Reaction: OMG
Subterms
WP_Query Object
(
[query] => Array
(
[paged] => 13
[reaction] => omg
)
[query_vars] => Array
(
[paged] => 13
[reaction] => omg
[error] =>
[m] =>
[p] => 0
[post_parent] =>
[subpost] =>
[subpost_id] =>
[attachment] =>
[attachment_id] => 0
[name] =>
[pagename] =>
[page_id] => 0
[second] =>
[minute] =>
[hour] =>
[day] => 0
[monthnum] => 0
[year] => 0
[w] => 0
[category_name] =>
[tag] =>
[cat] =>
[tag_id] =>
[author] =>
[author_name] =>
[feed] =>
[tb] =>
[meta_key] => _whp_hide_on_archive
[meta_value] =>
[preview] =>
[s] =>
[sentence] =>
[title] =>
[fields] => all
[menu_order] =>
[embed] =>
[category__in] => Array
(
)
[category__not_in] => Array
(
)
[category__and] => Array
(
)
[post__in] => Array
(
)
[post__not_in] => Array
(
)
[post_name__in] => Array
(
)
[tag__in] => Array
(
)
[tag__not_in] => Array
(
)
[tag__and] => Array
(
)
[tag_slug__in] => Array
(
)
[tag_slug__and] => Array
(
)
[post_parent__in] => Array
(
)
[post_parent__not_in] => Array
(
)
[author__in] => Array
(
)
[author__not_in] => Array
(
)
[search_columns] => Array
(
)
[post_type] => Array
(
[0] => post
[1] => snax_quiz
[2] => snax_poll
)
[orderby] => date
[order] => DESC
[meta_compare] => NOT EXISTS
[ignore_sticky_posts] =>
[suppress_filters] =>
[cache_results] => 1
[update_post_term_cache] => 1
[update_menu_item_cache] =>
[lazy_load_term_meta] => 1
[update_post_meta_cache] => 1
[posts_per_page] => 36
[nopaging] =>
[comments_per_page] => 40
[no_found_rows] =>
[taxonomy] => reaction
[term] => omg
[plugin_required_notice_slot_id] => Before content theme area
)
[tax_query] => WP_Tax_Query Object
(
[queries] => Array
(
[0] => Array
(
[taxonomy] => reaction
[terms] => Array
(
[0] => omg
)
[field] => slug
[operator] => IN
[include_children] => 1
)
)
[relation] => AND
[table_aliases:protected] => Array
(
[0] => wpsu_term_relationships
)
[queried_terms] => Array
(
[reaction] => Array
(
[terms] => Array
(
[0] => omg
)
[field] => slug
)
)
[primary_table] => wpsu_posts
[primary_id_column] => ID
)
[meta_query] => WP_Meta_Query Object
(
[queries] => Array
(
[0] => Array
(
[key] => _whp_hide_on_archive
[compare] => NOT EXISTS
)
[relation] => OR
)
[relation] => AND
[meta_table] => wpsu_postmeta
[meta_id_column] => post_id
[primary_table] => wpsu_posts
[primary_id_column] => ID
[table_aliases:protected] => Array
(
[0] => wpsu_postmeta
)
[clauses:protected] => Array
(
[wpsu_postmeta] => Array
(
[key] => _whp_hide_on_archive
[compare] => NOT EXISTS
[compare_key] => =
[alias] => wpsu_postmeta
[cast] => CHAR
)
)
[has_or_relation:protected] =>
)
[date_query] =>
[queried_object] => WP_Term Object
(
[term_id] => 563
[name] => OMG
[slug] => omg
[term_group] => 0
[term_taxonomy_id] => 563
[taxonomy] => reaction
[description] =>
[parent] => 0
[count] => 617
[filter] => raw
)
[queried_object_id] => 563
[request] => SELECT SQL_CALC_FOUND_ROWS wpsu_posts.ID
FROM wpsu_posts LEFT JOIN wpsu_term_relationships ON (wpsu_posts.ID = wpsu_term_relationships.object_id) LEFT JOIN wpsu_postmeta ON ( wpsu_posts.ID = wpsu_postmeta.post_id AND wpsu_postmeta.meta_key = '_whp_hide_on_archive' )
WHERE 1=1 AND (
wpsu_term_relationships.term_taxonomy_id IN (563)
) AND (
wpsu_postmeta.post_id IS NULL
) AND ((wpsu_posts.post_type = 'post' AND (wpsu_posts.post_status = 'publish' OR wpsu_posts.post_status = 'acf-disabled')) OR (wpsu_posts.post_type = 'snax_poll' AND (wpsu_posts.post_status = 'publish' OR wpsu_posts.post_status = 'acf-disabled')) OR (wpsu_posts.post_type = 'snax_quiz' AND (wpsu_posts.post_status = 'publish' OR wpsu_posts.post_status = 'acf-disabled')))
GROUP BY wpsu_posts.ID
ORDER BY wpsu_posts.post_date DESC
LIMIT 432, 36
[posts] => Array
(
[0] => WP_Post Object
(
[ID] => 7856
[post_author] => 736
[post_date] => 2017-03-20 11:14:59
[post_date_gmt] => 2017-03-20 15:14:59
[post_content] => If you think social media is just a platform to post news and chat with friends, think again! It’s one of the fastest, easiest and most fun ways to advertise your school musical. Not to mention, it’s free! Check out these 10 tips to create buzz, develop a fanbase and get people in the seats at your upcoming production.
Did you love “Smash” and all the inside scoop into the rehearsal process for “Bombshell?” Well, why don’t you do the same? Film short rehearsal clips and have all the cast members post them on their social media feeds. Of course, make sure to put the link to buy tickets at the bottom of the video as well.
Whether on video or in written form, interviews are a great way to get to know your cast and generate interest in your upcoming school musical. Make sure to keep your questions related to the show, because asking the leading lady what her favorite color is isn’t exactly going to help sell a ticket. Post short sound bites to Twitter and Instagram and the longer interviews on Facebook. You can even go live on Facebook or Instagram and show interviews in real-time. Make sure to have the person being interviewed give a shout out about the performance information and how to buy tickets.
Have those students handy with iMovie put together a montage or documentary-style movie about the history of the musical you’re mounting. Members of the cast can even host! You can add Broadway production photos found online to make the video fun and interesting (just remember to give credit to applicable parties at the end of the video to cover copyright). And, don’t forget to make sure to link to where your viewers can buy tickets to your school production.
Take your viewers on a journey through all the nooks and crannies of the stage areas, hidden traps, dressing rooms and light booths. This will help entice those watching to want to see what happens onstage during the performance. A great tip is to make sure to end the tour at the box office, so your followers know that’s the place to buy tickets.
Everyone loves free stuff, or what insiders like to call “swag” in the performing world. So, why not hold contests or giveaways that include fun souvenirs that have to do with the school musical? T-shirts, mugs and cast-signed posters are great examples of giveaway items that are easy to make with the help of an artistic or tech-savvy company member. Make sure your items contain the show information so those who win or those who see the winners wearing or using your swag know when your musical is happening and how to get tickets.
Use social media to plug the show by offering specific discounts to your followers. The audience will keep coming back to your social media feeds to see which new discounts have become available and hopefully make a purchase. Not only is this a great way to generate buzz for your school musical, but you’ll sell tickets before you even open. How awesome is that?
Don’t you love those trivia games on Facebook, Twitter and Instagram? Why not be creative and post some trivia on your school musical? Not only will a game keep your followers engaged, having fun and learning something about your upcoming show, but it may also entice them to join you at the performance or spread the word to other friends not on your feeds. With a simple Google search, you can find many websites and programs that can help you set up the perfect trivia test, or create one of your own using one of your computer-savvy castmates. Last, make sure to include links to performance information with every trivia post.
A lot of the time, the stuff that happens behind the curtain is just as interesting as what happens onstage. You can use social media to show videos and pictures of the stage set being built, the costumes being sewn and the lights being hung. You can even interview those working offstage to get an idea of what their particular jobs are like in making your school musical look and sound amazing. These posts are rewarding because your viewers can start to understand the whole process of how a musical is put together. People will be more inclined to buy a ticket so they can see what the final product will look like.
Use a song from the show and create a music video. It can be within the confines of the show or something completely different. Either way, make it fun and include many of your onstage and backstage company members. A music video will get your viewers talking and singing along and hopefully lead them to buy tickets so they can hear the rest of the score in all its glory during your performance.
Choose performers or backstage participants to do a photo scrapbook of their day from going to class through rehearsal and/or doing a performance in the evening. These photos can be shown all together in a collage or posted over the course of a day or week on your social media pages. Not only does it create some great content to advertise your school musical, but it also shows the audience how wonderful and challenging it is to work as a performing artist.
Though people had mixed reactions to the casting of Emma Watson and Dan Stevens in this film, we can all agree that casting Josh Gad as LeFou was, in a word, perfect. This “Book of Mormon” star is also a Disney vet at this point, becoming a household name through his performance as “Olaf“ in “Frozen.” Check out Gad’s singing chops and pure hilarity in the song “Gaston.”
https://www.youtube.com/watch?v=UAT1RenTAeI
Does Audra McDonald even need to audition for her roles anymore? This dynamic lyric soprano is known for her performances in “Ragtime,” “A Raisin in the Sun” and “Porgy and Bess” but she’ll be knocking off more than socks as the Garderobe in this Disney classic. You may recognize her from the “Grey’s Anatomy” spinoff “Private Practice,” but you haven’t lived until you’ve heard her distinctive voice completely slay anything it touches. Just give the new tune “Aria” a listen and see for yourself.
https://www.youtube.com/watch?v=UoYZOA99aRk
Ewan McGregor is a movie-musical veteran at this point; who could forget his stint as the lovestruck poet Christian in “Moulin Rouge?” In this film, you’ll catch him telling jokes and doing tricks with his fellow candlesticks as Lumière. Get ready to watch him prove that the greatest thing to ever learn is just to love and to be loved in return — surrounded by a castle full of singing kitchenware.
Luke Evans will be a little more familiar to theatre nerds across the pond, as he starred in “Rent,” “Miss Saigon” and “Piaf” in the West End before he charmed America with his role in “Clash of the Titans.” Evans’ good looks and powerful voice will make you forget for half a second that he’s supposed to be the villain in this movie. In this role, he definitely goes to show that “no one sings like Gaston” as well.
Boasting a Broadway career that has spanned from 1973 to the present, Kevin Kline is no stranger to the Great White Way. His impressive credits include stints in “The Robber Bridegroom,” “On the Twentieth Century” and “The Pirates of Penzance.” In “Beauty and the Beast,” he’ll be portraying crazy, old Maurice, Belle’s father. He even gets his own song in the movie, called, “How Does A Moment Last Forever.”
https://www.youtube.com/watch?v=KZkNgfvBdY8
What would “Beauty and the Beast” be without the anxious Cogsworth waddling around the castle trying to keep everyone in line? Fortunately for theatre lovers, this role will be portrayed by the legendary Sir Ian McKellen, who has graced Broadway stages many a time in various drama roles, such as “No Man’s Land” and “Waiting for Godot.”
Taking on a role originated by the amazing Angela Lansbury is no easy feat, but TV and film favorite Emma Thompson is doing just that in her portrayal of Mrs. Potts. This isn’t the first time this has happened, either, as both of them have portrayed Mrs. Lovett in “Sweeney Todd: The Demon Barber of Fleet Street” (at least Mrs. Potts is a tad less sinister). It was no secret that all ears would be on Thompson as she tackled the iconic titular song, but her rendition is definitely giving us all the feels.
https://www.youtube.com/watch?v=GNA-iBt_UWM
There are many apps to choose from that let you work out when and where it’s convenient for you. Some apps are free and will offer in-app purchases to go to higher levels. Other apps charge money but are usually cost-effective and definitely cheaper than the gym. Not sure whether it’s a good app? A quick read of reviews should give you a feel for it. Not sure where to start? Try Sworkit, Yoga Studio or 7 Minute Workout Challenge.
Don’t have money for dance classes? Thanks to YouTube, you can have dance teachers available 24/7 at the touch of a button, free of charge. If ballet is your bag, dance teacher Kathryn Morgan offers a playlist of ballet barre workouts on her channel. Hip-hop lovers can find inspiring routines and dance tutorials by choreographer Matt Steffanina on multiple channels. Whatever your dance preference, YouTube is likely to have it. It’s a great way to improve your dance moves while also clocking some cardio.
This site is a gold mine for fitness ideas. Trainers, health magazines and websites have created workouts, and Pinterest has done us all a solid by organizing a multitude of them in one place. There are even workouts to go along with TV shows so you can catch up on your favorites while getting fit — all from the comfort of your living room. Pin them to your board, or print them out for an instant on-the-go trainer.
You don’t need a fancy, expensive treadmill to exercise when it’s free to do so outdoors. If you happen to live in an area where extreme weather is part of the regular fun of your day, it doesn’t mean running is out of the question. Check online to see whether there is an indoor walking/running track in your area. Some shopping malls even have designated days where you can walk or run inside.
Fit For Broadway is a great asset for actors and dancers alike. The blog, created by Jane Jourdan, explores how health and fitness are an important foundation for the success of every performer. Jourdan’s easy-to-navigate website offers readers Broadway interviews, workouts, recipes and more, all filtered through the performer lens.
What’s great about jumping rope is that it’s fast, fun and an activity you can do anywhere. It’s an excellent form of cardio that even celebs such as Kate Hudson have included in their workouts. Stick to the schoolyard basics or check out YouTube for videos that will show you different moves to incorporate for a more intense session.
This seems like a simple one, but this regular part of your day is more effective than you might think. While this can’t be your only form of exercise, your health will certainly benefit from using the stairs on a regular basis. Plus, it’s always less crowded than an elevator or escalator, so you’ll save time. Win!
While this isn’t a method of exercise, it’s still important to mention. Eating right is a significant part of getting your body in shape. Ensuring you are consuming a balanced diet and maintaining a healthy body weight is all part of the package. And while it’s been said before, it’s worth repeating that you have to hydrate to dominate. Always carry your water bottle and be sure to fill it up throughout the day. Don’t wait until you’re thirsty to have a drink, since dehydration can start long before that. Drinking water regularly and eating a balanced diet will keep you fueled through those long rehearsals and help you perform at your highest levels.
Health is a crucial part of any performer’s life, and it looks different for everyone. Don’t be afraid to start slow and try different methods of exercise until you find what works best for you. So, grab your playlists and, in the words of the infamous Schuyler sisters, get ready to work!
“Maxamoo” is the one and only resource to know what’s hot and what’s not on the New York City theatre scene. Not only does it cover the best of the best (no matter the theatre or marquee size), but it also hosts discussions with playwrights and performers. This is a one-stop shop for all things NYC theatre.
“Kahnversations” is a podcast that features stories from actors, writers and directors who are currently in the midst of breaking into the business “while their battle scars are still fresh,” as the podcast puts it. Instead of hearing those glossed-over “how-they-became-famous” stories from big-time stars, this podcast focuses on people booking their first big guest star role or booking series-regular gigs and just getting their names and faces recognized. This is a great place for knowledge and inspiration.
“Theatre People” touts itself as the only podcast that offers full-length interviews with Broadway’s best. They do weekly podcasts every Monday (until the Tony Awards, anyway) and have also launched a new podcast called “Broadway Backstory.” This audio documentary-style podcast covers everything from a show’s development from initial idea to the full-blown production. Check these podcasts out for some in-depth coverage of Broadway’s finest.
In this semi-weekly podcast, comedian Pete Holmes interviews fellow comedians (plus the occasional musician, scientist, author, etc.) and gets them to share their inner-weirdness. It’s the perfect podcast for the comedic actor, standup comedian or anyone who just loves comedy and a good time.
This is another great podcast that covers ground through the first rehearsal to opening night and beyond. “The Ensemblist” also takes a deeper look into the inner-workings of the all-important ensemble and how these performers help hold the show together. It’s a great place to pick up some knowledge and get yourself motivated.
Simply stated, Broadwaysted is about having a drink with your favorite Broadway stars. Bryan, Kevin & Kimberly speak with different members of the theatre community every week. A great alternative to traditional interview style, this podcast takes a more casual approach which tends to open up a different side of your favorite people.
Producer David Merrick[/caption]
David Merrick, sometimes referred to as the “Abominable Showman,” was a tyrant, a scoundrel and an absolute genius. One of the most prolific producers the theatre has ever known, Merrick was responsible for bringing to Broadway shows such as “Fanny” (1954), “Gypsy (1959), “Carnival!” (1961), “Oliver!” (1963), “Hello, Dolly!” (1964), “Promises, Promises” (1968), “Mack & Mabel” (1974), “42nd Street” (1980) and “State Fair” (1996), among many others.
In 1960, Merrick had 11 shows playing on Broadway, an astounding feat. All in all, 31 of Merrick’s productions were nominated for Best Play/Musical/Revival, with seven of those shows taking home the statue. When the Tony’s had a category for Best Producer of a Play/Musical, Merrick was nominated six times, won twice and won a special Tony Award in 1961 for “recognition of a fabulous production record over the last seven years” and another special Tony Award in 1968.
So, what made Merrick so different from other producers of the time? It certainly wasn’t his sunny disposition. His office above the St. James Theater was painted completely in a particular shade of red so that anyone coming to meet with him felt as though they were entering Hell. Merrick also made sure his desk was extra large and his guest chairs were slightly on the smaller side, so guests felt like they were cowering before the devil himself. One of his personal mottos was, “It’s not enough that I should succeed; others should fail.” As you may have guessed, Merrick believed strongly in getting the best of out of people using unbridled fear. He would threaten, berate and bring in replacements at the drop of a hat, all solely to scare people into working harder and faster.
As his famous nickname states, he was abominable. But, he was also a master showman. Merrick would stop at nothing to promote his shows, using every conventional method available. And when those didn’t work, Merrick employed one of his greatest skills, one that truly set him apart from the crowd: the publicity stunt.
One of the first shows Merrick produced on Broadway was a 1949 comedy called “Clutterbuck.” To generate ticket sales, he had the brilliant idea of going to almost every hotel lobby, swanky bar and social club in Manhattan during peak hours and have a “Mr. Clutterbuck” constantly paged. Soon, everyone wondered who this Clutterbuck fellow was, and it helped the show run many months longer than it would have.
Merrick’s first big musical was “Fanny,” a musical version of the “Fanny”/”Marius”/”César” trilogy by Marcel Pagnol, with a score by Harold Rome and a book by Joshua Logan and S.N. Behrman. Being his first show with his name solely above the title meant a lot to Merrick, and he was determined to have a hit, no matter what. Here are a few of the stunts Merrick pulled (or tried to pull) to promote “Fanny.”
In another ploy to publicize “Fanny,” Merrick made sure to cast famed belly dancer and gossip columnist sweetheart Nejla Ateş in a bit part in the chorus, though she appeared onstage for only about a minute. However, Merrick had a grander scheme in mind. He commissioned a sculptor to sculpt a nude statue of the dancer, which he then had installed in Central Park’s Poet Corner very late in the night. Early the next morning, he placed anonymous phone calls to both the police and press complaining about the vulgar statue. Sure enough, the statue and its removal caused quite a stir. Merrick also had an almost 12-foot photo of Ateş installed on the outside of the theater, causing several traffic jams as men would slow down to ogle the giant dancer. All the publicity helped “Fanny” play at the Majestic Theater for 888 performances.
One of the most legendary and brilliant (or devious, depending on whom you ask) stunts ever pulled by Merrick was the infamous newspaper ad for the musical, “Subways Are for Sleeping” in 1961. The musical, with a score by Jule Styne, Betty Comden and Adolph Green and starring Orson Bean, Sydney Chaplin, Carol Lawrence and Phyllis Newman, had opened at the St. James Theater to disappointing reviews. Ticket sales were slow and getting slower. The New York City Transit Authority had already put the kibosh on Merrick’s plans to flood the subway system with ads, fearing large signs reading “Subways Are for Sleeping” would essentially give permission to any homeless person to set up camp in the subway stations.
Merrick knew he needed to do something big to save the show, and he had just the plan. He scoured the country for seven people with the same names as the seven top New York theatre critics, such as Walter Kerr, Howard Taubman and Richard Watts. He then flew them all out to New York, wined and dined them, gave them prime seats to the show and then presented them with pre-made statements gushing over the show and asked if they agreed, which they happily did. Merrick then took out a large ad in the New York papers that body claimed that “7 Out Of 7 Are Ecstatically Unanimous About Subways Are For Sleeping.” The ad then had quotes from the “seven” gushing about the show, saying things like, “What a Show! What a Hit!” and "Subways Are For Sleeping is the Best Musical of this Century!"
As not to be accused of any wrongdoing, Merrick included a picture of the person attributed to each quote, knowing full well that most people would have no idea what the top seven critics actually looked like. However, the major newspapers did, and refused to run the ad, except for the Herald Tribune, which didn’t catch onto the ruse until a later edition. Merrick confessed later that he had that idea in his back pocket for many years but had to wait until critic Brooks Atkinson retired, as Merrick could never find anyone with that exact name.
By 1987, the musical “42nd Street” had been running for seven years and was losing steam. The show moved to the St. James Theater after being forced out of its second home, the Majestic Theater, to make way for the mega-hit “The Phantom of the Opera.” (Merrick would, of course, capitalize on this by having news cameras film the “42nd Street” cast, in full costume, tap dancing out of the Majestic and across the street into the St. James. Always a showman!)
When Merrick saw the throngs of tourists struggling to get tickets to the monster hit, he devised another scheme to make profit. He changed the starting times for “42nd Street” from 8 p.m. to 8:15 p.m. and from 2 p.m. to 2:15 p.m. on matinee days. He then had ads all over stating, “David Merrick is holding the curtain for YOU.” The idea was that anyone who was turned away from “Phantom” could still have time to walk across the street to catch “42nd Street.”
Merrick worked with famed director/choreographer Gower Champion on seven shows, including “Carnival!” “Hello, Dolly!” and “42nd Street,” which would be Champion’s final show. On Aug. 25, 1980, the day of “42nd Street’s” opening night, Merrick got a call that Champion was in the hospital and was not doing well (he had been diagnosed with a rare blood cancer in 1979). A small group of doctors and family (as well as Merrick) were there when Champion passed away at 1 p.m. Wanting to protect his opening night and milk the situation for all he could get, Merrick sprang into action. He immediately swore the family and doctors to secrecy about the death and called the full company into rehearsals for the entire day to insulate them from any possible rumors. The plan worked, and the opening night of “42nd Street” went off without a hitch.
As the cast took their bows to thunderous applause, Merrick took to the stage, his face sullen. When he spoke, he said, “It’s tragic,” to which the cast and audience laughed, believing this to be a joke after the triumphant performance. Merrick them told of the passing of Champion to the suddenly heartbroken cast, gasping audience and all the TV cameras Merrick made sure were in the back of the house to capture the moment for all of America to see. The show’s star (and Champion’s girlfriend) Wanda Richert buried her head, sobbing into cast member Jerry Orbach’s chest as he called for the curtain to be lowered as the crowd was left dumbstruck.
The horrendous stunt worked, and the immense publicity ensured the show had a long and profitable run. To many, though, it was inexcusable. To add insult to injury, shortly after the the show’s opening and Champion’s death, all the promotional material for the show was changed from "Gower Champion's 42nd Street" to "David Merrick's 42nd Street." Years later, when Richert confronted Merrick about the opening night incident and asked if he knew how crass it was, Merrick said that he did but that he “couldn’t help himself.”
When trying to think of a great female monologue from Shakespeare, this is the one that most often comes to mind. Lady M. has become one of the most iconic female characters in Shakespeare’s work. She’s far from innocent, and you can’t help but feel for her in this scene. This is perhaps one of the most, if not the most popular female monologue from Shakespeare.
Yet here's a spot.
Out, damned spot! out, I say!--One: two: why,
then, 'tis time to do't.--Hell is murky!--Fie, my
lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power to
account?--Yet who would have thought the old man
to have had so much blood in him.
The thane of Fife had a wife: where is she now?--
What, will these hands ne'er be clean?--No more o'
that, my lord, no more o' that: you mar all with
this starting.
Here's the smell of the blood still: all the
perfumes of Arabia will not sweeten this little
hand. Oh, oh, oh!
Wash your hands, put on your nightgown; look not so
pale.--I tell you yet again, Banquo's buried; he
cannot come out on's grave.
To bed, to bed! there's knocking at the gate:
come, come, come, come, give me your hand. What's
done cannot be undone.--To bed, to bed, to bed!
Getting the more well-known scenes out of the way, this is one of the greatest examples of a female having a breakdown in Shakespeare’s work. What is admirable about this scene is that it is not a very “woe is me” moment. This scene was not triggered by a failed romantic endeavor. Yes, Hamlet has been toying with Ophelia throughout the play up until this point and did tell her “get thee to a nunnery,” but she finally cracks when she loses her closest ally: her father. Though not a technical monologue, all of Ophelia’s lines combined in this scene make for a very dramatic read.
Where is the beauteous majesty of Denmark?
[Sings]
How should I your true love know
From another one?
By his cockle hat and staff,
And his sandal shoon.
Say you? nay, pray you, mark.
[Sings]
He is dead and gone, lady,
He is dead and gone;
At his head a grass-green turf,
At his heels a stone.
Pray you, mark.
[Sings]
White his shroud as the mountain snow,--
[Sings]
Larded with sweet flowers
Which bewept to the grave did go
With true-love showers.
Well, God 'ild you! They say the owl was a baker's
daughter. Lord, we know what we are, but know not
what we may be. God be at your table!
Pray you, let's have no words of this; but when they
ask you what it means, say you this:
[Sings]
To-morrow is Saint Valentine's day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.
Then up he rose, and donn'd his clothes,
And dupp'd the chamber-door;
Let in the maid, that out a maid
Never departed more.
Indeed, la, without an oath, I'll make an end on't:
[Sings]
By Gis and by Saint Charity,
Alack, and fie for shame!
Young men will do't, if they come to't;
By cock, they are to blame.
Quoth she, before you tumbled me,
You promised me to wed.
So would I ha' done, by yonder sun,
An thou hadst not come to my bed.
I hope all will be well. We must be patient: but I
cannot choose but weep, to think they should lay him
i' the cold ground. My brother shall know of it:
and so I thank you for your good counsel. Come, my
coach! Good night, ladies; good night, sweet ladies;
good night, good night.
Though a shorter monologue, Beatrice couldn’t be left off this list. She is one of the feistiest and and admirable female characters that Shakespeare has produced. She has many crazy one-liners, including “It is so, indeed; he is no less than a stuffed man: but for the stuffing—well, we are all mortal.” This monologue occurs after she is tricked into believing Benedict loves her.
What fire is in mine ears? Can this be true?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.
Though not the most empowering of strong female monologues from Shakespeare, this one is pretty infamous and well-written. Yes, this monologue requires a great deal of analysis to understand how this character got to this point when she started out more outspoken than Beatrice, but it’s still worth a read. Feel free to interpret this ending as you like.
Fie, fie! unknit that threatening unkind brow,
And dart not scornful glances from those eyes
To wound thy lord, thy king, thy governor.
It blots thy beauty as frosts do bite the meads,
Confounds thy fame as whirlwinds shake fair buds,
And in no sense is meet or amiable.
A woman mov'd is like a fountain troubled-
Muddy, ill-seeming, thick, bereft of beauty;
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body
To painful labour both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands
But love, fair looks, and true obedience-
Too little payment for so great a debt.
Such duty as the subject owes the prince,
Even such a woman oweth to her husband;
And when she is froward, peevish, sullen, sour,
And not obedient to his honest will,
What is she but a foul contending rebel
And graceless traitor to her loving lord?
I am asham'd that women are so simple
To offer war where they should kneel for peace;
Or seek for rule, supremacy, and sway,
When they are bound to serve, love, and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?
Come, come, you forward and unable worms!
My mind hath been as big as one of yours,
My heart as great, my reason haply more,
To bandy word for word and frown for frown;
But now I see our lances are but straws,
Our strength as weak, our weakness past compare,
That seeming to be most which we indeed least are.
Then vail your stomachs, for it is no boot,
And place your hands below your husband's foot;
In token of which duty, if he please,
My hand is ready, may it do him ease.
This monologue is not only passionate, but it’s a great example of role reversal. It’s not often that a female character gets a lengthy monologue to declare her love for a man in the bard’s work. For example, even a character as strong as Beatrice in “Much Ado About Nothing” is often upstaged by Benedict.
Helena’s monologue here also comes very early on in the play and establishes her character. She is very aware of her status, but she knows what she wants and will do anything to achieve it. Weird body swap to consummate her marriage aside, in full Shakespearean fashion, this monologue sets the stage for a very interesting character.
Then, I confess,
Here on my knee, before high heaven and you
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so's my love:
Be not offended, for it hurts not him
That he is lov'd of me: I follow him not
By any token of presumptuous suit;
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet, in this captious and intenible sieve
I still pour in the waters of my love,
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun, that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love
For loving where you do: but, if yourself,
Whose aged honour cites a virtuous youth,
Did ever in so true a flame of liking
Wish chastely and love dearly, that your Dian
Was both herself and Love; O! then, give pity
To her, whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But, riddle-like, lives sweetly where she dies.
Yes, it is corny and extremely well-known, but this list would not be complete without Juliet. While Juliet’s monologue after her cousin’s death was a close second, this list just needed a brief monologue about love and the optimism that occurs after meeting a cute boy at a party.
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
This play is often severely overlooked, as is the character of Hermione. The main issue with this play is that it’s hard to classify. Some say it’s a comedy, while others think it’s a romance. Though Hermione is not a main character throughout the whole play, the conflict between her and her husband drives the plot.
In this particular scene, she is defending herself after her husband has accused her of having an affair. She never once appears weak and holds her head high throughout the scene.
Sir, spare your threats:
The bug which you would fright me with I seek.
To me can life be no commodity:
The crown and comfort of my life, your favour,
I do give lost; for I do feel it gone,
But know not how it went. My second joy
And first-fruits of my body, from his presence
I am barr'd, like one infectious. My third comfort
Starr'd most unluckily, is from my breast,
The innocent milk in its most innocent mouth,
Haled out to murder: myself on every post
Proclaimed a strumpet: with immodest hatred
The child-bed privilege denied, which 'longs
To women of all fashion; lastly, hurried
Here to this place, i' the open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die? Therefore proceed.
But yet hear this: mistake me not; no life,
I prize it not a straw, but for mine honour,
Which I would free, if I shall be condemn'd
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
'Tis rigor and not law. Your honours all,
I do refer me to the oracle:
Apollo be my judge!
Like Lady Macbeth’s monologue, this one by Rosalind is also fairly well known. Rosalind is a big favorite as far as Shakespearean female leads go. She is strong, well-spoken and has a good deal of respect from those around her throughout the play. For those reasons, it’s not a surprise that she closes the play, though as she points out, “It’s not the fashion to see the lady the epilogue.”
It is not the fashion to see the lady the epilogue;
but it is no more unhandsome than to see the lord
the prologue. If it be true that good wine needs
no bush, 'tis true that a good play needs no
epilogue; yet to good wine they do use good bushes,
and good plays prove the better by the help of good
epilogues. What a case am I in then, that am
neither a good epilogue, nor cannot insinuate with
you in the behalf of a good play! I am not
furnished like a beggar, therefore to beg will not
become me: my way is, to conjure you; and I'll begin
with the women. I charge you, O women! for the love
you bear to women--as I perceive by your simpering,
none of you hates them--that between you and the
women the play may please. If I were a woman I
would kiss as many of you as had beards that pleased
me, complexions that liked me and breaths that I
defied not: and, I am sure, as many as have good
beards or good faces or sweet breaths will, for my
kind offer, when I make curtsy, bid me farewell.
If you’re a fan of jazz, look no further than Leslie Odom Jr.’s self-titled album. Riding high on the success of “Hamilton,” the former Aaron Burr re-recorded his 2014 solo album and released it again this past June. The album is a smorgasbord of jazz styles, from the bossa nova “Brazil (Aquarela Do Brasil)” to the bluesy first single “Autumn Leaves.” Odom Jr.’s smooth, sultry vocals are perfect for a romantic evening or just cruising through your weekend.
https://www.youtube.com/watch?v=kVJAc3nxhqY
Broadway legend Kristin Chenoweth has released multiple solo albums over the years, including a country-pop record, a Christmas recording and a Christian music album. But her most recent endeavor, “The Art of Elegance,” is sure to hit the spot with fans. The 13-track record is a mix of American classics, including Gershwin, Rodgers and Sinatra, all beautifully arranged to showcase Chenoweth’s stunning vocals and remind listeners why she’s Broadway royalty.
https://www.youtube.com/watch?v=5g1A4cUoUWg
This record is as quirky and lovable as Laura Benanti herself. The live album is a mix of fun anecdotes (sobbing at age 9 because her classmates didn’t know who Rosemary Clooney was), pop covers (she does a gorgeous rendition of Joni Mitchell’s “He Comes for Conversation) and Broadway performances (knocking it out of the park with “Unusual Way” from the musical “Nine”). The combination creates an album that is easy to take in from start to finish as listeners immerse themselves in Benanti’s captivating live show.
https://www.youtube.com/watch?v=dnmzCy_i0rU
This album has been around since 2004, so it definitely has that early 2000s vibe. In fact, it feels like the album Roger would have made had the story of “Rent” continued with a sequel showing what they did with their lives. It’s fitting, really, given that Roger was the role to launch Adam Pascal’s musical theatre career. If you’re a fan of bands like Fleetwood Mac or Matchbox Twenty, this album is for you. The tracks on the rock record, such as “Tomorrow and the Sun,” are cruisey in nature, making this the perfect album for your next road trip.
https://www.youtube.com/watch?v=hSc7WnBbagc
There’s no denying Audra McDonald’s incredible multitude of talents. She’s a successful actress on the stage and on television (does anyone else miss “Private Practice?”), a powerhouse vocal talent and a devoted wife and mother. Is there anything this woman can’t do? With all of this, she still has had time to release a few solo albums, including the 2006 record “Build a Bridge.” Her unique cover of John Mayer’s “My Stupid Mouth” is the perfect example of her ability to cross musical lines and dabble in pop music with ease. But she doesn’t completely abandon her musical theatre roots, including a gorgeous rendition of the melodic “Dividing Day” from the musical, “The Light in the Piazza.” It’s a lovely mix for anyone who appreciates beautiful vocals.
https://www.youtube.com/watch?v=yNNgrGVEeZU
The world has been in love with Alan Menken for years, and the successful composer has amassed a collection of awards to prove it. Adam Jacobs, on the other hand, has been winning hearts on Broadway since 2014 in the title role of the stage adaptation of “Aladdin,” one of Menken’s numerous Disney hits. The two have come together again as Jacobs takes on Menken’s other works in his solo venture, “Right Where I Belong” in which he covers hits from the composer’s vast catalogue. Prepare for nostalgia as Jacobs belts out classics such as “Go the Distance” and “Out There.” If you’re a Disney fan, this is definitely one to pick up.
https://www.youtube.com/watch?v=34yGM2n4Lvs
Whether you’re a rock music enthusiast, a lover of the classics or a Disney aficionado, the stars of Broadway provide a buffet of musical selections. So, grab a pair of headphones and let the listening begin!
Instead, make sure to take the time needed to study the sides/music given to you. Nobody behind the scenes expects perfection, but they do expect preparation. If you only care to look at the material right before you go into the audition room, those behind the table may also think you won’t take the time to do your actor homework once you’re hired for the gig.
Avoid wearing sweats or clothes that look like they were just pulled out of your pile of dirty laundry. Auditions are a job interview, and dressing to impress is important. That doesn’t mean you always have to wear a suit and tie or a nice dress, but you must comb your hair, put on your makeup and go in freshly pressed clothes that show a sense of style and personality appropriate for the show you’re auditioning for.
Wanna know how to really make casting and people behind the table angry? Be late for your audition appointment. Not only is it disrespectful of their time, but it also puts a dent into their packed schedule by possibly pushing other auditionees aside to accommodate you. Being late also gives the auditors a good indication that if they hire you, it’s very possible you will be late for rehearsals or even performances.
Be on time for your auditions, or better yet, be a few minutes early. It will give yourself peace of mind and give the casting team the ability to carry out their appointment schedule as they originally intended.
If you want casting to get to know you and your talents, show them the same respect. Take the time to research who you’ll be auditioning for. A Google search is a great place to start. Learn about their offices, the theatres they cast for, what the creative teams have written, etc. You will probably be able to glean who or what you may have in common with them. Not only is it just good to know, but it could help you spark or add to a conversation while in the room.
The most important business tool for an actor is a headshot and resume. If you don’t have one, you don’t look like a professional actor. That doesn’t mean the resume has to be full of credits to get you a job, nor does the photo have to be expensive. Just make sure the photo is 8x10 and looks like you and that the resume is clear, concise, one page and truthful. Last, make sure the resume is cut to 8x10 and stapled to the back of your headshot. You don’t want them to get separated or lost once they end up on the casting table.
Don’t ask questions you could have researched the answer to ahead of time. Take the time to read the script, Google the show, watch YouTube clips of previous productions and/or listen to cast albums on Spotify. There is no excuse for being an unprepared performer with the massive amount of information available on the internet or in your local library.
You’ve been given a scene that requires you to read alongside a stranger who is part of the creative team. The scene has a moment where you must kiss the other individual or hit them. DON’T DO IT! Physically, there should be an invisible wall between you and the reader, and while you can and should make eye contact with him or her, do not invade his or her personal space. Stage directions like that are done onstage after a rehearsal process. No one expects them to be done in an audition room.
This is a given no matter what. Don’t scare the people behind the table or make it seem like you have the potential to cause harm to yourself or others, even if you’re wielding a fake knife or child’s toy made to look like a gun/weapon. If a scene calls for it, just pretend.
A monitor, or someone who is helping to run your audition, is usually someone associated with the project you are auditioning for. Being rude or having a bad attitude in the waiting area is something the monitor will report back to the creative/casting team and could directly result in them deciding not to hire you before you even walk into the audition room. Instead, let your positive and professional personality shine through, even when you’re just sitting and waiting to be called into the audition room.
Being prepared and making educated acting choices on the material you’re performing in an audition is a wonderful thing. However, if you’re given feedback or direction once you’ve performed your prepared material, don’t be disheartened or not listen to and take the notes. This feedback usually comes for several reasons. Maybe the project is being approached differently than the norm and they want to have you try to redo your audition in a different way. Maybe casting just wants to see how you take direction like you would have to in a rehearsal process once you’re hired for a job. Or, maybe they just want to help you with your auditions with similar material in the future. Regardless of the reason, be open to it and accept it (at least while you’re in the room). Otherwise, the inability to do so could prevent you from booking this specific gig or other acting jobs with the same creative team in the future.
The mega-famous “Twilight” star says he “owes everything” to community theatre.
Before sinking his fangs into the hearts of teenage girls everywhere, Robert Pattinson discovered his love of acting in community theatre. Propelled by the desire to meet girls, he auditioned for a local amateur dramatic society, the Barnes Theatre Club, in Southeast London. Although he didn’t find a girlfriend there, a talent agent spotted him during a show at the theatre. As fate would have it, the agent introduced Pattinson to the then-director of “Harry Potter,” Mike Newell, who cast him as Cedric Diggory. The rest, of course, is history.
[caption id="" align="alignnone" width="789"]
Pattinson performing at the Barnes Theatre in London / Credit: Barnes Theatre Co.[/caption]
“I just decided that I should try to act,” Pattison told Mirror. “So I auditioned for ‘Guys and Dolls’ and got a little tiny part as some Cuban dancer, and then I got the lead part, and then I got my agent. I owe everything to the Barnes Theatre Club.”
Do you want to build a … banana? Prior to reaching stardom with hit films such as “Frozen,” Kristen Bell was vying for roles in community theatre. She “flipped out” and cried at her first community theatre audition for a part in “Raggedy Ann and Andy.” Bell told NY Daily News that she ended up being cast “in the complex and dual role of the banana in the first act and the tree in the second act.”
Bell continued acting in community theatre up until college, saying that the friendships she made encouraged her to pursue her passion.
Chris Evans didn’t start out as a superhero. The “Captain America” star grew up performing in community theatre, acting with his two sisters and his brother in a children’s company called the Concord Youth Theatre.
“Each of us have done at least 15 to 20 shows there,” Evans told Backstage. His family was so into the Concord Youth Theatre that when Evans was around 18, his mother took over as the artistic director there and has been ever since. Seeing his older sister, Carly, onstage inspired Evans to be an actor.
“Her play would end, and she’d get flowers and candy, and it just seemed like such a good time,” he said. “She was having a ball and hanging out with her acting friends — it just looked awesome. I was like, ‘I’ll give this a shot.’”
So, he got involved in the theatre. “I fell in love,” he said. “I started doing plays year-round. I was always onstage.”
The “30 Rock” and “Unbreakable Kimmy Schmidt” star credits community theatre for fostering her love of acting. In fact, Krakowski practically grew up at the Barn Theatre in New Jersey.
“My parents were involved in community theatre in New Jersey. Instead of hiring a babysitter, they would take me with them,” Krakowski told Newsday. “So my love of acting seeped in from watching my parents and seeing them have fun. When I was very little, I was in ‘A Christmas Carol,’ and my mom was Mrs. Cratchit. I also was in ‘Gypsy,’ and my dad was Herbie. Every time there was a part for a kid, they would see if they could sneak me in.”
https://youtu.be/GdlV5V8OlAg
With her “pitch perfect” presence, Anna Kendrick is currently a go-to performer for musical theatre films. Despite hitting it big with a Broadway role in “High Society” at age 12, the Oscar nominee’s first taste of theatre was through auditioning for local shows.
“My first audition was for ‘Annie,’ when I was like five years old and auditioning for community theatre,” the Maine native told E! News. The “Into the Woods” actress didn’t get the lead that time around, but she did play one of the other orphans in the production. Kendrick remembers the experience fondly, telling NPR that singing “Hard-Knock Life” was “the best.”
In an interview with The Portland Press Herald, Kendrick recalls doing multiple community theatre shows. “I think I only did shows at Lyric Theatre and smaller places,” she said. “I had some very formative experiences.”
Now a veteran performer of Broadway stages (not to mention a Tony and Emmy winner), Kristin Chenoweth started out learning the ropes on a community theatre stage. The “Wicked” star played in musicals such as “Anything Goes” at the Theatre Tulsa during her college years. Located in Oklahoma, Theatre Tulsa is the seventh longest-running community theatre in America and strives to educate artists through training and experience.
Chenoweth isn’t the only star to come out of the Theatre Tulsa, with actress Jeanne Tripplehorn and author Sam Harris receiving their first stage experiences there as well.
Although she is now a Hollywood darling (and a Best Actress winner!), Emma Stone began performing at a small theatre in her hometown in Arizona. The Valley Youth Theatre was a haven for Stone, who has said that performing helped curb her panic attacks when she was growing up.
Before leaving for California, Stone played in 18 different shows at the nonprofit theatre, including “Winnie the Pooh,” “The Princess and the Pea,” “The Little Mermaid” and “Cinderella.”
[caption id="" align="alignnone" width="428"]
Stone as Eeyore at VYT / Credit: VYT.[/caption]
Bob Cooper, an acting coach at VYT who has known Stone since she was 11, revealed in an article with Daily Mail that she credits the local theatre for giving her the skills she needed.
“Thank you thank you thank you,” she wrote to him. “It’s all because of you.”
Whistling while onstage or backstage in a theatre has long been considered bad luck. This superstition stems from the time before mechanized sets and backdrops. Back then, all the rigging for the sets, lighting, etc., was all operated by hand using ropes. As such, the backstage crew was often filled with sailors, as they literally “knew the ropes.” Just like on a ship at the time, commands and signals were given with distinct whistles. Therefore, if an actor or someone else were to nonchalantly whistle, it could cause confusion and ruin the show.
While theatrical costumes are now often bright, flashy and full of color, two colors used to be off-limits for the superstitious actor. Wearing a green or blue costume was once thought of as very bad luck, though for very different reasons.
Shakespeare’s “Macbeth” is one of the most popular plays ever written. It’s also believed to be the most cursed — so much so that just saying the name of the play in a theatre is considered very bad luck. Most actors will only refer to it as “The Scottish Play,” “The Bard’s Play” or even “Mac B.”
Some believe that Shakespeare gave his three witch characters actual spell incarnations for lines. As retaliation, a coven of actual witches cursed the play for all eternity. This could seem silly and/or highly doubtful in the modern world, but it’s hard to deny that “Macbeth” has seen more than its fair share of unfortunate incidents.
It’s believed the first occurrence of the “curse” actually happened during the first production of the play. It’s said that the young man playing Lady Macbeth (actors in Shakespeare’s time were, by law, all men) tragically died on opening night and Shakespeare himself had to step in. There have been numerous incidents of actors getting accidentally stabbed during fight scenes. In 1934, four actors had to step into the role of Macbeth due to illness or accidents in one week. It was also the show in which dueling productions caused the great Astor Place Riot in 1849, leaving at least 25 dead and hundreds injured.
Luckily, there is a way to combat the curse! If you say the play-that-must-not-be-named in a theatre, you must run around the building three times, then spin around, curse and beg to be let back in.
If you are ever so lucky to go backstage at the legendary New Amsterdam Theater in New York, you may notice a portrait of a beautiful showgirl hanging on the wall right as you enter. Her name is Olive Thomas, and her picture is there for a very specific reason.
Olive Thomas was a Ziegfeld Girl (and, for a time, was Ziegfeld’s girl) and a silent film star in the early 20th century. Later, she married Jack Pickford, brother of silent film superstar Mary Pickford, and the two had a passionate but volatile relationship. In 1920, they were on a second honeymoon in Paris when tragedy struck. Jack was awakened by Olive screaming, having ingested mercury bichloride that had been prescribed to Pickford to treat his syphilis. She died four days later at age 26. Was it an accident? Was it a suicide? Or was it something more sinister?
However, Olive has not entirely left us. It is widely believed that Olive’s ghost haunts The New Amsterdam, the same theatre where she performed in the Ziegfeld Follies and Midnight Frolics. She can reportedly be seen carrying a small blue bottle (like the one containing the chemicals that killed her) and wearing a green, beaded dress. She even caused a security guard to call the vice president of Disney Theatricals (the owner of the theatre) at 2:30 a.m. in a panic after seeing her. She is said to appear to mainly men and is even known to be naughty and pinch a bottom or two.
The portrait of Olive hangs right by the stage door to the theatre so that the cast and crew can say goodnight to her as the leave to appease her.
Almost every actor knows that it’s bad luck to say “good luck” before a performance. But where does that phrase come from? There are actually many different theories regarding the origin of the phrase, but there’s no hard evidence to prove any of them. Some theories have origins in Ancient Greece, Elizabethan England and the Civil War era. However, it doesn’t seem that the phrase was used until the 1920s.
Some believe that it refers to bowing, which is also known as “breaking the leg” because of the bended knee. Others attribute the saying to an old German toast, “Hals und Beinbruch,” which means “neck and leg fracture.” Still, some say it has to do with the curtain legs, which are the side curtains in the wings of a stage.
Which one is the real origin? The world may never know.
There are several items you are never supposed to use onstage. Peacock feathers are considered bad luck because the pattern on the feather creates an “evil eye.” You are also never supposed to use real money or jewelry onstage. This stems from simply trying to deter theft, which was rampant when theatres were not considered the respectable places they are today.
It’s very bad luck to have a mirror on your set. However, the reason has nothing to do with spirits or omens, but rather lighting. Mirrors can reflect the lighting and disrupt the look of a show, though it sees to have worked out just fine for “A Chorus Line” and “The Phantom of the Opera.”
While the “rule of three” usually means that it’s good luck to have things in sets of three, this is not true when it comes to the theatre and candles. Having three lit candles onstage is said to be very unlucky, and the person standing next to the shortest candle will be the next one to get married — or die. While the origin is not perfectly clear, it’s widely believed that this came from the time when theatres were lit with candles and torches, not electricity. Hundreds of theatres burned down in that period, so it’s believed that the superstition stems from trying to eliminate the amount of candles onstage.
Just about every professional theatre in America has a ghostlight. It’s a long, simple pole, usually three to five feet high, with a single bulb that’s either bare or has a wire cage around it. It’s placed onstage every night after the show is finished and everyone has gone home. With everything else in the theatre turned off, the ghostlight will be the only thing still on until work begins the next day. Why?
Well, it turns out the history of the ghostlight isn’t actually super clear. However, there are many myths and legends on hand to try to explain the ritual. One believed by many scholars takes us back to before the invention of the light bulb. Back then, theatres were lit with gas-burning lights that ran on gas generators. A single light would be left, burning all night to alleviate the pressure on the gas lines, which might otherwise build up overnight and cause fires. Then, somewhere along the way, the word “gaslight” morphed into “ghostlight.”
Another theory has it that in 1919, when Actors Equity was first recognized as a union, one of its requirements was that a single light had to be left onstage so that rehearsal pianists could come and set up for rehearsals without having to wait for the house electricians to turn the lights on. Though it’s unclear whether this is true, to this day, some people still refer to the ghostlight as the “Equity Lamp.”
Another famous legend has it that a robber broke into a theatre in the middle of the night, and not knowing about orchestra pits, fell off the stage and broke his leg. He then sued the theatre for negligence — and won! So, ghostlights are there to prevent liabilities. Robber or not, many believe that the reason for the ghostlight is simply to prevent anyone from falling, breaking their neck and becoming ghosts themselves.
Still, the most prevalent reasons given for the ghostlight involve, obviously, ghosts! As all thespians know, most theatres are haunted. Depending on the theatre nerd you talk to, the light is there to either help or hinder said ghosts. Some think that the light shoos away mischievous ghosts who might mess with the sets or costumes if left to their own devices. Since most theatre ghosts were once performers, others think that the light is left on to appease the spirits and give them lighting for their ghostly nighttime theatre.
Whatever the reason, the ghostlight has become a beloved theatre tradition. Record labels, musicals, biographies and many theatre companies have adopted the name “Ghostlight.” It’s come to symbolize those that have tread the boards before us and it’s our way to honor them.
Being involved in countless shows, I’m not ashamed to admit that I have fallen prey to more than one “showmance” in my time. If you are unfamiliar with the term, it is a romance that develops between two people during a production, be it theatre, television or movies. When I was in my early teens, suffering through braces and an unfortunate choice to get bangs, I would find myself crushing on the older actors in the leading roles who barely registered my existence. A misguided part of my brain was certain this was where my romantic future lay, and I dreamt of what it would be like to be noticed by them, to be the one they fell in love with every performance. Until finally, in one production all those years ago, my wish came true.
I auditioned for the play on a complete whim after days of agonizing over whether I would go at all. It was probably the most underprepared I have ever been at an audition, but somehow the director found it all endearing and cast me in the show.
At the first rehearsal, I met my castmates, including one in particular who sought me out. He was to play opposite me as my love interest. He politely shook my hand and told me he was looking forward to working with me before he bid me goodnight. He was tall, classically handsome and charming, like he’d just fallen out of a Ralph Lauren catalogue. He affected almost every girl in the cast and crew, whether they admitted it or not.
It was hard not to notice him. He was articulate, he held doors and he woredress shirts with cashmere sweaters. This was a far cry from the typical boys we were used to, in their offensive T-shirts and hoodies. He rarely socialized with other members of the cast, and his nature was quiet until he stepped onto the stage and came alive in his role. Passionate, reckless, romantic and smart, he played his part with such ease. We all watched him in awe from backstage, and even our director was excited by scoring such a stellar male lead. As rehearsals progressed, it was not surprising that I developed a crush.
I worked hard to fulfill my role opposite him as the love interest and devoted all of my free time to rehearsal and hanging out with my friends in the cast. During rehearsal downtime, we’d often sit together in the audience, which is exactly where one of the girls I’d become close friends with confessed her feelings for my onstage love interest. My heart sank. She couldn’t possibly have known about my crush, as I’d been careful not to mention it to anyone, choosing to pine in silence. The knot in my stomach tightened when she asked for my help to win him over, given my role as his fictional other half. If I refused, I risked losing her friendship, and even messier, I would have to figure out how to explain why I couldn’t help her — open can, worms everywhere. So, I agreed to help.
Rather than try to sort out my emotions, I threw myself full-tilt into the production and being with my show family. Whispers were circulating about our chemistry, and while I denied them, it did nothing to stop the rumor mill and only spurred me on. It was not my finest moment.
However, the more time went on and I got to know my onstage love, the more I actually got to know him. In doing so, I realized something very important: I hadn’t actually known him at all, and I certainly wasn’t infatuated with him. I was attracted to the character he played. My heart longed for his perfectly written stage self in the same way I longed for Heath Ledger’s Patrick Verona from “10 Things I Hate About You.” That was who gave me butterflies in my stomach. I was swooning over the words he spoke to me night after night and the passion he had been told to emote. The real guy was nothing like the man I was pining for.
When the show came to a close and for a short time after, we tried to meet up and hang out together as a group. But the thing that had ultimately bonded us was no longer, and we couldn’t recapture the same magic. The post-show grief hit me like a ton of bricks at the time. Because the end of a production is like the end of a good relationship, it hurt because it mattered.
I came out of my grief long enough to notice a real guy I’d been neglecting in favor of my fantasy man. In spite of the complete brush-off I’d been giving him for nearly two months, he’d come to see the show. Twice. He’d known how important it was to me. As it turns out, the romance I’d wanted had been right in front of me the whole time.
I know this all sounds like the basis for another “High School Musical” movie, and in truth, said guy and I split up a year later. But my first foray into showmance territory did leave its mark on me. I took away some very important lessons that helped me see things with clearer eyes when the opportunity to date a castmate came up again:
Before I saw this musical, I did not know much about the story. The details that have been released to the public about the plot have been pretty vague. What I can tell you without giving too much away is that this story is relatable and familiar, but with a twist. Evan Hansen is someone who feels like he doesn’t matter, and when a tragedy strikes, one little lie spirals out of control and changes everything.
This musical speaks to the part of you that has ever felt lonely or just a little bit lost. Along with identifying with Evan, this show is also relatable for parents who have ever had to deal with a troubled child. This story is both beautiful and heartbreaking.
Benj Pasek and Justin Paul, whose past projects include “Smash,” “Dogfight” and a little film called “La La Land,” composed the music for this show. The story of “Dear Evan Hansen” was actually inspired by an event that took place in Pasek’s childhood. The event caused everyone to want to be a part of something, which is a consistent theme throughout the score of the musical.
From “Waving Through a Window” to “You Will Be Found,” there are definitely some new musical classics in this show. What is most impressive is the emotion that is in every song. From the funnier numbers to the uplifting pieces, every song leaves you feeling something, making the show a bit of an emotional rollercoaster that’s certainly worth riding.
Oh, and Alex Lacamoire of “In the Heights” and “Hamilton” also acted as the musical supervisor on this show.
From the subject matter to the music, this is definitely a modern musical. The set exudes everything it is to be a teen in the 21st century. Physically, it’s a pretty minimal set, but the way the show uses screens to portray all forms of social media to fuel the story is mesmerizing.
Only eight people make up the cast of this musical, which you may find difficult to believe if you’ve already listened to the OBCR. Musically, they are impressive. I’ve gushed about Platt enough, but the power this cast delivers in its vocal performance is amazing and will give you goosebumps.
Then there are the characters they play. Every actor is perfectly suited in his or her role. From Jennifer Laura Thomas and Michael Park’s representation of dysfunctional family members trying to get by to Will Roland’s effective portrayal of a bro-like teen, all of these characters are far more complex than they seem at first glance.
You definitely want to bring tissues to this one. You can try to hold it together, but it probably won’t happen. After the finale, I clapped my own tears into my face. I didn’t even realize I’d cried that much.
Parts of this show are heartbreaking. Parts of this show are hysterically funny. And that’s life. We all just want to feel that we belong, and in the end, that we’ll be found — and that is the message of “Dear Evan Hansen.”
YOUR NAME [SAG-AFTRA] Phone Number/ Email/ Website Height: Weight: (optional) Hair Color: Eye Color: Credits There’s a common misconception that the more credits listed on the page, the more professional you look. However, you almost want the opposite. Choose your best and most recent roles and allow for the blank space to shine through. White space makes it much easier to read. People are typically only going to spend a few seconds looking at your resume, so have your most impressive roles (or, where possible, the ones that relate to the role you’re submitting for) at the top. It’s tempting to keep everything in chronological order, but if the credits are within a similar time frame, it’s much better to have the notable ones listed first. Again, if you had a starring role in high school and are now almost 30, don’t keep that on your resume. Also, don’t put “background work” on your resume unless you were featured or had a line. Depending on the mediums you work in, have bold headings that separate your credits (i.e., THEATRE, TELEVISION, FILM, etc.) If you’re looking to go in for multiple types of projects, create various versions of your resume. When auditioning for theatre, have your theatre credits listed first. The same goes for movies and TV. You want to make it as easy as possible for them to cast you. Credits should always be in three separate columns. The following is the format for listing theatre credits: SHOW NAME, ROLE and THEATRE COMPANY. If there is a notable director or producer, you should definitely put that down, too. Here is an example of how credits should be formatted: BROADWAY Spring Awakening Mortiz Eugene O’Neill Theatre Television and film credits are similar, but should be stylized as follows: PROJECT TITLE, TYPE OF ROLES (not your character), and NETWORK/PRODUCTION CO. (or director/producer if notable). This goes without saying, but you never want to lie on your resume. The truth always comes out! Training/Education Although this portion of your resume is straightforward, it’s one of the most important to ace. Showing you’ve received proper training is incredibly vital. Sure, you might be the next Jennifer Lawrence, harboring heaps of raw talent, but you can’t exactly write that on your resume without sounding pompous. Simply put the name of the institution, class or workshop and instructor. And if you haven’t had an opportunity to train yet, don’t sweat it! Special Skills Time to have fun! This section of the resume is really the only spot where you can add a bit more personality. Depending on how much room there is, list any special skills that you feel set you apart and could be utilized for a future role. There are no strict guidelines for this section, except that what you write should be a skill and not a fun fact. If you put down that you can do some type of accent, that’s awesome! Just make sure you can really do it — you never know when casting will ask to hear it. It can be quirky to have little asides in this section. For example, if you can twist your entire body into a pretzel, you could playfully write, “amateur contortionist (seriously, ask me to do some moves!).”
Overall, use your best judgement while typing up your resume and don’t be afraid to ask for advice.
The most common criticism I’ve heard for “Cats” is that there is “simply no plot.” I beg to differ, since the audience learns in the beginning about the Jellicle Ball, when “Old Deuteronomy just before dawn … announces the cat who can now be reborn.” The trip to the Heavyside Layer is the core of the show, and it is the motive for all the cats to introduce themselves and display their various talents while competing to enter the layer.
Another theory I find compelling is that “Cats” can be seen as an allegory for the LGBTQ community’s hardships during the 1980s. The musical’s characters are outsiders in a human-dominated world, just as LGBTQ people are a minority in a heteronormative society. Remember, the musical premiered in the early ‘80s, when the AIDS crisis was just starting to affect the gay and trans community.
Grizabella, whom the other cats shun until she sings “Memory,” is similar to people who have HIV/AIDS and are shunned by people who aren’t educated enough about the virus. In the same way that knowledge about a condition normalizes the presence of the people it affects, the other cats finally accept Grizabella as one of their own after they understand her better. The idea of an LGBT allegory especially resonates in real life, since many LGBT actors in “Cats” (such as Timothy Scott, Reed Jones and Michael Scott Gregory) all succumbed to AIDS-related illnesses. This idea makes “Cats” a surprisingly relevant show, even today.
Another criticism I want to dispel is the so-called “mediocre” score. Like every composer, Lloyd Webber has his detractors, but his musicals are still frequently revived and popular among crowds. What Lloyd Webber’s score lacks in complexity (something his contemporary, Stephen Sondheim, indulges in), they compensate in accessibility. The frequently heard motifs throughout the show — chiefly those that are introduced in the overture — make the melodies easy to remember.
Furthermore, the music in “Cats” is more broad and contemporary than that of your typical ‘80s pop opera. Unlike “The Phantom of the Opera” or “Les Misérables,” the score in “Cats” is inspired by opera (“The Ad-Dressing of Cats”), pop (“The Jellicle Ball”), rock (“The Rum Tum Tugger”) and jazz (Mccavity”).
Moreover, I am continually fascinated by the appeal that “Cats” has to children, especially in community theatre productions of it that feature children. Being a show that is so accessible in terms of both music and production value, it’s no wonder why “Cats” has stood the test of time.
The celebrated songwriter studied piano at a young age, growing up in Pennsylvania after his parents’ divorce. As luck would have it, he became friends with the son of the infamous Oscar Hammerstein. Hammerstein mentored a young Sondheim, giving him honest feedback on his work and allowing him to work as an assistant during one of his theatre productions.
After studying music in school, Sondheim struggled to get his work out there, living with his father and working as a television writer in California. Sondheim eventually returned to New York, and a friend put him in contact with Leonard Bernstein and Jerome Robbins, who were working on a musical version of Shakespeare’s “Romeo and Juliet.” Sondheim joined them, and their collaboration became “West Side Story.” This set Sondheim off on a series of collaborations over the years, which have led to a beautiful body of work.
BKF (Best Known For):
Ahrens did not study music in college, nor did she start with a career in theatre. Instead, she studied English and journalism at Syracuse University, and her first career was as a copywriter in advertising. Music was more of a hobby at the time, and Ahrens would write songs on her lunch break.
As luck would have it, a colleague heard her musical stylings and asked her to write a song for a children’s television show, which eventually became a regular gig. This turned into writing for musical theatre when she met Stephen Flaherty at a workshop and they began collaborating.
BKF:
The product of a musical family, Lloyd Webber began school with no aspirations for a life in music or theatre. Instead, he started studying history but eventually felt the pull of musical theatre and dropped out of college to attend the Royal College of Music.
When he was 17, he received a letter (yes, people still wrote those back then) from a young Tim Rice, who was looking for someone to collaborate with. They were commissioned to create a biblical musical, which became the smash success “Joseph and the Amazing Technicolor Dreamcoat.”
Lloyd Webber participated in a series of successful collaborations before eventually striking out on his own in the ‘80s to create two of his most successful musicals, “Cats” and “Phantom of the Opera,” both inspired by existing literary works.
BKF:
Larson grew up immersed in the arts through his schooling and went on to study acting at Adelphi University, where he began composing music for student productions. After graduation, he took on the life of a true starving artist, working as a part-time waiter with little money while living in a cramped New York City apartment with a slew of roommates. Larson wrote and composed a variety of pieces, but found little success and a lot of disappointment.
Most people would have thrown in the towel, but not Larson. He persisted, collaborating with other artists, writing music for television programming and continuing to develop his own work. This included a musical retelling of the Puccini opera, “La Bohème,” based on Larson’s experience living as a poor artist in New York City. It would go on to become the award-winning musical “Rent.” Sadly, Larson died before the show’s premiere.
BKF:
With her parents both in the medical profession, it’s natural that Tesori entered a pre-med program when she started college. But after working at a theatre camp, Tesori knew musical theatre was where she wanted to be. Refusing to get a degree in education as a backup for fear she would quit when the road got rough, Tesori worked as an arranger for the early part of her career, fearing failure if she took a chance on original work.
It wasn’t until her 30s that Tesori finally moved outside her comfort zone and began composing her own work. Her first musical, “Violet,” was well received and started Tesori on a path of acclaimed work that would eventually lead her to a Tony Award for “Fun Home.”
BKF:
Another spawn of a musical family, Menken grew up learning to play piano and creating his own melodies to avoid practicing. After studying music at New York University, Menken was drawn to musical theatre after attending a BMI Musical Theatre workshop. He then spent decades working as an accompanist and writing music for shows that never saw the stage.
Collaborating with Howard Ashman, the two finally found success with the Off-Broadway musical “Little Shop of Horrors.” But Menken’s future success would not come from the stage, as he might have thought. The notoriety he gained from the success of “Little Shop of Horrors” scored him a gig composing songs for the animated films produced by Walt Disney Studios.
Menken wrote music for several successful Disney films, earning him multiple Oscars. It was because of that work that Menken made his Broadway debut with the adapted stage version of “Beauty and the Beast.” He has since split his time between films, television and the stage.
BKF:
“Lone Star Love,” a country music retelling of Shakespeare’s “The Merry Wives of Windsor” set in the Civil War-era South, was a success when it premiered off-Broadway in late 2004. After some retooling, the show was set to make its Broadway debut on Dec. 3, 2007, at the Belasco Theater. However, during its pre-Broadway engagement at Seattle’s 5th Avenue Theater, the show got mixed-to-negative reviews and suddenly scrapped its Broadway plans. So, what changed between Off-Broadway and Broadway? Two words: Randy Quaid.
Quaid, most famous for the role of “Cousin Eddie” in the “Vacation” films, was cast in the lead role of Colonel Falstaff. Quaid and his wife/manager Evi Quaid were allegedly as tyrannical as any Shakespearean villain. Quaid felt at liberty to change lines, blocking and lyrics anytime he saw fit. There were also several arguments over design elements, including the color of his wig and the size of his codpiece. The Quaids’ behavior became more erratic until it got so out of hand that the producers decided to simply close the show.
All 26 actors involved in the defunct production filed charges with Actor’s Equity against the Quaids, claiming, among other things, that he hit an actor several times on the head during a performance, made sexually suggestive comments to cast members and claimed that any actor who made direct eye contact with him onstage would be fired. Actor’s Equity found that the show was forced to close because of the odd and abusive behavior of Quaid, thus depriving the actors of their jobs. Quaid was forced to pay a fine of $81,572, which is a two-week’s salary for the cast and crew, and was banned from the union for life, according to the Backstage.
Oscar Hijuelos’ Pulitzer Prize-winning novel, “The Mambo Kings Play Songs of Love” told the story of two brothers from Cuba who come to New York City in 1949 trying to become recording artists. The book had been turned into a film in 1992 starring Armand Assante and Antonio Banderas in his first English-speaking role.
A few years after the movie was released, the film’s director, Arne Glimcher, began working on a stage version that he planned on directing, writing the lyrics to and co-authoring the book with Hijuelos. In 2002, it was rumored to be coming together, with the possibility of Banderas starring alongside Jon Secada and Jennifer Lopez.
Talks apparently fell through, and it wasn’t until 2004 that producer Daryl Roth and her son, future Jujamcyn President Jordan Roth, announced that they would team up for the first time to produce the show. Pre-Broadway tryouts were set for May 31, 2005, at San Francisco’s Golden Gate Theater in preparation for the Broadway premiere in July 20 at the Broadway Theatre. Esai Morales (“NYPD Blue”) and Jamie Camil (Rogelio on “Jane the Virgin) were cast as the Castillo brothers. Other cast members included Cuban music star Albita, Christiane Noll and David Alan Grier, who replaced star Billy Dee Williams when he dropped out due to a hip condition.
However, things started looking grim when the show opened to mostly negative reviews in San Francisco. The producers frantically began looking for several show doctors to help with the book, music and direction. While names such as Tommy Tune and Maury Yeston were rumored, the producers eventually hired playwright David Ives to help with the book, Jason Robert Brown to help with the music and Jerry Mitchell to help with the direction. But before the new creative team could even begin work, the producers announced there was no way to meet the current Broadway schedule and decided to close the show out of town.
It’s not uncommon for a show to change its name during its journey to Broadway. “Away We Go!” became “Oklahoma!,” “Elaborate Lives” became “Aida,” “Feeling Electric” became “Next to Normal,” etc. But few shows have had as many name changes as “Busker Alley.
It started in 1969 when the famous Disney songwriter brothers Robert and Richard Sherman (“Mary Poppins,” “The Jungle Book”) and Disney scriptwriter A.J. Carothers (“The Happiest Millionaire”) wrote a musical version of the 1938 film “St. Martin’s Lane” called “Piccadilly.” It told the story of a simple busker (street performer) who takes a younger woman under his wing and teaches her the art of busking.
However, nothing came of it until 1982, when they began rewriting the show with the new title, “Blow Us a Kiss.” Still, nothing would happen until 1991, when it was announced that Tommy Tune was attached to the project and yet another new title, “Busker Alley.” Initially announced for a May 1992 Broadway opening with a pre-Broadway tryout at Boston’s Colonial Theater, it wasn’t until 1995 that the show got underway with a 16-city tour before heading to the Great White Way.
While touring, the show would go through two more name changes. A survey conducted by the producers, Fran and Barry Weissler, revealed that most people didn’t know what a busker was, so they changed the name to “Stage Door Charley.” Then, for some reason, it was changed about a month later to “Buskers.” Finally, it reverted back to “Busker Alley.”
I can personally attest to this. When I was a child, I was taken to see this show by my grandparents. My ticket said “Stage Door Charley,” my program said “Busker Alley” and my souvenir book said “Buskers.”
After many rewrites, cut songs and cast replacements, the show was to open at the St. James Theater on Nov. 16, 1995. On Oct. 1, however, star Tommy Tune broke his foot during a performance in Tampa, Florida, the last tour stop before Broadway. While Tommy Steele and Gregory Hines were mentioned as possible replacements, the producers decided to end the run.
In 2006, a concert of the show starring Jim Dale would lead to another attempt to bring the show to Broadway, but that production was met with its own set of troubles before it was abandoned.
These performances might range from middle school performances to Broadway shows. You’d be amazed at how much theatre is happening around you (and at an affordable price)!
Theatre is great onstage, but reading scripts allows you to direct the plays on the stage in your mind and look at the material in a new way.
From different genres and styles to musical theatre, an actor can never have enough audition material. 2017 is the year to becoming an auditioning beast!
Whether your play lasts 10 minutes or is full-length, just write something! Everyone is a writer, and chances are good you have something interesting to write about. Learn how to format your script properly, and if you feel good about it, enter it into different competitions! At the very least, you’ll learn to appreciate playwrights a little more.
Pick a book you haven’t read and become an expert! There are thousands of books on design, performance, improvisation, writing, directing, dramaturgy, theatre history, etc. Find one that interests you, or finally read that one book all your friends say you need to read.
Essentially, this means Google-stalk celebrities in theatre and film whom you’re interested in learning more about. We all like to learn about actors and their rise to fame, but there are so many other people who make the magic happen. Find out as much as you can about them. Where did they go to school? What other projects have they worked on? Where are they from? When did they get started in theatre/film? Their stories and lives might interest and inspire you!
Theatre muggles think the only jobs available in theatre include acting, building sets and directing. As theatre wizards, we know that’s not the case. There are countless jobs in the world of theatre that many theatre nerds haven’t even heard about. Make it a priority to learn about a new job each month. Ask your friends and other theatre professionals about fun and interesting jobs they’ve seen in theatre.
We all know about the big-name theatre schools, but what about the ones we don’t hear about? Just because a school isn’t publicized as much as Juilliard or NYU doesn’t mean it couldn’t be the perfect fit for you. Whether you’re working on an undergraduate degree, graduate degree or hoping to take individual classes, knowing schools could help you make this decision. Check out the best school in your state and then see whether you can find the best theatre school in your surrounding states.
America is certainly a theatre and film powerhouse, but we can sometimes forget that every country has its own unique spin on theatre. Check out theatre venues, learn about famous playwrights and actors and see what else you can learn. You could be an American ambassador for culturally diverse theatre.
Regardless of where you are in your lifetime theatre journey, it’s never too early or too late to take a class. There are likely community classes or college-level classes near you that you can take. Theatres usually have some kind of education program for students of all ages, so look up your local theatre. You could even sign up for a class at Home Depot and learn how to work with tools and other building materials.
Do you struggle with the “Special Skills” portion of your resume? Maybe you have some special skills, but you want more! Pick a skill you wish you had and learn how to do it by watching tutorials on YouTube. Buy a book that will teach you how. Sign up for classes and learn from a professional. You’d be amazed at how fast you can boost your special skills.
Grab some of your theatre friends and put on a show for whoever wants to show up! Perform in a park, parking lot, bar, basement, warehouse or street corner — anywhere works! Write a script and make it a world premiere, or put on an improvised show. You can advertise for free with the wonder that is social media. You might team up with a business or charitable organization and make it an event. The possibilities are endless! You have so much power to create theatre, and you don’t even need to spend a single penny.
Maybe you consider yourself handy. Maybe you’ve never held a hammer. Regardless of your experience with construction, pick a project that requires designs and tools and build something! The task seems daunting when you get started, but you’ll feel so accomplished when you’re looking at your new shelves or birdhouse. We can’t all be on a tech crew all the time, but that doesn’t mean we can’t still develop and hone our technical skills!
With all the theatre-to-film adaptations floating around out there, we have no excuse for not watching them! On your next movie night or Netflix binge, watch some plays or musicals turned into movies. You’ll learn more about the plot, and you’ll be able to join in the conversation when your friends start discussing the play or musical.
When was the last time you updated your headshot and resume? With camera phones these days, everyone is a photographer. Grab a friend and a couple of outfits and hit up the nearest park, city or monument. Check out some free resume templates online and update your recent productions, training and accomplishments. Print or staple your resume to the back of your headshot, and you’re ready for your next audition!
Every theatre company has a distinctive purpose and mission statement. Learn about theatre companies near you and why they produce theatre. You’ll be amazed at the diverse productions and companies in your location. You could even go one step further and see a show produced by that theatre company. You’ll have a lot more respect for what it’s doing when you know why it’s doing it.
If you decide to follow these resolutions, you’ll be a new kind of theatre nerd. Infect your friends with your nerdiness by sharing your journey online. Even better, let your non-theatre friends see all the cool stuff you’re doing and encourage them to do the same. By expressing your experiences, you can help advocate for theatre and perhaps inspire others to do the same!
This is the first in a series of articles that will help you reach these resolutions. Check back soon for monthly updates and articles on how 2017 will be your year to become the ultimate theatre nerd!
[post_title] => 17 New Year Resolutions For Theatre Nerds
[post_excerpt] =>
[post_status] => publish
[comment_status] => open
[ping_status] => open
[post_password] =>
[post_name] => 17-new-year-resolutions-for-theatre-nerds
[to_ping] =>
[pinged] =>
[post_modified] => 2019-01-01 18:32:43
[post_modified_gmt] => 2019-01-01 23:32:43
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://theatrenerds.com/?p=6794
[menu_order] => 0
[post_type] => post
[post_mime_type] =>
[comment_count] => 3
[filter] => raw
)
[31] => WP_Post Object
(
[ID] => 6645
[post_author] => 12
[post_date] => 2017-02-01 10:56:37
[post_date_gmt] => 2017-02-01 15:56:37
[post_content] => No matter how much training you undergo and how much attention you give to your craft, come audition time, your thought process tends to get, well, a bit crazy. It typically goes a little something like this:
3. I’ll cut my hair after I book this job.
6. Will there be parking?
9. Should I wear the yellow sweater that makes me look approachable or the green shirt that makes my eyes pop?
10. Is my audition shirt clean?
17. Wow, there are a lot of other actors in this waiting room.
[post_title] => 25 Thoughts Every Actor Has While Getting Ready For An Audition
[post_excerpt] =>
[post_status] => publish
[comment_status] => open
[ping_status] => open
[post_password] =>
[post_name] => 25-thoughts-every-actor-getting-ready-audition
[to_ping] =>
[pinged] =>
[post_modified] => 2017-02-01 10:57:39
[post_modified_gmt] => 2017-02-01 15:57:39
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://theatrenerds.com/?p=6645
[menu_order] => 0
[post_type] => post
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
)
[32] => WP_Post Object
(
[ID] => 6623
[post_author] => 391
[post_date] => 2017-01-31 09:47:22
[post_date_gmt] => 2017-01-31 14:47:22
[post_content] => Some of the most well-known musicals to English-speaking audiences did not always premiere in English. For example, did you know that the original French production of “Les Misérables” premiered in Paris in 1980? Foreign-language musicals from Europe often have the privilege of being performed throughout Europe in the language of each respective country.
For a musical audition, this is the most important call. Sometimes, casting will make it easy and assign material to sing, but more often than not, it’s your decision.
If you’re a veteran to the musical theatre audition circuit, you will probably have an audition book. This is a selection of songs (ranging in style) that you know well and can sing at the drop of a hat, usually kept in one overstuffed binder. It should be a varied repertoire that you really relate to. Look through it (or scour Google and music sheets if you don’t have one) and find the song you think fits the style of the show you’re going for. Again, be certain that you connect to your choice as a person.
Try to be wary of learning a new song, unless you have no choice. It’s best that you know the material like the back of your hand so when you get in the room and your nerves kick in, you can still let your personality shine through. After all, showing your personality gives you a leg up on your competition — no one else is like you!
This sounds like an obvious one, but many people don’t realize that to get work, you have to do a lot of work! Treat the audition like you would a performance because it’s essentially a chance to do what you love. You want casting to see you at your best, so be your best.
A Broadway performer once told me that they treat all of their songs like monologues. They write them out, mark them up with objectives and even read them aloud as they would a monologue. At their core, most songs are inner monologues. People in musicals sing their thoughts because they cannot speak them. So, handling a song like a monologue can help you discover new moments.
In preparation, lots of performers will enlist a vocal coach to assist them with their audition. This is obviously costly, so try to only do this when you feel like you really need it. It’s instrumental to hear the way your songs sounds on the piano and to get your teacher’s feedback on your song cut. Get the most out of your time together by recording your session, if it’s OK with your coach.
Sometimes it’s also useful to hold a rehearsal where you imagine yourself in the room. You can set up your room in an audition format and ask a friend to watch, or simply close your eyes and envision that you are in that space. While singing, you are hopefully going to be in another world, but it truly can help to anticipate your nerves. Go ahead, try it! You’ll be surprised to see how tense it can make you feel even thinking about being there. If you can curb your anxieties during that rehearsal, you’ll be more comfortable and connected in the room.
One of the biggest ways to make an impression is with your choice of clothing. You want to stand out, of course, but that doesn’t mean you need to throw on a sequin top or neon-colored sneakers.
Attempt to pick an outfit that is the essence of the role. For example, if you’re auditioning for “Newsies,” you don’t need to rent an authentic vest and pair of knickers from 1899. Show up in a nice button-down shirt. Or, let’s say you’re auditioning for the role of Anna in “The King and I.” There’s no need to run around like a maniac searching for a hoop skirt when you can simply wear a nice dress. Don’t make it too hard for yourself!
Basically, you don’t want to give casting any reason not to hire you. Spoon-feed it to them by wearing something that gives off the vibe of your character but is already in your closet. Ask a trusted pal for approval!
Overall, choose something that looks good and makes you feel good. And please, for their sake, don’t show up in any type of costume — unless you’re trying to get in the “bad audition” montage on a reality show.
We’ve all been uneasily seated outside the audition room waiting for our turn. We steal glances at our fellow auditioners (who look eerily similar to ourselves), press our ears against the door to listen to them sing and stare through our sheet music, relentlessly hoping it will overtake our brains. However, wasting your time in the waiting room with stressful acts like this is detrimental to the process.
Instead, get to your audition 10 minutes before your time slot (any earlier could annoy casting, since waiting spaces are usually small and they don’t want a lot of people sitting around) and loosen up. Find the bathroom, splash water on your face, do a quick vocal warm-up and, most of all, relax. The more laid-back you are, the easier your audition will be. Reading advice from a performer you admire right before you go can also be beneficial, so have it cued up on your phone!
Did you love “Smash” and all the inside scoop into the rehearsal process for “Bombshell?” Well, why don’t you do the same? Film short rehearsal clips and have all the cast members post them on their social media feeds. Of course, make sure to put the link to buy tickets at the bottom of the video as well.
Whether on video or in written form, interviews are a great way to get to know your cast and generate interest in your upcoming school musical. Make sure to keep your questions related to the show, because asking the leading lady what her favorite color is isn’t exactly going to help sell a ticket. Post short sound bites to Twitter and Instagram and the longer interviews on Facebook. You can even go live on Facebook or Instagram and show interviews in real-time. Make sure to have the person being interviewed give a shout out about the performance information and how to buy tickets.
Have those students handy with iMovie put together a montage or documentary-style movie about the history of the musical you’re mounting. Members of the cast can even host! You can add Broadway production photos found online to make the video fun and interesting (just remember to give credit to applicable parties at the end of the video to cover copyright). And, don’t forget to make sure to link to where your viewers can buy tickets to your school production.
Take your viewers on a journey through all the nooks and crannies of the stage areas, hidden traps, dressing rooms and light booths. This will help entice those watching to want to see what happens onstage during the performance. A great tip is to make sure to end the tour at the box office, so your followers know that’s the place to buy tickets.
Everyone loves free stuff, or what insiders like to call “swag” in the performing world. So, why not hold contests or giveaways that include fun souvenirs that have to do with the school musical? T-shirts, mugs and cast-signed posters are great examples of giveaway items that are easy to make with the help of an artistic or tech-savvy company member. Make sure your items contain the show information so those who win or those who see the winners wearing or using your swag know when your musical is happening and how to get tickets.
Use social media to plug the show by offering specific discounts to your followers. The audience will keep coming back to your social media feeds to see which new discounts have become available and hopefully make a purchase. Not only is this a great way to generate buzz for your school musical, but you’ll sell tickets before you even open. How awesome is that?
Don’t you love those trivia games on Facebook, Twitter and Instagram? Why not be creative and post some trivia on your school musical? Not only will a game keep your followers engaged, having fun and learning something about your upcoming show, but it may also entice them to join you at the performance or spread the word to other friends not on your feeds. With a simple Google search, you can find many websites and programs that can help you set up the perfect trivia test, or create one of your own using one of your computer-savvy castmates. Last, make sure to include links to performance information with every trivia post.
A lot of the time, the stuff that happens behind the curtain is just as interesting as what happens onstage. You can use social media to show videos and pictures of the stage set being built, the costumes being sewn and the lights being hung. You can even interview those working offstage to get an idea of what their particular jobs are like in making your school musical look and sound amazing. These posts are rewarding because your viewers can start to understand the whole process of how a musical is put together. People will be more inclined to buy a ticket so they can see what the final product will look like.
Use a song from the show and create a music video. It can be within the confines of the show or something completely different. Either way, make it fun and include many of your onstage and backstage company members. A music video will get your viewers talking and singing along and hopefully lead them to buy tickets so they can hear the rest of the score in all its glory during your performance.
Choose performers or backstage participants to do a photo scrapbook of their day from going to class through rehearsal and/or doing a performance in the evening. These photos can be shown all together in a collage or posted over the course of a day or week on your social media pages. Not only does it create some great content to advertise your school musical, but it also shows the audience how wonderful and challenging it is to work as a performing artist.
1. Showcase Your Rehearsals
Did you love “Smash” and all the inside scoop into the rehearsal process for “Bombshell?” Well, why don’t you do the same? Film short rehearsal clips and have all the cast members post them on their social media feeds. Of course, make sure to put the link to buy tickets at the bottom of the video as well.
2. Interview Your Cast
Whether on video or in written form, interviews are a great way to get to know your cast and generate interest in your upcoming school musical. Make sure to keep your questions related to the show, because asking the leading lady what her favorite color is isn’t exactly going to help sell a ticket. Post short sound bites to Twitter and Instagram and the longer interviews on Facebook. You can even go live on Facebook or Instagram and show interviews in real-time. Make sure to have the person being interviewed give a shout out about the performance information and how to buy tickets.
3. Market the History of the Show
Have those students handy with iMovie put together a montage or documentary-style movie about the history of the musical you’re mounting. Members of the cast can even host! You can add Broadway production photos found online to make the video fun and interesting (just remember to give credit to applicable parties at the end of the video to cover copyright). And, don’t forget to make sure to link to where your viewers can buy tickets to your school production.
4. Give a Backstage Tour
Take your viewers on a journey through all the nooks and crannies of the stage areas, hidden traps, dressing rooms and light booths. This will help entice those watching to want to see what happens onstage during the performance. A great tip is to make sure to end the tour at the box office, so your followers know that’s the place to buy tickets.
5. Contest or Giveaway
Everyone loves free stuff, or what insiders like to call “swag” in the performing world. So, why not hold contests or giveaways that include fun souvenirs that have to do with the school musical? T-shirts, mugs and cast-signed posters are great examples of giveaway items that are easy to make with the help of an artistic or tech-savvy company member. Make sure your items contain the show information so those who win or those who see the winners wearing or using your swag know when your musical is happening and how to get tickets.
6. Offer Social Media Ticket Discounts
Use social media to plug the show by offering specific discounts to your followers. The audience will keep coming back to your social media feeds to see which new discounts have become available and hopefully make a purchase. Not only is this a great way to generate buzz for your school musical, but you’ll sell tickets before you even open. How awesome is that?
7. Trivia Games
Don’t you love those trivia games on Facebook, Twitter and Instagram? Why not be creative and post some trivia on your school musical? Not only will a game keep your followers engaged, having fun and learning something about your upcoming show, but it may also entice them to join you at the performance or spread the word to other friends not on your feeds. With a simple Google search, you can find many websites and programs that can help you set up the perfect trivia test, or create one of your own using one of your computer-savvy castmates. Last, make sure to include links to performance information with every trivia post.
8. Showcase What Is Behind-the-Scenes
A lot of the time, the stuff that happens behind the curtain is just as interesting as what happens onstage. You can use social media to show videos and pictures of the stage set being built, the costumes being sewn and the lights being hung. You can even interview those working offstage to get an idea of what their particular jobs are like in making your school musical look and sound amazing. These posts are rewarding because your viewers can start to understand the whole process of how a musical is put together. People will be more inclined to buy a ticket so they can see what the final product will look like.
9. Make A Music Video
Use a song from the show and create a music video. It can be within the confines of the show or something completely different. Either way, make it fun and include many of your onstage and backstage company members. A music video will get your viewers talking and singing along and hopefully lead them to buy tickets so they can hear the rest of the score in all its glory during your performance.
10. Follow a Company Member for a Day
Choose performers or backstage participants to do a photo scrapbook of their day from going to class through rehearsal and/or doing a performance in the evening. These photos can be shown all together in a collage or posted over the course of a day or week on your social media pages. Not only does it create some great content to advertise your school musical, but it also shows the audience how wonderful and challenging it is to work as a performing artist.
How do you advertise your school musical on social media? Let us know in the comments below...
[post_title] => 10 Ways To Advertise Your School Musical On Social Media [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => ways-advertise-school-musical-social-media [to_ping] => [pinged] => [post_modified] => 2018-03-28 10:22:38 [post_modified_gmt] => 2018-03-28 14:22:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7856 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [1] => WP_Post Object ( [ID] => 7832 [post_author] => 395 [post_date] => 2017-03-18 10:03:38 [post_date_gmt] => 2017-03-18 14:03:38 [post_content] => It’s seemed like years since the announcement of the new live-action “Beauty and the Beast” movie, but with its release now upon us, it seems that fans still can’t get enough of this tale as old as time. There has been a ton of anticipation about how the star-studded cast will handle the vocals required of such a movie, especially since it can sometimes seem like movie musicals feature anyone but famed musical theatre veterans (sorry, Russell Crowe). However, “Beauty and the Beast” totally nails it with its supporting cast. Here are some familiar faces from Broadway and the West End that you can expect to see when you (finally) check out the live-action version of this beloved movie:1. Josh Gad
Though people had mixed reactions to the casting of Emma Watson and Dan Stevens in this film, we can all agree that casting Josh Gad as LeFou was, in a word, perfect. This “Book of Mormon” star is also a Disney vet at this point, becoming a household name through his performance as “Olaf“ in “Frozen.” Check out Gad’s singing chops and pure hilarity in the song “Gaston.”
https://www.youtube.com/watch?v=UAT1RenTAeI
2. Audra McDonald
Does Audra McDonald even need to audition for her roles anymore? This dynamic lyric soprano is known for her performances in “Ragtime,” “A Raisin in the Sun” and “Porgy and Bess” but she’ll be knocking off more than socks as the Garderobe in this Disney classic. You may recognize her from the “Grey’s Anatomy” spinoff “Private Practice,” but you haven’t lived until you’ve heard her distinctive voice completely slay anything it touches. Just give the new tune “Aria” a listen and see for yourself.
https://www.youtube.com/watch?v=UoYZOA99aRk
3. Ewan McGregor
Ewan McGregor is a movie-musical veteran at this point; who could forget his stint as the lovestruck poet Christian in “Moulin Rouge?” In this film, you’ll catch him telling jokes and doing tricks with his fellow candlesticks as Lumière. Get ready to watch him prove that the greatest thing to ever learn is just to love and to be loved in return — surrounded by a castle full of singing kitchenware.
4. Luke Evans
Luke Evans will be a little more familiar to theatre nerds across the pond, as he starred in “Rent,” “Miss Saigon” and “Piaf” in the West End before he charmed America with his role in “Clash of the Titans.” Evans’ good looks and powerful voice will make you forget for half a second that he’s supposed to be the villain in this movie. In this role, he definitely goes to show that “no one sings like Gaston” as well.
5. Kevin Kline
Boasting a Broadway career that has spanned from 1973 to the present, Kevin Kline is no stranger to the Great White Way. His impressive credits include stints in “The Robber Bridegroom,” “On the Twentieth Century” and “The Pirates of Penzance.” In “Beauty and the Beast,” he’ll be portraying crazy, old Maurice, Belle’s father. He even gets his own song in the movie, called, “How Does A Moment Last Forever.”
https://www.youtube.com/watch?v=KZkNgfvBdY8
6. Sir Ian McKellen
What would “Beauty and the Beast” be without the anxious Cogsworth waddling around the castle trying to keep everyone in line? Fortunately for theatre lovers, this role will be portrayed by the legendary Sir Ian McKellen, who has graced Broadway stages many a time in various drama roles, such as “No Man’s Land” and “Waiting for Godot.”
7. Emma Thompson
Taking on a role originated by the amazing Angela Lansbury is no easy feat, but TV and film favorite Emma Thompson is doing just that in her portrayal of Mrs. Potts. This isn’t the first time this has happened, either, as both of them have portrayed Mrs. Lovett in “Sweeney Todd: The Demon Barber of Fleet Street” (at least Mrs. Potts is a tad less sinister). It was no secret that all ears would be on Thompson as she tackled the iconic titular song, but her rendition is definitely giving us all the feels.
https://www.youtube.com/watch?v=GNA-iBt_UWM
Who are you most excited to see in “Beauty and the Beast?” Let us know in the comments below...
[post_title] => 7 Broadway Stars You’ll See In The Live Action 'Beauty And The Beast' [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => seven-broadway-stars-youll-see-live-action-beauty-beast [to_ping] => [pinged] => https://theatrenerds.com/why-emma-watson-will-be-the-perfect-belle/ [post_modified] => 2017-03-18 12:23:22 [post_modified_gmt] => 2017-03-18 16:23:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7832 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [2] => WP_Post Object ( [ID] => 7434 [post_author] => 391 [post_date] => 2017-03-17 09:50:00 [post_date_gmt] => 2017-03-17 13:50:00 [post_content] => “I’ve just heard you play, and …” “La La Land,” an original musical film, was undeniably the sleeper hit musical hit of 2016. The film was nominated for a record-tying 14 Academy Awards, of which it won six, and won a record-breaking seven Golden Globes. The songs, written by Justin Hurwitz and Pasek & Paul, are a contemporary spin on the jazz sound heard in Golden Age stage musicals and films.Here are the 15 songs in “La La Land” ranked from least to greatest:
15. “City of Stars (Humming)”
https://www.youtube.com/watch?v=MXgGo3310-k Although a beautiful take on the recurring song throughout the movie, the coffee shop spin on this track sounds slightly out of place with the rest of the movie’s jazzy score. Fans of Emma Stone’s singing will not be disappointed, however.14. “Engagement Party”
https://www.youtube.com/watch?v=wA3vwZqxKdY A more relaxed moment in the score, this piano solo is a charming, albeit forgettable, ballad that helps balance the constantly upbeat nature of the movie.13. “Planetarium”
https://www.youtube.com/watch?v=7oy_MIA36HM Possibly the most symphonic number in the score, the dream sequence here is delightful, if not somewhat clichéd and derivative.12. “The End”
https://www.youtube.com/watch?v=RfBl58ADym4 The ending echoes the theme for Mia and Sebastian. While triumphing in its crescendo, “The End” could be slightly longer and include some jazz harmonies.11. “Audition (The Fools Who Dream)”
https://www.youtube.com/watch?v=SXsqYs1l_IY Stone’s big solo ballad tells of her aunt’s carefree adventures in Paris. While her vocal chops might not quite be Broadway-level, she gives a convincing performance and paints a lasting picture in the listener’s mind.10. “City of Stars” (Ryan Gosling Solo)
https://www.youtube.com/watch?v=HR69twKqb3s Gosling’s solo version of this song is the first time it’s heard in the movie, sung right after his character hangs out with Mia for the first time. Gosling’s whispery tone appropriately reflects the nature of his character’s future hopes.9. “City of Stars” (Duet)
https://www.youtube.com/watch?v=GTWqwSNQCcg Here we have the lovers in a more intimate, vulnerable musical setting, becoming more romantic one blue note at a time.8. “Summer Montage”
https://www.youtube.com/watch?v=7UYybh7hLpI This instrumental reimagining of “Another Day of Sun” is a showcase of Hurwitz’s imaginative genius as a composer.7. “Herman’s Habit”
https://www.youtube.com/watch?v=9L5IGZhPjsY This Miles Davis sound-alike is sure to amuse any hardcore jazz fan who is looking for something more classic and true to form in the soundtrack.6. “Mia and Sebastian’s Theme”
https://www.youtube.com/watch?v=pjdr9Y_g3CA This haunting piano theme has traces of pre-jazz Impressionistic composers such as Debussy and Ravel. Its poignant melodies and harmonies parallel the tumultuous bond between the two lovers.5. “A Lovely Night”
https://www.youtube.com/watch?v=RwkoZYDg07U Reminiscent of dancing sequences by Fred Astaire and Ginger Rogers, this first duet between Mia and Sebastian is a tribute to the jazzy musicals that long preceded “La La Land.”4. “Start a Fire”
https://www.youtube.com/watch?v=DGVDp79rXjY Undoubtedly the most contemporary-sounding number in the whole movie, John Legend and company deliver a knockout performance in this soulful jam.3. “Another Day of Sun”
https://www.youtube.com/watch?v=KYtYraMeK2Q One of the more memorable opening sequences in recent musical films, this song is destined to be a show-choir favorite by the end of this year.2. “Someone in the Crowd”
https://www.youtube.com/watch?v=MlJPzlZGWow This song is about the thrill of a chance encounter, and Mia and her friends add life to its flamboyant and lighthearted representation of Los Angeles nightlife.1. “Epilogue”
https://www.youtube.com/watch?v=_4rWHiDzxgc Arguably the best part of the movie, the instrumental epilogue is a fantastic dream sequence of what might have been if Mia and Sebastian had waited for each other. The union of the movie’s musical themes here is extraordinary.What are your favorite parts in “La La Land?” Let us know in the comments below...
[post_title] => 15 'La La Land' Songs Ranked From Least To Greatest [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => la-la-land-songs-ranked-least-greatest [to_ping] => [pinged] => [post_modified] => 2017-03-18 10:50:04 [post_modified_gmt] => 2017-03-18 14:50:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7434 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [3] => WP_Post Object ( [ID] => 7698 [post_author] => 440 [post_date] => 2017-03-15 09:42:08 [post_date_gmt] => 2017-03-15 13:42:08 [post_content] => Whether for a high school play, dance recital or because the makeup artist broke her hand an hour before the show, every performer should know how to apply their own stage makeup. It can seem like a daunting task to someone who has never done it before. Endless questions will arise about which products you’ll need, how much to use and how to apply it. Or, perhaps you’ve mastered the basics and are looking for character- or era-specific makeup. Video tutorials are an easy way to learn from others with more experience so you can practice creating a look before the big show.Here are six helpful YouTube makeup tutorials for performers:
1. Demi Rawling, “Performance Makeup Tutorial”
https://youtu.be/Bv8UzAwreIs Demi Rawling introduces herself in her videos as a full-time ballet dancer at the West Australian School of Dance. Her tutorial is basic and features simple stage makeup anyone can use. She provides her viewers with great tips, lists all of her products/shades and explains each step while showing how to apply the products.2. Kathryn Morgan, “Basic Stage Makeup Tutorial”
https://youtu.be/BtbBNEpHHAI A former soloist with the New York City Ballet, Kathryn Morgan is now a performer, teacher and speaker with a successful YouTube channel, blog and podcast. Her video teaches viewers how to do basic stage makeup using neutral colors and gives good tips for multiple roles. Her step-by-step instructions includes suggested products, helpful tips and explanations of how the makeup will look from the audience. Morgan’s channel has an entire playlist devoted to stage makeup tutorials for a variety of characters. Most of them are ballet characters, but these looks are easily transferrable and good for a variety of characters. She also has a tutorial for audition makeup on her everyday makeup playlist.3. CoyMakeup, “How to Do an Old-Age Makeup”
https://www.youtube.com/watch?v=Wq9UdaR5Cic In the event your characters calls for old-age makeup, it might be helpful to know how to apply your own. Once you provide your basic base, this is a great tutorial for aging yourself. Makeup artist Sarah Coy does this with three powders and nothing else. It’s pretty impressive. She offers suggestions for finding inspiration and explains the way the skin changes, so there’s an understanding as to why the makeup is being applied in a certain way. Coy has several other makeup tutorials, including ones for geisha, goth, drag and leopard.4. Lisa Eldridge, “Old Hollywood-Inspired Party Look With Vintage Golds”
https://www.youtube.com/watch?v=JCrFh3VryTY Lisa Eldridge is a profesional makeup artist with a long list of celebrity clients and experience, so she certainly knows her stuff. She has an entire playlist of basics in case you are new to makeup application or are looking to improve a specific skill, such as applying false lashes or winged liner. Her channel is especially helpful once you’ve mastered the basics and are looking to achieve historical makeup looks for different shows. She has an entire playlist of vintage, historical and iconic makeup looks as well.5. JAM Cosmetics, “Stage Makeup”
https://www.youtube.com/watch?v=eE_o7766rKE This tutorial gives an overview of the whole process from start to finish. While it doesn’t break the entire process down in as much detail as some of the other videos, it includes specifics when it comes to eye makeup, one of the more difficult portions of makeup application. They use their own products in the tutorial, but other products in similar colors and shades would work just fine.6. Zabrena, “Historically Accurate: 1920s Makeup Tutorial”
https://youtu.be/P_iMr-yOUbo?list=PLuHwdLRLQumAocexBAqVJXtGrZ2pc3cU0 Again, this channel is great once you’ve mastered the basics and are looking to achieve a specific look to match a character. Beauty and fashion vlogger Zabrena offers a slew of researched historical makeup tutorials, where she shares facts as she applies makeup. She shows viewers techniques from historical periods that can be tailored for the stage by combining them with stage makeup basics. Don’t be afraid to start over if the application isn’t working right the first time. It might take a few tries. Remember, the right makeup can help both the actor and the audience immerse themselves fully in the character~ Looking for more? Check out these 11 tips for applying your own stage makeupHave any helpful stage makeup tips? Know of a video that we missed? Let us know in the comments below...
[post_title] => 6 Helpful YouTube Tutorials For Stage Makeup [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-helpful-youtube-tutorials-stage-makeup [to_ping] => [pinged] => https://theatrenerds.com/11-tips-for-applying-your-own-stage-makeup/ [post_modified] => 2017-03-15 09:59:08 [post_modified_gmt] => 2017-03-15 13:59:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7698 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [4] => WP_Post Object ( [ID] => 7159 [post_author] => 11 [post_date] => 2017-03-14 10:13:17 [post_date_gmt] => 2017-03-14 14:13:17 [post_content] => [viralQuiz id=35] [post_title] => Quiz: Do You Know Which Play Came First? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-which-play-came-first [to_ping] => [pinged] => [post_modified] => 2017-03-14 10:17:55 [post_modified_gmt] => 2017-03-14 14:17:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7159 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [5] => WP_Post Object ( [ID] => 7658 [post_author] => 440 [post_date] => 2017-03-13 11:09:57 [post_date_gmt] => 2017-03-13 15:09:57 [post_content] => Good dancers make being in a show look easy. They glide across the stage and move through complicated combinations with ease, all while emoting and belting out vocals with as much power as Sutton Foster. The irony of it all is that it takes work to make something look easy. It requires stamina to make it through a three-hour performance, especially if it involves dancing. So, whether it’s community theatre or a professional Broadway production, it’s crucial that performers stay in shape in order to perform at peak levels. Sure, there are the typical ways of working out and getting fit, such as the gym or taking dance classes. But let’s face it, gym memberships and class fees can get expensive and are not always a viable option when balancing work, school, your home life, rehearsals and some semblance of a social life. Not everyone has a free hour or two per day to work out, but that doesn’t mean it can’t happen. Here are eight cost-effective ways to get in dancer shape in your free time:1. Fitness Apps
There are many apps to choose from that let you work out when and where it’s convenient for you. Some apps are free and will offer in-app purchases to go to higher levels. Other apps charge money but are usually cost-effective and definitely cheaper than the gym. Not sure whether it’s a good app? A quick read of reviews should give you a feel for it. Not sure where to start? Try Sworkit, Yoga Studio or 7 Minute Workout Challenge.
2. YouTube Dance Tutorials
Don’t have money for dance classes? Thanks to YouTube, you can have dance teachers available 24/7 at the touch of a button, free of charge. If ballet is your bag, dance teacher Kathryn Morgan offers a playlist of ballet barre workouts on her channel. Hip-hop lovers can find inspiring routines and dance tutorials by choreographer Matt Steffanina on multiple channels. Whatever your dance preference, YouTube is likely to have it. It’s a great way to improve your dance moves while also clocking some cardio.
3. Pinterest
This site is a gold mine for fitness ideas. Trainers, health magazines and websites have created workouts, and Pinterest has done us all a solid by organizing a multitude of them in one place. There are even workouts to go along with TV shows so you can catch up on your favorites while getting fit — all from the comfort of your living room. Pin them to your board, or print them out for an instant on-the-go trainer.
4. Running
You don’t need a fancy, expensive treadmill to exercise when it’s free to do so outdoors. If you happen to live in an area where extreme weather is part of the regular fun of your day, it doesn’t mean running is out of the question. Check online to see whether there is an indoor walking/running track in your area. Some shopping malls even have designated days where you can walk or run inside.
5. Fit For Broadway
Fit For Broadway is a great asset for actors and dancers alike. The blog, created by Jane Jourdan, explores how health and fitness are an important foundation for the success of every performer. Jourdan’s easy-to-navigate website offers readers Broadway interviews, workouts, recipes and more, all filtered through the performer lens.
6. Jump Rope
What’s great about jumping rope is that it’s fast, fun and an activity you can do anywhere. It’s an excellent form of cardio that even celebs such as Kate Hudson have included in their workouts. Stick to the schoolyard basics or check out YouTube for videos that will show you different moves to incorporate for a more intense session.
7. Take the Stairs
This seems like a simple one, but this regular part of your day is more effective than you might think. While this can’t be your only form of exercise, your health will certainly benefit from using the stairs on a regular basis. Plus, it’s always less crowded than an elevator or escalator, so you’ll save time. Win!
8. Eat Right and Drink Lots of Water
While this isn’t a method of exercise, it’s still important to mention. Eating right is a significant part of getting your body in shape. Ensuring you are consuming a balanced diet and maintaining a healthy body weight is all part of the package. And while it’s been said before, it’s worth repeating that you have to hydrate to dominate. Always carry your water bottle and be sure to fill it up throughout the day. Don’t wait until you’re thirsty to have a drink, since dehydration can start long before that. Drinking water regularly and eating a balanced diet will keep you fueled through those long rehearsals and help you perform at your highest levels.
Health is a crucial part of any performer’s life, and it looks different for everyone. Don’t be afraid to start slow and try different methods of exercise until you find what works best for you. So, grab your playlists and, in the words of the infamous Schuyler sisters, get ready to work!
How do you stay fit as a performer? Let us know in the comments below...
[post_title] => 8 Hacks To Get In Dance-Shape For A Show [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => hacks-get-dance-shape-show [to_ping] => [pinged] => https://theatrenerds.com/15-best-broadway-showtunes-workouts/ [post_modified] => 2017-03-13 11:12:31 [post_modified_gmt] => 2017-03-13 15:12:31 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7658 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [6] => WP_Post Object ( [ID] => 6847 [post_author] => 391 [post_date] => 2017-03-11 10:10:56 [post_date_gmt] => 2017-03-11 15:10:56 [post_content] => [viralQuiz id=32] [post_title] => Quiz: Which 'Heathers' Character Are You? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-which-heathers-character-are-you [to_ping] => [pinged] => [post_modified] => 2017-03-11 10:48:50 [post_modified_gmt] => 2017-03-11 15:48:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6847 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 135 [filter] => raw ) [7] => WP_Post Object ( [ID] => 7622 [post_author] => 12 [post_date] => 2017-03-10 10:19:47 [post_date_gmt] => 2017-03-10 15:19:47 [post_content] => Podcasts are everywhere these days, covering a litany of topics. So, we decided to check out some of the most popular broadcasts out there for actors. Here is a list that covers the gamut between Broadway, comedy, on-camera acting, ensemble work and more.1. “Maxamoo,” by Lindsay Barenz
“Maxamoo” is the one and only resource to know what’s hot and what’s not on the New York City theatre scene. Not only does it cover the best of the best (no matter the theatre or marquee size), but it also hosts discussions with playwrights and performers. This is a one-stop shop for all things NYC theatre.
2. “Kahnversations,” by Lesly Kahn and Company
“Kahnversations” is a podcast that features stories from actors, writers and directors who are currently in the midst of breaking into the business “while their battle scars are still fresh,” as the podcast puts it. Instead of hearing those glossed-over “how-they-became-famous” stories from big-time stars, this podcast focuses on people booking their first big guest star role or booking series-regular gigs and just getting their names and faces recognized. This is a great place for knowledge and inspiration.
3. “Theatre People,” by Patrick Hinds
“Theatre People” touts itself as the only podcast that offers full-length interviews with Broadway’s best. They do weekly podcasts every Monday (until the Tony Awards, anyway) and have also launched a new podcast called “Broadway Backstory.” This audio documentary-style podcast covers everything from a show’s development from initial idea to the full-blown production. Check these podcasts out for some in-depth coverage of Broadway’s finest.
4. “You Made It Weird With Pete Holmes” by Nerdist Industries
In this semi-weekly podcast, comedian Pete Holmes interviews fellow comedians (plus the occasional musician, scientist, author, etc.) and gets them to share their inner-weirdness. It’s the perfect podcast for the comedic actor, standup comedian or anyone who just loves comedy and a good time.
5. “The Ensemblist,” by Mo Brady and Nikka Graff Lanzarone
This is another great podcast that covers ground through the first rehearsal to opening night and beyond. “The Ensemblist” also takes a deeper look into the inner-workings of the all-important ensemble and how these performers help hold the show together. It’s a great place to pick up some knowledge and get yourself motivated.
6. Broadwaysted
Simply stated, Broadwaysted is about having a drink with your favorite Broadway stars. Bryan, Kevin & Kimberly speak with different members of the theatre community every week. A great alternative to traditional interview style, this podcast takes a more casual approach which tends to open up a different side of your favorite people.
Hopefully you’re feeling inspired by these podcasts. Let us know what other actor-friendly podcasts you listen to in the comments!
[post_title] => 6 Podcasts Every Thespian Should Listen To [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => podcasts-every-thespian-listen [to_ping] => [pinged] => [post_modified] => 2017-03-10 10:34:30 [post_modified_gmt] => 2017-03-10 15:34:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7622 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [8] => WP_Post Object ( [ID] => 7277 [post_author] => 717 [post_date] => 2017-03-09 09:30:25 [post_date_gmt] => 2017-03-09 14:30:25 [post_content] => [caption id="" align="alignleft" width="268"] Producer David Merrick[/caption]
David Merrick, sometimes referred to as the “Abominable Showman,” was a tyrant, a scoundrel and an absolute genius. One of the most prolific producers the theatre has ever known, Merrick was responsible for bringing to Broadway shows such as “Fanny” (1954), “Gypsy (1959), “Carnival!” (1961), “Oliver!” (1963), “Hello, Dolly!” (1964), “Promises, Promises” (1968), “Mack & Mabel” (1974), “42nd Street” (1980) and “State Fair” (1996), among many others.
In 1960, Merrick had 11 shows playing on Broadway, an astounding feat. All in all, 31 of Merrick’s productions were nominated for Best Play/Musical/Revival, with seven of those shows taking home the statue. When the Tony’s had a category for Best Producer of a Play/Musical, Merrick was nominated six times, won twice and won a special Tony Award in 1961 for “recognition of a fabulous production record over the last seven years” and another special Tony Award in 1968.
So, what made Merrick so different from other producers of the time? It certainly wasn’t his sunny disposition. His office above the St. James Theater was painted completely in a particular shade of red so that anyone coming to meet with him felt as though they were entering Hell. Merrick also made sure his desk was extra large and his guest chairs were slightly on the smaller side, so guests felt like they were cowering before the devil himself. One of his personal mottos was, “It’s not enough that I should succeed; others should fail.” As you may have guessed, Merrick believed strongly in getting the best of out of people using unbridled fear. He would threaten, berate and bring in replacements at the drop of a hat, all solely to scare people into working harder and faster.
As his famous nickname states, he was abominable. But, he was also a master showman. Merrick would stop at nothing to promote his shows, using every conventional method available. And when those didn’t work, Merrick employed one of his greatest skills, one that truly set him apart from the crowd: the publicity stunt.
Here is a look at six of Merrick’s most famous (and infamous) stunts:
1. "Paging Mr. Clutterbuck"
One of the first shows Merrick produced on Broadway was a 1949 comedy called “Clutterbuck.” To generate ticket sales, he had the brilliant idea of going to almost every hotel lobby, swanky bar and social club in Manhattan during peak hours and have a “Mr. Clutterbuck” constantly paged. Soon, everyone wondered who this Clutterbuck fellow was, and it helped the show run many months longer than it would have.
2. "Have You Seen Fanny?"
Merrick’s first big musical was “Fanny,” a musical version of the “Fanny”/”Marius”/”César” trilogy by Marcel Pagnol, with a score by Harold Rome and a book by Joshua Logan and S.N. Behrman. Being his first show with his name solely above the title meant a lot to Merrick, and he was determined to have a hit, no matter what. Here are a few of the stunts Merrick pulled (or tried to pull) to promote “Fanny.”
- Merrick petitioned to have the next major hurricane to hit the East Coast named “Fanny.” He was informed that the names were all determined ahead of time at the annual meeting of the U.S. Weather Bureaus and that they could not grant the request. He was, however, invited to the following year’s meeting, which he obviously publicized heavily.
- For several years, there was an ad for Bond Clothing Stores in Times Square that contained an actual 27-feet-high, 120-feet-log, 50,000-gallon waterfall. It was a stunning display and sat directly across from Astor Hotel. Merrick had the idea of renting a room at the hotel and using a projector to project a giant ad for “Fanny” across the water cascading down the waterfall. Shortly after he’d begun his nightly stunt, Merrick made the mistake of inquiring about the hotel room’s wiring, which caused the management to become suspicious. Once the operation was discovered, Merrick and his men were ejected from the hotel.
- Merrick had stickers placed in all the men’s rooms across the city with the slightly dirty-sounding phrase, “Have You Seen Fanny?”
- At the wedding of Grace Kelly to the Prince of Monaco (one of the biggest celebrity events of the 20th century), Merrick had an ad for “Fanny” written across the sky using skywriting.
3. "The Nude"
In another ploy to publicize “Fanny,” Merrick made sure to cast famed belly dancer and gossip columnist sweetheart Nejla Ateş in a bit part in the chorus, though she appeared onstage for only about a minute. However, Merrick had a grander scheme in mind. He commissioned a sculptor to sculpt a nude statue of the dancer, which he then had installed in Central Park’s Poet Corner very late in the night. Early the next morning, he placed anonymous phone calls to both the police and press complaining about the vulgar statue. Sure enough, the statue and its removal caused quite a stir. Merrick also had an almost 12-foot photo of Ateş installed on the outside of the theater, causing several traffic jams as men would slow down to ogle the giant dancer. All the publicity helped “Fanny” play at the Majestic Theater for 888 performances.
4. "7 Out of 7"
One of the most legendary and brilliant (or devious, depending on whom you ask) stunts ever pulled by Merrick was the infamous newspaper ad for the musical, “Subways Are for Sleeping” in 1961. The musical, with a score by Jule Styne, Betty Comden and Adolph Green and starring Orson Bean, Sydney Chaplin, Carol Lawrence and Phyllis Newman, had opened at the St. James Theater to disappointing reviews. Ticket sales were slow and getting slower. The New York City Transit Authority had already put the kibosh on Merrick’s plans to flood the subway system with ads, fearing large signs reading “Subways Are for Sleeping” would essentially give permission to any homeless person to set up camp in the subway stations.
Merrick knew he needed to do something big to save the show, and he had just the plan. He scoured the country for seven people with the same names as the seven top New York theatre critics, such as Walter Kerr, Howard Taubman and Richard Watts. He then flew them all out to New York, wined and dined them, gave them prime seats to the show and then presented them with pre-made statements gushing over the show and asked if they agreed, which they happily did. Merrick then took out a large ad in the New York papers that body claimed that “7 Out Of 7 Are Ecstatically Unanimous About Subways Are For Sleeping.” The ad then had quotes from the “seven” gushing about the show, saying things like, “What a Show! What a Hit!” and "Subways Are For Sleeping is the Best Musical of this Century!"
As not to be accused of any wrongdoing, Merrick included a picture of the person attributed to each quote, knowing full well that most people would have no idea what the top seven critics actually looked like. However, the major newspapers did, and refused to run the ad, except for the Herald Tribune, which didn’t catch onto the ruse until a later edition. Merrick confessed later that he had that idea in his back pocket for many years but had to wait until critic Brooks Atkinson retired, as Merrick could never find anyone with that exact name.
5. "Holding the Curtain"
By 1987, the musical “42nd Street” had been running for seven years and was losing steam. The show moved to the St. James Theater after being forced out of its second home, the Majestic Theater, to make way for the mega-hit “The Phantom of the Opera.” (Merrick would, of course, capitalize on this by having news cameras film the “42nd Street” cast, in full costume, tap dancing out of the Majestic and across the street into the St. James. Always a showman!)
When Merrick saw the throngs of tourists struggling to get tickets to the monster hit, he devised another scheme to make profit. He changed the starting times for “42nd Street” from 8 p.m. to 8:15 p.m. and from 2 p.m. to 2:15 p.m. on matinee days. He then had ads all over stating, “David Merrick is holding the curtain for YOU.” The idea was that anyone who was turned away from “Phantom” could still have time to walk across the street to catch “42nd Street.”
6. "It Is Tragic..."
Merrick worked with famed director/choreographer Gower Champion on seven shows, including “Carnival!” “Hello, Dolly!” and “42nd Street,” which would be Champion’s final show. On Aug. 25, 1980, the day of “42nd Street’s” opening night, Merrick got a call that Champion was in the hospital and was not doing well (he had been diagnosed with a rare blood cancer in 1979). A small group of doctors and family (as well as Merrick) were there when Champion passed away at 1 p.m. Wanting to protect his opening night and milk the situation for all he could get, Merrick sprang into action. He immediately swore the family and doctors to secrecy about the death and called the full company into rehearsals for the entire day to insulate them from any possible rumors. The plan worked, and the opening night of “42nd Street” went off without a hitch.
As the cast took their bows to thunderous applause, Merrick took to the stage, his face sullen. When he spoke, he said, “It’s tragic,” to which the cast and audience laughed, believing this to be a joke after the triumphant performance. Merrick them told of the passing of Champion to the suddenly heartbroken cast, gasping audience and all the TV cameras Merrick made sure were in the back of the house to capture the moment for all of America to see. The show’s star (and Champion’s girlfriend) Wanda Richert buried her head, sobbing into cast member Jerry Orbach’s chest as he called for the curtain to be lowered as the crowd was left dumbstruck.
The horrendous stunt worked, and the immense publicity ensured the show had a long and profitable run. To many, though, it was inexcusable. To add insult to injury, shortly after the the show’s opening and Champion’s death, all the promotional material for the show was changed from "Gower Champion's 42nd Street" to "David Merrick's 42nd Street." Years later, when Richert confronted Merrick about the opening night incident and asked if he knew how crass it was, Merrick said that he did but that he “couldn’t help himself.”
What do you think of David Merrick’s tactics? Have you ever been part of a publicity stunt? Let us know in the comments below...
[post_title] => David Merrick And The Art Of The Publicity Stunt [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => david-merrick-art-publicity-stunt [to_ping] => [pinged] => [post_modified] => 2017-03-09 12:56:07 [post_modified_gmt] => 2017-03-09 17:56:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7277 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [9] => WP_Post Object ( [ID] => 7500 [post_author] => 391 [post_date] => 2017-03-08 10:08:27 [post_date_gmt] => 2017-03-08 15:08:27 [post_content] => Since the success of “Hair” in the late 1960s, the rock musical has arguably become the most popular genre in contemporary musical theatre. Rock musicals such as “Rent” and “Spring Awakening” both ran on Broadway for years and developed core fanbases that continue to thrive. Mezzo belters such as Alice Ripley and Idina Menzel are closely tied to the genre and inspire countless singers today. If you’re a pop/rock mezzo who is looking for a song that’s not next to normally done very often, here are 15 tunes that will help you score that role:1. “Nobody’s Side” from “Chess”
https://www.youtube.com/watch?v=72Eu-oYjb3c In this scene from the 1986 musical, Florence sings of her new freedom away from Freddie after they argue about the politics of the chess tournament. Range: E3–E5.2. “Didn’t I See This Movie?” from “Next to Normal”
https://www.youtube.com/watch?v=zOsg2w-l59U One of the more notable recent rock musicals, “Next to Normal” is about a woman who lives with bipolar disorder and how it affects her family. In this scene, Diana refuses treatment from her doctor. Range: G#3–D#5.3. “Always Starting Over” from “If/Then”
https://www.youtube.com/watch?v=PoeBOzvNN1k In this scene from a show with two distinct storylines, Liz comes to terms with living without her dead husband, Josh. Range: G3–Eb5.4. “Fusion” from “The Woman Upstairs”
https://www.youtube.com/watch?v=92bY8BVdutY In one of the lesser-known efforts by Kerrigan and Lowdermilk, Helen, who has just moved to New York City, feels lonely in spite of all the noise around her. Range: G3–F5.5. “I Didn’t Plan It” from “Waitress”
https://www.youtube.com/watch?v=ESfm6BAKjJI In this scene from Sara Bareilles’ musical, Becky defends her affair with Cal against Jenna, who she thinks shouldn’t judge because of her miserable home situation. Range: Eb3–Eb5.6. “My Body” from “The Life”
https://www.youtube.com/watch?v=OXjkJeo2yf4 In this scene from one of Cy Coleman’s later shows, a group of prostitutes defend themselves against a group of pimps. Range: C#4–F#5.7. “This Time” from “Now. Here. This”
https://www.youtube.com/watch?v=YGSGBIw2sVg Written by the creators of “[title of show],” this song’s character makes her own rules for choosing a unique path in life. Range: F#3–D5.8. “Even Though” from “I Love You Because”
https://www.youtube.com/watch?v=gXeBbGpPupQ In this modern adaptation of “Pride and Prejudice,” Marcy reminds Austin that in spite of his many flaws, she still loves him. Range: A3–F5.9. “Pulled” from “The Addams Family”
https://www.youtube.com/watch?v=zD0BOl_UQtQ In this part of the Andrew Lippa musical, Wednesday realizes that her new relationship with Lucas is putting her life in a new direction. Range: C4–E5.10. “Safer” from “First Date”
https://www.youtube.com/watch?v=egs24y0MLHk While contemplating her family life and her personal problems, Casey realizes it’s best to depend on herself rather than anyone else. Range: Ab3–E5.11. “Dead Girl Walking” from “Heathers”
https://www.youtube.com/watch?v=3EyDyxGZn_Y This number finds Veronica Sawyer, a newly popular girl at her high school, seducing and losing her virginity to her partner in crime, J.D. Range: A3–G#5.12.“Change the World” from “Lysistrata Jones”
https://www.youtube.com/watch?v=xiEGxzBQgb0 Based on the Ancient Greek comedy “Lysistrata,” this song features Lizzie and her friends taking a vow of abstinence until their college’s basketball team wins a game. Range: G#3–F5.13. “If You Knew” from “Lizzie the Musical”
https://www.youtube.com/watch?v=TnarPFeWMQk This musical about the infamously acquitted killer has had community and university performances around the world. This song features Alice, Lizzie’s sister, reassuring the lost, misunderstood title character of her loyalty to her. Range: B3–D5.14. “Don’t Say Another Word” from “Next Thing You Know”
https://www.youtube.com/watch?v=MPjAtqkfVwY This musical by Salzman and Cunningham ran Off-Broadway in 2011. Waverly, a struggling actress, hits a rough patch in communication with her lover, Darren, and is hesitant to get serious with him. Range: C4–Eb5.15. “Gotta Get Out” from “Ordinary Days”
https://www.youtube.com/watch?v=gf2OD10pkoU Unsure of her reasons for branching out of her comfort zone, Claire wants to get away from the city to start a new chapter with her boyfriend. Range: G3–E5.You Might Like: 51 Fantastic Audition Songs For Mezzo-Sopranos
Think of a great Pop/Rock audition song that we left out? Leave a comments below...
[post_title] => 15 Overlooked Pop/Rock Audition Songs For Mezzo Belters [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-overlooked-pop-rock-audition-songs-mezzo-belters [to_ping] => [pinged] => [post_modified] => 2018-10-03 21:35:34 [post_modified_gmt] => 2018-10-04 01:35:34 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7500 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 8 [filter] => raw ) [10] => WP_Post Object ( [ID] => 7425 [post_author] => 639 [post_date] => 2017-03-06 09:32:10 [post_date_gmt] => 2017-03-06 14:32:10 [post_content] => Though he’s one of the world’s greatest playwrights, we don’t always look to Shakespeare for empowering female characters. In fact, despite our love for his work, we often struggle to defend many of them. For example, Kate in “Taming of the Shrew” starts off super strong at the beginning of the play, but by the end, she becomes submissive. There has been so much debate over the evolution of this one character because she broke from the mold so well up until the end of the play. When looking to Shakespeare for strong characters to play or idolize, the first few that always come to mind are Hamlet or Richard II, since these are very meaty characters who have countless iconic lines. Many women would prefer to play Hamlet over Ophelia or play Prospero over Cressida. However, that’s not to say the women of Shakespeare are completely at a loss. There are many strong monologues by female characters throughout his work.Whether it be for an audition or just for fun, here are eight great Shakespearean monologues for women:
1. Lady Macbeth Damned Spot, “Macbeth,” Act 5, Scene 1
When trying to think of a great female monologue from Shakespeare, this is the one that most often comes to mind. Lady M. has become one of the most iconic female characters in Shakespeare’s work. She’s far from innocent, and you can’t help but feel for her in this scene. This is perhaps one of the most, if not the most popular female monologue from Shakespeare.
Yet here's a spot.
Out, damned spot! out, I say!--One: two: why,
then, 'tis time to do't.--Hell is murky!--Fie, my
lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power to
account?--Yet who would have thought the old man
to have had so much blood in him.
The thane of Fife had a wife: where is she now?--
What, will these hands ne'er be clean?--No more o'
that, my lord, no more o' that: you mar all with
this starting.
Here's the smell of the blood still: all the
perfumes of Arabia will not sweeten this little
hand. Oh, oh, oh!
Wash your hands, put on your nightgown; look not so
pale.--I tell you yet again, Banquo's buried; he
cannot come out on's grave.
To bed, to bed! there's knocking at the gate:
come, come, come, come, give me your hand. What's
done cannot be undone.--To bed, to bed, to bed!
2. Ophelia’s Breakdown, “Hamlet,” Act 4, Scene 5
Getting the more well-known scenes out of the way, this is one of the greatest examples of a female having a breakdown in Shakespeare’s work. What is admirable about this scene is that it is not a very “woe is me” moment. This scene was not triggered by a failed romantic endeavor. Yes, Hamlet has been toying with Ophelia throughout the play up until this point and did tell her “get thee to a nunnery,” but she finally cracks when she loses her closest ally: her father. Though not a technical monologue, all of Ophelia’s lines combined in this scene make for a very dramatic read.
Where is the beauteous majesty of Denmark?
[Sings]
How should I your true love know
From another one?
By his cockle hat and staff,
And his sandal shoon.
Say you? nay, pray you, mark.
[Sings]
He is dead and gone, lady,
He is dead and gone;
At his head a grass-green turf,
At his heels a stone.
Pray you, mark.
[Sings]
White his shroud as the mountain snow,--
[Sings]
Larded with sweet flowers
Which bewept to the grave did go
With true-love showers.
Well, God 'ild you! They say the owl was a baker's
daughter. Lord, we know what we are, but know not
what we may be. God be at your table!
Pray you, let's have no words of this; but when they
ask you what it means, say you this:
[Sings]
To-morrow is Saint Valentine's day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.
Then up he rose, and donn'd his clothes,
And dupp'd the chamber-door;
Let in the maid, that out a maid
Never departed more.
Indeed, la, without an oath, I'll make an end on't:
[Sings]
By Gis and by Saint Charity,
Alack, and fie for shame!
Young men will do't, if they come to't;
By cock, they are to blame.
Quoth she, before you tumbled me,
You promised me to wed.
So would I ha' done, by yonder sun,
An thou hadst not come to my bed.
I hope all will be well. We must be patient: but I
cannot choose but weep, to think they should lay him
i' the cold ground. My brother shall know of it:
and so I thank you for your good counsel. Come, my
coach! Good night, ladies; good night, sweet ladies;
good night, good night.
3. Beatrice Is Tricked, “Much Ado About Nothing,” Act 3, Scene 1
Though a shorter monologue, Beatrice couldn’t be left off this list. She is one of the feistiest and and admirable female characters that Shakespeare has produced. She has many crazy one-liners, including “It is so, indeed; he is no less than a stuffed man: but for the stuffing—well, we are all mortal.” This monologue occurs after she is tricked into believing Benedict loves her.
What fire is in mine ears? Can this be true?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.
4. Katherine, “Taming of the Shrew,” Act 5, Scene 2
Though not the most empowering of strong female monologues from Shakespeare, this one is pretty infamous and well-written. Yes, this monologue requires a great deal of analysis to understand how this character got to this point when she started out more outspoken than Beatrice, but it’s still worth a read. Feel free to interpret this ending as you like.
Fie, fie! unknit that threatening unkind brow,
And dart not scornful glances from those eyes
To wound thy lord, thy king, thy governor.
It blots thy beauty as frosts do bite the meads,
Confounds thy fame as whirlwinds shake fair buds,
And in no sense is meet or amiable.
A woman mov'd is like a fountain troubled-
Muddy, ill-seeming, thick, bereft of beauty;
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body
To painful labour both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands
But love, fair looks, and true obedience-
Too little payment for so great a debt.
Such duty as the subject owes the prince,
Even such a woman oweth to her husband;
And when she is froward, peevish, sullen, sour,
And not obedient to his honest will,
What is she but a foul contending rebel
And graceless traitor to her loving lord?
I am asham'd that women are so simple
To offer war where they should kneel for peace;
Or seek for rule, supremacy, and sway,
When they are bound to serve, love, and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?
Come, come, you forward and unable worms!
My mind hath been as big as one of yours,
My heart as great, my reason haply more,
To bandy word for word and frown for frown;
But now I see our lances are but straws,
Our strength as weak, our weakness past compare,
That seeming to be most which we indeed least are.
Then vail your stomachs, for it is no boot,
And place your hands below your husband's foot;
In token of which duty, if he please,
My hand is ready, may it do him ease.
5. Helena’s Declaration, “All’s Well that Ends Well,” Act 1, Scene 3
This monologue is not only passionate, but it’s a great example of role reversal. It’s not often that a female character gets a lengthy monologue to declare her love for a man in the bard’s work. For example, even a character as strong as Beatrice in “Much Ado About Nothing” is often upstaged by Benedict.
Helena’s monologue here also comes very early on in the play and establishes her character. She is very aware of her status, but she knows what she wants and will do anything to achieve it. Weird body swap to consummate her marriage aside, in full Shakespearean fashion, this monologue sets the stage for a very interesting character.
Then, I confess,
Here on my knee, before high heaven and you
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so's my love:
Be not offended, for it hurts not him
That he is lov'd of me: I follow him not
By any token of presumptuous suit;
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet, in this captious and intenible sieve
I still pour in the waters of my love,
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun, that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love
For loving where you do: but, if yourself,
Whose aged honour cites a virtuous youth,
Did ever in so true a flame of liking
Wish chastely and love dearly, that your Dian
Was both herself and Love; O! then, give pity
To her, whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But, riddle-like, lives sweetly where she dies.
6. A Rose by Any Other Name, “Romeo and Juliet,” Act 2, Scene 2
Yes, it is corny and extremely well-known, but this list would not be complete without Juliet. While Juliet’s monologue after her cousin’s death was a close second, this list just needed a brief monologue about love and the optimism that occurs after meeting a cute boy at a party.
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
7. Spare Your Threats, “The Winter’s Tale,” Act 3, Scene 2
This play is often severely overlooked, as is the character of Hermione. The main issue with this play is that it’s hard to classify. Some say it’s a comedy, while others think it’s a romance. Though Hermione is not a main character throughout the whole play, the conflict between her and her husband drives the plot.
In this particular scene, she is defending herself after her husband has accused her of having an affair. She never once appears weak and holds her head high throughout the scene.
Sir, spare your threats:
The bug which you would fright me with I seek.
To me can life be no commodity:
The crown and comfort of my life, your favour,
I do give lost; for I do feel it gone,
But know not how it went. My second joy
And first-fruits of my body, from his presence
I am barr'd, like one infectious. My third comfort
Starr'd most unluckily, is from my breast,
The innocent milk in its most innocent mouth,
Haled out to murder: myself on every post
Proclaimed a strumpet: with immodest hatred
The child-bed privilege denied, which 'longs
To women of all fashion; lastly, hurried
Here to this place, i' the open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die? Therefore proceed.
But yet hear this: mistake me not; no life,
I prize it not a straw, but for mine honour,
Which I would free, if I shall be condemn'd
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
'Tis rigor and not law. Your honours all,
I do refer me to the oracle:
Apollo be my judge!
8. The Epilogue, “As You Like It,” Act 5, Scene 4
Like Lady Macbeth’s monologue, this one by Rosalind is also fairly well known. Rosalind is a big favorite as far as Shakespearean female leads go. She is strong, well-spoken and has a good deal of respect from those around her throughout the play. For those reasons, it’s not a surprise that she closes the play, though as she points out, “It’s not the fashion to see the lady the epilogue.”
It is not the fashion to see the lady the epilogue;
but it is no more unhandsome than to see the lord
the prologue. If it be true that good wine needs
no bush, 'tis true that a good play needs no
epilogue; yet to good wine they do use good bushes,
and good plays prove the better by the help of good
epilogues. What a case am I in then, that am
neither a good epilogue, nor cannot insinuate with
you in the behalf of a good play! I am not
furnished like a beggar, therefore to beg will not
become me: my way is, to conjure you; and I'll begin
with the women. I charge you, O women! for the love
you bear to women--as I perceive by your simpering,
none of you hates them--that between you and the
women the play may please. If I were a woman I
would kiss as many of you as had beards that pleased
me, complexions that liked me and breaths that I
defied not: and, I am sure, as many as have good
beards or good faces or sweet breaths will, for my
kind offer, when I make curtsy, bid me farewell.
You Might Like: 17 Comedic Monologues For Women
What is your favorite female monologue from a Shakespeare play? Let us know in the comments below...
[post_title] => 8 Strong Female Monologues From Shakespeare [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => strong-female-monologues-shakespeare [to_ping] => [pinged] => [post_modified] => 2018-10-02 15:31:11 [post_modified_gmt] => 2018-10-02 19:31:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7425 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 8 [filter] => raw ) [11] => WP_Post Object ( [ID] => 7412 [post_author] => 440 [post_date] => 2017-03-05 11:35:49 [post_date_gmt] => 2017-03-05 16:35:49 [post_content] => It’s no secret that Broadway is rife with incredible talent that’s on display six days a week. Luckily, the showcasing of vocal chops doesn’t end with the cast album. Several big names from the Great White Way have released solo albums in a range of genres for fans to enjoy. With spring soon to be on its way, there’s no better time to freshen up those playlists with a few albums from the stars of the stage.Here are six solo albums by Broadway stars that may not have crossed your path:
1. Leslie Odom, Jr.’s “Leslie Odom Jr.”
If you’re a fan of jazz, look no further than Leslie Odom Jr.’s self-titled album. Riding high on the success of “Hamilton,” the former Aaron Burr re-recorded his 2014 solo album and released it again this past June. The album is a smorgasbord of jazz styles, from the bossa nova “Brazil (Aquarela Do Brasil)” to the bluesy first single “Autumn Leaves.” Odom Jr.’s smooth, sultry vocals are perfect for a romantic evening or just cruising through your weekend.
https://www.youtube.com/watch?v=kVJAc3nxhqY
2. Kristin Chenoweth’s “The Art of Elegance”
Broadway legend Kristin Chenoweth has released multiple solo albums over the years, including a country-pop record, a Christmas recording and a Christian music album. But her most recent endeavor, “The Art of Elegance,” is sure to hit the spot with fans. The 13-track record is a mix of American classics, including Gershwin, Rodgers and Sinatra, all beautifully arranged to showcase Chenoweth’s stunning vocals and remind listeners why she’s Broadway royalty.
https://www.youtube.com/watch?v=5g1A4cUoUWg
3. Laura Benanti’s “In Constant Search of the Right Kind of Attention”
This record is as quirky and lovable as Laura Benanti herself. The live album is a mix of fun anecdotes (sobbing at age 9 because her classmates didn’t know who Rosemary Clooney was), pop covers (she does a gorgeous rendition of Joni Mitchell’s “He Comes for Conversation) and Broadway performances (knocking it out of the park with “Unusual Way” from the musical “Nine”). The combination creates an album that is easy to take in from start to finish as listeners immerse themselves in Benanti’s captivating live show.
https://www.youtube.com/watch?v=dnmzCy_i0rU
4. Adam Pascal’s “Civilian”
This album has been around since 2004, so it definitely has that early 2000s vibe. In fact, it feels like the album Roger would have made had the story of “Rent” continued with a sequel showing what they did with their lives. It’s fitting, really, given that Roger was the role to launch Adam Pascal’s musical theatre career. If you’re a fan of bands like Fleetwood Mac or Matchbox Twenty, this album is for you. The tracks on the rock record, such as “Tomorrow and the Sun,” are cruisey in nature, making this the perfect album for your next road trip.
https://www.youtube.com/watch?v=hSc7WnBbagc
5. Audra McDonald’s “Build a Bridge”
There’s no denying Audra McDonald’s incredible multitude of talents. She’s a successful actress on the stage and on television (does anyone else miss “Private Practice?”), a powerhouse vocal talent and a devoted wife and mother. Is there anything this woman can’t do? With all of this, she still has had time to release a few solo albums, including the 2006 record “Build a Bridge.” Her unique cover of John Mayer’s “My Stupid Mouth” is the perfect example of her ability to cross musical lines and dabble in pop music with ease. But she doesn’t completely abandon her musical theatre roots, including a gorgeous rendition of the melodic “Dividing Day” from the musical, “The Light in the Piazza.” It’s a lovely mix for anyone who appreciates beautiful vocals.
https://www.youtube.com/watch?v=yNNgrGVEeZU
6. Adam Jacobs’ “Right Where I Belong”
The world has been in love with Alan Menken for years, and the successful composer has amassed a collection of awards to prove it. Adam Jacobs, on the other hand, has been winning hearts on Broadway since 2014 in the title role of the stage adaptation of “Aladdin,” one of Menken’s numerous Disney hits. The two have come together again as Jacobs takes on Menken’s other works in his solo venture, “Right Where I Belong” in which he covers hits from the composer’s vast catalogue. Prepare for nostalgia as Jacobs belts out classics such as “Go the Distance” and “Out There.” If you’re a Disney fan, this is definitely one to pick up.
https://www.youtube.com/watch?v=34yGM2n4Lvs
Whether you’re a rock music enthusiast, a lover of the classics or a Disney aficionado, the stars of Broadway provide a buffet of musical selections. So, grab a pair of headphones and let the listening begin!
Have a favorite solo album that we missed? Let us know in the comments below...
[post_title] => 6 Broadway Stars With Solo Albums You Need To Hear ASAP [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-broadway-stars-solo-albums-need-hear-asap [to_ping] => [pinged] => [post_modified] => 2017-03-05 11:35:49 [post_modified_gmt] => 2017-03-05 16:35:49 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7412 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [12] => WP_Post Object ( [ID] => 7334 [post_author] => 11 [post_date] => 2017-03-04 10:49:00 [post_date_gmt] => 2017-03-04 15:49:00 [post_content] => [viralQuiz id=36] [post_title] => Quiz: What % Diva Are You (Really)? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-what-percentage-diva-are-you [to_ping] => [pinged] => [post_modified] => 2017-03-04 11:00:42 [post_modified_gmt] => 2017-03-04 16:00:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7334 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [13] => WP_Post Object ( [ID] => 7356 [post_author] => 736 [post_date] => 2017-03-03 10:04:09 [post_date_gmt] => 2017-03-03 15:04:09 [post_content] => As an actor, auditions are a part of everyday life. And while there are plenty of tips out there for ways to nail them, there are fewer on ways to completely bomb them. The following are 10 ways you can make sure your name does not appear on the cast list:1. Only Look at Your Material Right Before Your Audition
Instead, make sure to take the time needed to study the sides/music given to you. Nobody behind the scenes expects perfection, but they do expect preparation. If you only care to look at the material right before you go into the audition room, those behind the table may also think you won’t take the time to do your actor homework once you’re hired for the gig.
2. Dress Like You Just Rolled Out of Bed
Avoid wearing sweats or clothes that look like they were just pulled out of your pile of dirty laundry. Auditions are a job interview, and dressing to impress is important. That doesn’t mean you always have to wear a suit and tie or a nice dress, but you must comb your hair, put on your makeup and go in freshly pressed clothes that show a sense of style and personality appropriate for the show you’re auditioning for.
3. Be Late
Wanna know how to really make casting and people behind the table angry? Be late for your audition appointment. Not only is it disrespectful of their time, but it also puts a dent into their packed schedule by possibly pushing other auditionees aside to accommodate you. Being late also gives the auditors a good indication that if they hire you, it’s very possible you will be late for rehearsals or even performances.
Be on time for your auditions, or better yet, be a few minutes early. It will give yourself peace of mind and give the casting team the ability to carry out their appointment schedule as they originally intended.
4. Be Ignorant of Who Is Behind the Casting Table
If you want casting to get to know you and your talents, show them the same respect. Take the time to research who you’ll be auditioning for. A Google search is a great place to start. Learn about their offices, the theatres they cast for, what the creative teams have written, etc. You will probably be able to glean who or what you may have in common with them. Not only is it just good to know, but it could help you spark or add to a conversation while in the room.
5. Not Have a Headshot and Resume
The most important business tool for an actor is a headshot and resume. If you don’t have one, you don’t look like a professional actor. That doesn’t mean the resume has to be full of credits to get you a job, nor does the photo have to be expensive. Just make sure the photo is 8x10 and looks like you and that the resume is clear, concise, one page and truthful. Last, make sure the resume is cut to 8x10 and stapled to the back of your headshot. You don’t want them to get separated or lost once they end up on the casting table.
6. Ask Questions You Should Already Know the Answers to
Don’t ask questions you could have researched the answer to ahead of time. Take the time to read the script, Google the show, watch YouTube clips of previous productions and/or listen to cast albums on Spotify. There is no excuse for being an unprepared performer with the massive amount of information available on the internet or in your local library.
7. Touch the Reader
You’ve been given a scene that requires you to read alongside a stranger who is part of the creative team. The scene has a moment where you must kiss the other individual or hit them. DON’T DO IT! Physically, there should be an invisible wall between you and the reader, and while you can and should make eye contact with him or her, do not invade his or her personal space. Stage directions like that are done onstage after a rehearsal process. No one expects them to be done in an audition room.
8. Use Props That Could Endanger You or Those Behind the Table
This is a given no matter what. Don’t scare the people behind the table or make it seem like you have the potential to cause harm to yourself or others, even if you’re wielding a fake knife or child’s toy made to look like a gun/weapon. If a scene calls for it, just pretend.
9. Be Mean to the Monitor
A monitor, or someone who is helping to run your audition, is usually someone associated with the project you are auditioning for. Being rude or having a bad attitude in the waiting area is something the monitor will report back to the creative/casting team and could directly result in them deciding not to hire you before you even walk into the audition room. Instead, let your positive and professional personality shine through, even when you’re just sitting and waiting to be called into the audition room.
10. Ignore Direction Given to You in the Audition Room
Being prepared and making educated acting choices on the material you’re performing in an audition is a wonderful thing. However, if you’re given feedback or direction once you’ve performed your prepared material, don’t be disheartened or not listen to and take the notes. This feedback usually comes for several reasons. Maybe the project is being approached differently than the norm and they want to have you try to redo your audition in a different way. Maybe casting just wants to see how you take direction like you would have to in a rehearsal process once you’re hired for a job. Or, maybe they just want to help you with your auditions with similar material in the future. Regardless of the reason, be open to it and accept it (at least while you’re in the room). Otherwise, the inability to do so could prevent you from booking this specific gig or other acting jobs with the same creative team in the future.
What have you done that’s bombed in an audition in the past? Let us know in the comments below...
[post_title] => 10 Ways To Completely Bomb Your Audition [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 10-ways-completely-bomb-audition [to_ping] => [pinged] => [post_modified] => 2017-03-03 10:04:09 [post_modified_gmt] => 2017-03-03 15:04:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7356 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [14] => WP_Post Object ( [ID] => 7299 [post_author] => 712 [post_date] => 2017-03-02 09:26:09 [post_date_gmt] => 2017-03-02 14:26:09 [post_content] => For many actors, performing in community theatre is like dipping your toe into the proverbial pool of entertainment. It has served as a launchpad for some, while existing as a safe haven for others to hone their craft. Regardless, community theatres are nurturing and magical places where performers unite simply for the love of acting. As said by renowned actor Morgan Freeman, “There’s no theatre if there’s no community theatre.” No doubt, we theatre nerds agree.From Robert Pattinson to Emma Stone, here are seven well-known actors who got their start in community theatre:
1. Robert Pattinson
The mega-famous “Twilight” star says he “owes everything” to community theatre.
Before sinking his fangs into the hearts of teenage girls everywhere, Robert Pattinson discovered his love of acting in community theatre. Propelled by the desire to meet girls, he auditioned for a local amateur dramatic society, the Barnes Theatre Club, in Southeast London. Although he didn’t find a girlfriend there, a talent agent spotted him during a show at the theatre. As fate would have it, the agent introduced Pattinson to the then-director of “Harry Potter,” Mike Newell, who cast him as Cedric Diggory. The rest, of course, is history.
[caption id="" align="alignnone" width="789"] Pattinson performing at the Barnes Theatre in London / Credit: Barnes Theatre Co.[/caption]
“I just decided that I should try to act,” Pattison told Mirror. “So I auditioned for ‘Guys and Dolls’ and got a little tiny part as some Cuban dancer, and then I got the lead part, and then I got my agent. I owe everything to the Barnes Theatre Club.”
2. Kristen Bell
Do you want to build a … banana? Prior to reaching stardom with hit films such as “Frozen,” Kristen Bell was vying for roles in community theatre. She “flipped out” and cried at her first community theatre audition for a part in “Raggedy Ann and Andy.” Bell told NY Daily News that she ended up being cast “in the complex and dual role of the banana in the first act and the tree in the second act.”
Bell continued acting in community theatre up until college, saying that the friendships she made encouraged her to pursue her passion.
3. Chris Evans
Chris Evans didn’t start out as a superhero. The “Captain America” star grew up performing in community theatre, acting with his two sisters and his brother in a children’s company called the Concord Youth Theatre.
“Each of us have done at least 15 to 20 shows there,” Evans told Backstage. His family was so into the Concord Youth Theatre that when Evans was around 18, his mother took over as the artistic director there and has been ever since. Seeing his older sister, Carly, onstage inspired Evans to be an actor.
“Her play would end, and she’d get flowers and candy, and it just seemed like such a good time,” he said. “She was having a ball and hanging out with her acting friends — it just looked awesome. I was like, ‘I’ll give this a shot.’”
So, he got involved in the theatre. “I fell in love,” he said. “I started doing plays year-round. I was always onstage.”
4. Jane Krakowski
5. Anna Kendrick
With her “pitch perfect” presence, Anna Kendrick is currently a go-to performer for musical theatre films. Despite hitting it big with a Broadway role in “High Society” at age 12, the Oscar nominee’s first taste of theatre was through auditioning for local shows.
“My first audition was for ‘Annie,’ when I was like five years old and auditioning for community theatre,” the Maine native told E! News. The “Into the Woods” actress didn’t get the lead that time around, but she did play one of the other orphans in the production. Kendrick remembers the experience fondly, telling NPR that singing “Hard-Knock Life” was “the best.”
In an interview with The Portland Press Herald, Kendrick recalls doing multiple community theatre shows. “I think I only did shows at Lyric Theatre and smaller places,” she said. “I had some very formative experiences.”
6. Kristin Chenoweth
Now a veteran performer of Broadway stages (not to mention a Tony and Emmy winner), Kristin Chenoweth started out learning the ropes on a community theatre stage. The “Wicked” star played in musicals such as “Anything Goes” at the Theatre Tulsa during her college years. Located in Oklahoma, Theatre Tulsa is the seventh longest-running community theatre in America and strives to educate artists through training and experience.
Chenoweth isn’t the only star to come out of the Theatre Tulsa, with actress Jeanne Tripplehorn and author Sam Harris receiving their first stage experiences there as well.
7. Emma Stone
Although she is now a Hollywood darling (and a Best Actress winner!), Emma Stone began performing at a small theatre in her hometown in Arizona. The Valley Youth Theatre was a haven for Stone, who has said that performing helped curb her panic attacks when she was growing up.
Before leaving for California, Stone played in 18 different shows at the nonprofit theatre, including “Winnie the Pooh,” “The Princess and the Pea,” “The Little Mermaid” and “Cinderella.”
[caption id="" align="alignnone" width="428"] Stone as Eeyore at VYT / Credit: VYT.[/caption]
Bob Cooper, an acting coach at VYT who has known Stone since she was 11, revealed in an article with Daily Mail that she credits the local theatre for giving her the skills she needed.
“Thank you thank you thank you,” she wrote to him. “It’s all because of you.”
Do you have any other cool stories about stars in community theatre? Let us know in the comments below!
[post_title] => 7 Famous Actors Who Got Their Start In Community Theatre [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-famous-actors-got-start-community-theatre [to_ping] => [pinged] => [post_modified] => 2019-09-24 12:31:04 [post_modified_gmt] => 2019-09-24 16:31:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7299 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 7 [filter] => raw ) [15] => WP_Post Object ( [ID] => 7249 [post_author] => 12 [post_date] => 2017-02-28 10:37:50 [post_date_gmt] => 2017-02-28 15:37:50 [post_content] =>Every artist needs a creativity boost every now and then. If you’re in a rut, here are some quotes from a mélange of thespians that should do the trick:
Did we miss any great thespian quotes? Add your favorites in the comments below...
[post_title] => 20 Incredible Thespian Quotes On Creativity [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 20-incredible-thespian-quotes-creativity [to_ping] => [pinged] => [post_modified] => 2017-02-28 10:37:50 [post_modified_gmt] => 2017-02-28 15:37:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7249 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [16] => WP_Post Object ( [ID] => 7222 [post_author] => 391 [post_date] => 2017-02-27 10:14:07 [post_date_gmt] => 2017-02-27 15:14:07 [post_content] => Several contemporary duets are gems because of their unexpected brash humor and soaring vocal lines. In most cases, male/female duets or exclusively female duets take precedence, leaving male duets on the sidelines. But fear not! If any of you dirty rotten scoundrels wish to seize the day with some less frequently done numbers, here are 15 male/male duets you’ll love:1.“Two Nobodies in New York” from “[title of show]”
https://www.youtube.com/watch?v=2E3xlSmg4BI In this duet from the 2008 Broadway musical, Jeff and Hunter decide to write a musical submission for the New York Musical Theatre Festival. It’s a great comedic duet that contextually rings true for budding composers. Voice 1: C3–B4. Voice 2: C3–G4.2. “Devil Take the Hindmost” From “Love Never Dies”
https://www.youtube.com/watch?v=631gbQQjmdo In this duet from the sequel to “The Phantom of the Opera,” Raoul and the Phantom try to claim Christine for themselves, even though she is married to Raoul. This duet is the one on this list most similar to the pop-opera style. Voice 1: E3–Ab4. Voice 2: E3–Ab4.3. “Worlds Apart” From “Big River”
https://www.youtube.com/watch?v=hQWssAZImUw In this scene, Huck apologizes to Jim, a slave, after he pranks him and realizes he is still worthy of respect and dignity. This duet is influenced by folk and country music. Voice 1: B2–B4 (falsetto). Voice 2: B2–G4.4. “Dirty Rotten Number” From “Dirty Rotten Scoundrels”
https://www.youtube.com/watch?v=tw16yKonkFU In this penultimate number, Lawrence and Freddy agree that the scam that backfired on them was still a good adventure. Voice 1: C3–Gb4. Voice 2: D3–Bb4.5. “Take What You Got” From “Kinky Boots”
https://www.youtube.com/watch?v=X99Fub77VE4 Influenced by folk rock groups such as Mumford & Sons, this duet features Charlie talking to his friend, Harry, about saving the factory Charlie’s late father owned from bankruptcy. Voice 1: F#3–F#4. Voice 2: F#3–G#4.6. “You Can Do Better Than Him” From “Bonnie and Clyde”
https://www.youtube.com/watch?v=D7uZarhOZ_8 Inspired by country music, a left turn from Frank Wildhorn’s usual pop-opera style, the imprisoned characters Ted and Clyde reflect on their feelings for Bonnie. Voice 1: B2–A4. Voice 2: E3–G4.7. “The Riddle Song” From “Floyd Collins”
https://www.youtube.com/watch?v=YZcrB71XZ_A&index=11 This is of the most vocally challenging duets in contemporary theatre. In it, brothers Floyd and Homer recite riddles to each other while Floyd’s foot is trapped in a cave. Voice 1: C3–C5. Voice 1: C3–A4.8. “Together Again” From “Young Frankenstein”
https://www.youtube.com/watch?v=FlcQIPuqcmQ In this classic-sounding Mel Brooks duet, the hunchback Igor tries to convince Frederick to be a mad scientist like Frederick’s grandfather. Voice 1: D3–G4. Voice 2: E3–E4.9. “Vegas” From “Tales from the Bad Years”
https://www.youtube.com/watch?v=UsNBAxoZGdA In this Kerrigan-Lowdermilk duet, two friends try to live it up in Vegas for one weekend while tackling some misadventures. Warning: This song contains strong language and sexual dialogue). Voice 1: F#3–B4 (falsetto). Voice 2: C3–B4 (falsetto)10. “Blaze a Trail” From “Trails”
https://www.youtube.com/watch?v=ciHC-t1EXhM In this duet, two friends who haven’t seen each other in 10 years decide to hike across the entire Appalachian Trail. Voice 1: E3–A4. Voice 2: E3–A4.11. “Boys” From “Glory Days”
https://www.youtube.com/watch?v=tx6SVSJfhNY This musical, which closed after one official Broadway performance in 2008, features a beautiful coming-of-age duet. Two friends, Will and Skip, forgive each other for their mistakes and move on from the past. Voice 1: D3–A4. Voice 2: D3–A4.12. “You Are My” From “See Rock City”
https://www.youtube.com/watch?v=Zl0wQl3uBEk A more vulgar response to Jason Robert Brown’s “Songs for a New World,” “See Rock City” features two pals singing a duet about trying to one-up each other. Warning: Contains obscene language. Voice 1: D3–G4. Voice 2: D3–Bb4.13. “My Best Friend” by Jonathan Reid Gealt
https://www.youtube.com/watch?v=veqLrGc4Yd4 Although not from a musical, Gealt’s works are popular among many top Broadway performers, such as Titus Burgess. This song is about two old friends who remember their earliest fun together and how they still value their time together. Voice 1: G#3–A4 (optional C#5). Voice 2: C#3–G4.14. “Henry and Mudge” From “Henry and Mudge”
https://www.youtube.com/watch?v=bezk79CnuEQ This Kerrigan-Lowdermilk adaptation of the eponymous book series premiered Off-Broadway in 2006. This duet features the character Harry and his dog, Mudge, and how they enjoy playing together. Voice 1: A2–B4 (in falsetto). Voice 2: A2–E4.15. “Funky Fried Piece of Man Meat” From “Crazy, Just Like Me”
https://www.youtube.com/watch?v=FFRVlkpUnXI One or the more notable “bromance” musicals (aside from “Book of Mormon”), this musical premiered in 2009 at the NAMT Showcase. This duet features the two friends, one of whom tries to embrace the other’s masculinity. Voice 1: G3–Bb4. Voice 2: Bb3–Bb4.Know an awesome male/male duet that we left off here? Let us know in the comments below...
[post_title] => 15 Overlooked Contemporary Male Duets [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-overlooked-contemporary-male-duets [to_ping] => [pinged] => [post_modified] => 2017-02-27 10:14:07 [post_modified_gmt] => 2017-02-27 15:14:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7222 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 13 [filter] => raw ) [17] => WP_Post Object ( [ID] => 7227 [post_author] => 440 [post_date] => 2017-02-26 11:24:05 [post_date_gmt] => 2017-02-26 16:24:05 [post_content] => We’ve all heard the famous Charles Caleb Colton saying, “Imitation is the sincerest form of flattery.” And there’s no better place to find imitation than on YouTube. The internet has become every performer’s stage and the Bermuda Triangle of productivity for the rest of us. Bu since you’re going to take your phone to the bathroom anyway — it’s OK, we all do it — we’ve dug up some Broadway-inspired videos to fill your time and perhaps provide a little inspiration.Fire up your browser, because here are nine musical theatre tributes to check out on YouTube:
1. Christopher Rice — “Good Morning”
https://www.youtube.com/watch?v=6TsE-vHxTtE Following the death of film legend Debbie Reynolds, Broadway actor Christopher Rice tapped his pals, Clay Thomson and Eloise Kropp, to recreate the famous number from “Singin’ in the Rain” as a tribute to the late star. The trio each showcase their triple-threat status, and Kropp is every bit as charming as Reynolds in the role of Kathy Seldon. BONUS: Check out Kropp again below in Cory Lingner’s gorgeous tribute to the musical, “White Christmas.” https://www.youtube.com/watch?v=_d_xD3q0yec2. Peter Hollens and Alex G. — “Disney Medley”
https://www.youtube.com/watch?v=hfvehnyCQKU Peter Hollens is a YouTube veteran these days, with videos on his channel dating back to 2011. Hollens loves to cover pop songs, but his channel also features a variety of Broadway medleys. In this mashup of beloved movie musical songs, Hollens joins fellow YouTuber Alex G. for a video that is nothing short of Disney magic.3. bravofact — “Something’s Coming!”
https://www.youtube.com/watch?v=5FkcZYdwSlA There’s a smorgasbord of talent in this side-by-side collaboration. Paul Nolan reprises his role as Tony from the Stratford Festival’s production of “West Side Story” to sing the Leonard Bernstein and Stephen Sondheim classic. Simultaneously, National Ballet of Canada dancer Guillaume Côté performs Jerome Robbins’ famous choreography. An abandoned building provides the perfect backdrop for this beautiful reminder of why “West Side Story” is one of the greats.4. Nick Pitera — “One-Man Les Misérables Medley”
https://www.youtube.com/watch?v=R9IWAxSpgKA&index=7&list=PLHpmU8efgRa0FmbAeTmwIq0x2pqlZLo9T It’s hard not to be impressed by Nick Pitera. For starters, he has a surprising vocal range, which is how he manages to do a one-man version of the greatest hits from “Les Misérables.” Pitera is a Broadway fan and has covered the songs of several shows, including a “Wicked” medley performed with Hollens.5. Working With Lemons — “The Schuyler Sisters” and “My Shot and Aaron Burr, Sir”
https://www.youtube.com/watch?v=OR5OtoUkVPo The production quality of these videos is noteworthy, especially considering the age of several of the participants. We’re pretty sure the music videos we made with our parents’ camcorders when we were that young looked nothing like these videos. The YouTube channel is operated by a group of family members and friends from Utah who love to make movies. Their “Hamilton” covers are tons of fun, and there’s some blossoming young talent in the group. https://www.youtube.com/watch?v=g8ug7TuMW3Q6. BYU Vocal Point — “Newsies Medley”
https://www.youtube.com/watch?v=yVA3iYJ_H5Y The harmonies in this one are spot-on from the very first note. The talented a cappella group collaborated with several of the school’s student performers and crew to create an impressive, Broadway-worthy performance that proves they are more than just your average collegiate a cappella group.7. Alex Boyé ft. One Voice Children’s Choir — “Let It Go”
https://www.youtube.com/watch?v=DAJYk1jOhzk You may have seen Alex Boyé on “America’s Got Talent” in 2015 when he blew the judges away with his performance of Taylor Swift’s mega-hit “Shake It Off.” However, before his television debut, Boyé set the internet on fire with an Africanized tribal cover of the popular Disney song with the talented and adorable One Voice Children’s Choir (also seen on “America’s Got Talent”).8. Evynne Hollens — “She Used to Be Mine”
https://www.youtube.com/watch?v=5fdTJjEyuTE Does that name sound familiar? It should. Unfair as it may be to have that much talent in one family, Evynne Hollens is Peter Hollens’ musically gifted wife who also does Broadway covers. Her hauntingly beautiful tribute to “Waitress” is as impressive vocally as it is in production value, with the video set in a diner after hours.9. Musicality — “It’s Quiet Uptown”
https://www.youtube.com/watch?v=5LrxaZ8Sm7s This high school vocal ensemble from Chicago has covered several of Lin-Manuel Miranda’s hits from “Hamilton.” The group is undoubtedly talented, but it’s their cover of “It’s Quiet Uptown” that shows an impressive maturity and emotional depth. BONUS: James Corden — “Broadway Carpool Karaoke” https://www.youtube.com/watch?v=YshgmStEZh0 So it’s not really a tribute video, but just in case there’s anyone out there who hasn’t seen this musical theatre-themed segment of James Corden’s popular karaoke bit, we’ve included it for good measure. The hilarious video features Miranda, Audra McDonald, Jesse Tyler Ferguson and Jake Krakowski.What are your favorite musical theatre-themed YouTube videos? Let us know in the comments below!
[post_title] => Watch These Mind Blowing Musical Theatre Tribute Videos [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => watch-musical-theatre-tribute-videos [to_ping] => [pinged] => [post_modified] => 2017-07-06 11:27:44 [post_modified_gmt] => 2017-07-06 15:27:44 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7227 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [18] => WP_Post Object ( [ID] => 6844 [post_author] => 12 [post_date] => 2017-02-25 09:39:06 [post_date_gmt] => 2017-02-25 14:39:06 [post_content] => [viralQuiz id=28] [post_title] => Quiz: Can You Guess These Plays By Their Opening Line? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-can-guess-plays-opening-line [to_ping] => [pinged] => [post_modified] => 2017-02-25 09:39:06 [post_modified_gmt] => 2017-02-25 14:39:06 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6844 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [19] => WP_Post Object ( [ID] => 7070 [post_author] => 717 [post_date] => 2017-02-23 10:02:43 [post_date_gmt] => 2017-02-23 15:02:43 [post_content] => Wishing someone to break their leg? Sounds crazy, no? But in our little world of theatre, you might say every one of us is beholden to the grand traditions of the stage, trying to sing out a pleasant, simple tune without breaking their neck. It isn’t easy. You may ask, “Why do we stay up here if it’s so dangerous?” We stay because theatre is our home. And how do we keep our traditions alive? That I can tell you in one word: superstition! With apologies to Bock, Harnick and Stein, the theatre has many superstitions that must be obeyed to ensure a good performance. Some stem from otherworldly beliefs, while others stem from simple logistics. Let’s take a look at some of the more common myths and superstitions from the theatre:1. No Whistling Backstage!
Whistling while onstage or backstage in a theatre has long been considered bad luck. This superstition stems from the time before mechanized sets and backdrops. Back then, all the rigging for the sets, lighting, etc., was all operated by hand using ropes. As such, the backstage crew was often filled with sailors, as they literally “knew the ropes.” Just like on a ship at the time, commands and signals were given with distinct whistles. Therefore, if an actor or someone else were to nonchalantly whistle, it could cause confusion and ruin the show.
2. No Green or Blue Costumes!
While theatrical costumes are now often bright, flashy and full of color, two colors used to be off-limits for the superstitious actor. Wearing a green or blue costume was once thought of as very bad luck, though for very different reasons.
Green costumes were thought to be bad luck for two reasons:
- Everyone wants to be in the spotlight, right? Well, back in the day when the first spotlight was invented, it worked by burning a chemical called quicklime. This gave it its original nickname, “the limelight.” True to its name, the limelight had a greenish glow to it, so if an actor wore green, he or she might not be visible when hit by the spotlight.
- The other reason green was deemed unlucky has to do with famed actor/playwright Molière. In 1673, Molière was performing in his play, “The Imaginary Invalid,” when he suffered a coughing fit onstage brought on by tuberculosis and started to hemorrhage. He finished his performance (talk about dedication) but died a few hours later, still in costume. The color of the costume? Green, of course. It was considered unlucky ever since.
3. “The Scottish Play”
Shakespeare’s “Macbeth” is one of the most popular plays ever written. It’s also believed to be the most cursed — so much so that just saying the name of the play in a theatre is considered very bad luck. Most actors will only refer to it as “The Scottish Play,” “The Bard’s Play” or even “Mac B.”
Some believe that Shakespeare gave his three witch characters actual spell incarnations for lines. As retaliation, a coven of actual witches cursed the play for all eternity. This could seem silly and/or highly doubtful in the modern world, but it’s hard to deny that “Macbeth” has seen more than its fair share of unfortunate incidents.
It’s believed the first occurrence of the “curse” actually happened during the first production of the play. It’s said that the young man playing Lady Macbeth (actors in Shakespeare’s time were, by law, all men) tragically died on opening night and Shakespeare himself had to step in. There have been numerous incidents of actors getting accidentally stabbed during fight scenes. In 1934, four actors had to step into the role of Macbeth due to illness or accidents in one week. It was also the show in which dueling productions caused the great Astor Place Riot in 1849, leaving at least 25 dead and hundreds injured.
Luckily, there is a way to combat the curse! If you say the play-that-must-not-be-named in a theatre, you must run around the building three times, then spin around, curse and beg to be let back in.
4. “Goodnight Olive”
If you are ever so lucky to go backstage at the legendary New Amsterdam Theater in New York, you may notice a portrait of a beautiful showgirl hanging on the wall right as you enter. Her name is Olive Thomas, and her picture is there for a very specific reason.
Olive Thomas was a Ziegfeld Girl (and, for a time, was Ziegfeld’s girl) and a silent film star in the early 20th century. Later, she married Jack Pickford, brother of silent film superstar Mary Pickford, and the two had a passionate but volatile relationship. In 1920, they were on a second honeymoon in Paris when tragedy struck. Jack was awakened by Olive screaming, having ingested mercury bichloride that had been prescribed to Pickford to treat his syphilis. She died four days later at age 26. Was it an accident? Was it a suicide? Or was it something more sinister?
However, Olive has not entirely left us. It is widely believed that Olive’s ghost haunts The New Amsterdam, the same theatre where she performed in the Ziegfeld Follies and Midnight Frolics. She can reportedly be seen carrying a small blue bottle (like the one containing the chemicals that killed her) and wearing a green, beaded dress. She even caused a security guard to call the vice president of Disney Theatricals (the owner of the theatre) at 2:30 a.m. in a panic after seeing her. She is said to appear to mainly men and is even known to be naughty and pinch a bottom or two.
The portrait of Olive hangs right by the stage door to the theatre so that the cast and crew can say goodnight to her as the leave to appease her.
5. “Break a Leg”
Almost every actor knows that it’s bad luck to say “good luck” before a performance. But where does that phrase come from? There are actually many different theories regarding the origin of the phrase, but there’s no hard evidence to prove any of them. Some theories have origins in Ancient Greece, Elizabethan England and the Civil War era. However, it doesn’t seem that the phrase was used until the 1920s.
Some believe that it refers to bowing, which is also known as “breaking the leg” because of the bended knee. Others attribute the saying to an old German toast, “Hals und Beinbruch,” which means “neck and leg fracture.” Still, some say it has to do with the curtain legs, which are the side curtains in the wings of a stage.
Which one is the real origin? The world may never know.
6. No Peacock Feathers!
There are several items you are never supposed to use onstage. Peacock feathers are considered bad luck because the pattern on the feather creates an “evil eye.” You are also never supposed to use real money or jewelry onstage. This stems from simply trying to deter theft, which was rampant when theatres were not considered the respectable places they are today.
7. No Mirrors!
It’s very bad luck to have a mirror on your set. However, the reason has nothing to do with spirits or omens, but rather lighting. Mirrors can reflect the lighting and disrupt the look of a show, though it sees to have worked out just fine for “A Chorus Line” and “The Phantom of the Opera.”
8. Three Lit Candles
While the “rule of three” usually means that it’s good luck to have things in sets of three, this is not true when it comes to the theatre and candles. Having three lit candles onstage is said to be very unlucky, and the person standing next to the shortest candle will be the next one to get married — or die. While the origin is not perfectly clear, it’s widely believed that this came from the time when theatres were lit with candles and torches, not electricity. Hundreds of theatres burned down in that period, so it’s believed that the superstition stems from trying to eliminate the amount of candles onstage.
9. The Ghostlight
Just about every professional theatre in America has a ghostlight. It’s a long, simple pole, usually three to five feet high, with a single bulb that’s either bare or has a wire cage around it. It’s placed onstage every night after the show is finished and everyone has gone home. With everything else in the theatre turned off, the ghostlight will be the only thing still on until work begins the next day. Why?
Well, it turns out the history of the ghostlight isn’t actually super clear. However, there are many myths and legends on hand to try to explain the ritual. One believed by many scholars takes us back to before the invention of the light bulb. Back then, theatres were lit with gas-burning lights that ran on gas generators. A single light would be left, burning all night to alleviate the pressure on the gas lines, which might otherwise build up overnight and cause fires. Then, somewhere along the way, the word “gaslight” morphed into “ghostlight.”
Another theory has it that in 1919, when Actors Equity was first recognized as a union, one of its requirements was that a single light had to be left onstage so that rehearsal pianists could come and set up for rehearsals without having to wait for the house electricians to turn the lights on. Though it’s unclear whether this is true, to this day, some people still refer to the ghostlight as the “Equity Lamp.”
Another famous legend has it that a robber broke into a theatre in the middle of the night, and not knowing about orchestra pits, fell off the stage and broke his leg. He then sued the theatre for negligence — and won! So, ghostlights are there to prevent liabilities. Robber or not, many believe that the reason for the ghostlight is simply to prevent anyone from falling, breaking their neck and becoming ghosts themselves.
Still, the most prevalent reasons given for the ghostlight involve, obviously, ghosts! As all thespians know, most theatres are haunted. Depending on the theatre nerd you talk to, the light is there to either help or hinder said ghosts. Some think that the light shoos away mischievous ghosts who might mess with the sets or costumes if left to their own devices. Since most theatre ghosts were once performers, others think that the light is left on to appease the spirits and give them lighting for their ghostly nighttime theatre.
Whatever the reason, the ghostlight has become a beloved theatre tradition. Record labels, musicals, biographies and many theatre companies have adopted the name “Ghostlight.” It’s come to symbolize those that have tread the boards before us and it’s our way to honor them.
Do you follow any of these traditions? Have any theatre superstitions of your own? Let us know in the comments below...
[post_title] => 9 Theatre Superstitions Explained [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-theatre-superstitions-explained [to_ping] => [pinged] => [post_modified] => 2017-02-23 10:02:43 [post_modified_gmt] => 2017-02-23 15:02:43 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7070 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [20] => WP_Post Object ( [ID] => 7040 [post_author] => 440 [post_date] => 2017-02-22 09:56:54 [post_date_gmt] => 2017-02-22 14:56:54 [post_content] => I’ve always been a sucker for a good romance. An embarrassingly significant portion of my misspent youth involved watching romantic comedies with my friends and longing for the day that Freddie Prinze Jr. would walk into my school, pull me out of social Siberia and announce to everyone that he’d always been in love with me. A rousing choreographed number would follow this whole scene, of course. You can see I had a flair for the dramatic, so it’s no surprise to anyone that I spent the rest of my free time taking part in a variety of theatrical productions.
Being involved in countless shows, I’m not ashamed to admit that I have fallen prey to more than one “showmance” in my time. If you are unfamiliar with the term, it is a romance that develops between two people during a production, be it theatre, television or movies. When I was in my early teens, suffering through braces and an unfortunate choice to get bangs, I would find myself crushing on the older actors in the leading roles who barely registered my existence. A misguided part of my brain was certain this was where my romantic future lay, and I dreamt of what it would be like to be noticed by them, to be the one they fell in love with every performance. Until finally, in one production all those years ago, my wish came true.
I auditioned for the play on a complete whim after days of agonizing over whether I would go at all. It was probably the most underprepared I have ever been at an audition, but somehow the director found it all endearing and cast me in the show.
At the first rehearsal, I met my castmates, including one in particular who sought me out. He was to play opposite me as my love interest. He politely shook my hand and told me he was looking forward to working with me before he bid me goodnight. He was tall, classically handsome and charming, like he’d just fallen out of a Ralph Lauren catalogue. He affected almost every girl in the cast and crew, whether they admitted it or not.
It was hard not to notice him. He was articulate, he held doors and he woredress shirts with cashmere sweaters. This was a far cry from the typical boys we were used to, in their offensive T-shirts and hoodies. He rarely socialized with other members of the cast, and his nature was quiet until he stepped onto the stage and came alive in his role. Passionate, reckless, romantic and smart, he played his part with such ease. We all watched him in awe from backstage, and even our director was excited by scoring such a stellar male lead. As rehearsals progressed, it was not surprising that I developed a crush.
I worked hard to fulfill my role opposite him as the love interest and devoted all of my free time to rehearsal and hanging out with my friends in the cast. During rehearsal downtime, we’d often sit together in the audience, which is exactly where one of the girls I’d become close friends with confessed her feelings for my onstage love interest. My heart sank. She couldn’t possibly have known about my crush, as I’d been careful not to mention it to anyone, choosing to pine in silence. The knot in my stomach tightened when she asked for my help to win him over, given my role as his fictional other half. If I refused, I risked losing her friendship, and even messier, I would have to figure out how to explain why I couldn’t help her — open can, worms everywhere. So, I agreed to help.
Rather than try to sort out my emotions, I threw myself full-tilt into the production and being with my show family. Whispers were circulating about our chemistry, and while I denied them, it did nothing to stop the rumor mill and only spurred me on. It was not my finest moment.
However, the more time went on and I got to know my onstage love, the more I actually got to know him. In doing so, I realized something very important: I hadn’t actually known him at all, and I certainly wasn’t infatuated with him. I was attracted to the character he played. My heart longed for his perfectly written stage self in the same way I longed for Heath Ledger’s Patrick Verona from “10 Things I Hate About You.” That was who gave me butterflies in my stomach. I was swooning over the words he spoke to me night after night and the passion he had been told to emote. The real guy was nothing like the man I was pining for.
When the show came to a close and for a short time after, we tried to meet up and hang out together as a group. But the thing that had ultimately bonded us was no longer, and we couldn’t recapture the same magic. The post-show grief hit me like a ton of bricks at the time. Because the end of a production is like the end of a good relationship, it hurt because it mattered.
I came out of my grief long enough to notice a real guy I’d been neglecting in favor of my fantasy man. In spite of the complete brush-off I’d been giving him for nearly two months, he’d come to see the show. Twice. He’d known how important it was to me. As it turns out, the romance I’d wanted had been right in front of me the whole time.
I know this all sounds like the basis for another “High School Musical” movie, and in truth, said guy and I split up a year later. But my first foray into showmance territory did leave its mark on me. I took away some very important lessons that helped me see things with clearer eyes when the opportunity to date a castmate came up again:
1. Your cast-mate is not their character
And neither are you. Any actor who is worth their salt will play the character so convincingly that they are transformed right before your eyes. For those few hours a night, they are the person that they play, taking on their emotions and experiences. But then, the curtain falls and they go back to being the person you may not have anything in common with. Get to know the person offstage and make sure you like them just as much.2. Chemistry is not always transferrable
Just because you have electricity onstage doesn’t mean you’ll have it in reality. Sometimes you’ll get lucky, and it works out that you have just as much fire outside of the theatre. My married friends who began their relationships as showmances can attest to that. But it’s not always the case. That being said, it doesn’t mean you can’t forge a great friendship instead.3. You’re too close to be objective
Ever heard the phrase, “It’s hard to see the forest through the trees?” In this case, it’s true. Just because you think this is a romance for the ages doesn’t mean it is. They may not even feel the same way about you. Always remember that objects in the mirror may appear closer than they really are.4. It’s not worth ruining friendships over
My friend quickly recovered from her crush once our show wrapped, and we remained close for several years after. Neither of us ended up with that guy, and I’m glad we didn’t, since I would have missed out on a beautiful friendship.5. There is no such thing as secrets backstage
Few secrets can be kept under wraps when you spend so many waking hours with a group of people. Rumors will start, but try not to get swept up in the excitement or let it sway your decisions. Just trust your gut and be sure you’re ready for all the scrutiny.6. The show ends eventually
You’re in it, mind, body and soul. So while it may feel like the whole experience of the show and the people you’re with will last forever, it doesn’t. You will grieve and feel like you’ll never find something that good again, but ultimately, you will. It won’t be the same, but it will be fantastic in its own way. It’s been years since my first showmance experience, but I like to think I’ve grown somewhat wiser in the romance department. My heart no longer flutters at the sound of every well-delivered romantic line. Unless it’s uttered by Heath Ledger in front of a 1964 Dodge Dart with a gorgeous apology guitar. Some things never change.
Have a showmance experience of your own? Leave a reply in the comments below...
[post_title] => What I Learned From My First Showmance [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => learned-first-showmance [to_ping] => [pinged] => [post_modified] => 2017-02-22 09:56:54 [post_modified_gmt] => 2017-02-22 14:56:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7040 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) [21] => WP_Post Object ( [ID] => 6587 [post_author] => 391 [post_date] => 2017-02-21 10:25:38 [post_date_gmt] => 2017-02-21 15:25:38 [post_content] => From performing lifts and jumps to endlessly trying not to get sick, one of the most important parts of being a performer is staying fit. Part of every great workout is having a playlist that keeps you energized and motivated. The next time you need go-to songs for the treadmill or weights, here are 15 tracks that will suit you perfectly:1. “My Shot” from “Hamilton”
https://www.youtube.com/watch?v=VK4Wk_8PbcI Lin-Manuel Miranda’s hip-hop-influenced sound in “Hamilton” is perfect for that motivational build during the tougher parts of working out. In true “Hamilton” fashion, this song’s spirit will help you “talk less, smile more.”2. “So Much Better” from “Legally Blonde”
https://www.youtube.com/watch?v=1hKrd0QFMYo The Act 1 finale of this upbeat, high-energy show is a great go-to for fast-paced activities. To borrow another song title from the show, Elle’s turning point as a character will get you “whipped into shape” for sure.3. “Defying Gravity” from “Wicked”
https://www.youtube.com/watch?v=I320ZDJxfJk As one of the greatest show tunes in contemporary musical theatre, this song will generate excitement that will never bring you down, even during the toughest reps of your workout.4. “You’re in the Band” from “School of Rock”
https://www.youtube.com/watch?v=oxxUnczjkfc Sometimes you just need the energy of a bunch of kids to keep going on that grind. This number should do the trick!5. “What I Was Born to Do” from “Bring It On: The Musical”
https://www.youtube.com/watch?v=Zr20tq1qQD8 One of the more athletic musicals to hit Broadway in recent years, this show oozes in competitiveness and dance-heavy numbers that will make aerobics and cardio worthwhile.6. “I’m Alive” from “Next to Normal”
https://www.youtube.com/watch?v=ZAhgX7RleDQ Because honestly, who isn’t muttering this song’s title in relief after a strenuous time at the gym?7. “You Can’t Stop the Beat” from “Hairspray”
https://www.youtube.com/watch?v=ef-qYxmJbGU While your heart’s keeping time to the speed of sound, you’re sweating away to seek the best results for your body. Keep it up!8. “Carnaval del Barrio” from “In the Heights”
https://www.youtube.com/watch?v=covOud6aewQ This irresistible Latin-style jam is a great choice for Zumba and will leave you and your dancers proclaiming “Wepa!” after a fun session.9. “Sex Is in the Heel” from “Kinky Boots”
https://www.youtube.com/watch?v=2EvruybO2oc No workout — or should we say werrrrrk-out — is complete without at least one song from this outrageously fun show.10. “Hot Honey Rag” from “Chicago”
https://www.youtube.com/watch?v=8mtwWu3vMQM Both the physically exhausting choreography and the upbeat jazz music speak for themselves here to keep you hyped up during your routines.11. “The River of Dreams/Keeping the Faith/Only the Good Die Young” from “Movin’ Out”
https://www.youtube.com/watch?v=plIi5TGaq_U This thrilling medley is a fantastic piece for dance-heavy workouts that would leave even Twyla Tharp breathless.12. “My Dead Gay Son” from “Heathers”
https://www.youtube.com/watch?v=2k8DwNoAYQY Working out to this “fancy-free and reckless” song will make people who envy your physique ask yourself, “What’s their damage?”13. “The Angry Dance” from “Billy Elliot”
https://www.youtube.com/watch?v=xKZUzVLqBTY The rage these characters feel during this song will help you push through to your physical limits, especially during weight training.14. “Take Me to Heaven (Reprise)” from “Sister Act”
https://www.youtube.com/watch?v=3hDv4YIl7iw Let this song be your prayer or divine calling to keep pushing through the end of your gym time.15. “Make Me Stronger” from “Memphis”
https://www.youtube.com/watch?v=jpm4x_3eT-g The title says it all. Your dedication and self-motivation always pay off in the end.Did we leave out your favorite workout show tune here? Let us know your picks in the comments below...
[post_title] => 15 Best Broadway Showtunes For Workouts [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-best-broadway-showtunes-workouts [to_ping] => [pinged] => [post_modified] => 2017-07-11 18:11:04 [post_modified_gmt] => 2017-07-11 22:11:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6587 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 26 [filter] => raw ) [22] => WP_Post Object ( [ID] => 6869 [post_author] => 11 [post_date] => 2017-02-18 10:06:59 [post_date_gmt] => 2017-02-18 15:06:59 [post_content] => [viralQuiz id=33] [post_title] => Quiz: How Well Do You Know These 'Hamilton' Stars? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-how-well-know-hamilton-stars [to_ping] => [pinged] => [post_modified] => 2017-07-11 18:11:55 [post_modified_gmt] => 2017-07-11 22:11:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6869 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [23] => WP_Post Object ( [ID] => 6920 [post_author] => 639 [post_date] => 2017-02-17 09:54:57 [post_date_gmt] => 2017-02-17 14:54:57 [post_content] => One of the biggest shows this season, “Dear Evan Hansen” is taking Broadway by storm as audiences flock to go see this nearly sold-out show. Directed by Michael Greif (“Rent,” “If/Then”), this original new musical is refreshing in a season filled with many shows based on films and books. Once you walk into the theatre, you will be captivated by the story and title character. Here are six things to expect from this new breakout musical:1. A Relatable Story
Before I saw this musical, I did not know much about the story. The details that have been released to the public about the plot have been pretty vague. What I can tell you without giving too much away is that this story is relatable and familiar, but with a twist. Evan Hansen is someone who feels like he doesn’t matter, and when a tragedy strikes, one little lie spirals out of control and changes everything.
This musical speaks to the part of you that has ever felt lonely or just a little bit lost. Along with identifying with Evan, this show is also relatable for parents who have ever had to deal with a troubled child. This story is both beautiful and heartbreaking.
2. Ben Platt
https://www.youtube.com/watch?v=x_CNqKA2t9M No longer on the sidelines in “Pitch Perfect,” Platt takes center stage in a brilliant and heartwarming performance. Platt plays a teenager who is just trying to find his place in the world and feel like he belongs. The emotion he exudes, along with his vocal performance, is something you have to see to believe. To be fully committed to his role throughout the entire show looks emotionally and physically draining, but he never misses a beat. It’s very difficult not to feel for this character from the first scene to the last.3. The Music
Benj Pasek and Justin Paul, whose past projects include “Smash,” “Dogfight” and a little film called “La La Land,” composed the music for this show. The story of “Dear Evan Hansen” was actually inspired by an event that took place in Pasek’s childhood. The event caused everyone to want to be a part of something, which is a consistent theme throughout the score of the musical.
From “Waving Through a Window” to “You Will Be Found,” there are definitely some new musical classics in this show. What is most impressive is the emotion that is in every song. From the funnier numbers to the uplifting pieces, every song leaves you feeling something, making the show a bit of an emotional rollercoaster that’s certainly worth riding.
Oh, and Alex Lacamoire of “In the Heights” and “Hamilton” also acted as the musical supervisor on this show.
4. The Set
From the subject matter to the music, this is definitely a modern musical. The set exudes everything it is to be a teen in the 21st century. Physically, it’s a pretty minimal set, but the way the show uses screens to portray all forms of social media to fuel the story is mesmerizing.
5. A Real Team Effort
Only eight people make up the cast of this musical, which you may find difficult to believe if you’ve already listened to the OBCR. Musically, they are impressive. I’ve gushed about Platt enough, but the power this cast delivers in its vocal performance is amazing and will give you goosebumps.
Then there are the characters they play. Every actor is perfectly suited in his or her role. From Jennifer Laura Thomas and Michael Park’s representation of dysfunctional family members trying to get by to Will Roland’s effective portrayal of a bro-like teen, all of these characters are far more complex than they seem at first glance.
6. Lots and Lots of Tears
You definitely want to bring tissues to this one. You can try to hold it together, but it probably won’t happen. After the finale, I clapped my own tears into my face. I didn’t even realize I’d cried that much.
Parts of this show are heartbreaking. Parts of this show are hysterically funny. And that’s life. We all just want to feel that we belong, and in the end, that we’ll be found — and that is the message of “Dear Evan Hansen.”
What do you love most about Dear Evan Hansen? Leave a reply below...
[post_title] => 6 Things To Expect From Dear Evan Hansen [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-things-expect-dear-evan-hansen [to_ping] => [pinged] => [post_modified] => 2017-02-17 17:12:54 [post_modified_gmt] => 2017-02-17 22:12:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6920 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [24] => WP_Post Object ( [ID] => 6899 [post_author] => 712 [post_date] => 2017-02-16 10:53:48 [post_date_gmt] => 2017-02-16 15:53:48 [post_content] => Although we don’t always like the notion, as performers, we are brands, and as brands, we must market ourselves in the best light possible. Aside from a headshot, the resume is an actor’s No. 1 tool for auditioning. Designing a resume correctly is sometimes an utterly painful process, but always an imperative one. In the theatre world, production teams are inundated with actors vying for a part in their show. To get even an audition is a triumph. So, think of your resume as your golden ticket that will set you apart and show the casting team you deserve to be seen. While this process is subjective, here is an overall guide for putting together an exceptional acting resume:Sizing
Here’s a semi-obvious reminder: Your resume should always fit on a single page. Although digital is taking over, a lot of casting directors still prefer a physical copy. Your resume should be printed and stapled to the back of your headshot. As an industry standard, headshots are 8x10 inches. This means your resume should be cut down to that size as well so it’s flush. Stores like Staples have cutting boards you can use, so consider printing your resume there and then trimming off the excess paper. On a related side note, get your headshot printed at a place that specializes in producing actors’ headshots to size. For you city folk, Reproductions.com is top-notch.Aesthetics
Well-crafted resumes are like chameleons: They have the ability to both blend in and stand out. It should blend in the sense that it encapsulates the standard look of a resume. Most teams don’t have time to adjust to some wildly formatted “Look at me, I’m different!” style. That being said, your resume should still stand out enough. While a typical format is good to use, there are liberties that can be taken to make it more “you.” The biggest one is your font. Choose a font that fits your personality — nothing crazy, of course! However, if it’s legible and will separate you from all those Times New Romans out there, go for it. You can also play around with color — albeit sparingly. Your name, which should be in the largest font on the page, is a great place to change colors. Again, don’t go nuts and use a hot pink or something, but a subdued color can make your name pop suitably.Name/Heading Information
As stated previously, try out your name in a color and fun font. If you have representation, you should put their logo beside your name. Also include the following information:- Union affiliations (SAG-AFTRA or Equity, etc.), if any.
- The contact information you list should be the best way to reach you. Generally that’s your phone number and email. Don’t put your full address. You can also list your website or IMDB page.
- Personal information such as height, weight, hair color and eye color. Don’t write your age unless you’re under 18.
- You can also put your voice part here if you’re interested in musical theatre.
YOUR NAME [SAG-AFTRA] Phone Number/ Email/ Website Height: Weight: (optional) Hair Color: Eye Color: Credits There’s a common misconception that the more credits listed on the page, the more professional you look. However, you almost want the opposite. Choose your best and most recent roles and allow for the blank space to shine through. White space makes it much easier to read. People are typically only going to spend a few seconds looking at your resume, so have your most impressive roles (or, where possible, the ones that relate to the role you’re submitting for) at the top. It’s tempting to keep everything in chronological order, but if the credits are within a similar time frame, it’s much better to have the notable ones listed first. Again, if you had a starring role in high school and are now almost 30, don’t keep that on your resume. Also, don’t put “background work” on your resume unless you were featured or had a line. Depending on the mediums you work in, have bold headings that separate your credits (i.e., THEATRE, TELEVISION, FILM, etc.) If you’re looking to go in for multiple types of projects, create various versions of your resume. When auditioning for theatre, have your theatre credits listed first. The same goes for movies and TV. You want to make it as easy as possible for them to cast you. Credits should always be in three separate columns. The following is the format for listing theatre credits: SHOW NAME, ROLE and THEATRE COMPANY. If there is a notable director or producer, you should definitely put that down, too. Here is an example of how credits should be formatted: BROADWAY Spring Awakening Mortiz Eugene O’Neill Theatre Television and film credits are similar, but should be stylized as follows: PROJECT TITLE, TYPE OF ROLES (not your character), and NETWORK/PRODUCTION CO. (or director/producer if notable). This goes without saying, but you never want to lie on your resume. The truth always comes out! Training/Education Although this portion of your resume is straightforward, it’s one of the most important to ace. Showing you’ve received proper training is incredibly vital. Sure, you might be the next Jennifer Lawrence, harboring heaps of raw talent, but you can’t exactly write that on your resume without sounding pompous. Simply put the name of the institution, class or workshop and instructor. And if you haven’t had an opportunity to train yet, don’t sweat it! Special Skills Time to have fun! This section of the resume is really the only spot where you can add a bit more personality. Depending on how much room there is, list any special skills that you feel set you apart and could be utilized for a future role. There are no strict guidelines for this section, except that what you write should be a skill and not a fun fact. If you put down that you can do some type of accent, that’s awesome! Just make sure you can really do it — you never know when casting will ask to hear it. It can be quirky to have little asides in this section. For example, if you can twist your entire body into a pretzel, you could playfully write, “amateur contortionist (seriously, ask me to do some moves!).”
Overall, use your best judgement while typing up your resume and don’t be afraid to ask for advice.
Want a professional example? Download Robert's acting resume HERE
Hey Theatre Nerds! Do you have a tip to add? Let us know in the comment section below...
Click Here To Learn How To Setup, Build And Launch Your Personal Actor Website
[post_title] => How To Write An Eye-Catching Acting Resume [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => how-to-write-acting-resume [to_ping] => [pinged] => https://theatrenerds.com/how-to-setup-build-launch-your-personal-actor-website/ [post_modified] => 2018-10-01 01:08:32 [post_modified_gmt] => 2018-10-01 05:08:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6899 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [25] => WP_Post Object ( [ID] => 6891 [post_author] => 391 [post_date] => 2017-02-15 13:28:42 [post_date_gmt] => 2017-02-15 18:28:42 [post_content] => For better or worse, Andrew Lloyd Webber’s “Cats” has become the musical so many people love to hate. Consequently, the scathing vitriol that critics have toward the show makes fans feel, in Grizabella’s words, all alone in the moonlight. Considering its long-lasting popularity on Broadway and the West End, fans of the show (such as me) often wonder whether the hate for the show is really justified. Call me crazy, but I’ve never thought so. Allow me to explain why there is more to “Cats” beneath all the Jellicle flair.“Allegorical Cats, Metaphorical Cats…”
The most common criticism I’ve heard for “Cats” is that there is “simply no plot.” I beg to differ, since the audience learns in the beginning about the Jellicle Ball, when “Old Deuteronomy just before dawn … announces the cat who can now be reborn.” The trip to the Heavyside Layer is the core of the show, and it is the motive for all the cats to introduce themselves and display their various talents while competing to enter the layer.
Another theory I find compelling is that “Cats” can be seen as an allegory for the LGBTQ community’s hardships during the 1980s. The musical’s characters are outsiders in a human-dominated world, just as LGBTQ people are a minority in a heteronormative society. Remember, the musical premiered in the early ‘80s, when the AIDS crisis was just starting to affect the gay and trans community.
Grizabella, whom the other cats shun until she sings “Memory,” is similar to people who have HIV/AIDS and are shunned by people who aren’t educated enough about the virus. In the same way that knowledge about a condition normalizes the presence of the people it affects, the other cats finally accept Grizabella as one of their own after they understand her better. The idea of an LGBT allegory especially resonates in real life, since many LGBT actors in “Cats” (such as Timothy Scott, Reed Jones and Michael Scott Gregory) all succumbed to AIDS-related illnesses. This idea makes “Cats” a surprisingly relevant show, even today.
“Singing at Astronomical Heights…”
Another criticism I want to dispel is the so-called “mediocre” score. Like every composer, Lloyd Webber has his detractors, but his musicals are still frequently revived and popular among crowds. What Lloyd Webber’s score lacks in complexity (something his contemporary, Stephen Sondheim, indulges in), they compensate in accessibility. The frequently heard motifs throughout the show — chiefly those that are introduced in the overture — make the melodies easy to remember.
Furthermore, the music in “Cats” is more broad and contemporary than that of your typical ‘80s pop opera. Unlike “The Phantom of the Opera” or “Les Misérables,” the score in “Cats” is inspired by opera (“The Ad-Dressing of Cats”), pop (“The Jellicle Ball”), rock (“The Rum Tum Tugger”) and jazz (Mccavity”).
Moreover, I am continually fascinated by the appeal that “Cats” has to children, especially in community theatre productions of it that feature children. Being a show that is so accessible in terms of both music and production value, it’s no wonder why “Cats” has stood the test of time.
Unashamed Felinity
Speaking of production value, “Cats” was an innovative show for its time. It pushed the boundaries for makeup, prosthetics and costumes and featured demanding, animalistic choreography. The wildly flamboyant looks for “Cats” preceded the designs for the fantastical characters of musicals such as “Wicked” and “Bat Boy.” Its marketing and publicity on Broadway were also clever, relying less on star power and heavily on word-of-mouth, mostly by the curiosity surrounding posters of the iconic logo. The original Broadway production won seven Tony Awards and was also the longest-running Broadway musical from 1997 to 2006. “Cats” may sharply divide critics, but the musical has unequivocally left its mark (dare we say … paw?) on musical theatre. I hope the musical’s influence around the world continues to make lasting memories for all those who experience it.Have any other thoughts about “Cats?” Let us know in the comments below...
[post_title] => A Personal Defense of ‘Cats’ [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => personal-defense-cats [to_ping] => [pinged] => [post_modified] => 2017-02-15 13:28:42 [post_modified_gmt] => 2017-02-15 18:28:42 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6891 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) [26] => WP_Post Object ( [ID] => 6717 [post_author] => 11 [post_date] => 2017-02-11 10:59:10 [post_date_gmt] => 2017-02-11 15:59:10 [post_content] => [viralQuiz id=29] [post_title] => Quiz: Match The Lyric To The Rodgers & Hammerstein Musical [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-match-lyric-rodgers-hammerstein-musical [to_ping] => [pinged] => [post_modified] => 2017-02-11 10:59:10 [post_modified_gmt] => 2017-02-11 15:59:10 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6717 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [27] => WP_Post Object ( [ID] => 6828 [post_author] => 440 [post_date] => 2017-02-06 12:36:54 [post_date_gmt] => 2017-02-06 17:36:54 [post_content] => Success is a tricky business. Who hasn’t wished for a magical “how-to” guide at one point or another? In a perfect world, finding a successful career in the arts would be easy, money would be no object, we would all have great hair and maybe I’d finally get that pony I’ve been wishing for. But in spite of how easy fame and notoriety looks, the road is usually paved with hard work. Lin-Manuel Miranda didn’t just come up with “Hamilton” and suddenly find overnight success. He had been toiling away in musical theatre land long before “Hamilton” exploded, working a variety of side jobs and learning every step of the way. What we can take solace in is the number of people who have come before us and achieved their dream, each in their own way. Here are the stories of six musical theatre composers before they were famous:1. Stephen Sondheim
The celebrated songwriter studied piano at a young age, growing up in Pennsylvania after his parents’ divorce. As luck would have it, he became friends with the son of the infamous Oscar Hammerstein. Hammerstein mentored a young Sondheim, giving him honest feedback on his work and allowing him to work as an assistant during one of his theatre productions.
After studying music in school, Sondheim struggled to get his work out there, living with his father and working as a television writer in California. Sondheim eventually returned to New York, and a friend put him in contact with Leonard Bernstein and Jerome Robbins, who were working on a musical version of Shakespeare’s “Romeo and Juliet.” Sondheim joined them, and their collaboration became “West Side Story.” This set Sondheim off on a series of collaborations over the years, which have led to a beautiful body of work.
BKF (Best Known For):
- “West Side Story”
- “Into the Woods”
- “Sunday in the Park With George”
- “Sweeney Todd”
- “A Little Night Music”
2. Lynn Ahrens
Ahrens did not study music in college, nor did she start with a career in theatre. Instead, she studied English and journalism at Syracuse University, and her first career was as a copywriter in advertising. Music was more of a hobby at the time, and Ahrens would write songs on her lunch break.
As luck would have it, a colleague heard her musical stylings and asked her to write a song for a children’s television show, which eventually became a regular gig. This turned into writing for musical theatre when she met Stephen Flaherty at a workshop and they began collaborating.
BKF:
- “Anastasia”
- “Ragtime”
- “Seussical”
- “Once on This Island”
3. Andrew Lloyd Webber
The product of a musical family, Lloyd Webber began school with no aspirations for a life in music or theatre. Instead, he started studying history but eventually felt the pull of musical theatre and dropped out of college to attend the Royal College of Music.
When he was 17, he received a letter (yes, people still wrote those back then) from a young Tim Rice, who was looking for someone to collaborate with. They were commissioned to create a biblical musical, which became the smash success “Joseph and the Amazing Technicolor Dreamcoat.”
Lloyd Webber participated in a series of successful collaborations before eventually striking out on his own in the ‘80s to create two of his most successful musicals, “Cats” and “Phantom of the Opera,” both inspired by existing literary works.
BKF:
- “Joseph and the Amazing Technicolor Dreamcoat”
- “Cats”
- “The Phantom of the Opera”
- “Jesus Christ Superstar”
- “Evita”
4. Jonathan Larson
Larson grew up immersed in the arts through his schooling and went on to study acting at Adelphi University, where he began composing music for student productions. After graduation, he took on the life of a true starving artist, working as a part-time waiter with little money while living in a cramped New York City apartment with a slew of roommates. Larson wrote and composed a variety of pieces, but found little success and a lot of disappointment.
Most people would have thrown in the towel, but not Larson. He persisted, collaborating with other artists, writing music for television programming and continuing to develop his own work. This included a musical retelling of the Puccini opera, “La Bohème,” based on Larson’s experience living as a poor artist in New York City. It would go on to become the award-winning musical “Rent.” Sadly, Larson died before the show’s premiere.
BKF:
- “Rent”
- “Tick, Tick…Boom!”
5. Jeanine Tesori
With her parents both in the medical profession, it’s natural that Tesori entered a pre-med program when she started college. But after working at a theatre camp, Tesori knew musical theatre was where she wanted to be. Refusing to get a degree in education as a backup for fear she would quit when the road got rough, Tesori worked as an arranger for the early part of her career, fearing failure if she took a chance on original work.
It wasn’t until her 30s that Tesori finally moved outside her comfort zone and began composing her own work. Her first musical, “Violet,” was well received and started Tesori on a path of acclaimed work that would eventually lead her to a Tony Award for “Fun Home.”
BKF:
- “Shrek”
- “Fun Home”
- “Caroline or Change”
- “Violet”
- “Thoroughly Modern Millie”
6. Alan Menken
Another spawn of a musical family, Menken grew up learning to play piano and creating his own melodies to avoid practicing. After studying music at New York University, Menken was drawn to musical theatre after attending a BMI Musical Theatre workshop. He then spent decades working as an accompanist and writing music for shows that never saw the stage.
Collaborating with Howard Ashman, the two finally found success with the Off-Broadway musical “Little Shop of Horrors.” But Menken’s future success would not come from the stage, as he might have thought. The notoriety he gained from the success of “Little Shop of Horrors” scored him a gig composing songs for the animated films produced by Walt Disney Studios.
Menken wrote music for several successful Disney films, earning him multiple Oscars. It was because of that work that Menken made his Broadway debut with the adapted stage version of “Beauty and the Beast.” He has since split his time between films, television and the stage.
BKF:
- “Little Shop of Horrors”
- “Beauty and the Beast”
- “Little Mermaid”
- “Aladdin”
- “Newsies”
Who are your favorite composers? Have your own success story? Let us know in the comments below...
[post_title] => How These Famous Broadway Composers Got Their Start [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => famous-broadway-composers-got-start [to_ping] => [pinged] => [post_modified] => 2017-02-06 12:36:54 [post_modified_gmt] => 2017-02-06 17:36:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6828 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [28] => WP_Post Object ( [ID] => 6804 [post_author] => 11 [post_date] => 2017-02-04 09:12:46 [post_date_gmt] => 2017-02-04 14:12:46 [post_content] => [viralQuiz id=30] [post_title] => Quiz: Can You Guess The Movie Musical Just By A Screenshot? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-can-guess-movie-musical-just-screenshot [to_ping] => [pinged] => [post_modified] => 2018-07-04 15:10:14 [post_modified_gmt] => 2018-07-04 19:10:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6804 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [29] => WP_Post Object ( [ID] => 6820 [post_author] => 717 [post_date] => 2017-02-03 11:07:48 [post_date_gmt] => 2017-02-03 16:07:48 [post_content] => The phrases “aiming for a Broadway bow in…” or “intended for Broadway” often don’t amount to more than a press release. But when a show has announced a Broadway theatre and opening date and put up its marquee, it’s a pretty safe bet the show will be happening. However, there are a few shows that sadly fell just short of opening their doors. A musical version of “Bus Stop” called “Cherry” had put up ads in Times Square in 1972 but never emerged. A musical version of the movie “Paper Moon” was announced for the Marquis Theater in 1993 and put up its marquee until plans fell through. And then there’s “Rebecca,” which is a whole article in and of itself. Here are three more examples of shows that came so close to a Broadway bow and what led to them being merely could-have-beens:1. “Lone Star Love”
“Lone Star Love,” a country music retelling of Shakespeare’s “The Merry Wives of Windsor” set in the Civil War-era South, was a success when it premiered off-Broadway in late 2004. After some retooling, the show was set to make its Broadway debut on Dec. 3, 2007, at the Belasco Theater. However, during its pre-Broadway engagement at Seattle’s 5th Avenue Theater, the show got mixed-to-negative reviews and suddenly scrapped its Broadway plans. So, what changed between Off-Broadway and Broadway? Two words: Randy Quaid.
Quaid, most famous for the role of “Cousin Eddie” in the “Vacation” films, was cast in the lead role of Colonel Falstaff. Quaid and his wife/manager Evi Quaid were allegedly as tyrannical as any Shakespearean villain. Quaid felt at liberty to change lines, blocking and lyrics anytime he saw fit. There were also several arguments over design elements, including the color of his wig and the size of his codpiece. The Quaids’ behavior became more erratic until it got so out of hand that the producers decided to simply close the show.
All 26 actors involved in the defunct production filed charges with Actor’s Equity against the Quaids, claiming, among other things, that he hit an actor several times on the head during a performance, made sexually suggestive comments to cast members and claimed that any actor who made direct eye contact with him onstage would be fired. Actor’s Equity found that the show was forced to close because of the odd and abusive behavior of Quaid, thus depriving the actors of their jobs. Quaid was forced to pay a fine of $81,572, which is a two-week’s salary for the cast and crew, and was banned from the union for life, according to the Backstage.
2. “The Mambo Kings”
Oscar Hijuelos’ Pulitzer Prize-winning novel, “The Mambo Kings Play Songs of Love” told the story of two brothers from Cuba who come to New York City in 1949 trying to become recording artists. The book had been turned into a film in 1992 starring Armand Assante and Antonio Banderas in his first English-speaking role.
A few years after the movie was released, the film’s director, Arne Glimcher, began working on a stage version that he planned on directing, writing the lyrics to and co-authoring the book with Hijuelos. In 2002, it was rumored to be coming together, with the possibility of Banderas starring alongside Jon Secada and Jennifer Lopez.
Talks apparently fell through, and it wasn’t until 2004 that producer Daryl Roth and her son, future Jujamcyn President Jordan Roth, announced that they would team up for the first time to produce the show. Pre-Broadway tryouts were set for May 31, 2005, at San Francisco’s Golden Gate Theater in preparation for the Broadway premiere in July 20 at the Broadway Theatre. Esai Morales (“NYPD Blue”) and Jamie Camil (Rogelio on “Jane the Virgin) were cast as the Castillo brothers. Other cast members included Cuban music star Albita, Christiane Noll and David Alan Grier, who replaced star Billy Dee Williams when he dropped out due to a hip condition.
However, things started looking grim when the show opened to mostly negative reviews in San Francisco. The producers frantically began looking for several show doctors to help with the book, music and direction. While names such as Tommy Tune and Maury Yeston were rumored, the producers eventually hired playwright David Ives to help with the book, Jason Robert Brown to help with the music and Jerry Mitchell to help with the direction. But before the new creative team could even begin work, the producers announced there was no way to meet the current Broadway schedule and decided to close the show out of town.
3. “Busker Alley”
It’s not uncommon for a show to change its name during its journey to Broadway. “Away We Go!” became “Oklahoma!,” “Elaborate Lives” became “Aida,” “Feeling Electric” became “Next to Normal,” etc. But few shows have had as many name changes as “Busker Alley.
It started in 1969 when the famous Disney songwriter brothers Robert and Richard Sherman (“Mary Poppins,” “The Jungle Book”) and Disney scriptwriter A.J. Carothers (“The Happiest Millionaire”) wrote a musical version of the 1938 film “St. Martin’s Lane” called “Piccadilly.” It told the story of a simple busker (street performer) who takes a younger woman under his wing and teaches her the art of busking.
However, nothing came of it until 1982, when they began rewriting the show with the new title, “Blow Us a Kiss.” Still, nothing would happen until 1991, when it was announced that Tommy Tune was attached to the project and yet another new title, “Busker Alley.” Initially announced for a May 1992 Broadway opening with a pre-Broadway tryout at Boston’s Colonial Theater, it wasn’t until 1995 that the show got underway with a 16-city tour before heading to the Great White Way.
While touring, the show would go through two more name changes. A survey conducted by the producers, Fran and Barry Weissler, revealed that most people didn’t know what a busker was, so they changed the name to “Stage Door Charley.” Then, for some reason, it was changed about a month later to “Buskers.” Finally, it reverted back to “Busker Alley.”
I can personally attest to this. When I was a child, I was taken to see this show by my grandparents. My ticket said “Stage Door Charley,” my program said “Busker Alley” and my souvenir book said “Buskers.”
After many rewrites, cut songs and cast replacements, the show was to open at the St. James Theater on Nov. 16, 1995. On Oct. 1, however, star Tommy Tune broke his foot during a performance in Tampa, Florida, the last tour stop before Broadway. While Tommy Steele and Gregory Hines were mentioned as possible replacements, the producers decided to end the run.
In 2006, a concert of the show starring Jim Dale would lead to another attempt to bring the show to Broadway, but that production was met with its own set of troubles before it was abandoned.
Are there any shows that came close to a Broadway run but ultimately stopped short that you wanted to see? Ever experience anything like this? Let us know in the comments below...
[post_title] => 3 Times The Marquee Went Up But The Show Did Not [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 3-times-marquee-went-up-but-show-did-not [to_ping] => [pinged] => [post_modified] => 2018-04-22 10:51:34 [post_modified_gmt] => 2018-04-22 14:51:34 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6820 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 6 [filter] => raw ) [30] => WP_Post Object ( [ID] => 6794 [post_author] => 9 [post_date] => 2017-02-02 09:26:34 [post_date_gmt] => 2017-02-02 14:26:34 [post_content] => With every new year, there comes an obligation to reluctantly pursue a resolution. January is always an ambitious month, but most resolutions seem to wither away by February. Stop picking a resolution that you view as a punishment, and pick a resolution that will feed your theatre nerd soul! Here is a list of resolutions tailored to theatre nerds. Pick one, pick all, but we think you’ll find something that interests you (that doesn’t involve a pricey gym membership)!1. Make an effort to see a live performance every month
These performances might range from middle school performances to Broadway shows. You’d be amazed at how much theatre is happening around you (and at an affordable price)!
2. Read a new script every month
Theatre is great onstage, but reading scripts allows you to direct the plays on the stage in your mind and look at the material in a new way.
3. Find and memorize a new audition piece each month
From different genres and styles to musical theatre, an actor can never have enough audition material. 2017 is the year to becoming an auditioning beast!
4. Write a play
Whether your play lasts 10 minutes or is full-length, just write something! Everyone is a writer, and chances are good you have something interesting to write about. Learn how to format your script properly, and if you feel good about it, enter it into different competitions! At the very least, you’ll learn to appreciate playwrights a little more.
5. Learn about your craft
Pick a book you haven’t read and become an expert! There are thousands of books on design, performance, improvisation, writing, directing, dramaturgy, theatre history, etc. Find one that interests you, or finally read that one book all your friends say you need to read.
6. Study someone’s life each month
Essentially, this means Google-stalk celebrities in theatre and film whom you’re interested in learning more about. We all like to learn about actors and their rise to fame, but there are so many other people who make the magic happen. Find out as much as you can about them. Where did they go to school? What other projects have they worked on? Where are they from? When did they get started in theatre/film? Their stories and lives might interest and inspire you!
7. Explore different jobs in theatre
Theatre muggles think the only jobs available in theatre include acting, building sets and directing. As theatre wizards, we know that’s not the case. There are countless jobs in the world of theatre that many theatre nerds haven’t even heard about. Make it a priority to learn about a new job each month. Ask your friends and other theatre professionals about fun and interesting jobs they’ve seen in theatre.
8. Learn about schools with unique theatre programs
We all know about the big-name theatre schools, but what about the ones we don’t hear about? Just because a school isn’t publicized as much as Juilliard or NYU doesn’t mean it couldn’t be the perfect fit for you. Whether you’re working on an undergraduate degree, graduate degree or hoping to take individual classes, knowing schools could help you make this decision. Check out the best school in your state and then see whether you can find the best theatre school in your surrounding states.
9. Learn about theatre in different countries
America is certainly a theatre and film powerhouse, but we can sometimes forget that every country has its own unique spin on theatre. Check out theatre venues, learn about famous playwrights and actors and see what else you can learn. You could be an American ambassador for culturally diverse theatre.
10. See what classes are available near you (improv, writing, acting, woodworking)
Regardless of where you are in your lifetime theatre journey, it’s never too early or too late to take a class. There are likely community classes or college-level classes near you that you can take. Theatres usually have some kind of education program for students of all ages, so look up your local theatre. You could even sign up for a class at Home Depot and learn how to work with tools and other building materials.
11. Boost your special skills (dialects, stage combat, dance, instruments)
Do you struggle with the “Special Skills” portion of your resume? Maybe you have some special skills, but you want more! Pick a skill you wish you had and learn how to do it by watching tutorials on YouTube. Buy a book that will teach you how. Sign up for classes and learn from a professional. You’d be amazed at how fast you can boost your special skills.
12. Perform for free in an atypical location
Grab some of your theatre friends and put on a show for whoever wants to show up! Perform in a park, parking lot, bar, basement, warehouse or street corner — anywhere works! Write a script and make it a world premiere, or put on an improvised show. You can advertise for free with the wonder that is social media. You might team up with a business or charitable organization and make it an event. The possibilities are endless! You have so much power to create theatre, and you don’t even need to spend a single penny.
13. Build something using tools and designs
Maybe you consider yourself handy. Maybe you’ve never held a hammer. Regardless of your experience with construction, pick a project that requires designs and tools and build something! The task seems daunting when you get started, but you’ll feel so accomplished when you’re looking at your new shelves or birdhouse. We can’t all be on a tech crew all the time, but that doesn’t mean we can’t still develop and hone our technical skills!
14. Watch a film adaptation of a play or musical
With all the theatre-to-film adaptations floating around out there, we have no excuse for not watching them! On your next movie night or Netflix binge, watch some plays or musicals turned into movies. You’ll learn more about the plot, and you’ll be able to join in the conversation when your friends start discussing the play or musical.
15. Get new headshots and boost your resume
16. Discover a new theatre company each month
Every theatre company has a distinctive purpose and mission statement. Learn about theatre companies near you and why they produce theatre. You’ll be amazed at the diverse productions and companies in your location. You could even go one step further and see a show produced by that theatre company. You’ll have a lot more respect for what it’s doing when you know why it’s doing it.
17. Record everything on social media!
If you decide to follow these resolutions, you’ll be a new kind of theatre nerd. Infect your friends with your nerdiness by sharing your journey online. Even better, let your non-theatre friends see all the cool stuff you’re doing and encourage them to do the same. By expressing your experiences, you can help advocate for theatre and perhaps inspire others to do the same!
This is the first in a series of articles that will help you reach these resolutions. Check back soon for monthly updates and articles on how 2017 will be your year to become the ultimate theatre nerd!
[post_title] => 17 New Year Resolutions For Theatre Nerds
[post_excerpt] =>
[post_status] => publish
[comment_status] => open
[ping_status] => open
[post_password] =>
[post_name] => 17-new-year-resolutions-for-theatre-nerds
[to_ping] =>
[pinged] =>
[post_modified] => 2019-01-01 18:32:43
[post_modified_gmt] => 2019-01-01 23:32:43
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://theatrenerds.com/?p=6794
[menu_order] => 0
[post_type] => post
[post_mime_type] =>
[comment_count] => 3
[filter] => raw
)
[31] => WP_Post Object
(
[ID] => 6645
[post_author] => 12
[post_date] => 2017-02-01 10:56:37
[post_date_gmt] => 2017-02-01 15:56:37
[post_content] => No matter how much training you undergo and how much attention you give to your craft, come audition time, your thought process tends to get, well, a bit crazy. It typically goes a little something like this:
1. How should I do my hair?
2. Has my hair always looked this bad?
3. I’ll cut my hair after I book this job.
4. Do I have lines?
5. How far away is the studio?
6. Will there be parking? 
7. Oh, I like that casting office.
8. Oh, it’s in the casting office next to the big Whole Foods — totally going there after.
9. Should I wear the yellow sweater that makes me look approachable or the green shirt that makes my eyes pop?
10. Is my audition shirt clean?
11. Do I look too old for this part?
12. Maybe I should wear less makeup.
13. Why did I eat pizza last night?
14. If I leave now, I’ll be early, but will that make me look prepared or desperate?
15. What if there’s traffic? Then I’ll be late! Why didn’t I leave 10 minutes ago?
16. Should I have brought meter money?
17. Wow, there are a lot of other actors in this waiting room.
18. Why didn’t I wear my flannel? Of course that’s the look they’re going for!
19. I’m awesome, and I’m totally going to book this.
20. Please, god, I need this job.
21. Great, now I have “A Chorus Line” in my head.
22. At least let me get a callback.
23. If I book this, I’m totally going to buy that cute jacket — or get some new headshots.
24. Excuse me, when I book this. Positive vibes! Positive vibes! Visualizing it! Yes!
25. OK, here goes nothing! I’m going to be the best Moviegoer #3 they’ve ever seen.
Share some of your audition thought process with us in the comments below...
[post_title] => 25 Thoughts Every Actor Has While Getting Ready For An Audition
[post_excerpt] =>
[post_status] => publish
[comment_status] => open
[ping_status] => open
[post_password] =>
[post_name] => 25-thoughts-every-actor-getting-ready-audition
[to_ping] =>
[pinged] =>
[post_modified] => 2017-02-01 10:57:39
[post_modified_gmt] => 2017-02-01 15:57:39
[post_content_filtered] =>
[post_parent] => 0
[guid] => http://theatrenerds.com/?p=6645
[menu_order] => 0
[post_type] => post
[post_mime_type] =>
[comment_count] => 0
[filter] => raw
)
[32] => WP_Post Object
(
[ID] => 6623
[post_author] => 391
[post_date] => 2017-01-31 09:47:22
[post_date_gmt] => 2017-01-31 14:47:22
[post_content] => Some of the most well-known musicals to English-speaking audiences did not always premiere in English. For example, did you know that the original French production of “Les Misérables” premiered in Paris in 1980? Foreign-language musicals from Europe often have the privilege of being performed throughout Europe in the language of each respective country.
Since North America often misses the boat on these shows, here are 11 foreign-language musicals from the other side of the pond:
1. “Roméo et Juliette: de la Haine á l’Amour”
https://www.youtube.com/watch?v=7gh81PYERlM Gerard Presgurvic’s French musical, based on Shakespeare’s “Romeo and Juliet,” premiered in Paris in 2001. It was the breakout show for French singers Damien Sargue and Cecilia Cara. The song “Les rois du monde” was a pop hit in both France and Belgium. The musical has been produced all over Europe, including a 2013 production in the play’s setting of Verona.2. “Notre Dame de Paris”
https://www.youtube.com/watch?v=Lefbtf5jjbg Another massively popular French musical, this show premiered in Paris in 1998. It spawned the single “Belle,” the best-selling 1998 pop song in both France and Belgium. Although it never played in New York, an English-language production played in Las Vegas in 2000.3. “Monte Cristo”
https://www.youtube.com/watch?v=DOmK2PnN0II One of the only Russian musicals to be internationally recognized, this musical is based on the Alexandre Dumas novel, “The Count of Monte Cristo.” After opening in Moscow in 2008, the show toured China and South Korea. Like the aforementioned musicals, “Monte Cristo” follows the pop-opera style of several musicals based on classic novels.4. “Mozart, l’opera rock”
https://www.youtube.com/watch?v=KtTlVYG9o8Y Based on the life of Wolfgang Amadeus Mozart, this musical premiered in Paris in 2009 before opening in Belgium and Switzerland. The musical’s song “Tatoue-moi” was a No. 1 hit in France in 2009. A proposed Broadway run of the musical has yet to occur.5. “Rebecca”
https://www.youtube.com/watch?v=B-SZOwrhTds Based on the novel by Daphne du Maurier, this German-language musical premiered in Vienna in 2006 and was later produced in Budapest, Helsinki and Tokyo. Aside from several workshop performances and West End readings, the musical languished in Broadway development hell, but its producers now aim for a 2017 Broadway opening.6. “Elisabeth”
https://www.youtube.com/watch?v=pazuQ--rYls Based on the life of Empress Elisabeth of Austria, this German-language musical opened in Vienna in 1992 and has since been produced in Tokyo, Osaka, Budapest and Seoul. Having been seen by 10 million patrons, it is the most successful German-language musical of all time.7. “Soldier of Orange”
https://www.youtube.com/watch?v=v7_146DNskE Based on the 1977 Dutch film of the same name, this musical premiered in Katwijk in 2010. The musical, which takes place during World War II, was first produced in a former airbase that was converted into a theatre.8. “Hoy No Me Puedo Levantar”
https://www.youtube.com/watch?v=1euCWiPGzqQ Premiering in Madrid in April 2005, this Spanish-language jukebox musical is based on the songs of José María Cano and Nacho Cano (both ex-members of Mecano). In a similar plot to “Rent,” this musical is about a group of struggling artists in Madrid battling with drugs and the AIDS crisis. It has since played in Mexico City and Barcelona.9. “Kristina from Duvemala”
https://www.youtube.com/watch?v=a2idVI73ais Written by Benny Andersson and Björn Ulvaeus (ex-members of ABBA), this musical is based on Vilhelm Moberg’s book series about a poor Swedish family that immigrates to the United States. After premiering in Malmö, Sweden, in 1995, the musical had a concert performance in Minneapolis the next year before it eventually moved to Carnegie Hall in 2009. It has also been produced in Gothenburg, Helsinki and Jessheim.10. “Hamlet”
https://www.youtube.com/watch?v=OI6Ldc8ExLg This Czech-language version of the classic Shakespearean tragedy premiered in Prague in 1999 and closed there in 2012. The rock musical’s score has been compared to “Jesus Christ Superstar,” and the show has also been produced in Seoul.11. “14-18”
https://www.youtube.com/watch?v=m75ImoH9Cgk This Flemish musical about World War I premiered in Mechelen, Belgium, in April 2014. The Nekkerhal, the venue of the premiere, satisfies the gargantuan demands of this show, which include a 135-ton moving platform, 11 enormous set pieces and a cast of 99 actors.Think of a musical that we left out? Let us know in the comments below...
[post_title] => 11 Foreign-Language Musicals You Need To Hear [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 11-foreign-language-musicals-you-need-to-hear [to_ping] => [pinged] => [post_modified] => 2017-01-31 09:48:51 [post_modified_gmt] => 2017-01-31 14:48:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6623 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 26 [filter] => raw ) [33] => WP_Post Object ( [ID] => 6639 [post_author] => 12 [post_date] => 2017-01-28 08:00:02 [post_date_gmt] => 2017-01-28 13:00:02 [post_content] => [viralQuiz id=27]Try Another Quiz: Can We Guess What Green Room Personality You Are?
[post_title] => Quiz: Can We Guess Which Character Type You Are? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-can-guess-character-type [to_ping] => [pinged] => [post_modified] => 2018-10-07 11:11:19 [post_modified_gmt] => 2018-10-07 15:11:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6639 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [34] => WP_Post Object ( [ID] => 6606 [post_author] => 712 [post_date] => 2017-01-25 09:05:44 [post_date_gmt] => 2017-01-25 14:05:44 [post_content] => Auditioning for a musical can be one of the most harrowing processes in the world, especially the singing portion. However, if you prepare ahead of time, it doesn’t need to be scary. Here are four tips for acing your next vocal audition:1. Choose the Right Song
For a musical audition, this is the most important call. Sometimes, casting will make it easy and assign material to sing, but more often than not, it’s your decision.
If you’re a veteran to the musical theatre audition circuit, you will probably have an audition book. This is a selection of songs (ranging in style) that you know well and can sing at the drop of a hat, usually kept in one overstuffed binder. It should be a varied repertoire that you really relate to. Look through it (or scour Google and music sheets if you don’t have one) and find the song you think fits the style of the show you’re going for. Again, be certain that you connect to your choice as a person.
Try to be wary of learning a new song, unless you have no choice. It’s best that you know the material like the back of your hand so when you get in the room and your nerves kick in, you can still let your personality shine through. After all, showing your personality gives you a leg up on your competition — no one else is like you!
2. Rehearse Your Heart out
This sounds like an obvious one, but many people don’t realize that to get work, you have to do a lot of work! Treat the audition like you would a performance because it’s essentially a chance to do what you love. You want casting to see you at your best, so be your best.
A Broadway performer once told me that they treat all of their songs like monologues. They write them out, mark them up with objectives and even read them aloud as they would a monologue. At their core, most songs are inner monologues. People in musicals sing their thoughts because they cannot speak them. So, handling a song like a monologue can help you discover new moments.
In preparation, lots of performers will enlist a vocal coach to assist them with their audition. This is obviously costly, so try to only do this when you feel like you really need it. It’s instrumental to hear the way your songs sounds on the piano and to get your teacher’s feedback on your song cut. Get the most out of your time together by recording your session, if it’s OK with your coach.
Sometimes it’s also useful to hold a rehearsal where you imagine yourself in the room. You can set up your room in an audition format and ask a friend to watch, or simply close your eyes and envision that you are in that space. While singing, you are hopefully going to be in another world, but it truly can help to anticipate your nerves. Go ahead, try it! You’ll be surprised to see how tense it can make you feel even thinking about being there. If you can curb your anxieties during that rehearsal, you’ll be more comfortable and connected in the room.
3. Choose the Right Clothes
One of the biggest ways to make an impression is with your choice of clothing. You want to stand out, of course, but that doesn’t mean you need to throw on a sequin top or neon-colored sneakers.
Attempt to pick an outfit that is the essence of the role. For example, if you’re auditioning for “Newsies,” you don’t need to rent an authentic vest and pair of knickers from 1899. Show up in a nice button-down shirt. Or, let’s say you’re auditioning for the role of Anna in “The King and I.” There’s no need to run around like a maniac searching for a hoop skirt when you can simply wear a nice dress. Don’t make it too hard for yourself!
Basically, you don’t want to give casting any reason not to hire you. Spoon-feed it to them by wearing something that gives off the vibe of your character but is already in your closet. Ask a trusted pal for approval!
Overall, choose something that looks good and makes you feel good. And please, for their sake, don’t show up in any type of costume — unless you’re trying to get in the “bad audition” montage on a reality show.
4. Use the Time in the Waiting Room
We’ve all been uneasily seated outside the audition room waiting for our turn. We steal glances at our fellow auditioners (who look eerily similar to ourselves), press our ears against the door to listen to them sing and stare through our sheet music, relentlessly hoping it will overtake our brains. However, wasting your time in the waiting room with stressful acts like this is detrimental to the process.
Instead, get to your audition 10 minutes before your time slot (any earlier could annoy casting, since waiting spaces are usually small and they don’t want a lot of people sitting around) and loosen up. Find the bathroom, splash water on your face, do a quick vocal warm-up and, most of all, relax. The more laid-back you are, the easier your audition will be. Reading advice from a performer you admire right before you go can also be beneficial, so have it cued up on your phone!
Bonus Tip: After you go, let it go! You’ve done the best you can, so don’t bother obsessing over the outcome. What will be will be!
[post_title] => 4 Ways To Nail Your Next Vocal Audition [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 4-ways-to-nail-your-next-vocal-audition [to_ping] => [pinged] => [post_modified] => 2017-01-25 09:19:53 [post_modified_gmt] => 2017-01-25 14:19:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6606 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [35] => WP_Post Object ( [ID] => 6663 [post_author] => 11 [post_date] => 2017-01-24 09:05:04 [post_date_gmt] => 2017-01-24 14:05:04 [post_content] => Nuggets of wisdom can be found in the best of Broadway. Theatre is constantly reminding us to make change, never give up and embrace our most unique traits. With a new year upon us, we’ve compiled a list of inspirational quotes plucked from your favorite musicals.Here are 14 mantras to take with you into 2017:
You can change the world if you change your mind. (Kinky Boots)
Even the darkest night will end and the sun will rise! (Les Misérables)
Being true to yourself never goes out of style. (Legally Blonde)
Opportunity is not a lengthy visitor. (Into the Woods)
I’m through accepting limits ‘cause someone says they’re so. Some things I cannot change but ‘til I try, I’ll never know. (Wicked)
If we’re always starting over every brand new morning, then we’re always starting out with the end in doubt. (If/Then)
Look inside yourself, Simba. You are more than what you have become. (The Lion King)
She warned him not to be deceived by appearances, for beauty is found within (Beauty and the Beast)
Just be who you wanna be. (Kinky Boots)
Climb every mountain, ford every stream, follow every rainbow till you find your dream. (The Sound of Music)
Who cares what happens when we’re dead? We shouldn’t think that far ahead. The only latter day that matters is tomorrow. (The Book of Mormon)
I’ve heard it said that people come into our lives for a reason, bringing something we must learn, and we are led to those who help us most to grow. (Wicked)
Forget regret, or life is yours to miss. No other path, no other way, no day but today. (Rent)
Look, a new day has begun… (Cats)
Have another favorite inspirational quote from a Broadway musical? Share it in the comments below...
[post_title] => 14 Inspirational Musical Theatre Quotes For The New Year [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 14-inspirational-musical-theatre-quotes-new-year [to_ping] => [pinged] => [post_modified] => 2017-01-24 09:15:09 [post_modified_gmt] => 2017-01-24 14:15:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6663 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 24 [filter] => raw ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 7856 [post_author] => 736 [post_date] => 2017-03-20 11:14:59 [post_date_gmt] => 2017-03-20 15:14:59 [post_content] => If you think social media is just a platform to post news and chat with friends, think again! It’s one of the fastest, easiest and most fun ways to advertise your school musical. Not to mention, it’s free! Check out these 10 tips to create buzz, develop a fanbase and get people in the seats at your upcoming production.1. Showcase Your Rehearsals
Did you love “Smash” and all the inside scoop into the rehearsal process for “Bombshell?” Well, why don’t you do the same? Film short rehearsal clips and have all the cast members post them on their social media feeds. Of course, make sure to put the link to buy tickets at the bottom of the video as well.
2. Interview Your Cast
Whether on video or in written form, interviews are a great way to get to know your cast and generate interest in your upcoming school musical. Make sure to keep your questions related to the show, because asking the leading lady what her favorite color is isn’t exactly going to help sell a ticket. Post short sound bites to Twitter and Instagram and the longer interviews on Facebook. You can even go live on Facebook or Instagram and show interviews in real-time. Make sure to have the person being interviewed give a shout out about the performance information and how to buy tickets.
3. Market the History of the Show
Have those students handy with iMovie put together a montage or documentary-style movie about the history of the musical you’re mounting. Members of the cast can even host! You can add Broadway production photos found online to make the video fun and interesting (just remember to give credit to applicable parties at the end of the video to cover copyright). And, don’t forget to make sure to link to where your viewers can buy tickets to your school production.
4. Give a Backstage Tour
Take your viewers on a journey through all the nooks and crannies of the stage areas, hidden traps, dressing rooms and light booths. This will help entice those watching to want to see what happens onstage during the performance. A great tip is to make sure to end the tour at the box office, so your followers know that’s the place to buy tickets.
5. Contest or Giveaway
Everyone loves free stuff, or what insiders like to call “swag” in the performing world. So, why not hold contests or giveaways that include fun souvenirs that have to do with the school musical? T-shirts, mugs and cast-signed posters are great examples of giveaway items that are easy to make with the help of an artistic or tech-savvy company member. Make sure your items contain the show information so those who win or those who see the winners wearing or using your swag know when your musical is happening and how to get tickets.
6. Offer Social Media Ticket Discounts
Use social media to plug the show by offering specific discounts to your followers. The audience will keep coming back to your social media feeds to see which new discounts have become available and hopefully make a purchase. Not only is this a great way to generate buzz for your school musical, but you’ll sell tickets before you even open. How awesome is that?
7. Trivia Games
Don’t you love those trivia games on Facebook, Twitter and Instagram? Why not be creative and post some trivia on your school musical? Not only will a game keep your followers engaged, having fun and learning something about your upcoming show, but it may also entice them to join you at the performance or spread the word to other friends not on your feeds. With a simple Google search, you can find many websites and programs that can help you set up the perfect trivia test, or create one of your own using one of your computer-savvy castmates. Last, make sure to include links to performance information with every trivia post.
8. Showcase What Is Behind-the-Scenes
A lot of the time, the stuff that happens behind the curtain is just as interesting as what happens onstage. You can use social media to show videos and pictures of the stage set being built, the costumes being sewn and the lights being hung. You can even interview those working offstage to get an idea of what their particular jobs are like in making your school musical look and sound amazing. These posts are rewarding because your viewers can start to understand the whole process of how a musical is put together. People will be more inclined to buy a ticket so they can see what the final product will look like.
9. Make A Music Video
Use a song from the show and create a music video. It can be within the confines of the show or something completely different. Either way, make it fun and include many of your onstage and backstage company members. A music video will get your viewers talking and singing along and hopefully lead them to buy tickets so they can hear the rest of the score in all its glory during your performance.
10. Follow a Company Member for a Day
Choose performers or backstage participants to do a photo scrapbook of their day from going to class through rehearsal and/or doing a performance in the evening. These photos can be shown all together in a collage or posted over the course of a day or week on your social media pages. Not only does it create some great content to advertise your school musical, but it also shows the audience how wonderful and challenging it is to work as a performing artist.
How do you advertise your school musical on social media? Let us know in the comments below...
[post_title] => 10 Ways To Advertise Your School Musical On Social Media [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => ways-advertise-school-musical-social-media [to_ping] => [pinged] => [post_modified] => 2018-03-28 10:22:38 [post_modified_gmt] => 2018-03-28 14:22:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7856 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 635 [max_num_pages] => 18 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_privacy_policy] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_favicon] => [is_posts_page] => [is_post_type_archive] => [query_vars_hash:WP_Query:private] => 7cb5eda35c1b6de3a03adae0142f651d [query_vars_changed:WP_Query:private] => 1 [thumbnails_cached] => [allow_query_attachment_by_filename:protected] => [stopwords:WP_Query:private] => [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) [query_cache_key:WP_Query:private] => wp_query:783f66ac877327ff67d4b679c7549e6b:0.43006300 17770184010.12508800 1777018402 )Latest stories
-
-
-
-
-
263 Shares
Quiz: Do You Know Which Play Came First?
The Theatre Nerd’s essential history lesson.
-
1.1k Shares
8 Hacks To Get In Dance-Shape For A Show
-
Hot Popular
Nerdy
LOL
OMG
Angry
LOVE
4.9k Shares135 Comments
Quiz: Which ‘Heathers’ Character Are You?
What’s *your* damage?
-
-
-
-
-
-
1.5k Shares
Quiz: What % Diva Are You (Really)?
This diva needs her stage…AMIRITE?
-
432 Shares
10 Ways To Completely Bomb Your Audition
-
-
523 Shares
20 Incredible Thespian Quotes On Creativity
-
-
-
-
2.1k Shares2 Comments
9 Theatre Superstitions Explained
-
1.4k Shares9 Comments
What I Learned From My First Showmance
-
-
1.1k Shares
Quiz: How Well Do You Know These ‘Hamilton’ Stars?
Test your knowledge on what happens outside The Room Where It Happens!
-
-
-
2.8k Shares9 Comments
A Personal Defense of ‘Cats’
Because Jellicles Can and Jellicles Do
-
853 Shares1 Comment
Quiz: Match The Lyric To The Rodgers & Hammerstein Musical
Because these classics are some of our favorite things.
-
-
1.1k Shares
Quiz: Can You Guess The Movie Musical Just By A Screenshot?
Unleash your inner theatre nerd.
-
-
-
-
-
2k Shares2 Comments
Quiz: Can We Guess Which Character Type You Are?
Will you be center stage or hiding behind a piece of set furniture? Answer these questions to find out!
-
551 Shares
4 Ways To Nail Your Next Vocal Audition
-
Load More
Congratulations. You've reached the end of the internet.
