting his limitless repetoire of placement and removal with his unmatched ability to deliver the cutting and dramatic one-liner, this video has perfectly showcased the entire range of Caruso’s talent in less than four minutes. Is there an Emmy for Best Sunglasses Snap? ... No? Well, there should be.

But OH! Ohhhhhhh the joys of what I like to call"CSI Regular"! The gutters of Las Vegas provide the most eloquent background for stories of gambling, alternative underbelly lifestyles, dead prostitutes, aging showgirls, escapist holidays gone awry. It is fast-paced, dark and humorous. It delivers well-acted and well-constructed characters, truly vivid gore scenes (that still manage to be scientific) and wonderfully twisty plots that leave you gaping with awe. All of these are evidence of a brilliant television show and THE EVIDENCE NEVER LIES my friends! So give in to the inner forensic dork you've been hiding from all your friends! I love CSI and I AM NOT afraid to show it.

SO. All of this unbelievable ranting being said, Can you imagine my reaction when I got an audition for one of the above television shows? Well, I just nearly flipping died. I actually did a little dance. 

Television Audition

* * *

[At rise: a church basement serving as an audition room.]

[Al enters the audition room and realizes she is overly dressed. She uses this moment to think about how her agent suggested she look attractive again, and what this might mean about her personal appearance. She shakes hands with the director and writer and casting director. Greetings and all that.]

Director: So. You are American?
Al: The real thing
Director: Yes the real thing indeed. So how are you here?
Al: Um...
Director: ...I meant specifically how are you here, in this country....? [she pauses] working.... legally?
Al: Ah yes, I have a Visa. I am a "Highly-Skilled Migrant." I like it, it sounds like I pick grapes really fast. John Steinbeck, you know?
Director: [unamused pause] Indeed. [next order of business beat] So. What did you think of the script?

[As the Narrator I have to interrupt here. I want to mention the readers that I hate this question. I think this question is really unfair. What are we supposed to say? "I thought your script was utter rubbish and the dialogue, while being trite at best, is hardly as atrocious as the story as a whole. I am only here auditioning because my agent forced me to come." Would that win hearts and minds?? One might as well say "well, the thing is, I didn't have time to read it all because I was just released from Pentonville Prison yesterday, having served 90 days for an assault charge which by the way that b#%*& had coming, and I had to sort a few things out."]

Al: I thought it was super.

["Super"?!!! A beat for lameness.]

Well, the truth is, I absolutely LOVE Bad Crime Drama. 

[OH.MY.GOD. I used "BADCRIMEDRAMA" as a blanket statement again... and THIS WAS NOT THE MOMENT. NOT AT ALL. Save it!] 

I mean... not that THIS is "bad." Bad Crime Drama is a sort of blanket category I give all crime drama.... I use it to describe the genre.... as my own... little... joke.... with myself... because of my love... of it... 

[There is an utterly horrific moment of shock and horror from all three people behind the table. She attempts to save it one last time...]

I mean of course that it is guilty-pleasure crime drama. The sort of "I really should be doing the washing up, but CSI is on" sort of thing.... [getting worse.]. If you see.... what I mean.... [total. heart crushing. failure.]

Director: ... Well. Thank you so much... we'll be in touch.... 

[...with either your agent or a hospital, she meant to say...]

* * *

Um.... I did not get this job. 

Re: Werewolf

So an update.

1. The scene changed. The werewolf didn't burst through the ceiling. He entered like anyone else to a masquarade ball, and moved through a crowded room while onlookers thought he had the best costume of the evening (of course). Then he bit off someone's head and the crowd caught on... and the rest was pretty much the same.

2. I didn't get it. It went to an "English Rose," which in I do believe in Hollywoodspeak means thinner and blonder than you... (Why didn't they just ask me to be "as blonde as possible?")

Fine.
Perhaps it's... for the best...

The blind-singing-Victorian-eaten-by-a-werewolf-"look as attractive as possible"-audition...

Tomorrow I have to audition for a film.

I was just speaking about this to a few actor friends last week. Why is it that when a really palatable job presents itself to you, you inevitably have to achieve the impossible on camera. The things we do to get a job (sigh). My favorite instruction of the day was to "look as attractive as possible..." whatever that slightly worryingly insinuates. Here are a few choice remarks people have asked of or said to me in order to prepare for auditions:

1. "See. We're gonna need you to create the physical comedy of the donkey yourself..."

2. "There isn't actually a script, so... yeah ..."

3. "Oh! Yes of course I forgot to ask if you have Chinese heritage?"

4. "You'll have to fake an American accent. Can you do that?"

and my absolute favorite:

5. "Does you get cold sores in real life? Because that would be great..."

But tomorrow takes the cake. Tomorrow I am being asked to sing a song from the Mikado, portraying a blind, Victorian parlour room entertainer. Oh and by the way she is blind. Fine. Then, halfway through the song, I have to react (blindly) to an invisible (but rampant) werewolf who breaks through the glass ceiling of the party and rabidly chases after the guests who all run away screaming (which all must be imagined of course, because it will really be a major movie star dressed in a blue suit). Then I have to portray the imaginary werewolf will slowly stalking up and breathing upon me. And then act as if I am being eaten by said invisible werewolf. 

um, WHAT?

Ask Al: Auditions (Part One): The Basics

Dear Al,

Hello. I am an aspiring young actor and was wondering what advice you could lend about the audition process? Any information would be much appreciated. Thank you!

Sincerely,

Max K.


Hello there Max! This is a good but huge question, and I am going to answer it broadly, the basics, etc. There are a couple of things that are important about every kind of audition, and I will include my thoughts on those things here. People are asking me about auditions all the time, and because every genre is so different, I think I'll discuss specific types of audition questions (Film, TV, Commercials, Musical Theatre, etc) in other posts. So! For the moment, Auditions Part One: The Basics.

I. PREPARATION AND RESEARCH

A. If property development is about Location Location Location, then auditioning is about Preparation, Preparation Preparation. No kidding. Auditioning IS A SKILL IN AND OF ITSELF. Some people are better auditioners than they are performers. Get this skill down and you are golden. So. Step one is Preparation. Get as much information as possible before the day to ensure you're fully prepared. This includes everything from the character and play descriptions and required audition material, to the names and biographies of the people auditioning you (director, casting director, producers, etc).

B. Research as much as you can about the project for which you are auditioning (read the whole play if you have time, watch a film version, research the time period, history, culture of the setting, YouTube until your brain hurts), and for the role(s) for which you are being considered. Also, know everything you can about the company/ school and people you will be meeting. Knowledge is power! (For real, not in a touchy-feely way).

C. Thoroughly prepare whatever is required, learning speeches, script and songs to the highest performance standard. Always have more to offer in case the panel asks to see something different (I always have a very large book of music with me at all times containing about 20 songs I could sing from memory, and about 6 speeches).

II. GETTING THERE

A. Know where you are going. Now.... here's the thing. I don't have the greatest sense of direction, right? You know whenever you see a V formation of geese flying in the air, and there is always like one goose who is going in the opposite direction? That goose is me. So what am I saying? I'm saying KNOW WHERE ARE YOU GOING. Take a map with you or visit the venue before the audition day if you can, to be sure of the route and journey timings. Avoid driving to city centre auditions - using public transport is often quicker and less stressful.

B. And more important than any of this: ALLOW ENOUGH TIME for possible delays to your journey and over running of the actual audition. If you are running late, call your agent or the venue directly to let them know, apologising and giving an estimated time for your arrival.

C. Arrive a few minutes before your appointment time (5 - 10 is fine, unless earlier is requested), in case you are given script pages (sides) to look over, or the auditions are running early. If you are dyslexic and need extra time with the script, make this known and ask if you can arrive earlier, or be sent the pages in advance.

III. SPEECHES

Now. Look. There are no to ways about it. Monologues are a pain. I'm absolutely certain that if theatre professionals could come up with a better way to see what people can do, they would. But monologues are sometimes an actor's only shot to display what they are capable of, and so we must make the most of a frustratingly bad situation.

A. Choosing Your Speeches.

Okay. This is an art. Selecting ideal pieces is possibly the most important part of being an actor. It is not only about displaying your ability, but it tells the panel something about you, about your taste, about your intelligence, insightfulness, common sense and instincts. The quality of your pieces is like the quality of a painter's brushes or a photographer's lense-- you are only as good as your tools. THUS, having a varied collection of carefully selected speeches and songs in your repetoire is of utmost import.

1. Think of choosing pieces as choosing the PERFECT dress/suit: it shows off all your good stuff and hides all the bad stuff. You can be totally confident because there is nothing you can do to look bad. Your speeches are so well suited to your abilities and strengths, that even nerves cannot deter you from performing well.



2. Do not try to be overly clever or audacious when selecting material. Avoid material that is not from a play or film. Read everything and if something "speaks" to you, pursue it by reading it out loud.



3. Some colleges issue a blacklist of speeches not to be used and everyone has a mental list of those he/she is fed up with sitting through AGAIN. The fact is that you've got to do one of these popular speeches extra well to stand a chance. How can you know if a particular speech is "popular" or not? This is difficult, but you can help yourself if you avoid anything from those books of audition speeches because a lot of other people are selecting material from them. It can be a good idea to do a speech from a play you've done or from one that you otherwise know well. It may well be that there were no speeches long enough contained in anything you know, but there will be scenes in which one character is 'running things' and it is reasonably easy to cut out other people's lines and perhaps with a little bit of rewriting make a complete speech that nobody else will be doing. AND, it is a fact that the "original" speech (provided that it's well-written) will put you at a distinct advantage. The other advantage of taking a speech from a play you've done, or know well, is that you will have a very good idea of what the whole play is about from the inside - essential to a good performance of that speech.



4. Treat all sight reading and sides in a similar way.

Rehearsal of Your Speeches:

A. Allow lots of time for this. It's not just about learning the lines but primarily about absorbing the character and the situation into your very soul. For most people this takes at least two months to accomplish fully. I'm not suggesting two months solid work - you'd go mad, but two or three sessions a week over that period should ensure enough time for your unconscious self to do the rest of the necessary work in between. If a school gives you an audition date which is too soon to allow you this amount of time then change it! AND remember that classical speeches are harder and therefore take longer because of the remoteness of language and situation.

Performance of Speeches:

A. An audition speech is a terribly artificial thing: you've got no lights, scenery, costumes, furniture or props and above all nobody to act with - in fact none of the things that have helped your acting in other circumstances. You have to rely on the power of your imagination to supply all these things for you - and that's where a terrific number of people let themselves down. For instance, if you are doing a speech addressed to an imaginary character you must see that person clearly in your mind's eye; not only 'see' him/her but also 'see' their reactions to what you are saying. Putting a chair (or the hatstand as I once saw) to represent that person means that 95% of people talk to that chair (or hatstand) and not to the 'real' person, consequently a terrific amount of the essence of the speech goes out the window and your auditioners' perception of your potential with it. It is much better not to use anything to represent physically the person you are talking to. Simply have him/her/them firmly fixed in your imagination - even if he/she is sitting in a chair also put that chair into your imagination! In fact you should have the complete location in your imagination (many people fail to do this - especially in classical speeches). It's not just a physical image, but one where the neglected senses of touch, taste and smell play an important part.

The Beginning and The End

A. The other major thing you should work on (and very few people do) is the beginning and the ending. The beginning should be clear and have impact (just like the house lights going down and those on stage going up signalling the start of a show). Similarly, at the end where you should just freeze for a moment (or walk off in character, if appropriate) and then relax back into your normal self, a bit like a curtain call - only don't bow, just walk back to where you have to wait or whatever else your auditioner tells you to do. (There will invariably be a pause after you've finished. Don't worry about it, just wait for your next instruction.) As much thought needs to go into the presentation of an audition speech as into that required for a full production. In fact an audition speech should be a 'mini-production' in its own right.

IV. INTERVIEW TECHNIQUE

A. Take pride in your appearance. perhaps dressing in clothes that give the creative team an idea of your suitability for the role for which you are auditioning. Don't overdo this though, and don't be afraid to ask for hints or advice if you are unsure about anything.

B. Be as confident as you can be when entering the room, channelling your nervous energy. Take a deep breath, smile and walk purposefully into the room. Shaking hands and the use of eye contact will create a positive impression, as will remembering the names of the panel, if you are introduced. Introduce yourself too... saying your name clearly, so it can be more easily remembered.

C. NEVER (and I mean NEVER EVER) MAKE EXCUSES... no matter how little preparation time you have had or how badly things have gone (or you feel they have). If you are unwell and know full well you will not be performing your best that day you have two choices: 1, you don't go or 2, you call your agent and explain what is wrong with you, and then your AGENT will inform the casting director of the situation. Ultimately, be honest, be your(best)self, do your best and learn from your mistakes.

V. NERVES

A. It is not wrong/unreasonable to be nervous - a calm actor will often give a boring performance. However, when your nerves become disordered and chaotic your whole concentration goes and your body becomes numb. You have to find a way of focusing your nervous energy on your speech and not on the fact that the tension is growing. Tension, once you are aware of it can escalate out of control very quickly don't even begin to contemplate it - do something else! For instance, actors, whilst waiting in the wings on a first night, will often jump around and wave their arms about to get the blood circulating and counteract that terrible numbing effect that nervous tension can bring.

B. One of the main manifestations of 'nerves' is that people don't give themselves enough time to 'get into their characters' before starting their speeches. Too many people just charge into them, simply saying words on the signal to start without any sense of 'being' the person they are portraying. It is universally respected (within the profession) that any actor needs a moment to truly become someone other than him/herself; and you have paid for the privilege to audition and part of that privilege is your right to those valuable moments of concentration after you've announced the title of your speech and before you actually start presenting it. Even if you've been given very little time and are threatened with being stopped, it is much better to start well (and not be allowed to finish) than to complete the speech but find yourself 'skating' over the surface of the character's feelings.

Good luck!