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.

Treat Every Audition as a Story you are Dying to Tell: And Other Words of Wisdom

Well hello all!!I am sorry for the long break, but my internet has literally been out all week. Crazy I know!! I am still not sure how I survived!

Haha.... but for real.

Before I get into words of wisdom- I am going to state my belief of everything that I have and will share on this blog. This past Sunday, I had an audition for Dark Horse Theatre Company's "Jekyll and Hyde: The Gothic Musical."

Spooky right??

Now, I have yet to find out if I have gotten in the show, but really that is not important. "False!!" you may say.... "TRUTH!!" I retort. Now let me explain why. 

I had an amazing opportunity to work with Stacia Fernandez: 

A beautiful lady who is a current working professional on Broadway, and has been in such amazing shows as: Mamma Mia!, Beauty and the Beast, and The Drowsy Chaperone. She shared with us her fresh and invigorating approach to auditions, and now I will share them with you.

• When you are about to walk into that audition, and you start to tense up and get nervous- remind yourself- YOU DON'T NEED THIS JOB!!!
• Trust me, I know what you are thinking- "That's a lie! This is my dream role, I will DIE if I don't get this job!!"

Stop being over-dramatic. (Funny, right?) But really, your life will not end if you don't get the part. So, (I smacked my lips in that pause, read this out loud and add a smack here if you truly want to understand my tone) right as those nerves are rising- STOP. Tell yourself- "I don't need this job." Because you really don't.

• Walk in that room and approach the audition like you have a story that you can't wait to share with every person in that room.
• We've all done. Had that hilarious story that we can't wait to tell- and we tell it with such enthusiasm, and then we reach the end where we are gasping for laughter and everyone is looking at us like we are crazy. Now, I'm not telling you to let your crazy freak flag fly- If you don't remember crazy flag, please refer to previous posts- but that is the exact energy you need when you audition. That energy will MAKE those auditioners tune into you and your audition.

Now, back to my audition. I did what we all do. I stood outside that door and psyched myself out. "I want this so bad. A paying job with a show I have always wanted to do, even after I saw the David Hasselhoff version?! I have to get this!!"

I was going to put the movie cover here.... but I literally could not help myself when this popped up.

But then I remembered: "I DON'T NEED THIS JOB!!" And it was the most empowering audition moment I have every had. I calmed down, told myself "I'm hilarious" (Refer to earlier post) and walked in there. I was my happy little self, felt like I made a great impression- probably the best audition I ever had- and made a very competitive callback, where, again, I felt like I did an amazing job! Now, like I said, I don't know yet if I have the part- but it was such a fantastic confidence boost, I will never go back to the awful nerve wracking audition process I had before.

Now, I will share some other things Stacia shared with us:

• You need to look in the mirror every couple years, believe what you see, and let it empower you.

Sorry. This lady is wrong. And her earrings are too sparkly.

• When you sing, you HAVE to be in discovery. You can't just say the words because they are memorized- you need to be motivated into saying them.
• NEVER SING TO YOURSELF!! You are never a strong enough of an opposition to yourself unless you are bi-polar or schizo- and even then- it is more creepy than clear and motivated.
• And when you think you are singing to yourself to build your confidence, sing to the person who knocked your confidence down- it will be a much stronger piece!!
• NEVER retreat in an angry song cause that is weak-sauce!! It goes good on a seasoned steak, but that is about it.

Yum.

• If you are a nervous audition shaker, figure out a way to make the shake work for you! Motivate it even if you can't control it!
• In a song or audition, You can pause if you are unsure the person you are singing to, or the audience, is going to come with you. Let them ease into your performance too!
• If the sound you are singing is too spread- sing on an "ng", then a "loo", then try again. You will be pleasantly surprised!
• If you start and you are off- ACKNOWLEDGE it, and take a minute with the pianist. They would rather have you start over and be "THE ONE" then to eff it up so they can't picture you.
• Make closing your eyes motivated- who closes their eyes during a normal conversation?? Crazy people- that's who.
• When you are singing a song filled with stress- let every breath bring more stress into your body. That way, you can get enough air and it furthers your acting!

Well I hope that was useful!!

A review of "Evita" will be coming shortly!

And then I will share with you some of the great things I learned from the one and only Joanna Gleason!!!

Internet Outage

Don't worry! I haven't forgotten about you! The internet has just been awful at my place- so we are getting that taken care of and I will be posting soon!

Love you!

Unique in New York (The Sequel to Sex in the City)

Well hi folks! Back for some more nuggets of wisdom? Awesome- but I figured this week I might just try to start with more normal stuff about me, for those of you who might be feeling out of place reading a blog that is currently dwelling on theatre quite a bit. I know I started this blog off by telling you I am at the very beginning of the process of figuring out who I am, but here is what I can tell you so far. I love my friends- they are my home away from home and a huge support base for me. 

We are all actors, so we all have eccentric personalities, and it is always a barrel of laughs every time we all get together.

Then there is my family- they are amazing and I love them more than words can describe.

What a good looking group!!

A huge part of my life, that always gets me through when nothing else can....

I am so serious.

A Doritos Locos Taco and Chicken Burrito- can make my life any day of the week. Look- I never promoted this as a healthy blog!

Ok- so now on to what I suspect  you are actually here for: Words of Wisdom with Susan Stroman.

Now, for those of you who don't know who Susan is, here are some of her credentials: 

Five time tony winning Director Choreographer of many shows, including: The Producers, Contact, Crazy for You, Show Boat, Oklahoma!, Young Frankenstein, The Frogs, Music Man, and many many more. An unbelievably talented and passionate woman who has dedicated her life to theatre, and has inspired many other people to do the same.

Now on to what I learned from her: 

• If there is something you want... ASK! The worst they can say is "No." Disclosure: This is how Susan got her first professional directing job with the musical "Contact." It was a show that didn't do so well its first run, and Susan decided to ask the writers if she could re-do the show, and they let her! And it is all history from there!

It's an amazing show- If you like Jazz music- definitely look into it.

• Remember: ALL forms of art are about storytelling.
• You must be PREPARED for that lucky break. If you haven't taken the necessary classes, if you haven't dedicated your time- then that big break, won't be lucky- and who knows when another one will come along?!
• When you are low, (after a break up, didn't get the callback, just one of those days) those are the times when you should always be challenging yourself.
• Always think forward- don't dwell in the past, because you will never progress.
• Helpful Hint: Susan Stroman most values fearlessness from auditioners. 
• In Dance Auditions: Do a CLEAN SINGLE over a DIRTY DOUBLE!!! (Speaking in terms of turns or spins or whatever they are called... I'm one of those people who need to practice dance)

• Being an understander and observer of people will help you the most, not only in art, but in life.
• The more you know about every department in any career you choose, the better your work will be, because you will know and value what is required everyone around you.
• In New York, you cannot be a Jack of all trades- you must be a King of one. As a general rule, you will not be successful if you try to direct, and act, and design costumes. All of these are awesome things to want to do, but to really be successful, you should only be one.
• In terms of being happy during a performance: only read a review once and move on. Don't study it and dwell on it.
• But you must always remember: the audience is the last element you add to any performance. They are a necessary part of art- and you must listen to what they have to say- you can't ignore them! Read the review and take what you can from it- but don't let it rule your performance, but let it influence it. (Super deep right?)

She left us with the the advice to always try and learn as much as possible!!

Next week I will be sharing: Vocal Performance Tips with Stacia Fernandez, and I will share some of the song choices my talented friends made, and maybe you'll decide to try some of them. I will also give a stab at reviewing the performance we saw: Evita. Hope to see you there!!!

"Don't Spend any Time Trying to be Something you Aren't" Like skinnier, or taller....

One of the most empowering things I learned this past week was to embrace your type. Now for you non-actors who are for some reason reading this (don't worry, I'll trying to find things that will interest you... eventually) type means what stock character you are physically or personally like- the main four are (I'll break it down Disney style for you):

Hero/Ingenue (like any Disney Princess and her Prince),

Precious

Bad Boy/Femme Fatale (any bad guy or woman from Scar to Maleficent),

Scary! (and unfortunately mostly ugly...)

Underdog (our dear friend Quaimodo)

Usually uglier than the villains, but more loveable! 

(And played for a time by the talented Jeff Whiting!)

and the quirky best friends (like Baloo or Flounder) 

In the case if Disney... Always an animal? Interesting....

and everyone is at least one of these people. Many actors spend time trying to become the Prince of Princess because they are loved by everyone, get the cool costumes, and get to end the show with a kiss... but more times than not- you are not this character. Sad, I know, but the first step is dealing with it. For example, I found that I am the quirky best friend (usually for girls that includes acne, braces, and pigtails-if you are thinking Penny from Hairspray you are heading in the right direction)

 and the Femme Fatale, which although that sounds intriguing, for women that normally means an old witch or in the case of Disney, Ursula, a fun part but you always lose and when kids see you after, they usually cry.

But what you need to know in the case of types like these, is get to know your type, and LOVE IT. Jeff told us "Do not spend one minute trying to make yourself something you aren't!" (See the foreshadowing of the title? Gotcha!) There is nothing you can do about your type- you are who you are. Get over it. Moving on!

Here are what I felt were the most important tips for vocal auditions:

• Be EARLY (seems simple, yet so many actors I know are ALWAYS LATE!!)
• When a director says "Talk for a minute" they are asking you to do that to read your energy- so engage those around you in NORMAL conversation, but don't let your "crazy flag" show (the hypothetical flag that directors look for to see if they even want to work with you).

That's me... at 10:30 at night... don't judge...

• Figure out your best trait, and remind yourself what it is right before you walk in the door.
• When you walk in the room you need to CHANGE IT. The directors want to sense it from the moment you walk in, not from the moment you open your mouth to sing.
• 10 block rule: be kind to everything within 10 blocks of the audition- don't make the mistake of trashing the show to the director on the subway... again basic, but you would be surprised!
• Finger on the page of the song you are going to sing: No one wants to watch you fumble with your book before your audition.
• Walk in and go straight to the piano. In any vocal audition, the pianist is your best friend (and 9 times out of 10, the pianist is also the music director deciding whether or not they want to work with you).
• Go to the side of the piano that keeps you open to the table, unless you think your butt will help you land the part... but chances are- it won't help you- KNOW YOUR TYPE. (Once a sex pot, always a sex pot- is that really something you want? If so, awesome!)
• Only 10-15 seconds at the piano, then walk to the center of the room and wait patiently.
• 9 times out of 10, the person in the middle of the table is the most important, act accordingly!
• NEVER APPROACH THE TABLE unless THEY ask you to. Just stay the hell away. Put that hand down, and shake hands with them with your eyes at a comfortable distance.
• BIG ONE: NYC doesn't really like you to slate anymore. I know what you're thinking... WHAT?!! Every professor I have ever had docs me 9 and 3/4's of a point for every audition I do without a slate!

Yes, I chose that number for a reason.

I understand what is demanded of you at a collegiate level, I'm just passing the note on from professional directors currently working on Broadway. Look at it this way: They have your headshot with your name on it- they don't need you to tell them your name. And they have been working on Broadway from some time, so chances are, they know the song you're singing. If they don't- AWESOME! That provides time for a dialogue between the two of you after your audition! Embrace it!

• Even though you shouldn't slate, you should be ready for them to say something to you before you start. How embarrassing it would be for the director to say "Where did you get those shoes?" And for you to belt out "TOMORROOOOOOWWWWW!" (Plus, why are you singing that song anyway- we'll save song selection for another day).

Just say "no".

• If they say nothing, but are looking at you: Start to sing. Just do it. Don't wonder "Why won't they talk to me" (Shut that sad middle school self up and realize it is not personal, they just have 10,000 more people to see, and they have had to go to the bathroom through the last 10 screamers, (sorry "bealters") singing "Defying Gravity."
• End the song by "sticking the landing". Picture the figurative audience sitting behind the director's table going crazy for the amazing performance you just did.
• Know that no matter how you're audition just went, YOU ARE ENOUGH. Now, I'm not saying you are right- but you are ENOUGH. 
• Just remember, just because you didn't get the callback doesn't mean you did a bad job, more times than not, it just means you weren't right for the part. (Trust me, I know how it is to feel like you're a duck among swans).

Oh, I wonder why that is the analogy that I chose....

One day, the fact that you are the odd one out will be the reason you land the part you are meant to play.

Well next post will be Words of Wisdom from Susan Stroman. You don't want to miss this people! I will also post the dance that we learned for her shows.!!

Remember: YOU ARE ENOUGH!!!!

Every Journey Starts with One Step: And this one starts with a Cliche

Well here goes nothing! One of my best friends just started a blog, so I figured it was my turn to join the herd, especially when my life is at a place where everything is heading in a new, exciting, and life changing direction! I guess all three of those things in the list are all parts of the same whole, but this is my blog and I can list how I want to. So you might be asking yourself- who is this mad blogging broad- and I am here to tell you, I am just figuring that out myself, in the most positive way possible! I have spent far too long self-begruding myself, thinking I wasn't worth much of anything, mostly likely not going anywhere particularly interesting, and living life from one dramatic sitcom to the next- but NO MORE!! "Why the change?" you ask? Why thank you for asking, let me tell you!

This last week, I spent a fantastic (and obviously life changing week) in the one and only New York City, at the fantastic Open Jar Institute!

This is an institute for ACTORS who prefer to tell their story through song and dance, NOT singers who like showtunes more than monologues, and NOT dancers who prefer jazz squares and spirit fingers over an arabesque, ACTORS. Maybe you are sensing that I am tired of the musical theatre actor stereotypes... and you would be correct dear reader! I am proud of you for keeping up!

Now this institute is ran by the fantastic duo of Jeff Whiting and James Gray- two fantastic men that have changed my life forever.

Aren't they fabulous?

In this blog, I am planning on sharing all of the amazing things I learned in the course of this life changing week, but with this post, I will start the journey with the explanation of where Jeff got the name of "Open Jar", and the story starts with a flea. 

Gross.

No, for real- a room-leaping, dog scratch-causing, bubonic plaque-carrying flea. A bunch of scientist, I can only assume they were waiting for some test results on the whole "curing cancer thing" decided to put some fleas in a jar and see what would happen when they put the lid on (obviously this wasn't an experiment about their breath control, so don't worry, they punched wholes and no fleas were harmed in the process of the experiment). At first, the fleas were going crazy, jumping like those jumping beans (or fleas I guess) banging their heads against the top of the jar. After some time went by, the fleas finally "wised up" and stopped banging their heads against the lid, and would only jump high enough to not hit their heads on the lid. Then the scientists took the lid off, but those spunky little fleas had lost all of their chutzpah (thanks to the Yiddish Handbook for the spelling: http://www.dailywritingtips.com/the-yiddish-handbook-40-words-you-should-know/) and they only jumped the same height they had been jumping to avoid hitting the now non-existent lid of the jar, and continued to die in the jar (ok, so they died, everyone dies- the scientists didn't kill them). Jeff feared that society was doing to my generation of actors what those scientists did to these fleas. We are constantly being told "No." "You're not the right type." "You're not the right vocal type." "You're dancing isn't good enough." "No, No, NO!" How are we supposed to jump from the jar when the hyperbolic lid made of "No's" keeps slapping us over the head. Jeff and James spent the whole week showing us that the answer is "Yes", we just need to believe in ourselves, and I am only just starting this new journey, but I no longer believe in the word "NO." From here on out, it is all "Yes for me!"

Stay tuned from the first installment of the Open Jar Series: Jeff Whiting's Crash Course on Vocal Auditions.