People Love "I Love You Because"

                                         http://frontrowreviewersutah.com/?p=1078

Ok- here is a shameless plug for my own show! It is a hilarious show about 4 people trying to find love in the big city- that's right, New York City herself! This show has been an amazing experience, where I have had the opportunity to work with peers and professionals alike, and I have loved every  moment of it. No show is without its bumps- but all of the cast and crew overcame those challenges to put an a truly amazing show- that you all should come see!
It is the second show put on by Utah's newest theatre company, the Utah Repertory Theatre Company.

                                                                    http://utahrep.org/

This is a company you should all keep an eye on- and if you can- you should get involved. It is headed up by the wonderful Johnny Hebda as well as a wonderful board of theatre loving enthusists, and you can find them all under the Information section at the website link above. Upcoming shows include- "What the Bellhop Saw" (Utah Premiere) and "Carousel" along with "Rent" "Bonnie and Clyde" (Utah Premiere) and "Rabbit Hole" later in the season.

                   http://utahtheatrebloggers.com/15129/fall-in-love-with-utah-reps-i-love-you-because

Utah Rep strives to bring Utah theatre that many other companies do not- having already done two Utah Premieres in their first to shows in their season, with two more to come in just their first season alone! A theatre company striving to stretch the boundaries of theatre should be commemorated and encouraged- so come show your support!! 

http://saltlakecity.broadwayworld.com/article/BWW-Reviews-Utah-Reps-I-LOVE-YOU-BECAUSE-is-a-Tasty-Slice-of-the-Big-Apple-20130326

Purchase tickets to "I Love You Because" using the special ticket code found only here: JHALL and get a $5 ticket!! I have also included three reviews already posted (under each "I Love You Because" photo)- so you don't have to take my word for it- come see this amazing show, and support this awesome theatre company!!

URTA

Hey all! Sorry it has been so long, I have just been really busy preparing for my URTA audition, and I have decided to share the experience with you all here. For all of you who don't know what URTA is, I will now explain.

                                               
URTA, as you can see above, is the University/Resident Theatre Association- basically a large cattle call audition for Grad School. Now, it does cost a tidy sum- it to say anything about plane tickets and hotel costs, because the auditions are only in three cities- New York City, Chicago, and San Francisco. Now, I had a bit of a rocky start because the night I was supposed to leave, a blizzard of sorts hit my local airport in Salt Lake City.

                                                   
After what was probably the most dangerous drive of my life, my flight was delayed 2 hours, making me miss all of my connecting flights. U.S. Airways was kind enough to to rebook my flights, but I did end up having to sleep in the airport and spend over 20 hours traveling. But, I eventually made it New York City.

                                               
                                         If this sounds comfortable to you, think again!

Now, if you are unfamiliar with subway systems, I don't recommend trying to figure them out when you are dealing with a stressful event like URTA auditions for example; you will probably just want to spring the $40 or so bucks for a taxi. Luckily, I am fairly familiar with the systems and had no problem. So the day of the audition arrives. They have two orientation times ( yes, orientation is necessary, it is just a basic walk through of what you will be doing the next two days) at 8:30am and 12:30pm. Then you have a screening audition- which is two judges that have nothing to do with any of the grad schools, who watch your performance and decided whether or not you are worth the time of the grad schools, and they determine whether you go to the Final Audition or the Open Call (I will explain these later.)My audition time was at 1:36 (a time they give you when you originally apply), so I went to the earlier orientation so I wouldn't be waiting nervously to do my audition when I should be listening. We were then required to be back to the waiting room a half an hour before our audition, so I went back around 1. It wasn't any different than any other audition I have been to, with some people talking to themselves in corners, others doing stretches in the middle of the room, and other still listening to their iPods, looking at nothing.

So I walk into the room and I have 3 1/2 minutes to show my stuff (the extra half a minute is because I was performing a song. If you are not a singer- DO NOT SING!) After the screening audition, you wait until about 4:30, then you report back to the waiting room. At that time, they restate the stuff they sent you in the literature before you came (information on Open Call or Final Auditions which are held the next day). Although it is ultimately trying to be helpful, I hope they understand no one is listening to a word because we are all waiting to see what is written on the little piece of paper potentially changing the courses of our lives forever. (Yes, this seems a little extreme, but you would be freaking too if you were sitting in a room as tense as this one!)

    So they finally wrap up the details, and start to hand out the papers and everyone runs to their own separate corner to read their fate. I did not make Final Audition- so I was banished to Open Call land- which is beneficial to most of you who are wondering what URTA is like, because Final Audition is identical to the Screening audition, same time restraints and everything. Open Call is where things get different. Now, you should know, on the sheet of paper, the judges give some feedback on your pieces- at least it should. My paper gave one note for each of my two pieces, just vague enough to be frustratingly unhelpful, and they didn't even respond to one of my pieces, so if you are doing URTA for feedback, you might want to consider a different audition or workshop. Anyway, on to what Open Call was like. They told us to report to the waiting room at the Hilton about 7 blocks away at 12:30, and I as there just a bit early because check out at my hotel was at 11. Now, the most interesting thing was the difference between the way they treated the two groups of actors. The Final Audition actors were treated with a fair amount of respect and understand, while Open Call auditioners were told to sit and wait. I ended up waiting until 1:30 before even being addressed by someone who works with URTA, but in their defense, acting is a waiting game- but just be ready to be ignored longer than you thought. When they did address us, they told us it would be going quick. At Open Call, you have 1 minute instead of 3, so hopefully you spent the night before cutting your piece or pieces down to fit the new time requirement. They took us in groups of 5, and literally made us run down the hall to where we were auditioning (not really calming for the nerves) and then expected to do your piece and "Hurry off the stage" so the next actor could run in.

It felt a little like this.

The Open Call auditions were over in about an hour, then we had to wait about another hour to wait for the list of school that were interested in meeting with you, or wanting you to drop off a resume and headshot (for most Open Call people it is just to drop off the resume). The rooms for the schools are around the hotel, so it is a little bit of a scavenger hunt finding them all- so if you like puzzles, you will have a fun time. The couple schools I met with were kind and inviting. But here is the other thing- do your research on who is coming. Here is the list posted on the website:

University of Alabama	NYC, CHI	DIR, TM, Design
University of Arizona	NYC, CHI	Design
Arizona State University		not recruiting with URTA in 2013
Brandeis University		not recruiting with URTA in 2013
CSU Long Beach	NYC, CHI	Design, TM
CSU Fullerton	CHI	Design
CalArts	NYC, CHI, SFO	DIR, SM, TM, Acting, Design
UC Irvine	NYC, CHI, SFO	Acting, Design, SM, DIR
UCLA		not recruiting with URTA in 2013
University of Cincinnati/CCM	NYC, CHI	Design, SM
University of Connecticut	NYC, CHI	Acting, Design
E-15 Acting School, London	NYC, CHI, SFO	Acting, DIR
Florida State University	NYC, CHI	Design, TM, DIR
FSU/Asolo Conservatory	NYC, CHI, SFO	Acting
University of Florida	NYC, CHI, SFO	Acting, Design
Illinois State University	NYC, CHI	Acting, Design, DIR
University of Illinois	NYC, CHI	Design, SM
Indiana University	NYC, CHI	Design, DIR
University of Iowa	NYC, CHI	Design, SM, DIR
Kent State University		not recruiting with URTA in 2013
University of Maryland	NYC, CHI	Design
Michigan State University	NYC, CHI	Design
University of MN
UMKC	NYC, CHI, SFO	Acting, Design, SM
UNC Chapel Hill	NYC, CHI	Acting
University of Nebraska-Lincoln	NYC, CHI	Design
Northern Illinois University	NYC, CHI, SFO	Acting, Design
University of NV Las Vegas	NYC, CHI, SFO	Acting, Design
Northwestern University	NYC, CHI	Design
Ohio State University	NYC, CHI	Design
Ohio University	NYC, CHI	Directing, Design
Penn State	NYC, CHI, SFO	Acting, Design
Purdue University	NYC, CHI, SFO	Acting, Design, DIR
University of South Carolina	CHI	Design
Southern Methodist	NYC, CHI, SFO	Acting, Design
Temple University	NYC, CHI	Design
University of TN	NYC, CHI, SFO	Acting
University of Texas	NYC CHI	Design
University of Virgina	NYC CHI	Design
University of Washington	NYC	Acting
University of Wisconsin		not recruiting with URTA in 2013

Looks like a lot- but be sure to double check how many are actually coming for your area of expertise. When they hand you the packet when you get there, the list is a fair amount smaller. In New York, there were maybe 10-15 schools- still helpful but not what it appears. And there are schools listed above who were not in attendance- so you are not getting quite what you think you are- so just be warned that you maybe aren't getting quite the deal you thought you were.

URTA is a program that is wanting to help students with their auditions for Graduate Schools- allowing them to come to one place and audition for several schools at once, which is to be commended and appreciated. But just as I learned my with applications to Undergrad- don't pay people to help you apply for school- you will rarely get what you pay for, especially when you are probably more than capable of doing it by yourself.

Keep your eyes out, in the near future I will be writing about the experience of taking Directing Projects, Mainstage Shows, and Irene Ryan Nomination Pieces to the Kennedy Festival KCACTF- to help anyone who might need it.

Love you all! 

(And a funny picture after a kind of serious post!)

Actor's Soapbox

There it is!!


No, I joke. Sorry it has been so long, but I am back! I didn't have much time because I got cast in my first paid show and it just ended. Woot-woot!! I also just got cast in my first "Operetta"- technically. It is the Mikado and I am excited.

Going through both of these experiences have really shown me just how much confidence plays into being successful, not only in acting, but in every aspect of life. 

This past week I also had my first go at film work!

Ah! Scary and intimidating!!

As much as I enjoyed the people I got to meet and work with, but it just wasn't the same! I love performing in front of an audience- feeding off their energy and giving them a gift, and I just didn't feel that as much with film work. I respect people who find their joy that way, but it was not for me. Not to say I won't do it again, but I do think my joy and future will live on the stage.

Now, to move on to the title of this blog: An Actor's Soapbox.

Since I am currently going to school, I run into people of all walks of life, largely students between the ages of 18 and 30. And amoungst these people lives my biggest pet peeve. Now we have heart the saying- there are no small parts, only small actors, and on paper we know this may not be the case. One part may have 1 line and another may have more than 100, so obviously one might be a little bit bigger. But it is not the size of the part that is important, it is what the actor chooses to do with part that is important. A perfect example of some one who took a small role and made something of it that led to bigger and better things is Rebel Wilson, now more commonly known as "Fat Amy".

She was given a small bit role in the movie "Bridesmaids" and for me was one of the most memorable characters. This lead to a slightly bigger role in "What to Expect When You're Expecting", where she was- again- hilarious, and most recently she was just in "Pitch Perfect" where she was a clear highlight. This is an excellent example of a small part and a big actors (I'm talking about talent here).

So when you don't get cast as the lead, don't bitch and moan about it. Find out what you can do with your character to help tell the story and entertain your audience. 

I believe that is what separates the good actors, from the the great actors.  

Dancing: My Achilles Heel

Well, Welcome back!

This week I'm going to jump right into it, largely because it is late on a Sunday Night and I have work first thing in the morning. "Where do you work?" You may ask, well the answer is this:

I work customer service and sales, which means that I help people all of the country prepare for whatever emergencies might come their way depending on where they live. I'm pretty much a big deal. If you have emergency preparedness questions, feel free to ask!

Rehearsals for Jekyll and Hyde are pretty much amazing. Not only do I get to play a lady, in a pretty dress, I also play a bit of a whore... ok I'm literally a whore, but I am a loveable whore who is only doing it as a means to an end. And this topic brings me on to what this blog is focusing on today...

Now I know you might be confused because I was just talking about character work, but one of the most important things I learned during my dance classes is that it is so important to create a character during a dance call- because it is the same as singing. If you don't know why you are doing the moves and you aren't telling a story, you aren't going to capture anyone's attention- no matter how good you are.

I am going to use the dance "Life in Living Color" From Catch Me If You Can I learned from James Gray.

Remember this guy? Super Handsome, talented and a fantastic dancer? Come on, how could you forget!

Anyway, he gave us our first taste at in depth New York dance call. And it was terrifying to say the least.

We walked in the room and he put us in two lines. Then he says to us in his fabulous British accent- "When it is your turn, you will step out and do a double pirouette to the right, then a double to the left. Then you will get back in line. Number 1?"

....AHHHH!! For not a dancer, being asked to spin and nothing more is probably the most terrifying thing you can be asked to do. It is one of those moments like:

How you think you look:

How you really look:

How the girl next to you looks:

(finding those picture were actually really hard- start uploading pictures of yourself dancing... IN FACT!! Put them here!! Best photo will be featured next week!!)

Needless to say, I did a passable single to the right, and a pretty awful single to the left... which leads me to rule #1

ALWAYS DO A CLEAN SINGLE OVER A DIRTY DOUBLE!!

              Always.

The next thing that James couldn't stress enough is that you need to create a character and a story- even if during the dance audition you don't sing or dance a word. When we were doing the "Life in Living Color" dance, he informed all the girls that we would be playing flight attendants, and all the men would be playing pilots. He then gave us 2 minutes to come up with a back story that needed to influence all the character choices we would make during the dance. Personally, I choose to be a bright eyed flight attendant with this dance being my first day on the job- everything was overly excited and I was eager to see every place I was going to fly. In contrast next to me, was my good friend Marah, she was an experienced Pan Am girl, who was having an affair with a married Pilot who wasn't in awe of anything. Neither one of these choices is wrong, they are both just very dynamic choices that set us apart.

Multiple times, James said to us (turn on your british accent, everything sounds better that way) "I will call back a dancer who maybe wasn't the best who told a story over someone who nailed every move, but bored me the whole time because there was nothing going on there other than technical dancing."

REMEMBER THAT!! And you will go far.

Figure out what the choreographer is trying to do with the piece, develop a dynamic character, and commit to it 100%. Maybe you disagree- but I will say- just give it a try. I think you will be much happier with your dance calls.

Last thing I have to say....

WHY????!!!!!!!!

How's idea was this?? Who thought- oh remember those creepy animated creatures that were a gateway for evil spirits to come to earth and into the rooms of children all over the world? Even though we cleansed the Earth of them... LET'S BRING THEM BACK!! Notice how it says mind of it's own? That is because LEGION has possessed it and is telling children to spin their heads all the way around and spew green pea soup looking slop. 

All I have to say?

NO!

J-E-L-L-O!!!

Well hi all! Sorry it has been so long- but you know how it is- the first week of school. Well maybe you don't, I'm not 100% sure what my demographic is, but I appreciate you the way you are. So before the nuggets of wisdom I have prepared for you today, I will share with you what my first week of school entailed.

First: I went to Shakespeare Festival this past weekend and it was truly great!!

It is an amazing theatre company, that does not only perform Shakespeare, but other fantastic plays, including, this coming season... bum bum bum bum bum bum bum buuuuuuuuuummmmm...

AKA the show that currently houses my dream role, Molly, how is currently being played by the fabulous Celia Keenan-Bolge-

In case you're wondering who she is- she is the only girl in the group- ya, this part is desirable for more than one reason!!

"Why is this your dream role Jordan?" You ask? Well- here is your explanation. She is a feisty, smart, and dryly sarcastic young woman, who longs for adventure, and isn't afraid to show a boy that she can run faster and jump higher- and for those of you who don't know me, that is a pretty accurately describes myself. So I will be auditioning for that this fall, and I hope you will all support me in my exciting new venture! And I will be sure to keep you all updated!

A quick plug for my current show: CATO!! by Joseph Addison We have already been running for three days, but we have two more shows, tomorrow and Monday at UVU from 5:30-7! Hope if you are in the area that you can make it!

Now, what you are here to read! Words of Wisdom from casting director Bob Cline!

A hilariously witty man, and we hit it off right away! Learned so much from him!!

He has the gift of having a very fresh and fun way of looking at auditions and pieces, and here are some of his tips!!

• Your first breath should unveil the song.
• How do you breath when you're excited? How do you breath when you are sad? You need to know these things, because the director will be able to sense where you are taking the audition from that very first breath.
• You need to remember that every time you sing a song, it needs to be your first time singing it!
• Know where you are placing your weight.
•  If you need to be grounded, but it in your heels. If you are about to fly away, but it in your toes. Know what you are.
• If you are singing to a crowd, or are narrating, look at your audience.
• Now, don't be that creepy guy that stares until the soul comes out of a person, but look at their level. Don't continue to stare above their heads. (We all know we have been guilty of this at one time or another)

But really. We've all been here.

• Singing the truth will make a song attractive.
• 'Nough said.
• Act through long notes, don't just listen to yourself sing.
• But really. Even the stars do this one.

And last but not least:

• Not every character you play got the same score on the SAT that you did.
• Seriously. For some of you, even though you got a perfect score, you might play a character who spelled their name wrong. And for some of you, you may be dumber than bricks (it's ok, we still love you), and you will need to play someone highly intelligent. Get over it, and know that people will not judge you for playing your character well!!

Love you all! And prepare yourself for the next installment: "Dance Audition Tips: Words of Wisdom from James Gray"

And hey you!! I want to hear from you!! Ask me your questions, and I will see if I can answer them! Are there things you are curious about that I haven't touched on yet? I really want to hear from you! Follow me!

Sometimes Loneliness is Just Sensory Deprivation: And Other Words of Wisdom from Joanna Gleason!

Before I get into what I know are all waiting for- the hear what Joanna Gleason wants to share with aspiring actors, I am going to bore you with my own life first.
So, in my last post, I told you about the audition that I felt really good about- AND I GOT THE JOB! Ya that's right guys! The "no-stress-method" really works!! Taking the stress out of a stressful situation, truly makes you a more likable person, and makes the director and artistic staff WANT to work with you.
Take my advice or leave it- I'm just trying to help you be as successful as you can be!

NOW! On to what I learned from the wonderful actress, Joanna Gleason!

Here are a list of some of her biggest roles: (Stage) Into the Woods (For which she won a Tony for her role of the Baker's Wife), Nick & Nora, Dirty Rotten Scoundrels, and I Love My Wife. (Film) The Wedding Planner, Good Wife and Fathers and Sons.

Joanna is a fantastic lady, who's energy changes the room the minute she walks in (which is a crucial thing for a successful actor to be able to do). She is quick witted, sarcastic, and hilarious- A woman after my own heart- and I learned so much from her.

• You don't have to do a ton of research for a role.
• She believes that any information you need for a role is in the text. If it isn't in the text, you don't need it. It is the playwright's job to create the character within the world of the play- it is the actor's job to bring that character to life.
• You are hired to tell the scripts story, not your own.
• Don't try to bring your own personal sorrows and dirty laundry into a performance. It will keep the performance from being 100% honest.
• Any time you walk into an audition, your chances of getting cast are 50/50.
• Doesn't matter if there are 2,000 people going for the same part, your chances are still 50/50, either you'll get it or you won't.
• Pray that the right thing will happen at an audition or performance.
• In her own hilarious way, she advised us to never pray to get a part. "Because either you'll get cast and prove your faith, or you won't and your faith will be shaken, if not destroyed. I'd rather not do that to myself."
• Don't let it show when a bad show is a bad show.
• We've all been there. Doesn't mean you sell out the rest of your cast, the director and playwright to try and save yourself. Nobody likes that actor.
• Loneliness is sometimes sensory deprivation.
• Sometimes, when we move out- we lose a lot of the things we used to hold dear- the smell of dinner cooking, of your mother's perfume; the feeling of a kiss goodnight or a good morning hug. Don't let that get you down- appreciate your friends- show them you care. When you haven't been hugged in a long time, it's amazing how great it can feel.
• Acting is about primarily about CONNECTION or LACK THERE-OF.

• There is enough drama on the page- don't bring it into the cast.
• No, but for real.
• Don't look in the mirror- look out the window.
• The story of how she got her equity card:
• Went to an equity call, even though she didn't have an equity card. When they asked if she was equity, she replied, "Well, isn't it an equity call?" They gave her an audition slot, she got cast, and then the show had to turn her equity. Got to love a woman like that!

Well folks, there you go! We had to get to a show early that night, so we didn't get as much time with her- but the time that we did get was fantastic!

Things you can look forward to: a review of Newsies!! And Words of Wisdom from Casting Director Bob Cline!

Don't Cry for Me, It's Evita!

Well Ya'll- here it is. The long awaited, first-attempt-at-a-review of Evita! And also my first attempt at one of those witty Review Titles.

While I was in New York, I had the Opportunity to see Evita starring Elena Roger as the title character, (normally) Rickey Martin as Che, (but the night I went I saw Max von Essen fill in), and Michael Cerveris as Juan Peron. Other notable performances by Daniel Torres as Magaldi, and Rachel Potter as the Mistress. The show featured a fabulous ensemble who all had such believable relationships, and were very in sync the entire show.

Now for brief synopsis. (If you know the storyline, skip the synopsis, it is just full of the story you know and my rapier wit.)

Eva is a 15-year old girl who is in love with a dashing young tango singer, Agustin Magaldi. He is preparing to leave for Buenos Aires, and Eva, the little dear, blackmails him into taking her with him, and once there, she subsequently ditches his ass for practically other guy in the giant city, and eventually sleeps her way to the  top, with her final conquest being Colonel Juan Peron. When she finally beds Juan Peron, she kicks his mistress out, and she sings a heart breaking song "Another Suitcase in Another Hall", an honestly show stopping number.Eva, who is now a very influental radio talk show host, uses her power to get her lover elected President of Argentina and they seal the deal with a marriage vow.

The second act starts with Eva in a jaw dropping gown singing the ever famous "Don't Cry of me Argentina." Che, the ever friendly narrator, then reminds Eva that she promised to help the lower class because she hates the middle class, because her father was middle class and because of that she was disowned because her mother was lower class (quite a bit of family drama eh?) So she throws money at the thankful peasants until all of the money runs out. Then she goes on a European tour to promote Peronism- her husband's very own brand of government. An illness, Cervical Cancer, starts to cripple her but she confides to narrator Che that she won't last much longer. Even so, Peron promotes her for the Vice Presidency, but she turns it down and pledges her undying love for her people, and then she dies.

Now, as I mentioned before, this show had a truly terrific ensemble that really helped with furthering the story and creating a realistic world for the main characters to live in. I was honestly so impressed, and at times, their relationships with each other were more realistic than the relationships of the main characters.

As I mentioned earlier, I did not have the opportunity to see Rickey Martin in action in this piece, but his understudy Max, was fabulous. He had such a great energy that even from my back of the theatre seat, with the lively and wonderful ensemble swirling about the stage, I could always find Che and he was always doing his part to try and help me understand the story.

(This is him as Magaldi, but he was a wonderful Che)

Now, in terms of having trouble understanding the story, that came primarily from not being able to understand anything that Elena Roger's said. Granted, the part of Eva is writing in a crazy high decibel and is sometimes wicked fast, these are challenges that HAVE to be met, if the show is going to be a success. Now, I assume the problems came from the fact Ms. Rogers is an authentic Argentinian, which on principle is really cool! But technically is a very hard thing for most American audiences who can understand the beautiful, but heavy accent. Quite honestly, I went into Evita not knowing the story, and came out... not knowing the story. 

On all other levels, Evita was a great show, fantastic vocals, beautiful sets and costumes, great ensemble and supporting leads. 

The main thing I was reminded from this performance was to always ask myself when performing: "Am I communicating my story to the audience?" If the answer is no, then I'm not doing my job and I need to fix something.

Think about that.