What's in your book?

So,  what's in your audition book?

Why?

Where are you?

Why are you?

Who are you?

The audition book,  regardless of your genre - Music Theatre or Opera - is an important part of what you are doing.  It will morph and adjust as YOU do.

I see the excuses "my book is such a mess" regularly.

I see the automatic pilot "but I need this for xyz"  regularly.

I am daring you to re-think ALL of this!!

Look at your audition book as your closet.

Some of us are packrats and can't let go of things;
Some of us wear things that are too old,  too big,  too small,  too last season...
Some of us just keep putting stuff in that closet and can't find anything.


See where I am heading with this?

The audition book should,  first and foremost,  reflect where you ARE.

What are you able to DO vocally and dramatically?
Where is your voice NOW?
What roles would you be considered for NOW?
What do you want to reveal about YOU right now?

Little secret:  nobody does YOU better than YOU.  So it's up to you to find out what that is.

Another little secret:  YOU is constantly morphing so your audition book needs to catch up with that!

When you leave your Music Theatre program your book weighs about 8,000 pounds and you have every possible genre/sub-genre in a 16 and 32 bar cut.  Why?  Because you were in school and you had learn about all of it!!!

When you are in your undergrad/grad studies as a classical singer and you are on a Young Artists Program track,  your audition book will have at least 5 languages and many eras of opera and art song contained.  Why?  Because you were in school and you are still determining your fach!

So,  where are you now?

Are you becoming an emerging professional?  Are you beginning to be seen and auditioning for professional work?

Guess what?  The audition book has to change.

What is your technique ready to handle NOW?  the audition book has to change.

What roles are you ready to take on NOW? the audition book has to change.

What do you actually DO well?  the audition book has to change.

What do you want them to see about you in the room?  the audition book has to change.

What do you actually LOVE SINGING?  the audition book has to change.

Scary?  sure.

Liberating?  absolutely.

It is up to YOU to figure out where you are and how you reveal that in the room.

Holding onto that 8,000 pound book or "my 5 in 5 languages" either says you are still there or says you don't know where you are now.

Time to clean out that book and start fresh.

In Music Theatre,  all the coaches and conductors I know and respect say you often only need 6 - 8 songs in your book.  Yes, you read that correctly.  Why?  Because you aren't going to be right for every genre/sub-genre of theatre.  You need to be aware of them,  but you don't need to waste your time and theirs by going into an audition you simply aren't right for.

You are not going to audition for everything.  You need to figure out what you are best suited for vocally,  technically and dramatically and concentrate on THAT.

What are you going to be hired to do?  What can you reveal in the room that you DO?  Find those songs that reveal that.  Find those song that have multi-purpose so you can change your dramatic intention and make it work for another call,  or choose to reveal something more specific or different to give the repertoire an opportunity to be multi-functional.

"Yes, but I need an operetta piece."  Why? Are you going to sing operetta?
"Yes, but I need an R&B piece."  Why?  Are you an authentically charged R&B singer?

See where I am heading here?

You need to know WHAT YOU DO WELL.  RIGHT NOW. Not what you wish you did.  Now what you'd like to do.  You need to do YOU.

No wishing, hoping, wannabe...

You have to figure out what you do.  Vocally,  technically,  dramatically,  physically,  emotionally,  psychically.

If you don't know why you are doing what you are doing,  then you are simply back in school jumping the hoops and not creating a professional mindset that you need.

That reads in the room.

When you are asked "what else do you have?" that question is often to find out more about what YOU DO.  It doesn't mean they want something else that is show specific.  Or,  it could mean,  what you just offered didn't reveal anything authentic and they want to know if you really know how to do YOU.

Quit trying to please, to second guess,  to "cover all the bases" and never really reveal yourself and what you do well.

In opera,  same things apply.

Do you know what you DO?  Does your repertoire reflect that?

If you sing Mozart brilliantly and could sing those roles forever then why aren't you offering it?

If you are a bel canto singer,  why don't have you have THAT in your book?

If you aren't any good at modern opera and dislike it,  why are you offering it?

"But I need a German aria..."  Why?  Are you going to be offered a German role?  Are you sure?

"...and there just isn't a lot for my voice."  Doesn't that answer things for you?

What do you love to sing?  What roles and basic fach are you living in right now?  What are you going to get considered for,  or hired for NOW?

If you are past the YAP then lose the mentality and claim your new emerging professional focus.  You aren't a "baby" fach anymore - you need to reveal what you DO.  What you LOVE.  What you can inhabit fully without reserve or technical difficulty.  We want to see YOU embody the aria,  and the joy that allows!  We want to see your list in an audition that reveals what you do right now,  in fach, voice, in technique,  in dramatic embodiment. If you have 3 Italians, and 2 moderns in English, so be it!!! That's what you DO!

So,  give yourself a minute.  Take a breath.  Sit down and begin to really focus in on what you do,  what you love,  what you choose to reveal and why.

Then begin to go through that book and ask yourself why it's there.  If it doesn't reveal anything authentic about you, if it doesn't give you joy,  if it is a struggle,  or a "have to",  or even a "meh" - toss it.  And if you have anxiety about tossing,  then put it in the "other" binder.

Your audition book will be lighter.  It will reveal room for something new,  something more real,  something more you.  It gives you permission to explore what else you can add,  or maybe what doesn't need to be added in.

Suddenly there's more clarity.  It may mean more focus about what you actually DO instead of just jumping hoops.  It may mean it's time to work on your technique and get some clarity there.  It may mean some dramatic work.  It may mean something else.  It may create confusion which is an opportunity to grow and find the right clarity for now.

So what's in your book?  Why?
What does it reveal about YOU?

Start your spring cleaning and see what possibilities you come up with!!!

Don't dread it - look at it as an opportunity to grow and become and discover.

Only YOU can DO you.  I dare you.

You are the Product!

Sunday musings...

Do you recognize YOU are the product you are selling?

If you choose to be a developing artist or performer in the business,  are you aware of your product?

If you are making excuses,  frustrated,  and simply not focusing on what you are offering, or have to offer,  then it's time to get your shit together NOW or find something else to do.

Is that harsh?  I don't think so.  Why?  Because there are simply too many people saying they want to work in the business.  There are way too many people given the number of jobs available. Why should someone hire you if you don't really know what you are doing or what you have to offer?

If you don't know the product you want to sell,  and more importantly HAVE,  then don't expect the business to figure that out for you.

GET TO WORK!

Several casting professionals have spoken to me over the last few weeks about the lack of understanding an actor/singer has when finding a great head shot to submit,  and even the quality of a video or audio clip.

So let's talk about that shall we?

If you want to work,  you have to be prepared.  Two KEY ways to reveal yourself are through your head shot,  and through your reel or clips.

Why are you not committed to making those things sizzle?

You don't have to sell a kidney or your first born to find a great head shot photographer.  You DO have to do your research. 

The research starts with you.

Again, I quote the great choreographer/director, George Faison: "What are you doing?"

(those of you who know or have worked with George know EXACTLY what I am talking about!)

Your head shot needs to reveal YOU.  Who is that?  It needs to look like you,  and it needs to evoke an energy that draws the person looking at it to pause for a minute and take you in. 

You need to know what you are evoking.  You need to figure out what you are going to be called in for.  You need to find a way of showing us that in a head shot through your EYES.

The set up of a photo can be spectacular but if the eyes aren't saying anything, then the head shot is thrown in the "no" pile and never looked at again.

What are you saying? 

Figure it out! 

An head shot is NOT artsy fartsy.   A head shot is often the first thing a casting director or director sees and responds to or fails to respond to.  How are you going to get the right kind of attention?

Know your product.  YOU are the product.  Do you know what you have and what you wish you had and do you know the difference?  Wanting to reveal something that isn't there is not helping you. 

What are you saying in that photo?  What are your eyes saying?  "I want you to call me in"  isn't enough.  So does everybody.  Next...

What are your eyes saying about YOU?

You can't be ambiguous.  You have to figure out who you are, why you are, what you are, and evoke that.  Simplify. 

What are you singing?  What roles are you suited for vocally, dramatically? 

Make a list of your repertoire.  What does it suggest? 

Make a list of possible "types" within your repertoire.  Start to hone in on adjectives to evoke those types.  Do those adjectives connect to your personal energy?  Can you reveal a combination of those in how you look at the camera?

Vacant, scattered,  disassociated and confusing head shots just don't sell a product.  They dismiss it.  Why take the time, energy and money to do a photo shoot if you ultimately don't know what you want to say? 

Talk to photographers.  Interview them.  See how they respond to you and how you feel with them.  Look at their portfolios.  How are they capturing that energy? 

And what about your reel?  Do you have one?  What are you making public on YouTube and can you actually use anything to submit with?

Again,  with electronic submissions you need a reel.  Period.  You need clips of you doing what you say you do.  Those clips need to reveal what you DO WELL.  You would think that would be a no-brainer, but sadly,  again,  several casting professionals have told me recently that I wouldn't believe what is sent in for them to view and consider for a personal audition.

And I then quote my niece Ruby:  "Seriously you guys?! SERIOUSLY?!"

If you don't know what is good enough or exceptional or is going to catch a CD's attention enough to listen to the full clip or want to hear more of you,  then you have to figure that out.  Sending out a poor video is worse than not submitting at all.

Commit to making a reel or recording a few short clips that show what your voice does well, and  reveal the possibilities of what roles you would could be seen for!

YOU are the product.  If you want somebody to stay interested, you have to have something to sell!

You need to sell your product CURRENTLY.  CURRENT head shots.  CURRENT clips be they audio or video. 

If you believe you are continually evolving as an artist and performer, then you have to show that through your head shot and reel.  What are you CURRENTLY evoking, revealing & discovering.

This is part of the business of show.  This is part of how you market and produce your product for others to get a glimpse of. 

Given that those you are sending these things to only have a second to make a decision,  it has to be a strong glimpse,  enough for them to take an extra second to pause,  not to wonder what you are doing, but to be intrigued enough to call you in. 

So no more excuses.  Figure it out.  Ask questions.  Prepare for honest answers so you can get it together to package a strong, clear, concise and REAL product.  YOU.

Are you up at 5 a.m. because you are right for that audition?

Happy April all!

We are and have been in the thick of music theatre audition season.  Whether you have an appointment, or are standing in line to get a time at an open call,  it's an exhausting, focused, tiring and exhilarating time of year!

In NYC,  we have the early birds who somehow stay up all night to begin an unofficial list with 20 of their closest friends on a yellow legal pad piece of paper at 5 a.m. on the door of the building where that day's audition is held.

I have one word: "WHY?!?!?!?!?!?!?!?!?!?!"

Many CDs are simply not accepting unofficial lists, or if they do, are only signing people up if they are physically there.

What are you doing????

Why are you there????

How do we see the difference between posers and real theatre gypsies?

Here's a list you might want to consider:

Real gypsies take the audition process seriously. They study, they practice,  they study some more.  They work hard at their craft.  This is not American Idol.

Real gypsies know that their instrument needs rest and hydration - they do not see the need to be lined up on the street at 5 a.m. if they want to truly book a callback.  They are willing to take the risk of arriving when the CD has published the call time for the audition and get a time and come back.

Real gypsies don't talk non-stop about this audition/that audition and about how great they are while waiting in the holding room.  They are focused on the task at hand.

Real gypsies do not go to EVERY DAMN CALL!!!  They understand that CDs remember if you keep showing up for something you aren't right for. Ergo, you aren't getting hired. Real gypsies use discretion about the auditions they submit for or sign up for;  the auditions they attend are the ones that they legitimately are right for.

Real gypsies study...REGULARLY.  They walk into each and every audition and callback PREPARED.  They study:  voice, acting, dance and more.  They never stop discovering more about their craft.  They understand what is needed,  what they need to show,  how they need to show it and they deliver consistently.

Real gypsies do not walk into an audition unprepared.  They are developing artists and craftsmen/women who take their craft SERIOUSLY.  This is what they want in their lives:  to work, to discover,  to build a career;  not to gossip, or be famous.

60% of those in that open call line should really go home:  they are not right for the show,  they do not have the training or expertise for the show or the business,  and may simply not have the level of raw talent and ability to develop into an artist that truly deserves a chance to pursue a career.

60%.

Imagine if that 60% would simply stay in bed, and those of you who are the 40% showed up at 10 a.m. to get your audition time.  Imagine how simpler things would be.  How happy CDs would be having real emerging and developing artists presenting real craft and a true audition in front of them instead of wannabes and wishIwases screaming at them, thinking they are belting?

Imagine having a 40% of artists/performers who could possibly be right for the show instead of wading through a 60% who aren't in any way right and being so tired you might miss the ones that are?

Imagine your business and craft having the respect that only those who have the training, understanding, development and delivery showed up to share it, and apply for the job?

Imagine each person in the room knowing what the dance combination was,  and how to re-produce it?  Imagine each person in the room singing something that shows what they do well, because they have technique, and the ability to use it properly.  Imagine each singer having acting intelligence,  and depth of character while singing?  Imagine just singing in TUNE?!

Imagine an artist who says:  I am simply not right for that show.  I choose to sleep in.

Imagine an artist who says:  I am positively right for this show!   And I know I don't need to get up at 5 a.m. to have a chance to be seen!

If you are REALLY sure you should be in this business - then you must know why.  You must know in what capacity.  You must be studying.  You must be growing.

You must sleep in past 5 a.m.  Give that voice time to wake up so you can bring everything you have for that show you are right for!

More Reading Lists 2012 for The Actor in MT AND Opera!

Lots of great response from the first list I posted...

So I am adding more...opera singers,  please consider  some of these titles to help access what you need on stage - you ARE in theatre too!!

1.  The Third Line: The Opera Performer as Interpreter


This is a must have in the opera singer's library.  Not really a "process" book, but accesses the ideas of subtext,  dos and don'ts,  in an informative manner.  It will give you some things to chew on, consider, and ways to discover characterization within the music itself.  The sense of "larger than life" is discussed and entertained as a declamatory style for theatre.  Some interesting concepts and clear accessibility.

2.  Singer and Actor: Acting Technique and the Operatic Performer - Alan E Hicks

This book explores a history of acting technique  and what is required NOW in this digital age on stage!  It takes things step by step and is a great "review" for those who have stage experience and just want to access a tune-up,  and a wonderful resource for those pursuing opera and have little to no experience on stage or in an acting class.  (one of my pet peeves - the lack of actual ACTING training in opera programs)

3.  The Actor Speaks: Voice and the Performer - Patsy Rodenburg

The brilliant Patsy Rodenburg has put this MUST READ book together as a complete voice workshop.  This should be an absolute MUST HAVE for EVERY actor and EVERY singer.  I cannot recommend this highly enough.  She tackles everything a voice must demand of itself - from breath to projection, to resonance, to different sized halls, to different types of text - speaking AND singing.
This is a CLASSIC in the making!

4.  Freeing the Natural Voice - Kristin Linklater

Ms. Linklater,  another brilliant pioneer in the use of voice as instrument,  has created this must-have book.  Dealing primarily with the speaking voice as actor,  singers NEED this perspective as well.  So many singers do not use their speaking voices well and this is what needs to be addressed FIRST!  Written with clarity and MUCH imagery (if you learn well by imagery you will love this book),  the exercises will be inspiring and easy to access.  Again, a book you can read and re-read and access what you need when you need it.  This new edition is a more expanded text and easier to access.

5.  About Acting - Peter Barkworth

This is a must have.  Mr. Barkworth truly reveals the British theatrical approach to the stage with ease. There is much practicality and use-ability in this book.  There are also many humorous moments as well as some great historical information that will be useful and fascinating.

These are 5 more you might consider purchasing to peruse, devour, use as reference material and add to your library!  Happy Reading!