Can't, Don't, Won't

welcome to March!

Auditions are in full swing in the Music Theatre community...
Auditions continue in the Operatic community....

It can be a very busy and overwhelming time of year.

How are you doing?


This is the time of year I often re-visit how I am talking to myself,  as I see all kinds of psyches in the studio!  I see the can't, the don't, and the won't...

As artists,  we have an incredible ability to self-doubt.  That's not a criticism, it's an observation, because I DO IT TOO.  Self-doubt doesn't have to be a negative:  it gives us permission to find more, and achieve more, and push ourselves to reveal more, if we allow the doubt to motivate us, not debilitate us.

Our "self-talk" is crucial and it also it important to acknowledge it and see if it needs tweaking or changing.  Behavior can't be "stopped",  but it can be replaced.

Deciding how we are going to self-speak without delusion  (WAAAAAY above my pay grade) is always an important discussion.

What are you saying to yourself?  What are you saying out loud?  What do others hear?

As I challenge myself,  I challenge every singer that walks in the studio with their self-language.  We often don't realize how we self-sabotage just with a word which then becomes a thought, which then becomes a behavior,  which then gets in our way.

How many of us have been told to get out of our own way?  Hmmmm.

"Can't" easily is an excuse.  Remember, this is not exclusive,  but more a way to discover HOW you speak to yourself and when it happens, and why it happens.

"I can't get out of bed to get to that audition call."

Well, unless you are sick or dying,  yes you can.  CAN'T is the excuse of something else.

Maybe you don't want to.  Maybe you're exhausted.  Maybe you're scared.  Maybe you're confused.

What would happen if you took a step away from "can't" and got to the crux?

"I can get out of bed,  but I don't want to."

Fair.

Do you HAVE to?  Is there something that relying on you to DO that task?

Each statement reveals another question that gets you to the real answer that you need to claim and then DO something with.

"I can't learn all this music."  

"I can't decide what to sing."

"I can't decide what to wear."

Unless you honestly CANNOT,  this is stress management talking.

That's okay.  We ALL DO IT.  Move past the "can't" to figure out why that word?

As you move past "can't"  we get to "don't".

"I don't wanna."

okay - that's honest enough.  But, WHY?  Never settle for the can't, don't, won't.  Figure out why the dismissal.

"I don't have time."   "I don't have the money."  "I don't have the aria/song prepared."  "I don't...xzy"

Why don't you?  And you cannot answer with "can't"!!

Do you WANT to?  If your answer is no,  then that is something you can work with to find out what you want and what you DO have time/money/energy/passion for!  If the answer is yes,  then what is in your way for that time/money/preparation/action/energy/passion?

Won't.

"I won't audition for them again."
"I won't sing that again."
"I won't use that monologue."
"I won't..."

Again,  why?  "Won't"  is beginning to claim a decision.  A decision can be unconscious but if you say it out loud, it becomes conscious.  When the conscious CHOICE allows you to create a boundary that is positive,  "won't" works if you know why.  When you know why,  you can claim the choice and create a behavior that replaces the one you aren't going to do again!

Our vocabulary reveals much about where we are.  It's not always easy to look into that particular mirror,  but if we choose to explore the artistic nature of who we are, and if we choose to embark on the passive/aggressive love affair of the business of show,  then we must DEMAND of ourselves that check in, and that honesty.  It isn't about being hard on yourself;  it is about being HONEST.  The honesty can be tough,  but it will give us direction and clarity.

That doesn't mean if you self-speak light, love and glitter bombs that you are being honest with yourself either!   Stress management and delusion live on either side of the veil.  The truth is somewhere in the middle.

I can't....why?  Answer it immediately so there's no time to meddle.  Then continue to riddle it through to a logical end for that question,  on that day.

I don't...why?

I won't...why?

These words need to be there for each of us to find our boundaries and our behaviors.

Claim them;  answer them;  laugh at them;  take a big breath and DO YOU.

Sometimes it turns into:

I can...
I do...
I will....

I just don't know what to do with you...

It's Saturday!

"I just don't know what to do with you..."

Ever heard that before?

I could have had that on every t-shirt as I was actively auditioning and learning how to manage the mine-field.

My answer of course was: "HIRE ME DAMMIT!"

However,  alas,  not so much...

Why?

Why was I told they didn't know what to do with me?

Why was I told how talented,  how musical,  how beautiful my voice was,  how skilled I was,  and then .... crickets?

It's about that damn audition room again.  It's about being an artist,  and having to negotiate that audition room.

We do too much.  Yes, we do.

We see the same people getting called back or hired.  What are they doing they we are not?

They aren't.  They aren't doing so much.

Too simple?  Perhaps,  but consider this.

Auditions are an opportunity to be hired.  Too much information in a short time,  even if the person on the other side of the table has imagination and knowledge,  is just too much information.  No time to sift through all that of that - so - NEXT!

So,  now the question is:  what do YOU do with you?

Quit trying so hard.

The perkiness,  the eager to please,  the desperation...way too much.

Quit trying so hard to look or seem indifferent.

The playing around with "I'm not impressed" doesn't work either.

What do you want to show them in the room?

Don't answer so quickly.  See?  That's part of the problem.  You have TONS to show them and that's why they don't know what to do with you,  if YOU don't decide precisely WHAT you will show.

You do not reveal everything.  You do not reveal most things.  You invite them to see one,  maybe two things during that audition/interview that intrigues them enough to call you back:  where you show them a little bit more.

Always leave them wanting more.

Do not leave them confused.

Often, as artists, because our internal lives and therefore our craft process is very complex,  we don't realize how to simplify.  It seems ridiculous to us.  It doesn't seem as if it's enough to be that simplistic in the room.

Really?  That's IT?!  That's ALL I have to do?

Yes, darling,  pick ONE thing to reveal in the room the first time.  Don't angst.  Just focus and do it.

When I began to figure that out and actually do it,  they finally knew what to do with me!

AND I wasn't exhausted after the audition like I had been.  I actually had enough energy to stay present in the room,  do my work,  simplify and leave and have energy to pick up the rest of my day instead of blinding wander back into the street and figure out how I could catch a nap.

Start exploring how you simplify for the audition.  What do you want to reveal?
Start with 3 or 4 things.
Then decide out of those 3 or 4 things what are uniquely you.  Narrow the choices to 1 or 2.

How will you execute those choices?

How will you stay present as you walk into the room with those choices?

How will you breathe in those choices as you prepare to sing?

It feels too simple doesn't it?

But it's not,  yet it is precisely right.

Not too much,  not too little,  but just right.

If you've done the work - if you can rely on your craft,  on your skill,  on your technique in all areas of your work:  voice,  acting,  presentation,  professionalism  - then there is nothing to hide or nothing to hide behind.

This gives you many choices that you can enjoy deciding from.  It isn't about throwing out ideas;  it's about deciding what to reveal today.  You may choose differently tomorrow depending on the call,  the opportunity,  the song choice and your energy!

These are not tricks.  These are decisions.  Decisions can be made because you are committed to craft.  Craft allows you to access more of what YOU will offer.

Offer what you have in small doses.  Give them something they will know what to do with,  instead of throwing the bag on the table and looking up and expecting them to choose.

The rest will follow.

All of your artistic "burn"  will find a place to unfold when you have an opportunity work a callback and then book the role and embody that!

Let's turn "I just don't know what to do with you"  into  "I know JUST what I can do with you"!

Are You READY?

It's holiday season...

It's opera audition season...

It's always theatre audition season...

Sometimes, it's successful,  sometimes it doesn't seem to be.

If you aren't getting the auditions,  or the callbacks if you get the auditions;  if you aren't getting seen;  if you feel frustrated,  disappointed,  despondent, ready to take a hiatus...

Your feelings are valid.  Acknowledge them,  give them permission to exist and let them move through so you can get to the next.

What is the next?

A simple, yet complex question:  Are you ready?

Your answer may be:  Yeah, but Susan, ready for what?  I am not getting seen/getting appointments/getting callbacks/getting ANYTHING.

Ah, but what happens WHEN they call?  WHEN you get the audition appointment?

If you are stubborn and crazy enough to pursue this career choice (and you have to be a little or a lot of both!) - you have to be ready.

Once the disappointment wears away,  get your big girl panties on and GET TO WORK.

There is nothing more devastating than to watch someone who SAYS they want a career,  who may go through disappointing seasons of no work/no auditions,  suddenly get an opportunity, and they just are not ready.

It happens more than you think.

Make a commitment to yourself this season.  Make a commitment to be ready.

Sometimes you wonder if a casting director, or an artistic director even remembers you.  Then, out of the blue,  you get a call.  Are your ready?  (and that's not a story, it DOES happen)

What are you doing to be ready?

Is your voice is tip top shape?  Are you studying regularly enough,  are you practicing consistently to access your talent at will?

Are your arias ready to sing and PERFORM?

Is your audition book ready so if the casting director says "what else have you got in there?"  you could sing that cut exactly the way you want it?

Do you know what you want them to see about YOU in an audition?

Vocally?  Dramatically?

Are you ready to take on those roles or those projects that you say you want?

Is your head shot working?

Is your resume up to date?

Have you up'd your game in order to stand out for all the right reasons once you have a chance to show them what you do?

What if that phone call came today?  Are you going to get excited,  get focused and prep or are you going to start making excuses as to why it might not work?

If you say you want it,  then DO IT.  Prepare even when the opportunity isn't beckoning you.  Prepare precisely because it is not there.  This allows you the opportunity to be ready when the pressure isn't breathing down your throat!

Is the presentation of YOU accessible at a moment's notice?  This is the time to assess and ponder and then do something about that!

Little secret:  the business isn't going anywhere.  You can take some time to get yourself in order to truly be ready when the call comes and they want to see you this afternoon, tomorrow or next week.

So, instead of letting the lack of work, auditions, callbacks get you down - let it be permission to get it all together!  Organize!  Plan!  Study!  Practice!  Discover!  BE!!!!

Yes, sometimes being ready means you hurry up and wait.  Waiting doesn't mean dormant.  Waiting means prepared.  Our business is fickle,  and it's temperamental and it changes its mind quickly.  If you aren't ready to meet the challenge when the opportunity beckons or demands your attention,  you will be stuck in your own decisions.

The opportunity will come.  Be ready for what you need to do, in order to DO IT.

Don't settle for kinda, sorta,  maybe.

Kinda, sorta, maybe isn't memorable for the right reasons.

You want it?  You gotta go get it when it presents itself.

That's the best gift you can give yourself this season:  ALL OF YOU!

The Voice Competition, The Audition = THAT ROOM

Saturday musings after reading some heated exchanges online...

What about THAT ROOM?  That room that you enter as a singer for an audition, or for that first or second round as a competitor?

THAT ROOM that those who have been asked to "judge" are sitting at a table waiting to hear you?

As someone who has frequented both sides of that table lo these many years (!),  it is a fascinating observation.

Too often,  when nervous,  when unsure,  our defenses go up and our egos take over as the adrenaline kicks in.  We often over-think,  over-analyze,  over-criticize ourselves and possibly others,  as well as just hyper-extend our energy beyond what is necessary.

So,  what about THAT ROOM for the singer?

First and foremost:  BREATHE.  Nobody is there unless you have decided to be there.  The pianist isn't going to play for a ghost.  The adjudicators, audition panel wouldn't be there unless you had shown up.  Nobody is out to get you.  Everybody is there because YOU are.

So breathe. 

Be present.  In your body.  In your breath.  In each step you take and each observation you make.

If you are prepared you will have practiced the entire process.  You know how to walk;  you know how to talk;  you know how to smile;  you know how to speak with the pianist;  you know how to prepare to sing in that moment.

However,  it is a surreal moment and it's THAT ROOM.  It can be nerve-wracking,  it can be intimidating,  it can start "those voices",  it can create anxiety,  questions,  and panic.

BUT, it doesn't have to!

Those people at the table have been where you are.  They are on your side.  In the moment, you cannot judge nor pledge their behavior.  All you can do is be present in YOUR energy and bring that in.  As soon as you start questioning THEM ("do they like me?" "why did they not look up?" "why is that person frowning?" "why did they look at me like that?")  you are not aware of YOU. 

"Self-centered"  truly must be taken seriously here in a positive way.  Center yourself.  You are not going to know what they think,  what they know,  what they want,  and I am going to tell you a little secret:  IT DOES NOT MATTER.

All that matters is that you are doing YOU.  Authentically YOU.  Real YOU.  Not what you think they want,  but what you DO and who you ARE.

You have no control over what they do,  what they know,  what they are looking for.  You DO have control over YOU.  Knowledge is power.  You know you, so DO you!

What you sometimes DO NOT know is someone on the panel may need to pee.   Someone may have low blood sugar.  Someone may have had a disagreement with a colleague on the panel prior to you walking in;  Someone may be overwhelmed;  Someone may just have resting bitch face even better than yours when they concentrate and listen!

The competition and the audition is a giant puzzle.  A panel is there to try to find pieces that fit together.  It isn't easy,  and it can cause fatigue,  frustration & and more. 

What you see or what you do not see,  on the faces of the panel,  really doesn't matter if you are doing YOU! 

Sometimes people need to snack or eat or sip their coffee.  God knows, I need my coffee if I am going to be doing a full day of adjudication or auditions.  You bring your water in,  and your panel probably needs to bring their coffee or tea or water too.  If their day is insanely busy - they need a pee break!  You want their attention,  so don't take it personally if they excuse themselves for a few minutes to use the bathroom,  or fill up their coffee mug.  You want them fresh and accessible.

I always encourage singers to sit in if possible on some auditions to allow them to see things and experience things from the other side of the table.  It can be an eye-opening experience and isn't just about "being good enough".  So many facets and pieces play into decisions made from that table.

Ultimately,  those of us sitting at that table are rooting for you!  We want your best!  We want you to succeed!  We want to encourage and give constructive criticism for you to walk away with some information that can be helpful and allow you to continue to grow!  Remember, we are simply another set of ears,  hopefully informed,  and another professional opinion.

Opinion.  Not gospel truth.  Nobody has a monopoly on that!

We hope it is an informed opinion and decision that has relevance to the level of whatever audition or  competition you are there for.

We, when sitting at the table,  must remember and conjure what it felt like to be that singer in THAT ROOM.  We have to take control of the situation if it needs an adjustment so we are comfortable,  and that the SINGER is comfortable.  This is not an opportunity to belittle,  to have an ego-attack,  to go into passive-aggressive mode or to play politics or head games. 

Those of us who sit at that table in that room have a great responsibility to teach;  to inform;  to encourage;  to reveal truth;  to LEAN FORWARD and create safety and energy that a singer can feed off of and give us their best work in that moment on that day.

We deserve respect on each side of that table.  We should show respect from each side of that table. 

THAT ROOM is filled with possibility, and no matter which side we are currently on,  we can choose to make it a moment that means something real,  or not. 

Negative knee-jerk reactions have no place in THAT ROOM;  from either side of that table. 

I remember being told a young singer said "she hates me" after I had given her adjudication.   She didn't win,  so her feelings were hurt.  However,  I chose to address it publicly as an overall observation:  I cannot hate you,  because I don't know you at all.  Not winning/not getting a callback/not getting the role doesn't mean more than you didn't win, you didn't get the callback, you didn't get the role.  If you are only concerned about whether someone who doesn't know you,  hates you or likes you,  then you aren't doing YOU while you are performing or auditioning.  You are not staying present in what you say you were prepared to DO.

Just as the singer must be present,  so must the panel sitting at the table.  If they are tired, grouchy, crabby, hungry,  needing to pee - then they must take control of the situation and take 5 minutes to re-balance in order to be fully present to hear the singer who walks in next. 

Simply saying "My apologies, my blood sugar is taking a nose-dive and I have to take 3 minutes to chew some food" to a singer will NOT send you to hell!  In fact,  a singer recognizes you as HUMAN.  What a concept THAT is! 

THAT ROOM may be surreal but it's filled with many complex human beings.  Recognizing and honoring those complexities and respecting them and the process of being there would save us all a little angst,  a little grief,  and a little panic!

THAT ROOM is created by YOU.  Honor it,  don't despise it! 
Take the process seriously and learn how to giggle at yourself;  It adds a little more joy into how you got there in the first place!

Ignorance is not Bliss

It really isn't. 

Many of us, when we look back at things we did in our studies, in the business,  when we didn't know what we do now, CRINGE at how we handled things.

It happens to ALL of us.

However, it doesn't mean you cannot be as prepared as possible and when you know better, you do better.

Let's talk auditions, shall we?

In music theatre,  things are a little slower now for holiday season and will ramp up again soon enough.

In opera, deadlines are coming for summer program applications,  many YAPs and general auditions are happening now.

What are YOU doing?

Here's just a quick check list to see if you are ready to truly be taken seriously for whatever you are focusing on.

1.  Are you studying?

This doesn't mean once in a while,  or calling a teacher or a coach for a "quick fix" the day before or the week prior to an audition.  This means, are you studying regularly?  Figuring out what that means for you is CRUCIAL for you!

2.  Are you ready to audition for what you are want to be seen for?

Do you know the business landscape you are entering?  Do you know what is required?  Are you accessing that fully enough in your current development to be seen as a viable candidate?

3.  Are you taking workshops about the business of show?  Do you take advantage of blogs, webinars, online skype sessions, and in person workshops to get to know what the business of show is really about?

4.  Do you have a team around you that can give you TRUTH about where you are in your current development to help you with recognizing the mine fields, what to avoid,  where to be seen?

5.  Are you doing regular research about casting directors, opera companies,  conductors,  directors, agents, regional theatre companies,  summer stock and the like, in order to recognize the people who are in the position to hear you and hire you?

6.  Are you working on the "other" aspects of your craft - not just singing - like acting,  audition protocol,  dancing and/or moving well?

7.  How is your online presence?  Are you up-to-date with your website?  Are you visible professionally on social media?  Are you on audition sites for submissions?

8.  Do you know how to prepare for the actual AUDITION with repertoire,  presentation,  what you wear,  how you approach things?

9.  Are you overwhelmed yet?????

That last one was supposed to make you laugh.

It CAN be overwhelming.  It doesn't have to be.  Breaking things down for yourself will help you figure out where you are,  show you were you might need a little more time,  a little more attention,  and help you organize what can be an overwhelming process.

There is no reason to feign ignorance anymore.  It often is used as a stress management tactic,  but it never really fools anybody.  The only person it might fool,  is you.

If you commit to your process,  you will find what you need in order to access what you are ready for NOW.

NOW is all we have.  Use it wisely.  Don't wish,  just get it done.  One step at a time.

Theatre isn't going anywhere.  When YOU are ready to be seen and heard,  it will be there.

Don't panic,  don't whine.  Don't claim ignorance in this day & age.  Find what you need;  if you don't know what you need, ask for some guidance!  Many of us are here to help you get on the right path for YOU.

During this upcoming holiday season,  take stock,  be real with yourself,  begin to discover more about yourself and prepare to step securely into your NEW YEAR as you pursue this crazy, wild and wonderful business, called show!

A little bit of knowledge is a dangerous thing...

happy Labor/Labour Day weekend and the gateway to the fall season!

As we embark into a new semester,  a new audition season,  a new performance season,  there are always things to consider,  re-visit,  tweak,  and discover!

Fall is my favorite time of year.  This is really the "new" year for me,  and so I hope re-visiting old topics in new ways will be a way of ushering in that new year!

We've all heard that saying "a little bit of knowledge is a dangerous thing".

Last week,  I came across a social media post that was a singer's list of "audition to-dos" she has gathered from a masterclass with a director.  She was excited about what she learned,  and you cannot fault her for that.  She wanted to share her knowledge,  which was very generous.

However...

Much of what she wrote down was not accurate:  maybe accurate in certain circumstances,  maybe accurate pertaining to that particular director, or maybe not accurate at all.

Her instinct to share her new-found knowledge was lovely,  however,  that knowledge did not have a context,  and if someone were to take that "advice" literally,  it might have been a horrible mistake.

In this "instant" society we live in,  we literally have everything at our fingertips.  It doesn't make it correct;  just cause it's on the Internet doesn't make it true!

The same can be said for those we "meet" on Facebook or discuss things with on other forms of social media.   It doesn't mean a person is deliberately trying to be deceptive or give your wrong information!  In fact,  often that person is trying to be helpful. 

We must recognize the source:  who is offering this knowledge?  What authority do they have?  Is it first hand knowledge, or 2nd hand,  or a friend of a friend or interpreted from someone's account of something?

I challenged this young and enthusiastic singer to clarify her points and put them in context.  She began to see what I meant:  some of her points were specific to the master class she was involved in and wouldn't have a more universal "truth" the way she accounted it.

Some of her points might have relevance with the director who was offering the master class.

Some had no relevance at all.

And,  all points were HER interpretation,  not a prepared sheet of information from the director. She was making notes based on what said director was saying/or what she THOUGHT he was saying.

Context means EVERYTHING.

By all means, explore!  Ask questions,  read,  share your findings!  However,  when you DO share make it clear to your readers or the people you discuss things with that this is just YOUR interpretation of the events,  not a syllabus created for you by the person offering the information in the first place.

When you read - (including this blog!!!) - know who is offering you the information and what the purpose is.  Does this person have experience and information in which to partake?  Does it make sense to you to listen?  Does it make sense for you to simply observe and take it with a grain of salt, or does it hit you on a gut level and maybe you need to pay closer attention?  And if so,  why pay closer attention?

There is no black & white entirely in the business of show or in the pursuit of craft and artistic development.  Guidelines, perhaps;  a basis of structure,  perhaps;  motivation,  perhaps;  But not "always do this",  "never do this".  As soon as you see that,  there will be someone who says "I like just the opposite".

Perhaps this reveals the answers then.  To every "do this"  there is a "do that".

It is up to YOU the emerging and developing performer to discover and create what works for YOU within the parameters of the business you are pursuing a a career in.

You need to know what you bring into the room.

You need to know how to find your authenticity in voice, and presentation.

You need to know who you are in that moment.

You need to know how to be comfortable in your own skin.

You need to know how own your audition,  your rehearsal process,  being a colleague,  your callback,  your conversations with others in the business,  and more.

YOU need to figure that out.

Nobody can tell you that so-and-so said it so it must be true. 

Any of the knowledge we have is a dangerous thing if we don't open up the context and discover how we inhabit it.  How do we figure that out?  We learn to live it,  and live WITH it.

Knowledge,  gravitas,  presence,  true understanding,  all come from time,  experience and paying attention to small grains of information and discovering where it leads.

There are no tricks;

There are no lists;

There are no magic formulas;

There is work.  There is commitment.  There is time.  There is perseverance.  There is determination.  There is eagerness.  There is questioning.  There is seeking.

Then,  the knowledge deepens and you are able to begin to claim what you do not yet own.

Happy "NEW" year.  Relish the journey.  It is yours and yours alone to enjoy and discover!

Dear Singer...What is it about the Business?

Dear Singer,

First,  you have to identify the difference between making music and being an artist AND making a living making music.   You have to know how to separate those two.  They are not,  nor have they ever been the same.

There are rules that apply to each of those facts,  and you have to find them and acknowledge them and follow them.  You haven't done that yet or you wouldn't be feeling they way you are feeling.  Acknowledgement of rules,  prevents you from taking it personally.

Even if you were Equity,  the stats are 95%  unemployed at any given time.  This is BUSINESS of show.

You have chosen a profession that has a ridiculous unemployment rate.  You have to want it badly enough to stick to it.

Knowing how your voice works, or  how to be an actress and all the craft associated,  is NOT how the business works.  The two are not the same, nor do they necessarily go hand in hand.

You have to learn how the business works and the time it takes to figure out the game and how to play it.   You have to be prepared to be in this game long enough (sorry sweetie - 2 years is no time - or 6 months or even 5 years...)  to find out whether it's what you want to be bothered with long term,  or simply walk away and find another way to keep making music for your well being.

Just wanting something doesn't make it so.

We work not because we are good enough,  but because somebody thinks we are,  and sees us playing the game to their reasoning.

The game is often bullshit and it has NOTHING to do with craft or artistic integrity - but it is what has to happen in order to work.

So - prepare to learn the game.  That takes time. A lifetime really.  There are no assurances in this business.  None.

There are no answers but the ones you discover for yourself,  about yourself and about how you function or not, in the business.

The level of the business doesn't matter:  same game, just another day and another process.   Community theatre, regional professional theatre, Broadway - ARE ALL THE SAME.  The players and venue change.  The stakes may change.  Learning to play the game in the venue you are in is what the business is about.  Discover your game.  Play it.  Get good at it,  or walk away.

I am just trying to be honest with you.  The work you do on your artistic self will always be there;  don't misunderstand that.  Artistic self has NOTHING at all to do with BUSINESS self.

Learning the business,  learning the game,  and how you navigate those land mines - is up to you, and takes more time than you realize.  If our artistic selves continue to evolve and develop over a lifetime, then so,  do does knowledge of the business and the business self within the business of show.

Chin up!!! Your path is your path.


Accept it,  experience it,  walk it - or choose to walk elsewhere.  Wherever you,  BE THERE.  Fully, honestly, and completely.




Sending you good wishes,
Susan

What is Authentically YOU?

Sunday musings...

and if you think by clicking on this post, that question is going to be specifically answered for you by me,  you have more work to do and need to give your head a shake!

This week,  a fascinating thread on a forum page was discussing what was required in the audition room - more about how to dress etc.  Of course,  those that have little experience have the most to say,  and frankly,  are generally more than green, but simply incorrect in their reasoning.

If you think you know what an audition panel wants,  you need to go and sit down.

However, as someone who has been on these panels,  has adjudicated competitions for over a quarter of a century, and knows many a conductor,  artistic director, director, casting director, general director and those others who may sit at the table,  I feel I can offer some advice. 

I am amazed at the absolute false information that is either being 'taught' or being misunderstood by young singers.  It saddens me. 

What is told to me over and over again,  is that the panel at the table is really wanting to meet YOU.

They don't want a character.

They don't want pretend.

They don't want phony.

They don't want desperate.

They don't want annoying.

They don't want know-it-alls.

They want YOU.  (If you are any of the above - knock it off!)

So,  how do you find that?

In an audition,  you have a short period of time in which to make an impression.  Preferably, it's a memorable one, and a positive one.

The authenticity of you is crucial.  Some people find that early in their lives and let it evolve;  some people don't;  some people don't even know they aren't reading "authentic" because they are too caught up in what they think they "should" be doing.

Two things need to go hand in hand:  honoring the OCCASION,  and honoring YOUR AUTHENTICITY.

These are not opposites. 

Figuring out your "style" - how you dress, how you behave, how you enter a room - is an extension of who you are, who you are becoming, and how comfortable you are with that.

Some people need to stand close to the wall.  Some people have no walls.  Embrace who you are!  Figure out who that is,  and how you can infuse that self into how you present yourself and how you embody what you sing when you are in that room.

Of course, the 'schooled'  ones believe everything is ultra-conservative,  and must be "by the book".  If that makes you comfortable,  use it.  We always know when you are green in the audition room by how uncomfortable and stiff the entire energy you bring with you, is.

Just because you were taught a certain way,  doesn't make it so.  Did you every ask why?  If you don't have an answer it's not behavior.  If it's not behavior, it's put on.  If it's put on, it's not real.  If it's not real,  it's schmacting.  If it's schmacting,  nobody is going to pay attention.

Honoring the occasion of an audition doesn't mean you have to be rigid, in a 3 piece suit, or a tux or a ball gown.  In fact, please don't.  That's not the place to be ridiculously formal.

It is also not the place to be looking like you should be on the beach at a BBQ either.

Is it really rocket science?  Yeah, sometimes it is.  Why?  Because fear cripples us.  We begin waxing unpoetical in black and whites when we are just scared.  Sadly it comes across as arrogance and puts us in a further bad light.


It takes a long time to learn how to play like yourself.  Paraphrase of Miles Davis.

It takes a lifetime to learn what notes NOT to play.  Paraphrase of Dizzy Gillespie.

So yes,  you might look very "clinical",  and behave very "grad school",  or "conservatory" when you first leave because you haven't figured it out yet. 

What you have permission to do is to step away from the wall and actually claim something more: YOU.

What aspect of you shines?  How do you discover your own personal style, or flair, or personality that will find its way into every audition and every situation of your world?

Auditions,  if you are a performer and want to perform,  are a necessary evil that you need to embrace.  Why shouldn't YOU come into that room?

How does the personality, the voice, the talent,  the spirit of YOU show itself, not just in how you present the music,  but how you present the full package?

If you are comfortable in your own skin,  that is the first step.

Someone could be doing all the "right" things and still be uncomfortable,  because it just isn't them.  Discovering, and experimenting with your own style,  your own touch,  is worth investigating.  It matters. 

Some guys wear a 3 piece suit with ease and some do not.  Some guys can put a suit together with boots and it works;  some cannot.  Some guys can actually make jeans look great in the audition room.  Some cannot. 

Some women can wear open toed shoes and some cannot.  Some can wear pants and it works;  some cannot.  Some can wear an amazingly bright lipstick while others cannot. 

Celebrate the occasion by knowing who you are and what puts you at ease to present yourself. 

Experiment a little. 

Just like taking the time to find the right repertoire to sing,  discover your personality through your physical style by getting creative there too.

There are no absolutes here.  Just remember the occasion and know you have a great deal of space to claim depending on who you are if you remain authentic.  Remember that style should morph and evolve with you as an artist, as a performer and as a human being.

Take the information you are taught,  and as my father told me,  decide what works for you and then go out and claim more to fill it out!

Nobody wants to see you awkward, stiff or constrained.  Nobody wants a paper cutout of the person who was just in the room.  Nobody wants exact replicas.

They want to meet and SEE,  YOU.

So find out who that is.  Dare to make a "mistake" in the practicing of it all in order to find a better way, and a better you.

Wear what makes you feel like you;  not what someone told you that you MUST wear.

Wear a color/colors that make you feel REAL.

Wear fabrics that give you pleasure and let you breathe.

Style can liberate you,  and further enhance the YOU you wish to be and the you you wish them to see.

What do they want?

They want to see and hear, YOU.

Now that is completely up to you.  Take your time.  Discover it,  uncover it,  rejoice in the uniqueness you bring to it!

Carbs & Sleep & Stillness

Yes, indeed, it's THAT time of year.

We are mammals after all - and hibernation sounds about right:  a snuggly blanket, a good book, Netflix,  carbs and comfort food,  warmth,  naps, dozing off...

Of course, that's a luxury this time of year, as auditions amp up,  applications are needing to be addressed and filled out,  learning your music, your lines, your role for that show you booked are necessary,  getting papers written for your classes are going to be due...

Or is it a luxury?

This is the time of year where I don't make resolutions, but I actually give myself "still time" to contemplate what's on my plate and what I want to change.

Listen, I like a full plate.  I like having things to do.  I also like crossing things that are done, off the list.  That sense of accomplishment is rather delicious indeed. 

The other "list" I am maintaining is the "I don't need that anymore" list. 

That's the list where I can say I have earned my way out of needing something;  have decided to step away from something;  have decided to clarify my involvement in something;  have decided to simply something.

I am beginning to love this list,  because it really does allow me to slow down,  consider what I DON'T need,  and how I will nurture what I DO need.

So often, we are constantly chasing what we feel we need to DO.  What about sitting back,  taking a breath and saying "what do I need to release?"

It can be simply giving yourself permission to let go of something - even temporarily - to allow a clearer head space;  an opportunity to focus further elsewhere;  a chance just to not only catch your breath, but BREATHE.

You do NOT have to go to EVERY AUDITION.  Pick the ones you are right for,  and the shows that make sense for you. 

You do NOT have to apply for EVERY YAP.  God knows, the application fees themselves could cause heart failure.  Pick the companies that you respond to in their mission statements,  how they build their seasons,  what their reputation is.

You do NOT have to keep your priorities the same every day.  Every week.  Every month.

"Regular" voice lessons might mean weekly for a while,  or bi-weekly for a while,  or monthly for a while.

"Regular"  work on your craft may mean you need to adjust how much time is spent on what aspect of the craft determined by simply what you NEED in that week, and for that commitment.

Give yourself permission to RELEASE a little.  Stretch.  Sigh.  Eat some carbs. 

And some days, it means, just pulling the covers back up and hitting the snooze one more time. 

Life will be there when you get up.  It will greet you fully whenever you are able to look it in the eye and say "okay, let's figure out what I need, and what I can release, TODAY."  And even consider doing that in reverse order: "What can I release today, in order to embrace what is needed?"

Time to enjoy the stillness.  And the fluidity we call an artist's life.

 

What are You Wearing in the Room? A Fall 2014 Update!

I wrote several years ago about what to wear for auditions.

These posts still get read regularly,  so I thought I would do an update for 2014!

What's changed?

Not much actually!

Audition attire should be rather timeless,  over all.

Even though Opera auditions are different than Music Theatre auditions,  it's still a job interview.  You are competing for a job,  not against someone.

So if you are walking in competing for your a job,  before you even open your mouth,  we see you.  How are presenting yourself?

Though Opera auditions tend to be more formal than MT ones,  that doesn't mean formal dress.  Even in the evening.  Leave the ball gowns, the taffeta and the tux in the closet.  If the clothing makes more noise than you do as you move,  leave it in the closet where it can hang quietly!

That goes for jewelry too.  I LOVE earrings and noisy ones - during the day.  I would never wear jewelry that makes noise every time I shift my head slightly, or release my jaw, or lift my hand while singing!  Again, a time and place for it,  and it isn't in the audition!

Why?

It's distracting.  And it screams "amateur".  Present yourself as professionally as possible and those at the table will be more open to say "lovely, I wonder what he/she sounds like?"  and be open to hearing you when you actually start singing.

Make sure your clothes fit you.

If you are traveling for auditions,  your audition clothes should be fabrics that don't crease or wrinkle ridiculously.

Find colors that enhance you,  not make you look ill or washed out.  If you don't know what they are, get help.  Don't ask someone who is trying to sell you something,  ask someone who is going to give you an honest answer and has nothing at stake in doing so.

Wear shoes you can walk into the room in,  and audition, and walk back out.  I am SERIOUS!

Make sure your shoes are clean and polished.  Guys,  hear me on this.

Ladies - you know how I feel about heels.  Find your comfort zone in heel height and wear them, and practice in them.

In Music Theatre, often the audition is more informal and thus the clothing can be depending on the call.  Know what you are going in for,  know what you are choosing to reveal about yourself in your outfit,  and know what looks good on you in order to do so!

Do NOT costume.  EVER.  That comes later.  When you've booked the job and are with the costume mistress.  Period.

Get your hair out of your face.

 Get your hair out of your face.

Get your hair out of your face.

Moisturize!  Lips, hands, exposed skin.  Guys this is important for you too!

Makeup? Yes please.  Not Rocky Horror Picture Show - although MAC has released a line this fall with some fabulous colors - but again, get a tutorial from someone who can show you how to apply, what to apply and when.  Find ways to pop your eyes and lips.

Get your hair out of your face.

In general,  think business casual to business dress.  In MT you can do more casual sometimes, depending on the call.   If you are going in for a Sondheim show,  or something more traditional,  you can dress more "business dress"  than you would if you were going in for Rock of Ages.

However, the audition is still about YOU not about the show or the character.  We want to see YOU.  How do you present yourself in a business situation as you compete for a job?  How important is it to you to be there?  Just pull yourself together!

Create a look that reveals who you are are!

In Opera, business dress is more appropriate given the genre.  Same ideas apply here.  We want to see you.  We do not want a character.  We want to see a singer who is pulled together,  knows how to walk into the room and deliver!

Oh, and get your hair out of your face.

Pull yourself together,  discover what enhances you,  what makes you feel good,  what makes you look polished,  and do that.

What do I do about that GAP in my resume?

I have been somewhat MIA - but busy!  I am not neglecting my blog my sweet snowflakes, I promise!

This comment - the gap in the resume - came up several times this week.  Whenever something seems to become a theme or sub-theme I always believe the Universe is asking me to pay attention and perhaps address it.

What do I do about this gap in my resume?

I can't be auditioning with this gap in my resume.

Others don't have a gap in their resume, and "they" will know I haven't been doing anything.


These are some of the things I have heard recently.

You know me well enough to know that I usually answer with a question (I am becoming my Dad).

So my question is:  what gap??? you weren't living during this time????

You have DATES ON YOUR RESUME?!?!?!? WHY!?!?!?!?

First - take off the dates.  Who cares when?  Did you do it, or didn't you?

Second and more importantly:  what is a "gap"?

I would respectfully suggest to you that you simply replace the word "gap" with the word "life" or "experience" or "exploration" or SOMETHING!!!

What is this "gap"???

If you are asking these questions,  I gently suggest to you that perhaps you are trying to create the excuses of why no one wants to hear you.

Why are you feeling that way?

There is no such thing as a "gap".

Life happens.  That isn't a gap - that is actually a FILL.

Life fills and fulfills.  Life changes you.  Experience makes a difference. 

Becoming an artist demands some life.  You BETTER take a gap!

If you are letting these "gaps" in your resume stop you,  you are making excuses.  If you say you wanna sing,  then sing!  Let "life" inform that singing and that artistry!

A resume isn't about the gaps.  A resume is a paper that informs those sitting at the table what you have done,  ( not WHEN),  where you've been,  where you're headed, how you've prepared and WHY YOU ARE THERE NOW.

Why you are here NOW is the most important revelation.

If you cannot deliver that WHY NOW then nothing on that paper matters.  What you have done shapes you.  Not just on that paper,  but what is NOT on that paper.  Some of you would call it a "gap".  I would call it life.

Life shapes you.  Life challenges you.  Life changes you.

And THAT is what you bring with you in that moment of audition.

If all you do is work work work,  are you living?  Sometimes.  Sometimes not.  Are you learning anything or wasting your time?  Are you working or just taking a paycheck/pay cheque?

Gaps mean life.

Gaps mean study.

Gaps mean tragedy.

Gaps mean change.

Gaps mean breathing room.

Gaps mean laughter.

Gaps mean decision.

Gaps mean choice.

Gaps mean life.

Yes I book-ended that on purpose.

If you have taken a time to LIVE,  and that is vivid and real, then it should reveal itself in your artistry.  If it is vital and alive in your artistry, then it will be present in how you audition, and what you can bring to a role and a production.

So, what do you do?

You audition.  You show them what you choose to reveal about YOU.  Which, after a "gap" should be even more than there was before it!

 Using a "gap" as an excuse, is saying your life experience - good, bad & indifferent - is insignificant.  Really? REALLY???  Get rid of your "gap" and FILL IT IN!

That audition room - the beginning of the reveal!

happy SUMMER!

Summer Solstice always gives me feelings of magic and of possibility...

So how about we CLAIM that magic and possibility???

Let's talk,  the dreaded audition room.

(Trust me,  I am groaning with you!)

How I wish I could get each of you in the room with me,  get my hands on you and watch you claim your magic and your space...but alas,  the blog will have to try to provide some insight...

The audition room isn't inviting.

The audition room is surreal.

I have no idea what just happened in the audition room.

Why can I do it just fine in the studio and then I blow it in the audition room????


Sound familiar?


Okay my beautiful, unique and precious snowflakes...here goes.

The audition room is magic ONLY when you are present there.

Take a second....let that one absorb a little....

The audition room IS inviting when you are present there.

The audition room is REAL when you are present there.

You will know EXACTLY what happens in the audition room when you are PRESENT.

Are you truly present in the studio?  Or pretending?  If you are present, then you have the power to be present in the audition room!

I have started offering audition master classes through the summer.  It is always a great way for me to see/watch/learn from my singers in this environment.  In the studio,  they know they are safe - it's a nest of sorts - one I work hard to create to explore in (and then push you out of - fly, be free!!)

HOWEVER...

I don't get the privilege of watching you in the audition room.  Suddenly in that environment things change don't they?

There's a whole lot of "too" that happens...

TOO perky.
TOO tense.
TOO fast.
TOO scared.
TOO held.
TOO annoying.

Did I say TOO perky?  yeah, that one needs to be said twice.

Here's a little secret:  The audition?  It is YOURS.  It doesn't belong to anybody else.  You aren't invading some one's space.  You don't need to permission to be there.  Those people sitting at the table and the guy/gal at the piano?  They have a job only because YOU are there to audition.  Seriously!  Nobody auditions,  no point in sitting there right?

So, if it is YOURS,  why are you rushing?  why are you not present?  why are you freaking yourself out?

First thing:  what are you CHOOSING to reveal in the room?  And it is a choice.  If you do not make a conscious decision of what you want to reveal and focus on that,  what is often revealed is literally what you don't want them to see (nerves, perkiness, annoying behavior,  amateur-esque-ness).

So,  if it is to your choosing - what do you want to reveal?
Remember it is an audition.  This isn't the time to get deep and artistic (hard for us who are deep and artistic!)  I love my casting friends,  but let's get real:  during an audition day their attention is...squirrel! If you have nothing real to say.

You know what I'm saying here...

So if you make it complex,  they are just gonna notice that dust bunny under the piano....or that broken nail...or message me on facebook!

it is YOUR audition.

They will pay attention to you ONLY when you claim it.  If you have something to say,  and something to reveal,  then and only then will it have a chance of being heard.

Choose and claim your REVEAL.  Choose ONE THING.  Complicated doesn't work in the audition room.  For ANYBODY.

Then something as simple as being present comes into focus.  Are you really present?

I beg to differ.  This is something we ALL need to be aware of.  Often we are already out of the room before we even enter the room.

We just want to be done!

Once you learn to claim and be present,  you will enjoy the magic you can create literally every step you take.

How many of you actually know which foot you stepped into the room with?  Yeah, THAT present.

Did you smile?  With your teeth or without?

Did you speak?  (In the words of the character of Helen Sinclair in "Bullets Over Broadway":  Don't Speak!")

Seriously.  You aren't there to visit,  to be buddy buddy,  to "hi guys" people at the casting table.   You are there to reveal to be considered for a job.  Period.

How many steps did it take to get to the piano?  Try counting.  That is really staying present.

Did you breathe with each step?  Are you holding your breath while you walk? 
Where is your energy in your body as you walk?

Did you make eye contact with the pianist?  Did you notice what color their shoes were?

How many seconds did you take to ground yourself before your intro/bell tone?

Did you remind yourself about your focus of reveal before you took your first singing breath?

How many people are in the room?

How many seconds did it take before they looked up when you started singing?


Most of you (and trust me, neither was I many moons ago!) are not that present. 

I challenge you to BE that present.

Don't try to do ALL of it in the first audition of being aware.  Start out simply with 1.  what foot did I enter the room with?  2.  how many steps did I take to get to the piano?  3.  How many seconds did I take before I started to sing in order to actually BREATHE?!  4.  How many steps did it take to LEAVE the room?  (your audition is still happening - even back in the dreaded jazz hands hallway!)

Start exploring your REVEAL.  What about YOU are you CHOOSING to reveal in the room? 

It is a choice.

And then get and STAY present.  Literally one step at a time.

Happy summer auditioning! 

More on Authenticity

Sunday musings...

What is this thing called authenticity?

Why is it so elusive?

How do we get so confused?

You cannot claim what you do not yet own.  Being authentic, means getting real.  It means choices,  it means decisions,  and it means clarity.

You cannot be authentic in your audition if you don't know what that means to YOU.

Yes, to YOU.

You don't know what anybody else knows.  You only have to the opportunity to get to know YOU.

Authenticity it about choices.  It is about how you reveal what you reveal.  It is not becoming a type,  or a fach,  or a micro-fach.  

It is not about you "fitting" into anything.  It is about revealing what makes you unique.  You choose how to reveal,  what you reveal.

I defy the notion of "if you are going to work in this business,  you must make yourself into xyz."

Is that authentic?  Is that real?  Or is that just desperation?

Where has "trying to fit in"  helped anybody,  in any field?

Authenticity isn't just "I am what I am."  (Unless you claim that song!)

Authenticity is about finding what you are,  who you are,  why you are,  and how to evolve within that.   How to make it real,  inside and out.  How to live and breath it in process,  in audition,  in life.  It is an ongoing reveal.

How you choose to reveal it,  how much of it,  what specifically you allow others to see - is up to you.  These are the choices we make every day,  but certainly in the audition room.  If you are wondering what "they" think,  what "they" want,  what "they" are looking for: let it be the truth of YOU.  Just thinking those thoughts take you out of YOU.   It reveals nothing about YOU.  You are no longer in the equation,  but your desperation reads loud and clear.

Your process of discovery and development and realization has to happen from the inside out.  This in itself has more authenticity just because of how you approach it.

It allows you to stay grounded and rooted to the truth,  the possibility and the potential of  a situation.

You are not a puppy wagging your tail hoping for a treat and doing whatever you think they want so you can get it.  At least I hope not.

You are a developing/emerging/polished artist who has something to SAY.  So, say it.  With conviction.  With honesty.  With your authenticity.

Here is your question for the week "What do I want to reveal about ME in that room today?"

That, my dearest snowflakes,  is truly in your hands.  Trust it,  nurture it,  and don't make excuses for it.  Make it count!

What's Your Tag Line? Control Your Audition!

Friday evening musings...

We are in the thick of auditions, be it opera or music theatre.

Auditions.  Does the word give you hives????

Yeah, me too.  Not my favorite thing to do.

We have to navigate a mine field of uncertainty,  uncontrollable and elusive.

Or do we?

Yes, there is type or fach.  These are creations of the business.  If you fall for the box,  you impose the box on yourself.

So, let me suggest something different:
Create your TAG LINE.

This allows you to change a tag depending on the audition.  YOU decide what you reveal in the room.  YOU decide what you walk into the room with.  "They" have nothing to do with it.

What is your tag line?  Have some fun with it.  Create a box of them.  You don't need to show everything each and every time.  You can decide that.  Claim the tag,  physically, vocally,  emotionally, energetically.

You then discover you have much more control in the room and OF the room than you first thought.  You are not walking in HOPING they LIKE you;  desperate for a job;  with jazz hands;

You do not know what they are buying.  Bah,  have the time THEY don't know what they want.

Your authenticity is crucial in the audition room.  Your type or your fach is not. 

Did you here me?????

YOUR AUTHENTICITY IS CRUCIAL!!!  You are NOT a type nor a fach.  This is a business tool for "that" side of the table to organize with.  That is all.

So begin your tag ideas by going through an exercise:

Make a list of 5 things you LOVE about your voice
Make a list of 5 things you LOVE about your body
Make a list of 5 things you LOVE about your personality
Make a list of 5 things you know people LOVE about being with you

Okay - now see how they overlap.

In the audition room,  YOU are YOUR business.  Every business has a tag.  The ones that stick out, are the ones that are simple and find a center immediately:

Nike - tag -  Just DO it
Allstate - tag - Are You in Good Hands?
American Airlines - Something Special in the Air
Capital One - what's in YOUR wallet?

got the idea?

You don't have to have ONE tag.  That's the beauty of this as a performer.  You can change the tag as you move from audition to audition.

Use your lists to help you.  Write a few down.  It should create a strong reaction.  Don't try to get too complicated,  or too fussy.

What we DO NOT want is "SUSIE CREAMCHEESE, soprano with belt"

That says nothing but beige.  How do you "do" beige?!

However, you do not need to SHARE your tag with anybody else.  You have to simply claim it in how you walk in that room.  Focus on the tag.  Sell the tag.

And if you are a Mercedes and they are only buying Toyotas that day - well no, you won't get a callback,  however,  if you are committed to your work and your tag,  you will create an authenticity in the room that will make you memorable and make them WISH they were buying a Mercedes.

The next best thing to booking a job is being told "I really was taken with your talent and your audition, and I just wish I could have hired you".

That is truth to the authenticity of you.

Want some ideas?  Here are some of my favorites that I have used, or have been shared with me: (no names, and no stealing!)

Bitch with a Smile on My Face
I Eat Babies for Lunch
A Klutz in a Show Girl's Body
Sequins Down My Back
Weeping with High Notes
Dripping with Sarcastic Chocolate


Get as creative as you want!!!!
In fact, tag every aria, every cut - as it pertains to YOU!


Bring that tag into the room with you.  Breathe with it.  Walk with it.  REVEAL IT.

Don't look to what they may want.

Claim what you HAVE.  Reveal what you CHOOSE.

Then you begin to discover that your authenticity is truly what they want to SEE.

You are not in control of whether or not you get a callback or a job - but you are in control of everything you do and everything you reveal in that room.

YOU CONTROL WHAT HAPPENS IN THAT ROOM.

Imagine it huh?

So, change that audition to make it yours.  Don't chase what you cannot control.  Reveal what is truly YOU.  No jazz hands.  No desperation.

Just you.

It's enough.

Bring it into the room!

Friday musings...

Well,  I am busy with many projects at the moment - including getting this BOOK written, based on YOU the readers.  Thank god I have a supportive husband, and a daughter who know how to motivate me!

It is audition season,  and we are always preparing to get that job.  I am starting a class with DreamHonor next week about booking the audition - but from a different perspective than other classes.

In addition,  I have been doing things differently in my OWN world,  post-accident,  and wanted to share with you,  to perhaps give you another perspective.

We are told "don't do this", "don't do that" and on and on...but what CAN we do?  What are we there to do?

In the audition room,  we'd like a callback and book a job ultimately.  Let's not beat around the bush on that one.  However, isn't there more to it than that?

What do you want to show in the room?  And then,  what do you want to claim in the room?

If you are a Toyota and they want a Mercedes,  no matter how you TRY you will never be what they want.  And if you are a Ferrari and they want a pinto - same thing.

What do they want?  How do you know?  You'll drive yourself nuts trying to figure it out.

So how about saying,  "here I am.  This is WHO I am.  This is WHAT I do.  I am a SINGER(actor/dancer - fill in the blank) and that's what I am going to show you now."

Today - I bought a dress.  A sparkly one.  One that will hit, length-wise, just above my knee.  My knee.  The one that was damaged in the car accident.  "Total derangement" the surgeon calls it.

I am very good at slight of hand - I can masque things well.  I have done that with my scars and my pain and my inability to "do" as I used to physically.  However, today, I decided that it was time to simply enter the room with WHO I am.  What I do, AS ME.  Scars and all.  Those scars are well-earned.  They are part of my history and my present and will be part of my future.  If they show, they show.  I didn't ask for them,  but dammit, I will NOT let them stop me from claiming ME.

I do not use them as an excuse.  I would rather gracefully bow out than put myself in a position where I am unable to meet the demand.  I will not make excuses for them though.

I see that happening in the audition room,  and sometimes in the studio,  and on stage.

It's okay to recognize your strengths, and your weaknesses and your "I'm not quite ready for that yet".
Then you go right ahead and claim them all,  and lead with what you DO.

It's not okay to put yourself in a position where the scar leads and you follow;  where the scar calls the tune (all puns intended!).

The scar is a story.  You survived it.  Now you claim it.  It belongs to YOU.  You do not belong to it.

Scars can be visible,  they can be hidden,  they can be emotional or psychological.  They can be screaming red and hot to the touch, or they can be faded and still itchy from time to time.

It's part of our journey.  Mine certainly are.  I am not about to expose them and say "look over here look over here",  but I have decided that I am not going to let them run the show.

I will not excuse the scars.  I will not try to hide them.  I will wear them because their story is real.  I am real.  I will not hide them in plain sight.  I won't ride them, or let them call the tune.

I am an artist.  I am a singer and an actor.  I DO that.

What do YOU "do"?

Create your action;  weave your life and your craft into that action;  show them what you DO!  In showing them what you DO,  you reveal who you ARE and what you are capable of becoming.

No apologies, no worry,  no wondering.

What do you bring into the room?

BRING YOU!  ALL of it!  Scars and all.

happy weekend!

BOOK IT! AUDITION PROCESS Music Theatre Workshop!

DreamHonor  has listened to you!

We have revamped the class to add an agent's input!

It will encompass technical and physical approaches to presentation.


How do you come across? Are you meeting your potential in that audition room? Singers bring in TWO 32-bar cuts that contrast in style/tempo/era.  The work is on presenting type through physicality of voice, energy and choice of repertoire.  Etiquette in the audition room and how you claim it; Working to discover the room and how to claim it fully and discover your strengths in the surreal environment we call "the audition"! What do you want to show? What do you want to see? Do you know the difference between aggressive and assertive and can you project both? How do you stay present?  AND MORE!

Dress to audition and prepare to discover MORE for that next audition!


Then get some feedback from a BI-COSTAL AGENT!

Then PERFORM in the intimacy of a cabaret space in SHOWCASE for industry and family and friends!

Sign up at www.dreamhonor.com/susaneichhornyoung