Samuel French Launches Ebooks Today

Now you can get plays digitally, on your kindle or iPad.
Very nice.

I found this article while browsing LOS ANGELES ACTING, a blog by David August

Samuel French Launches Ebooks Today - Los Angeles Acting blog by David August

Let's create goals for 2012!

Let's create goals for 2012!

It's nearly impossible to create the career of your dreams without establishing goals, action plans, deadlines and, budgets. What do you want from your career in the coming year? What are you willing to do to make your career move forward? How much time will you spend? How much money can you invest?

Here are some things to think about:
•How much money did I earn in 2011? Can I earn more in 2012? How much? Be precise.
•What was the artistic high in my career for 2011? Could I find a better highpoint in 2012? What do I want it to be?
•Did I pass any milestones in 2011? My first commercial audition? My first Off-Broadway play? My first National Commercial? My first spoken line on television? Finishing my VO demo? Joining Equity?
Figure out what you accomplished, and what you want for yourself in 2012?
These are your goals.

Now, what are you going to be about it? This is your action plan.
It helps to have a marketing coach to do this, but you can absolutely make personal career breakthroughs by creating your own thoughtful action plan.
Action plans, unlike goals, are 100% up to you. There's no chance involved. These are promises you make to yourself that are controllable by you; these are commitments.

Your action plan could include:
•I'm going to do a mailing of headshots, and subsequent postcards to 15 commercial agents.
•I'm going to finish my audiobook demo CD.
•I'm going to strengthen my relationship with my agent, by calling once a month, and visiting 3 times. I'm going to ask questions, and find out what I can do to make his job easier.
•I'm going to go to open calls for 10 things that will get me my Equity Card.
•I'm going to not accept commercial work that pays less than $300 a day.
•I'm going to join AFTRA.
•I'm going to consistently send postcards to my maintenance list, every 4 to 6 weeks, for the whole year.
•I'm going to buy myname.com
•I'm going to lose 10 pounds.
•I'm going to meet the casting director for Blue Bloods, at a meet-and-greet.
...You get the idea. Again, all of these are 100% do-able.

Now mixed in with your action plan are your deadlines and budgets. Be realistic. Your have a busy life and limited resources. Make the commitment now, and you won't have to feel like you're not doing enough for your career. If you've decided - THIS IS WHAT I'M DOING, you never have to feel bad that you're selling yourself short.

Make deadlines for mailings, for getting in shape, for finishing your demo, for learning 3 new monologues, for finding a great up-tempo audition song, for finishing your one-person show.

Make a budget for all of it too:
$89 to meet the casting director for a show that is currently casting in NYC.
$1000 for a year's worth of vocal coaching.
$60 for 3 bottles of thank-you wine for the agents I freelance with.
$300 goes into savings for new headshots in 2013.
$200 for 3 new audition outfits.
And so on...


I promise, If you thoroughly explore your goals, action plan, deadline, and budget, success will come. You will sleep better, you will audition better, your skin will be better, your LIFE will be better.

If you need any help, drop your questions below in the comments.

Practical Audition Tips...

Auditioning is barely acting. It's a confidence game. The key to a good audition is clearing away the things that make you nervous and inauthentic, so you can just be the natural performer you are. The more you practice, the better you get.

Here are some more audition tips, I've picked up in my 1700+ auditions. Practical tips.

•Sign in clearly. It happens almost every audition: someone signs in sloppily, which ticks off the casting director, and ruins the positive energy in the room. You want the casting director to be on your side. Signing in legibly is a simple way to do that.

•Always bring headshots. For many legit auditions, headshots are still required. But for commercial auditions, they are often not necessary. But, BRING THEM ANYWAY. Last week, I was at an audition, and the computer system was down. They asked for a headshot, which I had, and the audition went great. (I booked it actually.) The guy after didn't have it, and it made the casting director prickly.

•Arrive on time. In a lot of cases it won't matter-your time is approximate. Sometimes, however, it will be very purposefully scheduled. Again, don't piss off the casting director. Just be there. If you're late, they may call your agent looking for you - then that's another person who thinks you're flaky.

•Stay until the door closes.

•Dress appropriately. Remember that most commercials are geared toward Middle America. Dress like them, not like New Yorkers. Hipsters-I'm talking to you.

And now for two little bits of advice I use from time to time. I'll call these Advanced Practical Audition Techniques.

•If you're not sure whether the casting director wants to shake hands, try this: Extend both of your hands, with your headshot in the left, and your right hand open to shake. The casting director will shake your hand if he/she wants, or just take the headshot. No need for awkwardness.

•As you exit the room, you have one chance for a final impression. Don't just head out of the room, ass to the casting director/director. Grab the handle, turn around and give one more smile before you head out. I don't know why, but THIS WORKS. It gives them one last impression of what a nice face you have.

Talent can't be taught. Marketing can.

The Al Hirschfeld Free Health Clinic

I'm not sure where I was, but I just picked up a brochure for
The Al Hirschfeld Free Health Clinic.

It says right on the front: For the uninsured in performing arts and entertainment.

(that includes the underinsured as well.)

Let's examine further....


The Clinic is a program of The Actors Fund, which I could not say enough good things about. An amazing organization, that helps people get jobs, find homes, find insurance, and also keeps them healthy.

You must make an appointment, 212-489-1939, and meet certain criteria to prove that you're a performer (union card, pay stubs, even playbills). They offer primary care, specialty care and referrals, preventative care (flu shots, mammograms) and counseling. It's located near Lincoln Center.

I haven't gone myself, but I've talked to dozens of actors who have. Also, I once talked to a dancer who broke his foot, and racked up $15,000 of medical bills at the emergency room. He called The Actors Fund out of desperation, and a mediator argued it down to $150. Wow, right?


You're not alone! And though Sarah Palin and Mitt Romney don't care about you having health care... The Actors Fund does.

It's okay to quit!

In the years that I've been a New York Actor, I've done a large variety of work. I've been paid well at times, but I've often done stuff for nothing (or next-to-nothing) for the opportunity to do something fun and artistic, or to network.

The longer I've been in the game, the LESS I like to work for free. That makes sense right?




I made a decision a few years ago about working for free, that has saved me some time, some money, and heaps of sanity:

IT'S OKAY TO QUIT!

I pride myself on being a man of my word; when I commit to something, I follow it through, and I would never leave a project in the lurch - but it has to be worth my time, to work for free.

I will quit a non-paying job if:
-If I get the script, and it's terrible.
-If I meet my co-star at the read-through, and he/she is terrible.
-If my first impression of the director is that he/she is an idiot.
-If, when I ask for a detailed schedule up front, that it becomes clear that they won't use my time efficiently.
-If something gives me the willies about it.

I will not quit:
-Once the project is underway, and replacing me is impossible.


Three thoughts:

1- I get treated better when I make demands at the get-go. Nothing crazy, but just: What is the schedule? Can I read the entire script before I decide? Can you accommodate all of my conflicts? What is the pay, really?
When you take your business seriously, you are taken seriously as a business(wo)man.

2- I have avoided some CRAP!

3- Now when I choose to work for free, I always enjoy it.


What do you think?

Financial Core Status "Fi-Core"

Financial Core

The following is an excerpt from my book, SO YOU WANNA BE A NEW YORK ACTOR?:

Deciding whether or not to join the unions is a critical decision in an actor’s career, and we’ve outlined some of the things to think about before joining. Joining the unions may limit the work you can do. There is one loophole, however, with SAG. An actor can become “financial core.” When this happens, he can work for any rate that he thinks is fair—that includes non-union work. Sounds too good to be true, right? Well, there are some drawbacks.

A financial core (Fi-Core) member of SAG is referred to as a “fee paying nonmember,” so he loses some of the rights that SAG members have

Some of the rights you lose when you declare financial core are:
• The right to vote in SAG elections
• The right to hold SAG office
• The right to use iActor, a web service run by SAG
• The right to represent yourself as SAG on your resume or on the Internet
• The right to call yourself a member of SAG or have a SAG card
• The right to re-join SAG without a formal hearing and without repaying the initiation fee

Some of the rights you gain:
• The right to work on non-union projects
• The continued right to work on SAG projects
• The right to pension and health if you qualify under SAG rules

In order to become Fi-Core with SAG, you must first join SAG. You pay your initiation fee, and start paying your dues. (Even after you turn in your card, you still have to pay your dues and fees. Your dues will be 5-10 percent less, however.) Pension and health is completely separate from the SAG office. Don’t worry about losing those benefits.

If you make the decision to become Fi-Core, you have to call SAG, and they will walk you through the steps. SAG desperately wants you NOT to go Fi- Core. In fact, there is someone at each office designated to try to talk you out of it. And their arguments are compelling. They will tell you that SAG does everything it can to keep conditions high and pay high, through collective bargaining. They will tell you that SAG has a rich history, which you will no longer be a part of. They will tell you that Fi-Core SAG members are seen as scabs and anti-union by the industry at large. The argument for the other side is quite compelling as well. Why limit yourself to work that is SAG-approved? If you are making money, or potentially could make money doing non-union gigs, why shouldn’t you? Can’t the actor decide for himself what he’s willing to work for?

Additionally, from a marketing standpoint, if you become a SAG member with a weak resume, and limited relationships in the industry, you may be sunk. Even if you have a strong agent, you may only get a few auditions a month. If you can take SAG and non-SAG auditions, you could have 20 or 40 auditions per month. Also, the best way to get a powerful agent is to book work and let everyone know that you’re booking work. Your chances of booking work are much higher if you can audition for everything.

The real truth of the commercial market in New York is that non-union commercials are plentiful, and they are here to stay. The very same casting directors that cast the incredibly lucrative SAG commercials often cast non-union commercials. If you come in to audition for small non-SAG commercials and do a great job (maybe even book a few), of course the casting directors will start calling you in for SAG jobs. Then you can tell all of the top agents that you have this great relationship with a casting director, and that’s how you get the great agents. That’s just an example, but the point is: why cut yourself off from money and connections?

It should be noted that in Los Angeles, there is more of a stigma to being Fi-Core. Many actors who are Fi-Core keep it under wraps in New York. However, with only a few exceptions, no one really cares. This is and should be a tough decision, so consider carefully.


A couple of additional notes:
•Since writing this last year, I have heard from quite a few fi-core actors. They have reported general satisfaction, but I have heard of a few instances when SAG franchised agents rejected them based on their fi-core status. This should be weighed in the decision.
•Here's what SAG has to say: http://www.sag.org/getthefacts/ficore2.html
•Here's a great pro-fi-core article: http://www.coalminecanary.com/SAG.html
•I heard through the grapevine that there is a way to become fi-core without joining SAG. It could save you over $2000. Call SAG, and be adamant. See if this is true.
•Don't be afraid to talk to people you trust in the industry before you make the decision. At least 5 or 10. You want to make an informed decision for your particular situation.

Have any questions or comments? Leave them below!
Guy

Non-SAG New York

I have had three conversations in recent days, with some of the most talented actors I know. Each one asked me what I was doing to sustain my business - they were struggling.

The answer is, I stayed non-union.

New York - and this is a paradigm shift - is a non-union city. By that I mean that over 50% of the paying work seems to be non-union. Once you get your SAG card, you may find your options drastically diminished. If you don't have the connections and relationships with agents and casting director to sustain a career - you're unlikely to get them at that point.

Many people get their SAG card, and never get paid to work again.

A few thoughts:
•You don't need to be SAG to work on episodic tv
•You don't need to be SAG to work on feature films
•Non-SAG actors audition way more - they are eligible for all jobs
•More auditions means more booking, which means more money
•More bookings means better/stronger relationships with casting directors
•Non-SAG actors booking non-SAG work are building relationships with the SAME casting directors as the SAG work.
•There is less pressure for non-SAG actors - much more allowance for growth
•There are way fewer non-SAG actors the older you get. Age means less competition in the non-union world.

Conclusion:
•Don't join SAG until you HAVE TO.

I don't mean this to overly glib. I understand that celebrities are SAG. I know that most of the people you regularly see on TV and in film are SAG. Being SAG has prestige. Once you have momentum - GREAT! Join SAG. But if you don't - there's no need - in New York.

And there's a giant loophole: Financial Core Status (fi-core) which allows actors to join SAG, withdraw, and be covered to work SAG jobs and non-SAG jobs.****This will be the topic of next week's blog.

KEY audition tip. DON'T LEAVE just yet!

It happened to me again!

I had a callback for a project yesterday. It went well, but not stellar. After I left the room, I sat down and calmly checked my calendar, I played a few words on Word With Friends, I updated my audition log-book. They were still in there? Were they talking about me?

YEP!

The casting director rushed out and said, "Oh great - you're still here! Can you come back in, we want to try something..."

Then I went in again and (with new direction) - NAILED it!

Here's my tip: Do not leave an audition until the next actor is in the room, and the door is shut!


I have booked jobs because of this tip. It's a good one!

I took a tough class... made me think.

I practice what I preach - you should know this about me.
When an actor complains that they are not getting seen for TV shows, I suggest they pay to take a class with the casting director. I, myself, just finished one of those classes.

The teacher was SUPER-tough. Two girls cried last night. One girl quit acting entirely.

Here's what I wanted to share with you:

At the end, a girl asked, "Now what?" Meaning - okay, now that I have some technique, how do I actually get into the auditions?

Here was the casting director's response:

Most of you just simply aren't ready. And if you're not ready, you know you're not.
For those of you who are ready,
You were smart to pay to take this class. This is how we find new people. Especially people who don't have great agents.

(Furthermore he said, it would be great to meet everyone in the office at such events. They will discuss you, and keep you in mind.)

Then he went on to the very familiar speech: "If you can do anything else, just do it!" The odds of an actor making a living are so slim, that you have to have intense passion for it to make it worth your while.


I have to admit, I left this class crestfallen, even though I think I did really well. I would even venture a guess that I did well enough for him to call me in. But, man - reality... tough to handle sometimes.

So, where do you go from here?

I love performing. I want to do it for the rest of my life. Sure, the business is hard, but I love the life I have. I really, really love it. So, I'm sticking to it.
I probably will never be rich. That's fine. But, I know, with confidence, I'm in the right place.


Thanks for allowing me a public affirmation. I needed it.

Backstage and Actors Access

I was coaching a brand new actor this week, and we had to get down to basics!
When you're starting out, and you want to audition - all you need is a headshot/resume and copy of Backstage. Actors Access is pretty amazing too.

BACKSTAGE MAGAZINE is the go-to guide for actors in New York. The articles are surprisingly useful, and the reviews are generally right-on. But, the main attraction is the casting notices.
The magazine in print, comes out weekly on Thursdays. (Yearly subscriptions cost $79/year. $149 for online access.)

-If you want to attend open calls, you can find them.
-If you want to submit yourself for theatre and film, you can do that.
-If you're looking for classes, coaches, books, and schools - you'll find them there.
A great magazine!

(Note that the print version is much cheaper. And, [you didn't hear it here], but if you have an online subscription, several people can split it under the same username; no one will find out.)

ACTORS ACCESS is amazing too. AA is the part of Breakdown Services that anyone can access. Breakdowns is THE submission system for the industry. If you've got an agent, your agent uses Breakdown Services to submit you for projects. Sometimes the casting director wants to cast a wide net, so they open it up to AA. That means you can submit yourself directly - WITHOUT AN AGENT. (You can pay $2-$5 for each submission, or pay $68 for unlimited access for a year.)

-You can manage your own profile, and make it look like you want it.
-There are a ton of castings, some with pay: Student Films, Commercials, Plays... everything.
-Once you get an agent, they will use the profile you created on AA - You're in control of that.
-You can upload multiple pictures, video, audio - tons of stuff.
-It's a succinct, clean way to do submissions.


FOR THOSE OF YOU NOT IN NYC: Both resources are national. If you are in Montana, you still will find things for you on Actors Access. And now that digital auditions are more prominent - you can submit from anywhere. Just take a look! It's a great way to take control of your career!!

TEN ways to deal with audition nerves.

I recently sat down with a bunch of actors and we tackled the issue of being nervous at auditions:

Why am I so nervous, and what can I do to control my nerves?!

1 - Prepare, prepare, prepare.
Know the song so well, you could sing it if the piano played messes up every note. Know the sides so well that the reader could be speaking Spanish, and you'd stay on track. Concentrate on the acting moment BEFORE the text starts. Know where to start!

2 - Breathe.
I love Dr. Joy Browne's square breathing exercise.

3 - Know how to handle the waiting room.
I recommend having one and ONLY one conversation in the waiting room that has NOTHING to do with the audition. Force it, if you have to. It humanizes your competition, and humanizes you too, actually. Act like a person.

4 - Know that an audition is often not about booking the job, it's about laying the groundwork for future work through the same casting director.
Do what you do well, be confident in that.

5 - Wear comfortable shoes.
I'm serious.

6 - Remember that you love to perform.
You have a captive audience. Perform! It's supposed to be fun!

7 - Feel free to say hello to the casting director.
Make conversation. It relaxes you and them. AND, it shows that you're a nice, normal person who they might want to work with.

8 - Get there early.
If you arrive in a rush, you'll have no chance of relaxing. Even arrive early, and sit around for a few minutes before you sign in. (In the summer, I do this all the time, so that I'm not a sweaty mess in the room.)

9 - Stretch and warm up your voice
It's true. Your body is an instrument. It's got to be primed, and ready-to-go.

10 - Take a BETA Blocker.
This is officially cheating, but it's done! It's a homeopathic drug that calms your nerves. It calms everything. It helps people who have shakey hands, or who break out in hives. (*ActorsWhoMakeMoney does not endorse illicit drug use...)


And my new favorite quote for how to handle NOT getting the job: "I wasn't rejected; I was overlooked."

Should I pay to meet industry? Is that throwing money out the window?

Casting director workshops are often THE MOST USEFUL, and most accessible, tool that an actor can use. These are workshops that you pay for, and in turn you have the chance to meet, and to perform for, the casting director of your choice.

In the good old days, casting directors would schedule time out of their week to meet new actors—also known as general auditions (or generals). Some casting directors still do generals, but much less frequently than they used to. The recent trend is toward meet-and-greet seminars, where you pay a nominal fee to spend a half-hour listening to a particular agent or casting director tell you about their business and asking questions in a group of about 20 people. Then you get a five-minute one-on-one meeting with them to perform a monologue, scene or song.

There are many formats to these workshops, but the end result is the same: For $35 to $40, you can guarantee that you and your work are seen by the person who decides who gets the audition appointments. It is 100% more likely that you will get called in by a casting director if he/she is familiar with you and likes your work. These workshops are the best way to make them aware of you, and mailings should be used in conjunction with these workshops to reinforce the casting directors’ familiarity with you.

Now, some people say, “I just don't feel comfortable paying for an audition.” What we say to those people is that they should change their mind. It is naïve to think that you will be miraculously discovered. You must think about the industry like a business and understand how it works.

Accountability

When I coach actors, I help them create a list of goals. We decide on deadlines. We talk about budgets.

• Do you have the time to do it?
• Do you have the money to do it?
• Do you WANT to do it?

If the answer is yes - the goal is written down.
The client has the option of signing the list, and if they do - I promise to keep them accountable.

(Mostly I bug them by phone and email to make sure they do what they promised.)

Having coached for a few years now, it's become entirely clear that integrity is the problem for 90% of actors. By integrity, I mean wholeness. I mean doing what you say you're going to do.
People blame missed deadlines on money trouble, or work problems, or getting sick - but if you had real integrity - you'd get it done. You'd plan for problems. You'd finish things early.

I realize I sound a little bit soapboxy, but I bring this up today, because I noticed myself slipping on my goals. I have a few things I want to accomplish by the end of 2011, and I am way behind.

So - I'm blogging so that YOU ALL will keep me accountable.


Tips for getting things done through accountability:

• •Thoroughly think out your goals before you commit
• •Make a real budget. Find the money. Set it aside.
• •Put office hours into your week, when you plan to accomplish your goals.
• •WRITE YOUR GOALS DOWN.
• •Give your goals to your manager, your agent, or your friend.
• •Use google alerts to keep you on track. Memotome.com works too.
• •Celebrate your success.

Fear itself.

I was chatting with an actress I know the other day, and I was giving her a few hints on making her career a little more workable. She's beautiful, smart, and really commercial. She was eager to work on her marketing... but how? She said her problem was that she didn't know how the industry worked.

Offhandedly, another actor walking by said, "Oh, my problem is fear."

Wow - that kind of honesty and self-awareness is rare.

FEAR is the number one reason actors don't succeed in showbiz.

Things that actors fear:
•Screwing up their auditions
•Being too timid
•Being too much
•Forgetting their lyrics
•Not being skinny enough

All of these make perfect sense - we are putting ourselves out there for approval on a daily basis!

But maybe there are other fears we're not quite in touch with:
•Fear of success changing our lives too much
•Fear of learning that we may not be talented
•Fear of getting to the moment when we decide to quit the business
•Fear that when success comes, we can't handle it
•Fear that we're not special. At all


Hey, as actors with deal with characters' emotions all the time. But let's not neglect our own emotions. Get in touch with what's really stopping you from working your hardest. If it's fear that stopping you from going to that open call, or doing that mailing, or signing up for a class with Bob Krakower. GET OVER IT.

If it's anything else... well, I may let it slide. But never out of fear!

"Our greatest fear is not that we are powerless. Our greatest fear is that we are powerful beyond measure." - Marianne Williamson

Guess what actors? You ARE powerful beyond measure.

NICE!

1 - If you only have one headshot, it should probably be one with a smile. You only get one first impression. Don't you want to look like a NICE person?

2 - If you can only do one monologue, choose a funny one. It's tough to look at a person who leads with a monologue about rape, or Hurricane Katrina, and say, "Yes, she seems pleasant and NICE - I'd like to spend time with her."

3 - Today's assistant is tomorrow's power player. Be NICE to everyone!

True Story

I met an agent once, and he wasn’t particularly impressed with me. He called me into his office, I sang a song and did a monologue. He never called me again. I still sent him a postcard every four to six weeks for maybe two years. One day I got a call from the man who had been the receptionist when I had had that meeting. I didn't remember him, but apparently I had been NICE to him, and he heard me sing through the walls. He’d also been the one who received the mail every day, and he was keeping up-to-date with my career. He called me because he had gotten a promotion and was now a junior agent. He wanted to work with me! Thank goodness I have been sending cards.

4 - It is hard enough to stay focused at auditions! You don't want to be in the waiting room trying to concentrate with 20 actors, all feeling like the enemy. Say hello to people you recognize, be NICE, lighten the mood. It's not an audit. It's an audition.

5 - Be prepared to chat once you're in the audition. I know this, as a casting director. You always hope for some sort of minor social interaction beyond the audition material. Directors want to work with fun, NICE people. Always be willing to chat if the opportunity arises. (And then don't overstay your welcome.)

6 - All other times... just be NICE. You'll live longer.

I got another question from MUSE FORGE Theatre in Boston...

How do you handle asking for more money once you've gotten a job?

Here's what I think:






Any questions? Comments? Leave them below!!!!

You should be on Broadway?

Early on in my career, when I was entirely focused on theater, I met with a manager who gave me really solid advice, that I was way too green to understand or use.

"There's no difference between you and the guys in the chorus of every Broadway show, except that they think they belong in Broadway show, and you don't."

Like a lot of young actors, I wasn't confident in my chops. I had decided that the smartest course of action was to work non-eq job, slowly build up my skills and resume, eventually get my Equity card, and then focus on Broadway. That plan may have been bad...

I might have decided to stay in the city, go to every Broadway, Off-Broadway, and National Tour open call (EPAs, Chorus Calls), while taking dance classes, and struggling to pay my rent.

Is it more valuable to spend 6 months in Ohio, doing West Side Story, or 6 months in New York, auditioning for everything, making connections, and starting a career? It's a great question! Maybe I'd be a Broadway star now.

I try not to live with regrets... but this manager's plan for me might have worked.
Have you noticed that most stars were stars already by the time they were 25. 21, even?

I just wanted to share this thought with new actors. Maybe you should stay in town, rather than taking any job just to have a job.
This week you could go to open calls for:

8/29/2011 in New York, NY GHOST BROTHERS - ECC/Sing - Hurricane Plans	More...
Alliance Theatre Company Atlanta, GA Chorus LORT Non-Rep Seeking: PLEASE SEE BREAKDOWN FOR INFO RE: HURRICANE IRENE CONTINGENCY PLAN. Singers (M/F). Ch... Posted: 8/26/2011
8/29/2011 in New York, NY RX – EPA - Hurricane Plans	More...
Primary Stages New York, NY Principal ANTC Seeking: PLEASE SEE BREAKDOWN FOR INFO RE: HURRICANE IRENE CONTINGENCY PLAN. M/F Equity Actors... Posted: 8/26/2011
8/29/2011 in New York, NY NICE WORK IF... - EPA - Hurricane Plans	More...
Roger Berlind, Sonia Friedman New York, NY Principal Production (League) Seeking: M/F Equity Actors. Refer to Breakdown for details. PLEASE SEE BREAKDOWN FOR INFO RE: HURRICA... Posted: 8/26/2011
8/29/2011 in New York, NY WHITE XMAS - ECC/Dance - Hurricane Plans	More...
Theatre Under The Stars Houston, TX Chorus WCLO Seeking: Ensemble Dancers: Men and women dancers who tap and sing well. PLEASE SEE BREAKDOWN FOR INFO... Posted: 8/26/2011
8/30/2011 in New York, NY KINKY BOOTS The Musical – EPAs	More...
Daryl Roth and Hal Luftig New York, NY Principal Special Agreement Seeking: M/F Equity Actors. Refer to Breakdown for details.... Posted: 8/16/2011
8/30/2011 in New York, NY HELLO MY BABY – Equity Chorus Calls / Singers	More...
Goodspeed Musicals East Haddam, CT Chorus LORT Non-Rep Seeking: Ensemble Singers who dance: Men and women.... Posted: 8/15/2011
8/30/2011 in New York, NY SOME LOVERS – Equity Principal Auditions	More...
Old Globe Theatre San Diego, CA Principal LORT Non-Rep Seeking: Equity performers (m/f). See breakdown for details.... Posted: 8/17/2011
8/30/2011 in New York, NY NICE WORK IF YOU CAN GET IT - EPAs	More...
Roger Berlind, Sonia Friedman New York, NY Principal Production (League) Seeking: M/F Equity Actors. Refer to Breakdown for details.... Posted: 8/15/2011
8/31/2011 in New York, NY KINKY BOOTS The Musical – EPAs	More...
Daryl Roth and Hal Luftig New York, NY Principal Special Agreement Seeking: M/F Equity Actors. Refer to Breakdown for details.... Posted: 8/16/2011
8/31/2011 in New York, NY GHOST (A New Musical) – Equity Principal Auditions	More...
Hello Entertainment and Colin Ingra, in association with Par New York, NY Principal Production (League) Seeking: Sam, Molly, Carl and Oda Mae. See Breakdown for details.... Posted: 8/22/2011
8/31/2011 in New York, NY NICE WORK IF YOU CAN GET IT - EPAs	More...
Roger Berlind, Sonia Friedman New York, NY Principal Production (League) Seeking: M/F Equity Actors. Refer to Breakdown for details.... Posted: 8/15/2011
8/31/2011 in New York, NY OUTSIDE PEOPLE – Equity Principal Auditions	More...
Vineyard Theatre and Naked Angels New York, NY Principal ANTC Seeking: M/F Equity Actors. Refer to Breakdown for details.... Posted: 8/15/2011
9/1/2011 in New York, NY KINKY BOOTS The Musical – EPAs	More...
Daryl Roth and Hal Luftig New York, NY Principal Special Agreement Seeking: M/F Equity Actors. Refer to Breakdown for details.... Posted: 8/16/2011
9/1/2011 in New York, NY HELLO MY BABY – Equity Chorus Calls / Dancers	More...
Goodspeed Musicals East Haddam, CT Chorus LORT Non-Rep Seeking: Ensemble Dancers who sing: Men and women. ... Posted: 8/15/2011
9/1/2011 in New York, NY STEEL MAGNOLIAS – Equity Principal Auditions	More...
Harbor Lights Theater Company Staten Island, NY Principal LOA Seeking: Female Equity Actors. Refer to Breakdown for details.... Posted: 8/16/2011
9/1/2011 in New York, NY GHOST (A New Musical) – Equity Principal Auditions	More...
Hello Entertainment and Colin Ingra, in association with Par New York, NY Principal Production (League) Seeking: Sam, Molly, Carl and Oda Mae. See Breakdown for details.... Posted: 8/22/2011
9/1/2011 in New York, NY BILLY ELLIOT – Equity Principal Auditions / Adults	More...
NETworks Presentations, LLC & Nina Lannan Associates Columbia, MD Principal Short Engagement Touring Agreement Seeking: Adult musical theatre performers (m/f) for the original company of the SETA touring production.... Posted: 8/23/2011
9/2/2011 in New York, NY GHOST (A New Musical) – Equity Principal Auditions	More...
Hello Entertainment and Colin Ingra, in association with Par New York, NY Principal Production (League) Seeking: Sam, Molly, Carl and Oda Mae. See Breakdown for details.... Posted: 8/22/2011
9/2/2011 in New York, NY BILLY ELLIOT – Equity Principal Auditions / Adults	More...
NETworks Presentations, LLC & Nina Lannan Associates Columbia, MD Principal Short Engagement Touring Agreement Seeking: Adult musical theatre performers (m/f) for the original company of the SETA touring production....

Mooooo, part deux. More on Cattle Calls

I received a few questions about my MOOOOOO post 3 weeks ago, sooooooooo here's a follow-up!!

Q: Tie or no tie?
A: Dress for what is appropriate for the role. If you're auditioning for FINCH in How To Succeed, of course - tie (maybe bow tie). If the attire is not obvious, make your best guess. If you are still on the fence - err on the too-formal side.

BUT it is important to dress like yourself. THIS IS WHERE KNOWING YOUR TYPE COMES IN. If you are the type of guy who never-ever wears a suit, you'll look uncomfortable in a suit at an audition. Maybe wear black jeans, with a shirt and blazer. This will give the casting director a much better sense of who you are, while still respecting the show. Hey, chances are you aren't going to book this job (it IS a cattle call), but you will be up in front of her again - and now she is starting to learn what you are all about. This is the first step on getting you into the right roles. Maybe when they're casting Tommy next month they'll remember that guy who awesome, but wasn't quite right for H2$, but would be a great Cousin Kevin.

Q: Heels or no heels?
A: Heels. If you're going in for musical theater, you're going to be among a sea of women. There is a very clear costume: Heels, tight dress to the knee, hair down and lots of make-up. Every woman will look like this.

Here is another piece of advice (which slightly conflicts with the last, but they both apply): "TV/Film is about looking like yourself; Theatre is about looking like everyone else."
By this I mean, if you're auditioning to be a series regular on a prime time drama, they are looking for someone who is unlike anyone on television. Someone new and exciting. In theater, they have solid, preconceived notions about that what each character should be, and look like. If an actor is auditioning for Barfee in Spelling Bee - they will probably cast someone who looks like the guy who played it originally: heavy, long hair, white.


Dressing like they expect you to dress can sometimes be smart. Casting directors have very little imagination, and they are really just trying to find people who are not a high-risk to the production in most cases.

I realize I just said dress like yourself, followed by dress like everyone else. You have to decide for yourself. There is really no wrong answer. The only mistake you can make is feeling uncomfortable in what you're wearing; That will throw off your audition.

Q: Really, I should sing what I love, over what's dead-on appropriate?
A: Yep! There will always be callbacks. You will always get a chance to sing from the score. The cattle call is the ONE place you can call the shots. Sing what you love, and have worked hard on. Don't be dumb about it; don't sing a rock song for a Phantom of The Opera audition, but if it's a judgment call between pieces, go with the one you love.

In summary: Dress like you, sing like you! Show them you, the-great-performer-you-are in the cattle call. But bear in mind that there are expectations. Don't stray so far from the character, that the casting director can't picture you in the role.

Addendum:
If you're auditioning for a season of shows. This how-do-I-present-myself issue really gets actors crazy. "I really want to play Lady McBeth, but I want them to consider me for Little Red in Into The Woods too!" First off - calm down; this should set you free. No one can find one piece that covers that wide variety of characters. (If you can, leave it for me in the comments - I'd like to see it.)
Do what you love! Wear what makes you feel good! If they are casting a whole season, they are looking for confident people who would be fun to spend an entire season with. Don't get bogged down. Do your best piece, and on the way out, say, "I'd love to be considered for Little Red and Lady McB - thanks so much!" Easy.

***For a conference like SETC or IOD, my advice would be dress comfortably, but with respect. I'd say jacket, but no tie, for the men. Id' say dress, with low heels for the women.
But stay within your type! If you're a punk, dress punk, but look clean and smart. If you're a woman who never wears a dress - don't wear a dress. Be you!; You in pants. The only mistake is dressing like someone that you are NOT!

Those damn Meet-and-Greets

Here's some info on how to handle those damn meet-and-greets.




Here are some of my favorite schools:
www.actorsconnection.com
www.oneononenyc.com
www.breakthroughstudios.com
www.thenetworknyc.com
www.theactorsgreenroom.com - a little more expensive, but great

Get on their mailing lists, and see what looks good.

What should I have prepared?

Your repertoire of audition monologues and songs should always be expanding, but here's where you need to start!

Monologues:
Contemporary Comedic
Contemporary Dramatic
Classical

Songs:
16-32 Bars Uptempo Musical Theatre
16-32 Bars Ballad Musical Theatre
16-32 Pop
One whole song you love (probably comedic)

Thoughts? Leave comments here or email me at ActorsWhoMakeMoney@gmail.com

Actors Who Make Money, in Backstage!!

I was featured in an article in BACKSTAGE!!!

Cattle Calls. Mooooooo!

What to expect at a cattle call!

I got a request from Lisa in Arkansas, to talk about what an actor should expect at a cattle call / open call audition and some techniques for handling the situation.

Let's just say it: Cattle calls are tough.

I often think about this verse from the musical The Last Five Years:

"I’m up ev’ry morning at six
And standing in linem With two hundred girls
Who are younger and thinner than me, Who have already been to the gym.

I’m waiting five hours in line,
And watching the girls, Just coming and going
In dresses that look just like this, ‘Til my number is finally called.

When I walk in the room,
There’s a table of men – Always men, usually gay –
Who’ve been sitting, like I have, And listening all day
To two hundred girls belting as high as they can!

I am a good person
I’m an attractive person.
I am a talented person
Grant me Grace!"

The 6 am part is right. The line of identical actors is right.

The 200 girls is wrong... try 600 girls!

There are two types of open call auditions, EPAs and Non-Equity open calls.

•EPAs, or Equity Principal Auditions are required for most Equity productions. AEA members line up at 7 or so, and when they sign in (9:30ish) they get an appointment to come back. Your audition time is roughly 2 minutes. If you're singing, they suggest 32 bars.

•Non-Eq open calls work similarly, but much less efficiently. You basically get in line, get a number, and have to wait all day. If you leave, you risk your number getting called while you're absent.

Often, the audition listing in Backstage or on Equity's website will tell you what to prepare (e.g. 32 bars uptempo, or a short comedic monologue). Of course stick to what they request. But, if it's a judgment call - go with the material you love. For example, if they ask for a contemporary/pop musical theatre song, and you have a rock song you love to perform - do the rock song. If it's at all possible: always do what you love, over the piece that is dead-on appropriate.

There are mixed opinions about performing songs from the show for which you are auditioning. My gut tells me to avoid this. If you have a callback, you'll get the chance to sing from the show. I think singing from the show in the initial audition is a missed opportunity to show your stuff. (But, I do see the logic either way.)

Of course, there is the general wardrobe rule of repetition. Always wear your audition outfit to all callbacks. (The exception is if they request you change into dance clothes.) It's just too easy to get lost. It's best to be "the girl in orange" the entire time, than risk getting lost in the shuffle. It sounds gross, but get some fabreeze. Everyone will be doing the same.

Socially, these things can be very hard. Let's face it: sitting in line for a short-short audition can be really frustrating. It can seem like a waste of time. And people are MEAN and MANIPULATIVE. You will always see actors showing off, and mentally trying to throw other actors off their games. They may not even realize they're doing it - but they are: bragging about recent bookings, name dropping the casting director, stretching their leg up to their head... You have to stay focused. Books help. Ipods help. An audition buddy to chat with is a huge help too. Just... expect people to be obnoxious.

My final piece of advice is to think of open calls as networking, rather than auditioning. There's a chance you'll get the role, of course, but the chance that you won't is much greater. But, hey, you just got to perform material you love for a casting director, who know knows your work!

There are so many factors you can't control - but this, you can. Get the Casting Directors name; add it to your mailing list. Be polite. Be charming. Look for this casting director again, and go to his/her next audition. Build a relationship. Build a career.

I'm happy to field any questions!!! ActorsWhoMakeMoney@gmail.com

What Not To Wear... to auditions

Another VLOG!!

(Again answering a question from Tim at Muse Forge.)

-I'm trying to keep these short - 2 minutes... so I did a little editing.
-If you have any questions you want addressed - feel free to drop me an email!!!

Guy at ActorsWhoMakeMoney@gmail.com

Coffee!

I gave myself a challenge. Coffee!

" Sit down with 3 actors who you respect and who are further along in their careers."

I have to admit, I'm proud of myself for doing this. I do consider myself an introvert, and the last thing in the world I want is for these people to think I want something from them. I decided to go in without an agenda. I didn't need to know what they did to become successful, I was more interested in how they were - how they looked at the business, and how they found a place in it.


#1
I had done a play with a wonderful actress in her 50s, who was poised and smart, and oozing talent. She's managed to continue acting for years, and still have a husband, a child, and a fascinating life. How did she do it?
We sat down and had coffee, and we just started sharing stories. She'd come from England after drama school, and landed in California with her husband. I mentioned that a ton of my contemporaries had moved to LA in the last few month, and we discussed the pros and cons.

Basically her take was: If you want to live in LA, live in LA. Don't go because of the work. Go because you want to LIVE there. If New York is more your style, stay in New York. For her it was a matter of lifestyle, and not work. Great advice. We always forget that we 90% of the time, we won't actually be working - so live where you want to live.

Chatting with her gave a great view of what a life can be for someone dedicated, who trusts that her instincts are always right. Go with the flow.

#2
This guy is about 10 years my senior, and has worked steadily without ever actually becoming famous. He's well-known, and well respected by his peers, but still unknown to the world. The big lesson I learned from him was "Treat yourself as if you're famous."

By this he meant, assume that everyone knows the level of talent you bring to any occasion. Assume that people know you deserve to be paid for your talent. Assume that people know you bring with you a level of professionalism.
When you work for free - you are being magnanimous.
When you work for money - you are doing the job you know how to do.

I've pondered this, and actually invoked this idea in the last few weeks - and yeah, he's right. My theory / sound-bite on this topic had been: "When you start asking for what you deserve, it will come to you." This takes it one step further. "I deserve a fulfilling career, that pays me well."

Interesting guy.

#3
Actually, she never responded to me email. Oh well - I guess she was too busy working.
I won't let it get me down.

This is a great exercise. You should try it. If you do, let me know how it goes!!!!

Guy

Meet agents / casting directors OUTSIDE of NYC

Here's a thought for those outside on NYC - how do you connect with industry?

(Sent to me from Tim Smith at www.museforgetheatre.com)

Please let me know if you try this!!!

ActorsWhoMakeMoney@gmail.com
AWMMGuy on Twitter

Markting in NYC 101 - the 2 minute class.

I was asked by my friend Tim Smith to answer a question for his website. He runs MUSE FORGE out of Boston.

There's enough success for everyone.

I was shooting a commercial yesterday-very easy, non-union, quickie gig. I just had one line, and my scene partner had one line. I arrived on set not knowing who I was acting with. It turns out it, it was Jeff, an actor I audition with all the time-an actor to whom I've LOST many jobs.

Let's examine that last statement. Have I LOST jobs to Jeff in the past? Is that accurate?


I was reminded of a great piece of advise a director/mentor of mine, Shorey Walker, gave me when I was just starting out. "There is enough success for everyone."

At the time I was going to tons of musical theatre open calls, and not getting the roles. These auditions took all day, and you waited in big rooms with the same people over-and-over. They all seemed to know each other, and were having a great time. Long story short, I grew resentful. Quickly.

Her advice was to make the choice to be happy for people when they got work. What did you have to lose? It enabled you to have fun with these people, who were no longer your rivals, but your associates-your co-workers. You weren't meant to have that job, and there is ALWAYS another one right around the corner.

Life changing advice. It won me peace-of-mind. It won me confidence. It won me friends. It won me a career.

So, to say that I LOST roles to Jeff, my scene partner... is totally inaccurate. He gets the jobs he gets, and I get the jobs I get. No rivalry at all - and I was happy to get to work with him.
Honestly. No BS.