Deciding what to wear to a dance audition is not easy. Sure, you should be comfortable in your outfit, but what will your attire say to those casting the musical? Should you go with a basic T-shirt and leggings, or be a little more risque a la “Chicago?”

Don’t worry, dance newbies. We went ahead and asked six professional performers what they wear to sashay their way to to the front of the line at every dance call:

Chris Rice (‘Book of Mormon’)

The Importance of Your Outfit: Whatever you wear, I would make sure you feel confident in it. You are booking the job, not your clothes. That said, you want to make sure you are showcased in the best way possible. I never recommend dressing in costume, but dressing in the world of the character isn’t a bad idea. Don’t show up in a floor-length gown if you are auditioning for “Next to Normal,” but choose something flattering that makes you feel confident.

Danny Gardner (‘Crazy for You’)

Go-To Dance Audition Outfit: My go-to dance audition attire is lululemon slacks, a black T-shirt and, depending upon the audition, a button-down.

The Importance of Your Outfit: I like wearing slacks to an audition because in my mind, that’s what you’ll probably be wearing in a show. But, whatever makes you feel confident and looking good, go for it!

Jack Mastrianni (‘A Christmas Story’)

Go-To Dance Audition Outfit: I’ll usually wear a colored V-neck shirt from lulu (they are presentable but have a lot of give), jazz pants and a dance belt. Then, depending on the call, jazz shoes, character shoes, sneakers, etc.

The Importance of Your Outfit: Colors matter! The brighter, the better — you have to grab their attention from the start.

Kelly Swint (‘Love Never Dies’)

Go-To Dance Audition Outfit: I take into account many variables when choosing my outfit (how the outfit makes me feel, which type of character I’m going in for, how old the character is, the style/era of the show, etc.). That being said, I almost always wear a black skirt and my tan LaDuca heels! I usually get creative with the style of shirt I’m wearing as long as the top still allows for casting to see the line of my body.

The Importance of Your Outfit: What I wear to an audition 100 percent has an effect on my performance. I’ll give an example to help show my point. I got into a dance call for the musical “Gypsy.” Although I could fit in as a Hollywood blonde, I was gunning for Dainty June because it’s a role I think I’d be great for. So, I show up to the call with my hair in literal pigtails, a bright-pink sports bra, a little tennis skirt and these ridiculous character heels I have (from a past show) that are bright pink with bows on them. In my head, I was like, “Nailing it.” Long story short, the call ended up being solely for the three strippers in the show. Yup. Not only was Dainty June already cast, but they weren’t even looking for Hollywood blondes. So there I am looking like an actual second-grader trying to feel all sexy and mature while doing a striptease. Nightmare!

Advice: Feeling good during the audition is the most important part of auditioning. Do whatever you can to help you get in the mindset of the show without compromising who you are.

Andrea Dotto (‘Bandstand,’ ‘Mary Poppins’)

Go-To Dance Audition Outfit: My go-to combination is a wrap skirt (I can play with it while I dance, and they are flattering for any shape) and a crop top. I work hard for these Broadway arms! I gotta give them some airtime!

The Importance of Your Outfit: You have to wear something that you feel totally comfortable in. If you are busy adjusting your outfit, you could be missing valuable information from casting or creative. Seek out an outfit with a hint of your own personal style. Don’t hit them over the head with your extra-special authenticity, but leave them curious about who you are and what you do. The “It” factor should come across in your look and your performance.

Barbara Jo Bednarczuk (‘War Paint’)

Go-To Audition Outfit: I love a classic leotard and tights look with LaDucas when the style of the show leans in that direction. For something more modern and pedestrian, I go with a cropped legging, tank and sneakers.

The Importance of Your Outfit: When I feel comfortable in what I’m wearing, I’m much more comfortable in the audition room!

What do you typically wear to dance calls? Let us know in the comments below…

The post These 6 Broadway Pros Explain Exactly What You Should Wear To A Dance Audition appeared first on Theatre Nerds.

But let’s be honest: You can’t have “Mean Girls” without the meanest, baddest, most fabulous queen bee out there. One of Broadway’s best talents, Taylor Louderman, is currently sashaying into the role of Regina George. At only 26, Louderman has already made a great name for herself as a performer. Meanwhile, we’re just over here stress-eating kalteen bars to see whether she’ll get a Tony nomination for the role next year.

Yes, the Tonys are pretty far away, and the anticipation has me getting ahead of myself. In the mean (girls) time, until the musical transfers to Broadway in the spring, here are some of our favorite Louderman videos that shows how amazing she is:

1. Louderman as Sandy in ‘Grease’

Regina has a sweet side, right? Either way, Louderman’s performance as Sandy in “Grease” at The Muny is quite perfect. Sure, she’s great at playing Sandy’s innocent side, but when she dons that leather and lights that cigarette, there’s no denying her performing excellence!

2. ‘Brave/Roar’ Mashup at Feinstein’s/54 Below

You’ll love listening to Louderman roar — sorry, belt — this mashup of Sara Bareilles’ “Brave” and Katy Perry’s “Roar.” We’re pretty sure Regina will have some high-belting moments in “Mean Girls,” and this video assures us the score is definitely in good hands.

3. ‘When Will My Life Begin?’ at the the Broadway Princess Party

When will your life begin, Taylor? Hmm, probably when you slay on Broadway. Louderman is no stranger to the Broadway Princess Party, and her rendition of “When Will My Life Begin?” from “Tangled” is one of our favorites.

4. Dueting with Derek Klena for the Broadway Princess Party

Yes, this is another “Tangled” cover here. But seriously, how could we not include this duet of “I See the Light” between Louderman and Broadway favorite Derek Klena? Hey, maybe Klena would be a good replacement for Aaron Samuels after he finishes his current run in “Anastasia.” Just sayin’.

5. ‘The One That Got Away’ at Broadway Loves Katy Perry

Hey, Broadway! Do us a favor and never let Louderman get away, okay? Not even for a big movie deal, because the Great White Way is where she belongs. This cover of “The One That Got Away” is the perfect mix of emotional and outstanding vocality.

6. ‘The History of Wrong Guys’ from ‘Kinky Boots’

We’re sure Regina George has dated some bad guys in her past, just like Louderman’s character Lauren in “Kinky Boots.” Don’t worry, we all have a past. Just hope yours doesn’t end up in the Broadway Burn Book.

7. Channeling Lady Gaga With Her ‘Mean Girls’ Costar

This one may be from 2013, yet somehow the universe knew Louderman and “Mean Girls” costar Ashley Park were meant to share the same stage. Watch them slay this cover of “Poker Face” before you see them on the Great White Way together this spring.

8. Showing Her Emotional Side With ‘Gone’ by Marcy Heisler and Zina Goldrich

In this performance of “Gone” by Heisler and Goldrich, Louderman shows that emotional heartfelt side we know Regina George has deep, deep, deep, deep down.

9. Comedy Excellence in This Comedic Sketch of ‘Life of an Actress: The Musical’

It’s impossible to not break out laughing during this video of “I Wish Was SAG: Life of an Actress the Musical.” It’s funny, it’s brilliant and Louderman sounds simply marvelous. Also, that brown-haired wig? We’re obsessed.

10. Bring on More ‘Bring It On’

Louderman’s big break was in Broadway’s “Bring It On,” so we had to include this clip of the show’s Tony Awards performance. We’re not sure how much tumbling Regina will be doing, but either way, good to know she could!

11. Soaring in ‘Peter Pan Live!’

Louderman wowed audiences in NBC’s “Peter Pan Live!” as Wendy, so this video was a must-add. Of course, she sounds beautiful showing her soprano side, but that outfit? We can’t get enough. Talk about glamorous!

12. Oops, She Did It Again!

https://www.youtube.com/watch?v=U1sSjkQM_W0

While the quality of this video might not be the best, Louderman sure is! Her cover of Britney Spears’ “Oops, I Did It Again” is sassy, sexy and downright fabulous. It’s also a pretty perfect way to wrap up this list and amp up our anticipation for “Mean Girls!”

What’s your favorite Taylor Louderman moment? Let us know in the comments below…

The post 12 Videos That Have Us Dying To See Taylor Louderman In ‘Mean Girls’ appeared first on Theatre Nerds.

It’s so easy to wrap yourself in a blanket, grab your cuddle buddy and watch Sutton Foster in Gilmore Girls: A Year In The Life until you gracefully fall asleep. Don’t fall into that trap, though! Sure, enjoy your Netflix these next few months, but don’t skip out on the gym. Need some help to do so? The cast of A Clockwork Orange is here to help.

If you’ve heard or seen anything about the current off-Broadway production, then you’re well aware of how ripped this cast is. Seriously, #BodyGoals. You too can be just as fit, however, if you follow their guide to staying fit for Broadway despite the winter tundra ahead.

What is your current workout regimen?

Jonno Davies: Well, what’s nice about doing such an intense show is that I don’t have to do much cardio! Currently I’m focusing on heavy compound lifts (squats, dead-lifts, bench press etc.) to maintain size, then adding more isolated exercises to add definition. If I didn’t continue to lift big, I’d lose a lot of size as I’m burning a LOT of calories doing the show. I’m also trying to improve my callisthenics work, so I’ve been spending quite a lot of time on muscle ups and handstand variations.

Misha Osherovich: I hit the gym usually about 5 times a week—mostly full body/core strengthening with a lot of cardio (I love me some cardio).

Sean Patrick Higgins: I usually keep a six day a week rotating schedule. Currently I’ve had to tone that back because the fatigue and wear and tear of the show taking its toll.

Do you find it harder to stay fit during the winter months?

JD: It depends on how you define fit. Do I find it harder to stay lean? Of course. What with Halloween, Thanksgiving, Christmas and just the general NY food scene, it’s pretty hard to keep the carbs under control. The important thing is not to worry about it. Enjoy your roast dinner, pile on the trimmings—you can make up for it tomorrow, just make sure you do! Make the most of the increase in calories and put them to good use, like going for a Back Squat PB.

SPH: Yes! I have such a sweet tooth and it seems to be exacerbated by all the wonderful holiday treats. I am especially a sucker for pumpkin bread.

Does your workout regimen change during the winter?

JD: Definitely, that’s when I usually try to focus on strength work so typically the reps get smaller and the weights get bigger. There’s something quite appealing about the simplicity of lifting as heavy as possible, sort of caveman-esque, but without the grunting.

MO: If anything, I ramp it up over the winter months since I’m not as naturally active during the day like I would be over the summer.

What advice would you give to people looking to stay fit during the winter when it can be much harder to do so?

JD: There are a few adjustments you can make. Drinking green tea is great for fat burning as it increases metabolism. The main thing is to find an exercise you enjoy, that way keeping fit doesn’t become a chore. Set some goals! I always find it easier to stay motivated when I’m working towards something; whether it’s for aesthetics or performance is up to you.

MO: Definitely push through the urge to stay inside and watch Netflix. We all want to do it! Especially when it’s miserable outside. But do yourself the favor and get over to the gym (or fitness class or studio or wherever you find your favorite workout).

SPH: Just getting to the gym or yoga studio can be difficult when is slushy and gross outside! Getting there is 90%. So do it! No excuses.

What are some of your go-to in-home workouts in case you don’t have time to hit the gym one day?

JD: I’m a huge fan of bodyweight circuit training; not only is a great way to burn fat and add muscle, but you can get a pretty serious workout done in only 20 minutes. Plus I find it a much better way to improve general athleticism than constantly lifting weights at the gym.

Try this as an example:

1. Squat jumps
2. Push ups
3. Plank
4. Burpees

Perform each exercise for 55 seconds, back to back, with 5 seconds in between. Once you’ve completed all 4 exercises, rest for 1 minute. That’s 1 round. Aim for 3-5 rounds for a gym-free pump burn. Head over to my Instagram page (@thejonnodavies) to see some of my workouts!

MO: I love me some high-intensity ab circuits at home on my yoga mat. Great quick way to get the workout in, and you can add some other body parts to the circuit as well!

SPH: I like to do 45 minutes to an hour of yoga, usually a simple flow. Then cycle through a full body circuit: burpees, squats, push ups, lunges, abs, repeat.

To see Jonno Davies, Misha Osherovich and Sean Patrick Higgins slaying the stage, head over to New World Stages to catch A Clockwork Orange before it closes on December 2. You can also follow them on Instagram at @thejonnodavies, @mishaosherovich and @sphiggs.

The post The Cast Of ‘A Clockwork Orange’ On Netflix And Getting Totally Ripped appeared first on Theatre Nerds.

Ten minutes into the production, I was in love. Experiencing the choreography, costumes, makeup and music, I instantly realized why “Cats” has become an international phenomenon. Sure, it has its issues — it’s not an emotional rollercoaster like “Dear Evan Hansen” or a global game-changer like “Hamilton — but it’s an undeniably fun and entertaining show.

Of course, I left the theatre with some questions, both for the actors and the creative team. Here are eight questions I kept thinking about on the subway home that you’ll probably also think when you see “Cats” for the first time:

1. How Do The Actors Not Go Crazy?

While I loved the music, it took me roughly three weeks to get “Jellicle Songs for Jellicle Cats” out of my head. Whether I was getting ready, at work or sleeping, I was entrapped by the catchy tune. Imagine singing it eight times a week for a year? Yep, I’d go crazy. That’s definitely some musical theatre overload.

2. How Do The Cats Keep Their Makeup Intact?

If you didn’t already know, “Cats” is an incredibly dance-heavy show. From flips to turns to every trick in the book, it’s one of the most physical shows on Broadway. Yet somehow, each cat’s extensive makeup stays intact throughout the entire production. Literally, how? It must be some of that Broadway magic.

3. Am I Mungojerrie or Rumpleteazer?

Mungojerrie and Rumpleteazer have one of my absolute favorite numbers in the show. And while the thieving duo are quite similar, they both have their quirks. The question on hand is, am I a Mungojerrie or a Rumpleteazer? Either way, nothing’s as fun as a mischievous evening in the junkyard.

4. Will I Ever Get ‘Memory’ Out of My Memory?

Much like “Jellicle Songs for Jellicle Cats,” Grizabella’s eleven o’clock number, “Memory,” is one of the most memorable songs of the musical. While it’s a gorgeous tune, I once again found myself stuck with her shrieks for love running through my ears wherever I went. At this point, I’ve accepted my fate. I am turning into a “Cats” jukebox.

5. Where Is Macavity?

‘Nuff said.

6. Where Is the Heaviside Layer?

At the end of the show, one of the cats is chosen to ascend to the Heaviside Layer to start its new life. Confusing? Yes. But the real question is, where exactly is the Heaviside Layer? Heaven? The North Pole? Who really knows?

7. How Are the Performers Still Alive?

Seriously, though. “Cats” is an incredibly demanding show. My knees were aching from just watching it. While all Broadway dancers have to take care of their bodies, the actors in “Cats” take a healthy living to a whole new level. Shoutout to them.

8. Can I Be a Jellicle Cat?

Please, Andrew Lloyd Webber. There’s truly nothing I want more.  

What questions did you have after you saw “Cats?” Let us know in the comments below…

The post 8 Questions You Ask After Seeing ‘Cats’ For The First Time appeared first on Theatre Nerds.

Once again, the answer to that question is complicated. However, social media and marketing expert Tony Howell thankfully took the time to speak with me on the matter and discuss how producers can begin to embrace technological advances while still maintaining the integrity and beauty of live theatre.

“I think it has a place in certain pieces,” Howell said of social media. “I don’t think it needs to take over, but I would like to see stories that include it because it’s part of the world we live in now.”

Recently, social media has been brought to the stage, most notably in the 2017 Tony Award winner for Best Musical, “Dear Evan Hansen.” But how can the audience use social media without interrupting the performance?

“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”

When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.

Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.

“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”

However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.

“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”

What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)

Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.

Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.

“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”

Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.

The post What Role Does Social Media Play In The Theatre? appeared first on Theatre Nerds.

Just like it’s fan base, Newsies has continued to live on with its first national tour and a filmed production that is now available for download. That’s not all: newsboys are now flipping their way into regional theaters all over the country, most recently at The Muny in St. Louis, Missouri. Among the tap-tastic cast is Daniel Quadrino in the role of Crutchie.

Quadrino’s journey with Newsies has been nothing short of amazing. He originally auditioned for the pre-Broadway production at Paper Mill Playhouse, making it to final callback before being cut. “I didn’t end up getting it, which was fine. Looking back on it, I wasn’t ready to be part of it yet. My dancing was not ready maturity wise.” he tells me during his lunch break on his final day of tech before opening at The Muny.

Far from giving up, Quadrino continued to audition for the musical as it transferred to Broadway at the Nederlander Theatre in 2012. A lesson in persistence and perseverance, he auditioned upwards of 20 times before booking it. Each time he was the cut, the show’s creative team continued to encourage him and motivate him to work harder. “They kept giving me feedback on what to work on, but the last time I went in I was like, ‘You know what? If this doesn’t happen, maybe I’m just not supposed to be in Newsies and I have to accept that.’ As soon as I let that go and stopped putting all that pressure on myself that I had to get the job, it happened.”

His final audition for the Broadway production is one that he’ll never forget.

“When I got the job, they called me back into the room after my final callback…and they were like, ‘We just have one more question. How would you like to be in Newsies?’ And I broke down and just started crying” Quadrino recalls, joy filling his voice.

Taking on the role of Albert while understudying Davey and Crutchie, Quadrino’s 11 months in the show were nothing short of spectacular. “My first performance was a blur, but it was definitely a dream come true.”

After the show’s closing, Quadrino’s career brought him roles in Wicked and NBC’s Peter Pan Live!, but his time with Newsies wasn’t over quite just yet.

This summer, Quadrino has had the pleasure of reprising the role of Crutchie twice: with the Pittsburgh Civic Light Opera in July and now at The Muny.

The fact that I get to play a role that is so close to my heart that was truly one of my dream roles is incredible,” he exclaims. “I love getting to do Crutchie’s song, ‘Letter From the Refuge,’ that was added because it was fun knowing Crutchie, but having new material to work on and make my own was really fun.

In the midst of musical theatre excellence, Quadrino is soaking in each moment with his crutch and gang of newsboys. “This group of boys is incredible; I’m in awe of watching them dance. Jay Armstrong Johnson, who is playing Jack, is so great and has a fresh new take on the Jack Kelly that we all know, which is so good. The whole cast is just so, so good. And it’s cool because I do know the show so well, but I kind of rerouted everything that I know and started from scratch to find Crutchie again.”

Especially now, with the current political and social state of the country, Quadrino is thrilled to be sharing this story with The Muny’s 11,000 seat house. “It’s really cool because it’s a whole new take on the show, but it still stays true to all the themes. It stays true to what the show is about: a bunch of people standing up to what is right. The story is so relevant and I’m so happy that we’re doing it here at the Muny this year with everything going on. I think that it will forever be relevant, and the fact that it will be in front of this many people is amazing.”

Looking back on his long path with Newsies and the persistence he showed over 20 times, Quadrino’s words of advice for his younger self are short, yet potent. “I always tell people this: it’s not a matter of if it’s going to happen, but when.”

For more information about The Muny’s current production of Newsies, visit www.Muny.org.

Follow Danny on Instagram & Twitter @dannyquad91

The post Carrying The Crutch Once More: Daniel Quadrino’s Inspirational Journey In ‘Newsies’ appeared first on Theatre Nerds.

A dancer from age 2, Bednarczuk always longed for a career on the Great White Way. When she endured trials, such as being rejected from college musical theatre programs, she pushed through and worked harder than ever to make it to where she is now.

Bednarczuk was kind enough to sit down with us at the Nederlander Theatre, the current home of “War Paint,” to talk about her road to Broadway, working alongside icons and the incredibly relevant story of this new musical.

Theatre Nerds: Before “War Paint” came to Broadway, you were involved with the Chicago production. What was your audition like?

Barbara Bednarczuk: I lived in New York for a while, but I felt the city wasn’t serving me, so I moved to Chicago. That was a year ago in January, and the first audition I went to was for “War Paint” at the Goodman Theatre. I booked it, and I was like, “Is this really happening?” So Chicago was where I needed to be for this to happen. So now I’m back here with purpose, and god, what a great purpose it is!

TN: So, what was your reaction when the show announced it was moving to Broadway and you would be moving with the company?

BB: I was in Israel on a ship, and it was like 2 a.m. there, and I’m in the port trying to get decent internet connection to call back here to my agent, who was like, “I hope you’re sitting down. You’re going to be on Broadway.” I was literally in the middle of this abandoned port at two in the morning screaming my face off.

TN: As a swing, you’re ready at the drop of a hat to go on for any one of the roles you cover. What was it like the first time you got the call that you would be going on that afternoon?

BB: It was Easter Sunday, so I called my mom on my way to the train and was like, “Guess what the Easter Bunny brought me this year?” and I said, “My Broadway debut!” I got to the theatre at about noon, just for my brain, and walked through the staging just for myself so that it was in my body, then had to go to wardrobe and hair and have them tweak some things. Then, I talked through my costume changes with my dresser, since there are a lot in the show. Then, I got my face on and was ready to go. Everyone was so supportive, and it was just so amazing. When I was bowing, I was like, “I’m bowing on Broadway. Who am I?”

TN: The show centers on the cosmetic industry. Had you an interest in that world prior to being in the show?

BB: When I auditioned for the show, no one really knew much about it at all except for that these names were attached to it. So, I did a little research on my own before I went into that first dance call and found out a little about these two women and who they were, and that they had created these empires and created what is now a multibillion-dollar cosmetic industry that affects everyone.

TN: Let’s get real. What is it really like getting to perform with Patti LuPone and Christine Ebersole every day?

BB: Before the process began, it was like an idolizing kind of thing, because they’re amazing. Seeing them and working with and just talking to them over lunch, they’re just humans, and this is what they do, and they do it so, so well. Just to see them work has been a masterclass every single performance and every single rehearsal. The caliber of everyone’s professionalism and dedication is jaw-dropping, and I feel so at home within it. I guess the nicest part of working with them is that they’re human and they’re lovely, and they just happen to possess this amazing talent.

TN: Why does Broadway and the community need to hear the story of “War Paint” right now?

BB: Right now, it seems imperative for such a story to be told and for everyone to realize that this situation has been happening for a very long time. It’s about women in business and women who were the titans of their companies, and that was not heard of during that time period at all. So we really grapple with that as well as the fact that both of these women were immigrants. They were not American, yet they were all about the American Dream and what it means to be an American woman. It’s nothing new, but people are now starting to be incredibly vocal about it.

TN: What advice would you give to your younger self about pushing through roadblocks and making it to Broadway?

BB: Keep doing what you love, always. When something doesn’t feel right, find what does and keep doing it. I was never afraid to travel for jobs, and I always put myself out there. It’s not always easy, but it’s worth it.

The post Interview With ‘War Paint’s’ Barbara Jo Bednarczuk appeared first on Theatre Nerds.

Do what you love, loudly and proudly and fully, without asking for anyone else’s permission

I’ll be honest: I thought I knew pretty much everything about Broadway up until a year ago. I had immersed myself in theatre and its history for years and was always spewing facts to everyone, whether or not they were interested. And that’s when I discovered Jennifer Ashley Tepper, Director of Programming at Feinstein’s/54 Below and author of “The Untold Stories of Broadway,” and quickly realized that my knowledge was minimal compared to her. After devouring each story in her book, I quickly became obsessed and was so glad she agreed to answer some questions for Theatre Nerds!

Theatre Nerds: What was your first exposure to theatre and when did you decide that you wanted a career in this industry?

Tepper: “My first exposure to theatre was seeing national tours of Fiddler on the Roof and A Chorus Line and movie musicals like My Fair Lady and (Bette Midler) Gypsy. I loved them. The theatre bug truly bit once I was sent to theatre summer camp in Florida at the age of 9. I was in Annie, and it was the best experience of my life. After I got my mom to buy me the Annie cast recording, the only thing in the world I wanted was more cast recordings! From that point on, I was obsessed, and I knew that I’d work in the theatre in some capacity, someday.”

TN: You currently work as the Director of Programming at Feinstein’s/54 Below and produce many amazing concerts each year. Do you have a favorite?

Tepper: “Because I program hundreds of concerts every year at Feinstein’s/54 Below, it’s become impossible to pick favorites! I love getting to be involved with such a variety of shows, from artists’ first solo concerts, to new musicals that are being heard for the first time, to the resurrection of underappreciated musicals of the past, to legends I have admired for awhile taking our stage. It’s illuminating to work on so many different kinds of evenings at the same time, because I get to have involvement in so many different corners of the theatre community.”

TN: Let’s talk about your book series, “The Untold Stories of Broadway.” When did you first get the idea for the series?

Tepper: “I have always been fascinated by the Broadway theaters themselves and how they house and impact all of the life that goes on inside of them. The idea of exploring Broadway history by focusing on one theater at a time really came to me while working on [title of show] at the Lyceum in 2008. At that time, I became aware of just how fascinating and unique each Broadway theater is, and how significant it feels to be part of the legacy of a specific house.”

TN: How did you go about writing the book, from interviews to publishing?

Tepper: “I met Brisa Trinchero and Roberta Pereira, who are the founders of Dress Circle Publishing, and pitched the book to them. They’ve been instrumental and so smart on every step of the Untold Stories of Broadway journey. The interviews have been a wonderful, gigantic undertaking. I did about 200 interviews before writing the first volume of the book, and about 30 interviews prior to each subsequent volume. I collect stories about each theater a professional has worked in, and then I tackle eight houses at a time, in each volume. So there are many stories from those first 200 interviews, largely conducted in 2013, that haven’t been published yet, because I haven’t gotten to those particular houses yet! It’s a process that requires both creativity and organization at all times. My aim is always to feature a variety of different kinds of theatre professionals, and people from different perspectives and backgrounds. I try to cover as much time in each theater as possible, so whenever I’ve been able to interview someone about working on Broadway in the 1940s, 1950s, or 1960s, I’m really happy. I want to tell as full a story as possible about what has happened in each theater.

TN: The third volume of “The Untold Stories of Broadway” is coming out this fall. What can audiences expect from it?

Tepper: I’m so excited to share the third volume with readers! The theaters in the third volume are the Belasco, Broadhurst, Edison, Lyric, Majestic, Schoenfeld, St. James, and Walter Kerr. There are more ghost stories than in previous volumes, and several chapters have a specific focus in a way I haven’t done in previous volumes. For example, the Schoenfeld has an extraordinary history of theatre written by women so I zoom in on that a bit, from the fact that the theater opened with two plays in a row written by female artists, to more recent shows like The Heidi Chronicles and Runaways. It was really fun to tackle the story of the Edison, which is no longer a Broadway house. We have one ‘lost’ theater in each book. And then there are certain shows that I was able to interview a number of participants from, that get in-depth sections in the book, from The Producers to Angels in America to Phantom of the Opera to Ragtime. There are also 30-some new interviewees appearing for the first time in volume three, and we’re going to announce who those are soon!

TN: Your career has been extremely successful and jam-packed with fun and exciting projects. How do you maintain such a busy schedule on the regular basis?

Tepper: “I think the key is a good balance of multi-tasking and knowing when you need to focus on only one thing. Also, I rarely if ever procrastinate. There’s so much I want to do that procrastinating just means I won’t get to do something I want to do later, because I wasted time now. That feels very New York; probably a lot of New Yorkers operate that way. That’s not to say there’s not a time and a place for relaxing, letting your mind wander, and doing things that aren’t high octane on a daily basis. But if I’m doing work, I tend to reach a high level of efficiency by never hesitating on a task, and moving quickly and with focus.”

TN: What are some of your aspirations for the future?

Tepper: “I’d like to be able to make musicals I believe in happen in full productions, whether that’s new musicals or underappreciated musicals of the past. I’m excited to make theatre history and the present come together in more unexpected ways, and I am looking forward to working on projects I don’t even know about yet! I’d like to be somehow involved with a new Broadway theater coming to life during my lifetime.”

TN: What advice would you give to someone who is looking to have a career similar to yours?

Tepper: “Do what you love, loudly and proudly and fully, without asking for anyone else’s permission. That thing will turn into your career if you are persistent and proactive in a quest to collaborate, learn, and contribute. Also, you don’t have to only do one thing! Explore all of the possibilities. Figure out what makes you unique and then hone that and tell the world about it.”

Follow Jennifer on Instagram and twitter @jenashtep and visit www.jenniferashleytepper.com for more about information.

The post Interview With 54 Below Director Jennifer Ashley Tepper appeared first on Theatre Nerds.

1. Rush Tickets

Rush tickets began in 1996, when “Rent” brought a whole new audience to broadway. To help accommodate for the widespread popularity of the show, rush policies were made. Rush tickets are sold the day of the show when the box office opens, usually around 10am. The tickets are listed at a discount price, ranging usually between $25 and $45. However, the number of rush tickets available is limited, so hopefuls should arrive at the theater prior to the box office opening  to beat the potential crowds. Most theatres allow two rush tickets to be purchased per person. However, some only allow one, so it is wise to check the shows policies online prior to going to the theatre. There are three types of rush tickets: The first are general rush, which are available to the entire public. Student rush tickets are available with a valid student ID shown at time of purchase. The third is senior discount, which is available to seniors around the ages of 62 to 65 years old.

2. Lottery Tickets

Most shows that do not have rush policies partake in a lottery. This allows theatre goers to enter their name in hopes of being picked to receive discounted tickets, usually priced the same as rush tickets. Lotteries are held the day of the performance, usually two and a half hours before the show begins. Winners are then picked two hours before the performance. In some cases, such as with shows and “Fun Home,” lotteries are held digitally. Digital lotteries, however, vary from show to show. “Fun Home” holds its digital lottery beginning at midnight each day through the TodayTix app. Lotteries are much less reliable than rush tickets. Depending on the show and day of the week, a large amount of people could potentially enter the lottery. For instance, this season’s most talked about musical, “Hamilton,” holds a lottery in which twenty or so selected winners receive $10 tickets to the show. Only $10 to see Broadway’s hottest musical? Sounds great! But thousands of people enter the lottery every single day. This makes the chances of winning extremely slim. For shows that are not so new, however, such as “Wicked,” chances of winning the lottery are significantly higher.

3. Standing Room

When a performance is entirely sold out, some shows, such as “Chicago” and “The Color Purple,” sell a limited number of standing room tickets. These tickets, in which you must stand for the show, are available on the day of the performance. Usually priced between $20 and $30, each customer is allowed to purchase two tickets by means of cash or credit.

4. TodayTix App

The TodayTix app was launched in 2013 by Tony Award-winning producer Merritt Baer and his childhood friend and fellow producer Brian M. Fenty. TodayTix is the first app to offer discounted, last minute theatre tickets. Buyers can check the app a few days in advance up until a few minutes before curtain to get great seats at discounted seats. TodayTix is available for free on both Android and Apple devices. For more information, visit www.todaytix.com.

5. TKTS Booth

Though tickets at the TKTS Booth may be a bit more expensive than methods already mentioned, it is still a great way to get discounted tickets at last minute. With three locations in New York City, the largest directly in Times Square, the booth sells unsold theatre tickets at up to 50% off. The booth also sells full price tickets to future performances as well as discounted day off tickets. For more information, visit www.tdf.org.

We are so thankful for these policies that allow us to get discounted tickets to our favorite Broadway show! For a full list of rush, lottery, and standing room only policies, GO HERE

The post Broadway On A Budget: 5 Ways To Get Discounted Tickets appeared first on Theatre Nerds.

Paramour is a brand new musical by circus extraordinaire Cirque Du Soleil.  It tells the story of Indigo, a stunning upcoming performer who is faced with a difficult decision: love or art? Set in the Golden Age of Hollywood, the musical combines spectacle with classic Broadway into a visually stunning two hour and fifteen-minute performance.

Among the incredibly talented cast of acrobats and performers is Bret Shuford. Having appeared on the Great White Way numerous times before, Shuford is now delighted to be involved in this invigorating, new production.

Shuford grew up in Texas and began performing around the age of six. Upon attending a children’s educational theatre group, he knew that his destiny lay on the stage. “When they finished performing songs about not talking to strangers and not doing drugs,” Shuford explains, “I just started crying. My mom thought I got stung by a bee and once she calmed me down I was like ‘I just want to do that!’”

Upon obtaining a degree in theatre from Wagner College, Shuford made his Broadway debut in Chitty Chitty Bang Bang in 2005. The experience was an eye-opener for the new actor as he further explains. “It was interesting because I was so green and had such little experience. Honestly, I was just so excited that I couldn’t see a lot of the flaws until later. I had idolized Broadway for so long but you kind of start to realize that commercial theatre is about making money, and that was the job that made me realize that this is a business. Broadway is magical at times, but in the end, it’s about making money, and that job really showed me what Broadway is.”

Shuford then went on to perform alongside the companies of Beauty and the Beast, The Little Mermaid, and Amazing Grace before joining the team of Paramour. The show’s audition process was quite different than most Broadway musicals, however. “They didn’t have anything really written when I went in for auditions. They had some scenes written, but no songs, which was sort of weird,” Shuford tell us. “Typically, for most musicals, you have to learn something from the show for an audition, but I just had to sing my own song. And a lot of the creative team wasn’t even present; they were putting us on tape and sending the tapes off to Montreal so that the creatives could choose people off the tapes.”

And once the cast was hired, rehearsals also were very different from what Shuford was used to. “It was a lot of navigating and sort of figuring out how Cirque works, which is totally different than the way theatre works. Their process is very different; there isn’t much preparation. Their process is just to do it, hire these people, throw them in a room for five months, and they will all create together, and that was so interesting yet incredibly challenging because everyone has their own way of working and their own needs. What everyone does is so specialized that sometimes those things don’t always match. But in the end, I think it came out to be a really interesting show and that’s what the creative team was going for.”

Shuford tells us that Paramour is unlike anything ever seen on Broadway before and its interesting take on theatre is what draws audiences to the musical. “I think you get to see the extremes in which the body, not just the human body but the imagination, can go.”

Aside from performing, Shuford is also a certified life coach. Having served as the lead coach at Actor Salon in New York, he decided to receive his iPEC certification and open up his own studio, Broadway Life Coach. “I’ve always been one of those people who people come to for advice and that has just been something that has naturally been built into my DNA,” he explains. “I started to realize that I have a lot of advice to give. I started coaching unofficially and I was really good at it which sort of surprised me, so I decided to get my certification as a life coach this last year and I have officially started working as the Broadway life coach. I mostly focus on people in show business because that’s a lot of what I know, but I’ve coached some outside of show business as well, especially since I’m now certified.”

As a life coach, Shuford has many pieces of advice for aspiring performers, one of the most important being to have a life outside of performing. “Be human!” Shuford exclaims. “Find the things that interest you outside of the theatre and do them because that’s what’s going to make you so much more interesting as an actor. If the only thing you can talk about is what shows are opening this season and the Tony Awards, you just become this sort of robot, and it’s so much more interesting to just be human.”

Follow Shuford on Instagram and twitter @BretShuford and learn more about him at BretShuford.com

The post Cirque du Soleil On Broadway: Interview With Paramour’s Bret Shuford appeared first on Theatre Nerds.