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The Other Side of the Table: Doing My Part

The last couple of posts focused on what I would like to see actors do at auditions and callbacks. I also have heard from actors what they like and don’t like from auditions and callbacks. So here is what I commit to doing:

Stay on Schedule

Let me start by saying that I like people to respect my time, and in turn I respect theirs. Nothing is more irritating that showing up for an appointment on time and having to wait to be seen. One of the things that transitioned with me from stage manager to director is scheduling and keeping time.

I will observe audition times as closely as possible. Yes, on occasion an audition might fall a bit behind schedule, if so, I will work as hard as I can to get us back on track.

If you are called back, you will be seen and read equitably with everyone else called for the same role. Once I have seen what I need, I will let you go. I hear so many stories of people called to read for a part, only to wait for a long time, read once, and then be dismissed; even worse, not being read at all. I will make use of your time effectively. Most of the time.

Communicate

I believe in communicating as much information as possible from the very beginning. Audition times, length and requirements will be readily posted; rehearsal times, dates, and locations will be provided at auditions; compensation will be clearly explained; any and all questions and/or concerns will be addressed in a timely manner.

You will always hear back from a production I’m involved in, whether you are called back or not, and whether you are cast or not.  Callback calls usually occur within 24 hours; calling back with parts can take up to a week. I know actors hate to wait around, alas sometimes it takes that long to get it all sorted out.

As director, I will always answer your questions and give you honest feedback if requested. Be ready for the truth if you ask.

Open Mind

As much as possible, I will keep an open mind during auditions and callbacks. If a part is listed as open, you can trust it is open. Being my friend does not mean you will get the role, as my friends that did not get cast in my shows can attest. My goal is to have a cohesive cast, and sometimes that means that even if you are fantastic, someone else is better for this one part this one time.

Respect

I will treat you with courtesy and respect. I am grateful that actors want to work with me, be a part of the production I’m doing. This includes the time before, during, and after the audition/callback process.

I will strive to stay true to these items, and if/when I don’t, do call me on it. Sometimes we lose sight of what and who we are and a swift kick in the rear is what we need.

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The Other Side of the Table: Further Notes on Auditions and Call-backs

Last time I posted some straight-forward suggestions for a successful audition. This time, it’s a little more personal. My friend and colleague Lisa Thiroux posted about some gripes that she had as a director, so I know that I’m not the only director that finds some behaviors irritating. Here’s are some things that actors do that make me crazy:

Know What (And For Whom) You Are Auditioning

Here are a few questions you should ask yourself before auditions, and definitely before callbacks (at least for a show I’m involved in):

  • Are you willing to make the commute to the rehearsal and/or performance location?
  • Is the pay enough?
  • Can you make the rehearsal/performance schedule?
  • Are you a package deal with your spouse/child/sibling/friend?
  • Will you accept a role if it is offered to you?

Are you willing to make the commute to the rehearsal and performance location?

Find out where rehearsals and performances take place. A lot of theatres hold rehearsals in locations other than the performance space. Will parking be an issue? Is it bus accessible? Don’t wait until you’ve been cast to realize that 45 minute commute is going to be too much.

Is the pay enough?

Asking/expecting to be paid for a gig is normal. Unfortunately, not everyone can pay and those who do don’t always pay a living wage. If pay could be an issue, clarify this before the callback. I respect and am ok with actor who turns down an audition invitation or callback because they can’t afford to the compensation for the commitment involved; I have less tolerance for someone who comes to callbacks, gets cast, and then tells me that the part is too small or the commute too long to do for the compensation offered. If I’m told early and I am able to, I am more likely to negotiate something.

Can you make the rehearsal/performance schedule?

Hopefully you will be given a general idea when rehearsals will be held during auditions, I know I do this for productions I direct and/or produce. Take a good look at the schedule and provide any and all conflicts to the best of your knowledge at the callback. Is rehearsal scheduled during a holiday weekend? A vacation? Rehearsals or performances for another show? Being upfront about conflicts can save, and solve, many headaches later.

For smaller theaters without understudies or stand-bys, a performance conflict is most likely a deal breaker. However, something can be worked out if the interest is there, as I’ve known of shows that have double-cast roles because they really wanted to work with a specific actor.

Are you a package deal with your spouse/child/sibling/friend?

Be upfront if your spouse/child/sibling/friend is also auditioning, and whether taking a part depends on them getting cast as well. Sometimes it goes one way but not the other, so please always make that clear. (for example, a child can get cast without the parent but the parent will not take the part without the child.)

Will you accept a role if it is offered to you?

I know, it seems the “right” thing to do is to say yes when asked if you’ll accept any role. Wrong. Casting every role is a painstaking process. If you get cast in a role you will not accept, you have just unnecessarily added more effort to the casting process than was needed. If you are auditioning for a specific role, be clear about that. If you will not accept ensemble, let us know so we don’t consider you for it.

Are you auditioning/waiting to hear from another show?

This has been a sore point with me for a long time. This might be a personal preference, but if you’re auditioning for/waiting to hear from another show, let me know from the beginning. If I really want to work with you we can negotiate something. I can knowingly cast you and be willing to wait the extra time I need to know how the other show comes up and have a back-up prepared, we can come to some other agreement, or both decide this is just not the right time. The only thing worse than offering someone a role and hearing back they’re waiting to hear on another role before fully accepting is to have someone quit after they’ve been cast because they got another gig I had not been informed about. I fully understand if I am not paying and an actor gets offered a paying gig or a role dream role, and I am willing to take that risk as long as I know up front.

One final note regarding callbacks. I understand and appreciate that sometimes actors audition as an exercise, especially in smaller theatres. In a strange way, I am ok with that. Please, if you do not intend to accept a role, do not attend the callback. Personally, I find that attending a callback and going as far as accepting a role only to decline it because you got another role you wanted more is unprofessional.

So what does all this boil down to? Be honest on your audition form. Don’t say something because you think it’s what I want to hear or keep information from me because you’re afraid you won’t get cast. In the long run, at least with me, being honest and upfront is the best bet.

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The Other Side of the Table: Audition Etiquette

A few years ago I ran into Ken Davenport’s 10 Audition Tips for Actors. What jumped at me was that his notes to Broadway and Off-Broadway actors applied to actors of community and regional theatre as well, and it inspired me to write my own audition tips for actors that I relate to.

I originally wrote this when I was first started directing. A couple of years have gone by now, and so have many more auditions. I have spoken to others in the industry, and figured it was time for me to revise my thoughts and repost. These are not acting tips, simply observations and suggestions on how to arrive at the audition prepared and, more importantly, how to leave a good first impression.

Come Prepared

Always bring a resume and a current headshot. For newcomers, have someone take a snapshot and print it on regular ol’ paper. Make sure that you look like your photo; when casting we see 12 to 15 people an hour and if you don’t look like yourself it will be more difficult for the casting team to remember you afterwards. We also take note when your photo is obviously several years old.

If you are auditioning for a musical, bring sheet music in the right key and make sure that it is properly marked-up for the accompanist.

Pay attention to specific details in the audition notice. When the notice asks for a one-minute monologue, time it when you practice, we take note when you go over your time. The same goes for the music: prepare the length requested, and make sure that your selection showcases your best voice.

Check your calendar and bring your scheduling conflicts to the audition. It’s best to give the auditors an idea from the beginning whether they can work around your schedule or not.

Do Some Research

Is this a known play that has been staged before? What is it about? Is there a part in this show for you? Take it upon yourself to know something about the play before you audition, and prepare appropriate materials. If you are auditioning for a family-friendly musical, an audition piece filled with expletives is simply not appropriate.

Even if it is a cold reading, it is not okay to be clueless. I am always surprised to see how many people show up at an audition without any idea what the show they’re auditioning for is about, and whether or not there is a part in it for them. If unsure, ask.

Keep Your Appointment

If you make an appointment and for whatever reason you can’t keep it, call or email. Your time could have been used by someone else, or the auditors could have planned for a break. Do call if you are running late—hopefully you’ve been given a phone number by the stage manager.

Dress Appropriately

This is a job interview, after all. Please don’t look like you just rolled out of bed or are going out to a club afterward. It can be distracting and take away from your audition.

Establish the Reputation You Want

Word gets around. People talk. The theatre community is quite small and you never know where you’re going to run into the same crew again. Assume that everyone you meet at the audition, starting with the person that greets you, will have an opinion.

If you are timely, prepared, organized, and courteous, you might not be right for the part today, but you will establish a successful impression that will follow you to future auditions.

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Why am I blogging, anyway?

In the past few years, I have been doing a lot of new things, usually with the inspiration of others. I have found blogs very helpful to see what others have done. I would like to document what I go through as a producer, budding director, and performance artist. I appreciate reading what others have done, and I hope that I can provide some insight into the behind-the-scenes work that goes into putting shows together, as well as my observations and opinions of theater, and the arts in general.

During production time, the Arouet blog will focus on the details of upcoming productions, giving a voice to those working behind the scenes. Articles by the designers will give you glimpse into their process, and since there are as many processes as there are designers, each production should bring an insightful collection of stories. During our first two productions, we had articles by set designers, sound designers, and even an actor.  It will also be where I keep you abreast of upcoming productions.

In the downtime, it will be a place where I write about theater; a place where I will voice my observations, and some opinions, mostly on directing and producing; and on occasion you will see a guest writer. Even though the topic may stray a bit, it shall remain within the realm of theater.

I would like to hear your opinions as well, whether you agree or disagree with me. The world is much more interesting when we can discuss topics with those that don’t fully agree with us.

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Annex Got it Right

In my short history of renting performance spaces, I must say that the folks at Annex Theatre got it right.

Selecting Annex seemed like the logical choice: a play about a gay family for sure belonged on Capitol Hill. I have seen shows there, and liked the intimacy of the space. For a bit it seemed I had missed my boat and would not be able to rent it, thankfully that was not the case and the space was secured.

Once we got to the start of production, the folks at Annex went out of their way to make us feel part of a community, not annoying renters that deserve the least amount of attention. I was floored when I was offered use of their flats, and even more when they included the show on their website’s homepage. Furthermore, we got use of their “Now Playing” board and even the sandwich board on the sidewalk. The house managers – we had one every night – made sure we were taken care of, and went out of his/her way to make sure things were running smoothly for us, always willing to help us out if we got really busy or if we were missing front-of-house help.

I have to single out Meaghan Darling and Michael Hayes for making The Gene Pool a great production. Without their support it would not have been the same.

Maybe other theatres that rent their space follow similar policies, alas in the past few years that I’ve been dealing with rentals it has not always been my experience. Red-tape, being made to feel that as renters we should be grateful to at least get a place to perform, and even having to bring our own toilet paper and paper towels for performances summarizes what I’ve encountered. Using the street signage – much less being included on the web site – has been out of the question.

So yeah, the folks at Annex Theatre got it right. It should be no surprise that renting the space is a hot commodity, I know for sure I’m looking at doing other shows there in the future.

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The Music Of The Gene Pool

[quote]AT RISE: Lights come up on an empty living room, perhaps even while the audience is still settling in. The opening bars of Doris Day’s “Everybody Loves a Lover” blast.[/quote]

And so begins Christi Stewart-Brown’s The Gene Pool. As the opening scene progresses, it becomes clear that this charming Doris Day gem not only sets a certain tone for the show, but it provides deep insight into Mira, the character that became my musical connection into the play.

To Mira, music is something to aspire to: it is an ideal. Mira is no Pollyanna, as the opening song suggests, but she lives by the open, honest and sincere approach to life embodied by the song.

Mira is decade blending music lover that favors female singers. She is positive, vital, romantic and strong to the core. And this playlist is my interpretation of her musical taste…

By the way… These links go to Amazon.com, a great resource for music MP3s.

Preshow

Kundalini Yoga Waltz by k.d. lang
Nobody Does It Better by Carly Simon
Dumb Blonde by Dolly Parton
Hush, Sweet Lover by k.d. lang
Love Will Keep Us Together by The Captain and Tennille
Something To Talk About by Bonnie Rait
Downtown by Petula Clark
These Boots Are Made For Walkin’ by Nancy Sinatra
I Fall To Pieces by Patsy Cline
(There’s) Always Something There to Remind Me by Sandie Shaw
Heart Of Glass by the Puppini Sisters

Music From Act I (Script)

Everybody Loves A Lover by Doris Day
What Ever Will Be, Will Be (Que Sera, Sera) by Doris Day

Intermission

I Will Survive by the Puppini Sisters
A Little More Love by Olivia Newton-John
Hurting Each Other by The Carpenters
Give Me One Reason by Tracy Chapman

Music From Act II (Script)

Leader of The Pack by Better Middler

[box]J.S. Epperson is the sound designer for The Gene Pool. He has previously created sound and voice over work for Arouet, Arts West, Redwood Theatre and Theatre 9/12. You can read a clever paragraph or two about Epperson on the Cast and Crew page or you can visit his website. Read some fabulously nerdy blog posts about Arouet sound design.[/box]

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The Gene Pool: Designing the Set

The Gene Pool Set, Annex Theatre, Capitol Hill, Seattle, Photo by Michael Brunk / nwlens.com
The Gene Pool Set, Click To Enlarge
One of the biggest challenges facing “The Gene Pool” was the set. It had to provide the comfort of a home, allow for the outdoor/motorcycle sequences, and be easy to build as we don’t have a shop to build in advance. Above all, I wanted it to be theatrical.

I turned to Gavin Derek, a mutual friend of Christi’s and mine. We met back in DC, in the days of Consenting Adults (their theatre company) and my introduction to fringe theatre. The space they used was relatively similar to Annex Theatre, and they always did the best with the space. Gavin is also the only person I know who had seen the original run of the play.

We met for lunch, and his concept was exactly what I was looking for: simple, clean, easy to build, and theatrical. He scribbled it on a piece of paper: sunken living room, simple set pieces, all black, a scrim to cover the higher platforms that were to become the motorcycle.

Now was my turn to translate our conversation into something I could plan with. I had heard of Google SketchUp at my day job, and figured that would be the easiest way to figure it out. I did a couple of the tutorials, downloaded the program, and in a few hours I had a 3D model of the set. That allowed me to send an inventory to the theatre, who in turn told me what they actually had.

Set Design SketchUp Render

Having the 3D rendering proved very helpful during rehearsals, knowing quite accurately where things would be allowed for clear blocking with little guessing. A couple of things also became apparent. The set could not be as symbolic as we had originally planned. We needed a couch, we needed more furniture, and we would run into line-of-sight issues with the motorcycle platforms. Back to SketchUp for revisions.

With the new graphic in hand, I recruited my friend Perry Fulfs to help with building the set. We figured out what was needed hardware-wise, and got the set built pretty quickly. The flats were painted a rose color, which made the set look nice and warm. Everyone liked the original color, and I was quite reluctant to paint it black. Fully trusting Gavin’s design, I painted the walls and was astonished at the difference it made. The set pieces that need to pop do, and the outdoor/motorcycle sequences work extremely well.

Set Design SketchUp Render
This was my first time being this involved in the design and construction of a set, and I have to admit I thoroughly enjoyed it. Between Gavin’s vision, using technology to visualize it, and Perry’s lead building, it was quite fun.

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The Journey to Opening Night

I’ll admit it: I’ve had a crush on the work by Christi Stewart-Brown for twenty years now. It was her work that introduced me to fringe theater. I got to see most of her plays when I lived in Washington, DC, except for The Gene Pool, which premiered after I moved to Seattle.

When I finally read the play a few years ago, I knew immediately I wanted to direct it. It spoke to me on many levels; I had to make it happen. I approached several theatres and held a reading of the play to gauge interest. A fringe company in Seattle passed because the play was deemed “too normal”, while a small theater in the suburbs passed because they were alarmed the women actually kissed on stage. It wasn’t that they were lesbians, but did they really have to show it?

I realized then, that the most certain way for me to direct The Gene Pool would be to produce it myself. After stalling for a couple of years, I was finally propelled to follow through and get it done after dinner and conversation with a friend. Luckily, I found myself surrounded by friends and family that believed not only in me, but in this excellent play and what it had to say. Thus, Arouet was born.

The casting of the show was something else. We had an astonishing number of talented people at callbacks—I could have cast the show several times over. Decisions were made, and now, after four weeks of very intense, and fun rehearsals I find it impossible to think of anyone else in these parts.

I was lucky to secure an excellent design team. A mutual friend of the author and mine designed the set (the only person I know who saw the original production); costumes and lights were designed by friends willing to jump in and work with me for little budget; a stage manager with whom I’d worked before; and an assistant director who is one of my best friends and with whom I have an excellent working relationship—truly my right hand in this process.

And now, here we are, less than a week until opening night. I look forward to sharing with you this next part of the journey.

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Sound Design for “The Gene Pool”

I have a pretty extensive sound library, but I ran into a roadblock when creating the motorcycle effects for The Gene Pool: all of my field recordings were of motorcycles coming or going, and therefor they always incorporated the doppler effect, rendering most of my motorcycle effects useless. I needed sustained motorcycle sounds to authentically coincide with the dialog and staging.

Thanks to some ducking compressors and a library created by Colin Hart, I was able to create some awesome sound effects for the show.

Here is a sample of his field work:

Yamaha R1 Blog Demo by Colin Hart

I really appreciate the lengths that Colin Hart went to in order to record a consistently high quality soundset. I’m really impressed with his effort and grateful for his contribution to this show.

For the record, I wouldn’t have the nerve to do this, I would worry too much:

We had 2 Sanken Cubs on the bike. One up front next to the top of the gas tank, and the other next to the license plate. Next, we had a Shure SM57 attached next to the other side of the license plate, facing down towards the exhaust. Last, we had a Neumann KMR81i attached next to the swing arm, facing back towards the exhaust.

[box]J.S. Epperson is the sound designer for The Gene Pool. He has previously created sound and voice over work for Arouet, Arts West, Redwood Theatre and Theatre 9/12. You can read a clever paragraph or two about Epperson on the Cast and Crew page or you can visit his website. Read some fabulously nerdy blog posts about Arouet sound design.[/box]

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‘Frankie & Johnny’ Do Fremont

Kirby Lindsay, editor of Fremocentrist, wrote a detailed piece on Frankie and Johnny in the Clair de Lune in her article ‘Frankie & Johnny’ Do Fremont.

After a recent rehearsal, she interviewed actors Meredith Binder and Greg LoProto as well as director Roy Arauz. Here’s a brief excerpt:

Arauz has extensive experience staging huge, classic productions, and described his work as director on ‘Frankie & Johnny’ as “very intense. It’s as intense as directing a production of ‘Annie’ with thirty people.” Along with the actors, he had to find key moments in the play, and ways to underscore them among all the words and movement (and food.) Ultimately, he admitted, directing this smaller work took as much time as a large production.

Read Lindsay’s full article ‘Frankie & Johnny’ Do Fremont.