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[post_content] => If you think being a dresser backstage on Broadway is just putting actors in their costumes and helping with quick changes, think again. There are many facets to the skilled trade of being a professional wardrobe person. One Broadway show could have dressers in many positions who go beyond helping actors in and out of clothes. Here is a rundown of those types of roles:
In addition to a bead worker, other dressers are employed to do daywork in order to prepare and check the costumes before a performance. They ensure they look as pristine as they did on opening night.
Ironing, steaming and minor repairs are all allowed. The costumes are meticulously checked for any damage and are repaired onsite. Anyone who wants to be employed as a dayworker needs to have at least basic sewing skills and be able to sew small rips and buttons, among other things.
A stitcher is also onsite during daywork and sometimes during showtimes. This is a dresser who is a whiz with a sewing machine. It’s also helpful if this person can do pattern-making, use a serger and operate other applicable instruments. Stitchers will repair more difficult and larger rips and holes in costumes. They may also do alterations to costumes if a new actor or swing/understudy is going in the show.
During daywork, a dresser who knows how to repair and keep shoes looking like new is also employed. Shoes take a beating from everyday wear and tear and hardcore dancing, so the shoe person can give shoes a fresh coat of paint/polish, check for repairs, replace or fix any rubber or hardware and/or take the shoes to a local cobbler for a more involved fix.
These tracks usually require extra-special care, and star dressers will sometimes act as a special assistant, guest greeter and more in addition to helping carry out the costume changes with his or her actress. Many times, a star of a show will take their star dresser with them from show to show, since they are familiar with their work and have a good rapport. If you are meticulous and a people-person, this is a great job for you!
Theatre is a collaborative art form, and it takes a cast of thousands onstage and offstage working together as a team to make a show go off without a hitch.
Life Lesson: Be sure to include teamwork in your real life, whether it’s in another career endeavor, playing a sport, relationships, family or even achieving life goals. There’s no need to go it alone. So much can be achieved with a little help from a friend, colleague or mentor.
If you can’t problem-solve, you certainly can’t work backstage. You must not be afraid to fix an issue quickly when sets, costumes and props break or something else goes amiss.
Life Lesson: Bring this type of problem-solving into your real life. Take initiative to act quickly to fix things when they go wrong, whether it be at home, at school or at a job.
Who says you can’t do two things at once? How about three or four? How about doing a quick change with an actor while presetting another change for a different actor and safety-pinning a rip in a third actor’s costume? Think this hasn’t happened? Think again!
Life Lesson: Multitasking not just backstage can help you achieve goals faster, use your time more wisely and get so many things done. Even your parents will be impressed!
Trusting your instincts while you are problem-solving backstage is imperative when you only have 30 seconds for a quick change or a very short blackout. The show won’t stop to fix a mishap!
Life Lesson: Remembering to listen to your inner voice will always be the right choice, whether you’re choosing the right audition song, picking your future college/university or aiming to make a big life decision.
Doing theatre means working closely with everyone onstage and backstage for long hours. Creating a positive working environment is a must and is the direct result of everyone being nice to one another despite individual idiosyncrasies.
Life Lesson: Remembering to be nice to everyone no matter your environment will bring you many friends, supportive teachers, mentors and colleagues who will help guide and support you throughout your life journey.
Looking at the other guy hooking up a microphone while you’re handling a costume emergency may make you think he has the easiest job in the world. Think again! What if that mic goes out or is positioned in such a way that the sound doesn’t work correctly?
Life Lesson: No one’s job is easy. Reminding yourself that everyone has challenges and obstacles to overcome can help you when you’re struggling. You are not alone.
Theatre is exhausting, and rest is imperative to ensure you are at your best so the show can go off smoothly.
Life Lesson: If you don’t get enough sleep before that big test, upcoming audition or even a vacation, you won’t have as much fun or be able to fully enjoy the experience or carry it out with vigor. Take your time to treat yourself kindly and get some zzz’s to recharge your battery.
1. Avoid picking a song from the show for which you are auditioning. Choose something that showcases your vocals and acting ability.
2. Come prepared with everything they’ve asked for and more. Having a second song ready can be helpful, just in case.
3. Wear something that makes you feel comfortable and confident. It will help steady your nerves.
4. If there is a dance audition, make sure you have proper attire and don’t hide in the back. They can’t cast you if they can’t see you.
5. Don’t let the talent of the other auditionees psyche you out. You never know what the creative team is looking for, and it might be something you have!
1 Show up on time. This cannot be stressed enough. You are a part of a team. Being late without an exceptional reason gives the impression you feel your time is more valuable than others’.
2. If you are sick or can’t make it, be sure to contact your director. They don’t need to waste rehearsal time tracking you down. If you are an integral part of that session’s rehearsal, they might use the advance notice to alter the rehearsal and work on something else instead.
3. When you miss a rehearsal, take the initiative to find out what you missed and get caught up before the next rehearsal.
4. Always have a pencil on hand. You will need to jot down stage directions and notes as they happen. Don’t leave it until the end of rehearsal, or you may forget things. The creative team will be annoyed if they have to tell you a second time.
5. Whether you’re playing the leading role or a mute tree, give it 100 percent. Every person who is part of the show is integral to the finished product. If you want to earn larger roles, show the creative team you can handle more by being the best at whatever you’re given and doing it with a smile.
6. There will be regulars and already established friend groups. Don’t let it intimidate you. If it does, find other newbies in the cast and start there. Then, get to know everyone as you work on scenes together. Just being friendly and saying hello goes a long way.
7. Another way to bond with members of the production and get involved is to help out with backstage tasks when you have downtime. Making props, helping build or strike the set, marking up the floor or even just tidying up the stage or rehearsal space are all good options.
8. Every production has drama going on backstage and onstage. Try to stay out of it. If you find yourself involved, diffuse the situation to the best of your ability. Keeping the group as cohesive as possible will ensure the best performance onstage.
9. In some companies or groups, you will be required to provide your costumes. Establish that as early as you can and start hunting for those perfect pieces. Don’t leave it to the last minute, or you may end up disappointed.
10. If you are responsible for getting your own costumes, be sure the director approves of all your choices. Don’t wait for them to see the costumes onstage during dress rehearsal. If they tell you what you chose isn’t going to work, you’ll be left scrambling at the last minute.
11. You will be expected to practice and review on your time. Showing up to a rehearsal unprepared is unfair to your fellow castmates and the creative team. Block out a small pocket of time a few times a week to go over what you’ve learned.
12. Ask questions if you are confused or need something repeated. Don’t be embarrassed — someone else may have the same question and is also afraid to speak up. Giving a poor performance will be far more embarrassing, so get clarification if you need it.
13. If you have a conflict, speak to that person directly, if you can, or take it to the director. Avoid spreading gossip at all costs. The worst thing you can do is talk to someone else in the cast. The more people involved, the bigger the problem gets.
14. Don’t take constructive criticism of your performance personally. A lot of first-timers will get upset if the director or choreographer corrects them or asks them to change what they’re doing. They are just trying to make the show the best it can be, and their approach may not be the same as yours. Keep your chin up, listen to what they are saying and take everything in stride.
15. Make sure you warm up before every rehearsal. There may not always be time to warm up as a group, so leave yourself a few moments to stretch your limbs and vocal chords.
16. Keep the diva moments to a minimum. Respectfully voicing your ideas to members of the creative time is fine, but it’s ultimately up to them to decide how the show is put on.
17. It is good to try new things and grow as an artist, but if you are really uncomfortable with something, speak to the director about it. Most are very accommodating and will do their best to rework it.
18. Be patient. There will be a fair bit of standing around and waiting for others. Keeping a positive attitude will help maintain a pleasant and creative environment.
1. Tech week is grueling. Go into it with that in mind, and you will avoid an unpleasant surprise.
2. Be patient. There are a lot of elements at play, and everyone is tired and on edge. Emotions run very high during this period, and a little bit of patience can go a long way toward avoiding a major incident.
3. Stay positive. Tech week rehearsals are notorious for having everything go wrong that can, but 99 percent of the time, it all turns out okay in the end.
4. Stay focused. There will be a lot going on, and this is when injuries can happen. Adding set pieces, costumes, props, lighting and sound can cause a lot of confusion. There will be people everywhere. Be aware of your surroundings, and don’t get distracted by what others are doing.
5. Do everything you can to stay healthy. The stress, rehearsals and physical demands will take their toll on you. Be preventative by doing things that keep you relaxed, drinking lots of water, resting when you can, taking vitamins and staying warm.
6. Do not schedule anything social during this week. You will not make it to that. Tech week is very demanding, and adding commitments will just add to your stress.
7. Keep your area of the dressing room as neat and organized as you can. Quick changes are a recipe for lost items, so try to have designated places for your things. A storage container for makeup and hair items, a bag for shoes, a bag for laundry, your own hangers and clothing bag for costumes and a general bag or suitcase to store it all in can be beneficial.
8. Make sure you label all your things with your name or initials. That way, if they are misplaced, you’re more likely to recover them.
9. Bring your own small mirror. There are never enough mirrors for everyone, and you’ll need one.
10. Always have water on hand. It gets extremely warm onstage and in dressing rooms, and the last thing you want is to pass out or get sick from dehydration.
11. If you can, do as much preparation at home before you go to the theatre. It will help you stay relaxed among the backstage frenzy.
1. Invite your friends and family as soon as you know the date of the show. Booking people ahead of time will ensure you have some friendly faces in the crowd to give you that extra energy during the performance.
2. Promote your show as much as you can. Tell everyone you know and advertise it on your social media. The more people there are in seats, the better it is for the group.
3. If something goes wrong or you mess up, don’t let it break your focus. Treat it like it was intentional and keep going. It’s unlikely the audience will even realize or remember.
4. Give every performance as much energy as opening night. Most people in the crowd will be seeing the show for the first time and deserve the best performance possible.
5. Keep track of your cues. It’s easy to get distracted backstage, and there’s nothing worse than an angry stage manager tracking you down.
6. Treat your backstage crew with respect. They are the unsung heroes of every show, work just as hard as the cast onstage and are often unrecognized for their contributions. Be sure to thank them when you see them around.
7. Don’t eat in your costume. If your stage manager finds out, you’ll live to regret it.
8. Use the bathroom before the show starts and at intermission. It sounds silly, but it can mess up your focus if you need to go. Plus, trying to go to the restroom with your costume on can be really tough.
9. Nerves are completely normal and expected. Try to channel that energy into each performance. Keep yourself from freaking out by taking everything one step at a time, one scene at a time. Breaking it down into smaller chunks will make it less frightening and more manageable.
10. Don’t freak out if the audience doesn’t laugh or react when they are expected to. Some audiences are more reactive than others. It doesn’t mean they didn’t find it funny or enjoyable — they might just be more reserved theatergoers.
11. When it’s all over, be sure to thank everyone involved. Appreciation is always remembered.
It’s easy to get caught up in the chaos of community theatre, but before you know it, the show will close its last performance. Whether it’s your first show or your 20th, try to enjoy each moment and each experience for what it is: pure magic.
The Golden Age (anything from 1940 to the 1960s) is a musical era you must have in your book. Ideally, you’d have at least one Rodgers and Hammerstein song in there.
For this genre, think of the tunes made famous by Frank Sinatra. Jessie Mueller once told the story of how she auditioned for “On a Clear Day You Can See Forever” and sang, “It Might as Well Be Spring” from “State Fair.” They immediately asked her if she had anything more jazzy to fit the style of the show. She didn’t have anything, so she asked the accompanist to speed up her original song and sang the Rodgers and Hammerstein classic as if she were Ella Fitzgerald. She got the job.
The moral of the story is to make sure you have a jazz standard in your book — or be prepared to do some major musical tweaking on the spot if you don’t.
Most people say to never sing Sondheim, but if you can handle his crazy rhythms and phrasings at the drop of a hat, you’ll be sure to impress the casting team.
This is what you need for shows like “Rent,” “Rock of Ages,” “American Idiot,” “Spring Awakening” and “Jesus Christ Superstar.”
I call this the Jason Robert Brown-style song. Look for standalone cabaret songs, such as those from Goldrich and Heisler or Kerrigan and Lowdermilk.
With more recording artists such as Sara Bareilles and Carole King dipping their toes into Broadway, it’s good to have a Top 40 song in your book.
Disney has such a strong presence on Broadway that if you are a working musical theatre actor, you probably already have done or will do a Disney production one day. Examples include “Mary Poppins,” “Newsies,” “Aladdin,” “The Little Mermaid” and “Beauty and the Beast.”
This is just a list to start you out with getting more variety in your book. There are many other types of songs that would be great to have for an audition. Also, keep in mind that while your book should vary in musical genre, you should also have a good mix of up-tempo and ballad songs. Best of luck with your future auditions!
Nili Bassman has been seen on Broadway in “Curtains,” “Never Gonna Dance” and “Chicago.” Here’s her advice:
“The most important thing to bring into a room at a Broadway dance audition (or any audition, for that matter) is you. One-of-a-kind, beautiful, flawed you. Directors, choreographers and music directors want to see individuals with points of views — dancers with an awareness of who they are and access to all of that beautiful uniqueness. Steps can be refined and drilled during rehearsals, but presence, passion, creativity and personality cannot be taught. You’ve studied technique your entire life. Trust that. The audition room is the place to leave class behind and dance from your soul. All dancers are actors. We tell stories with our bodies. So, use the choreography presented to you to tell a story. Bring your life experience to the dance and make it your own. Have fun! Think of every audition as an opportunity to perform and leave your heart and soul and joy in the room. That is why we dance. That is why others are moved by dance. And yes, warm up, eat a snack and bring water and extra shoes!”
Correy West has been seen on Broadway in “Nice Work If You Can Get It” and “South Pacific.”
Here’s his advice:
“I think the most important thing in a dance audition is to know your strengths and use them to your advantage. I used to spend so much time getting intimidated by the guys who were the most flexible or the ones who could do the most turns, but at the end of the day, there is only one you. If that shines through and you feel like you couldn’t have done anything else towards getting the part when you leave the room, it was a success!”
Justin Boccitto is a New York City performer, teacher, director, choreographer and producer. His work has been seen Off-Broadway, regionally and beyond. He is also the executive director of The Group Theatre Too and the creator of Choreographer’s Canvas. And, if you like what he has to say, you can take a dance class from him at Broadway Dance Center.
Here’s his advice:
“Being on the other side of the table, I find the following things extremely important at dance calls:
Stephanie Bissonnette is an accomplished New York City dancer who has now joined the company of “Mean Girls” as it heads toward Broadway and its first regional premiere at the National Theatre.
Here’s her advice:
“I would say my biggest advice would be to just be yourself. Often the final decision is made because of a certain minor detail. Don’t take anything personally. Just keep getting up and heading to those auditions every day. You never know which one will be the one to skyrocket your career.”
Jeffry Denman is an accoladed Broadway performer (“White Christmas,” “How to Succeed in Business Without Really Trying,” “Cats,” “Dream”), director, choreographer, playwright, author and founder of the Denman Theatre and Dance Company. Here’s his great advice about reading for a role once you’ve made it past the dance stage:
“If you’re reading sides, get off book as much as you can. If you’ve just been given the sides, don’t worry, but if you’ve had them overnight, get off book. It is the single most effective way to get me to consider you. If I’m watching you simply look into papers, I have no idea how you are as an actor.”
What is your best advice for dance auditions? Let us know in the comments below...
Three chairs are set up in a row at the front. Pick one person to sit on the “park bench,” aka the row of chairs. They can pretend to read the newspaper, watch the birds, etc., but they must remain seated on the bench at all times. Select a second person to be the pedestrian. Their job is to embody a character and try to get the park bench occupant to laugh or leave the bench. They are not allowed any physical contact.
If the park bench occupant laughs or leaves the bench, the pedestrian takes their place. They become the park bench occupant and the game starts over. If the pedestrian is able to get the park bench occupant to laugh or leave the bench after an allotted amount of time, a new pedestrian is selected.
Choose one person to be the party host and ask them to leave the room briefly. Choose three people to be party guests, and have the rest of the students suggest characters for each of them (such as man on a rollercoaster, Justin Bieber, girl who has lost her pet snake, etc.). The party host comes back into the room and returns to the front.
The party starts, and the first guest enters the party. They converse with the host while in character for one minute before the next guest enters the party to converse with the host. Stagger each guest until all three guests are at the party conversing with the host and each other. The guest must stay in character at all times. At the end of five minutes, the host must guess the character for each guest.
This can be played in a small group or large group. The teacher starts the story with one sentence (i.e., “Once upon a time, there was a princess who dreamed of being an astronaut”). Moving clockwise around the circle, each student adds one word to the story. The circle is repeated as many times as the teacher deems necessary until they feel the story is finished.
Divide the group into teams of four to six people and have each team choose a spot around the room. The teacher calls out a scene (such as Spiderman at the scene of a bank robbery, a birthday party gone wrong or a television awards show) and then counts down from 10. Teams have 10 seconds to organize a tableau and then freeze. The teacher then goes around and views each tableau before choosing a winner for that round. The winning team receives a point. Every student from the team must participate in the tableau or the team will be disqualified from the round.
Tip: Remind the students about the use of levels and facial expressions at the start of the game.
Choose two to four students to start onstage and give them a scene to start (such as lifeguards rescuing someone from drowning). The teacher calls, “Action!” and the students begin acting out the given scene. At any point, the teacher calls “Freeze!” and the whole scene must freeze. The teacher selects one new volunteer, and they can tap any of the people onstage to go sit down and the assume that actor’s position.
When the teacher calls “Action!” again, the person who just tapped in must start a whole new scene based on the positions the remaining actors ended in. The other actors will need to improvise and join in the new scene. It must be completely different to the scene that was happening before. Every time the teacher calls “Freeze!” new students replace the previous ones and begin a new scene.
The teacher selects one person to be a gravekeeper, and they stand off to the side. The other students lie on their backs on the ground with their eyes open. They must stay completely still, with a straight face. The gravekeeper’s job is to go around and try to make each person laugh or speak using only acting. They are not allowed to touch the person on the ground. Anyone they succeed at making laugh is alive again and joins the gravekeeper in going around and trying to make the other students laugh or speak.
This is a great game for helping your students learn stage directions. This game follows the usual rules of “Simon Says.” Students should only do what the caller says if they say “Simon says.” If they do not put “Simon says” in front of the instruction and the student does it anyway, they are eliminated. The teacher calls out stage directions, such as downstage right or center. Students can only move to those places on the stage if the teacher says “Simon says” in front of it. Any students who move there otherwise are eliminated. Try to keep the calls coming quickly to keep the game interesting.
The teacher selects one student to sit in a chair and face away from the rest of the group. Ask the student in the chair to close their eyes. Select three students from the remaining group and have each one take a turn standing behind the chair and saying, “Greetings, your majesty” in whatever voice they like. Once all three students have gone, the student in the chair must guess who each one was.
Choose two to three actors to be onstage. Choose a director for each actor. The directors sit at the back, and the actors play out the scene at the front. The teacher assigns the actors a scene and the first direction, and the scene begins. The actors can only do what their directors say. The directors each take a turn narrating the scene, and the actors must act it out. Whenever the teacher sees fit, they can call “Cut!” and new actors and directors are selected.
Playing drama games is a great informal benchmark for where students are at in both comfort and range. Having them engage in games continuously over the length of the course allows you to see visible progress as students learn, become more comfortable and grow their abilities. Encourage everyone to participate and watch as they flourish and have fun!
Ben Platt in 'Dear Evan Hansen'[/caption]
“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”
When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.
Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.
“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”
However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.
“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”
What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)
Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.
Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.
“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”
Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.
[post_title] => What Role Does Social Media Play In The Theatre?
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[post_content] => It seems that everyone in theatre has a side gig, side hustle, side hobby or day job. What if your non-theatre experiences actual could help your career in the theatre? Wouldn’t that be a perfect world? If you look for unconventional ways to further your career, your next job might be just around the corner. Here are some ways that your time outside the theatre can be time well spent:
It’s vital for every working actor to have a website. Most actor websites have headshots, resumes, dance reels, press articles and other information that help you sell your brand as an actor.
Having quality photography skills is always helpful in the theatre. You gain knowledge about what looks best on camera, so you don’t make rookie mistakes with your own headshots. Plus, you can earn extra cash on the side by taking other actors’ headshots or productions’ publicity photos.
It’s not just about being flexible and strong, although that is a fantastic result of doing yoga. Most importantly, yoga trains you to have control of your breath. Keeping focused on your breathing and diaphragm coordination can do wonders to help you sing an aria or deliver a lengthy monologue. Learning how to listen to your body and how it moves is very important for actors. Remember, your body is an instrument. And speaking of instruments...
Having the ability to play a few musical instruments will only help your chances of getting cast. From the musicals “Once” to “Bandstand,” you never know when you will have to play a musically talented character. Gaining knowledge about music will only help you in your musical theatre endeavors. Plus, you can get a lot of side gigs as an accompanist for your fellow actors or yourself.
If you find the makeup aisle dangerous for your wallet, you might be able to put that passion to use. Experiment with different types of stage makeup, and one day, you could find yourself getting a job as the makeup artist for a show. With so many fantasy shows such as “Shrek” currently playing in regional and community theaters across the country, the theatre needs people with a knack for makeup.
Eating well is very important to keeping yourself in top shape as an actor. Know how to eat the best foods to power through your two-show day. Study what makes you feel good and what keeps your voice healthy and strong. This knowledge will give your acting career more longevity if you remember to always take care of yourself. Make being healthy part of the job!
With the costume by Freddy Wittop, Dolly Levi (originally played by Carol Channing) descends the staircase into Harmonica Gardens in a red sequin gown, turning heads and winning the hearts of everyone she comes into contact with.
https://m.youtube.com/watch?v=iVh9zjf0Tww
This sailor suit, designed by Irene Sharaff and worn by Barbra Streisand in both the musical and movie versions of “Funny Girl,” has been repeated time and again in many productions of this beloved musical. It has also become a standard piece for Streisand’s appearances and an iconic representation of both the star and the show on TV and film. Just look at Lea Michele’s ensemble when she won the part of playing Fanny Brice in “Glee.”
Cassie’s red dress, originally designed by Theoni V. Aldredge and worn by Donna McKechnie in the original Broadway production of “A Chorus Line,” speaks volumes about her character’s fiery spirit and her need to stand out and be noticed. This dress has been recreated over and over in all productions since.
Watch this dress move and Cassie (Charlotte d’Amboise) sing and dance her heart out in “The Music and the Mirror” from the Broadway revival of the show.
https://m.youtube.com/watch?v=tOWh6LSHa48
Credit 2012 JIM LEE PHOTO[/caption]
Originally appearing as a comic strip in the late 19th century, “Annie” became a musical when Charles Strouse, Martin Charnin and Thomas Meehan collaborated on it in 1976. Aldredge took the inspiration from the comic in creating Annie’s finale red dress, catapulting the look to girls everywhere.
This dress became iconic when Dorothy is whisked away to Oz and it magically goes from black and white to living color. Like “Annie” and “A Chorus Line,” a production of this show can’t be done without recreating this look. The original designer, Adrian Adolph Greenberg took his design inspiration from the book series itself. Check out the original covers of the series to see the resemblance.
Speaking of “The Wizard of Oz,” the Wicked Witch of the West lives on eight shows a week in “Wicked” on Broadway, as well as in other productions around the world. Her green skin is just as iconic as the black witch’s outfit — and, not to mention, an ordeal to put on for any actress who plays this character.
Check out this video, which gives you an inside look at actress Rachel Tucker becoming Elphaba.
https://m.youtube.com/watch?v=01GGW2QRU1c
Anna’s gown, originally designed by Sharaff for the movie version of “The King and I” has become iconic — not for its color, but for the fullness of the skirt. The skirt itself literally takes on a life of its own as Anna is being waltzed around the stage during “Shall We Dance?”
Here is a great video of Anna (Kelli O’Hara) being quick-changed into the dress at the Tony Awards by some fabulous dressers.
https://www.youtube.com/watch?v=G4OcqWxsKL0
Dress Designer Credit: Mela Hoyt-Heydon for 3-D Theatrical’s 2016 production of Beauty and the Beast.[/caption]
Belle’s yellow gown became infamous in the animated version of this beloved musical. Of course, whenever you attend a production, you’ll certainly find yourself surrounded by many little girls dressed up like this princess in a replica of this gown.
Here is a great video about the creation of Belle’s costumes for the most recent movie version, starring Emma Watson.
https://m.youtube.com/watch?v=M95NsqegWIA
We all know and love the movie and musical hit, Little Shop of Horrors, but what we don't all know is whether we're sweet Audrey or sweet-talking Audrey II. Take this quiz to find out!
[post_title] => Quiz: Are You Audrey Or Audrey II?
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[post_content] => There is a time in everyone’s life when they can look back and see all the moments that led them to become the person they are today. I am no exception. I can identify exactly what led me to teaching, what led me to become a writer, and the stepping stones to my lifelong vocation as a theatre lover. All the signs were there, even in childhood. No one could tell you better than the people who watched me blossom into the theatre nerd I am today: my family.
2. Family friends came to visit once, and I coerced them into being a part of an elaborate production of the musical numbers from “Pocahontas,” staged in my basement. Our costumes included a dress I made from a burlap sack and an unfortunate selection of vests I owned (give me a break, it was the ‘90s). A baby carriage doubled as the canoe in “Just Around the Riverbend,” and my sister was pushed around in it while using a broom as a paddle. The others held up a blue bedsheet that acted as the river while also hiding the wheels on the stroller. Needless to say, the show opened and closed the same afternoon.
3. My first crush was Lt. Joe Cable in the movie-musical “South Pacific.” We spent a month one summer visiting my father’s aunt in Prince Edward Island. She lived in the tiniest town, where the video store doubled as the gas station and convenience store. They had five kid-friendly rentals available: four Rodgers and Hammerstein movie musicals and a Shirley Temple flick. I watched a lot of “South Pacific” that summer.
4. I saw “Wicked” for the first time as a teenager when the touring cast came to Toronto. I loved the show so much that I bought the CD soundtrack afterward and became obsessed. After discovering iron-on transfer sheets for the printer, I bought a plain tote bag and ironed a print-out of the musical poster on the front of it. I got strange looks from the cool kids when I carried it to class, but to the theatre and music kids, my bag was hot. I walked into those arts classes with my bag like Tyra Banks on a catwalk. Yeah, you know it.
5. My family owned a camcorder, and I loved filming music videos and fake reality shows with my friends. They were works of art, with synchronized dancing, poorly chosen hairstyles involving far too many butterfly clips, baggy neon wind pants and crop tops we created by folding up the bottoms of our tank tops and tucking them underneath, just like Britney. I still have some of those videos and recently joked about showing them at my theatre friend’s wedding. She threatened to kill me if I ever showed them in public.
6. My parents put me and my older sister in charge of babysitting my little brother one Saturday afternoon while they were out. My brother ended up running into a wall and getting a big bump on his head because we stole his stuffed animal and made him chase us around the house to get it back. My parents were livid. We were supposed to be the older, responsible sisters. Most kids would be grounded or have their television privileges revoked, but we had our theatre tickets taken away. A friend had given our family free tickets to see “Joseph and the Amazing Technicolor Dreamcoat” the following weekend. My parents gave the tickets away to my aunt, and I was crushed. We did get to see the musical a few months later, but I always remembered how I would have preferred to lose the television.
7. I essentially pestered one of my middle school teachers into directing a school play. Extracurricular activities in the arts were hard to come by where I grew up. To my surprise, I did not get the lead role. Gutted, I withdrew from the production entirely in true dramatic fashion. When my mother finally convinced me quitting was not the mature thing to do, I crawled back with my tail between my legs and took the only job that was still available, leading the choir. So, what I imagined to be my big moment as a star was not quite as I pictured. My theatrical debut was not even onstage, but rather on the floor to the left of it.
8. In my youth, I had a habit of dramatic, huffy exits followed by the slamming of my bedroom door whenever I had a disagreement with anyone in my family. After one particular set of fits, my mother had my father remove my bedroom door from the hinges and put it in the basement. Shrewd move, lady, but I could play that game. I proceeded to sing at the top of my lungs for the entire house to enjoy. This went on for about a week before the door was returned.
9. For two years, I forced my mother to let me attend a local theatre camp for three weeks in the summer. My second summer, they were putting on a production of “Alice in Wonderland,” and I was hell-bent on playing Alice. Much to my disappointment, the part went to a boy, and the character was renamed “Alex.” Instead, I got the part of the Queen of Hearts, who only appears in the second act. She is supposed to end up with a cake getting smashed in her face, which our director decided would be fake. However, I wanted to Daniel Day Lewis the shit out of that part and insisted the week before the show that the cake be real for each production. The director eventually gave in. The cake was smashed, I acted my heart out and soaked up the cheers and laughter as icing and cake ran down my face. I worked at that camp every summer after for seven years.
These are only a few of the charming anecdotes my family loves to regale my prospective mates with at holiday dinners. Jokes on them, though, because I expect these stories will provide excellent material for my future memoir, which will obviously skyrocket me to fame and later become a major motion picture. Does anyone know what Anna Kendrick’s schedule looks like in the future? I’ll have her people call my people.
What are your students’ current interests, musical preferences and hobbies? Use these as a guide to pinpoint musicals that fall along a similar genre. You want students to be excited about performing in a musical because they can find some relation to it, whether it’s based on their love of pop music (with a show such as “Rent”), their love of movies (with shows such as “Hairspray,” “Footloose” and “Legally Blonde”) or even their love of Disney (with musicals such as “High School Musical,” “The Little Mermaid” and “Beauty and the Beast”).
Choosing a musical that corresponds with the subject matter currently being studied will not only enhance your students’ interest and knowledge on the subject itself, but it will give many students a reason to see the show as well. Whether it involves American history (with shows such as “The Civil War,” “Ragtime” and “1776”), world history (with musicals such as “Cabaret” and “Evita”) or current reading lists (with shows such as “The Secret Garden,” “Yours, Anne” and “Peter Pan”), it will certainly make the subject matter something the students will remember for a lifetime.
Keep in mind your available acting talent. For example, do you have more boys than girls or vice versa? Do you have great singers and/or those with dance training? Try to choose musicals that meet their strengths and highlights the students you know want to participate.
Great school musicals for those with skilled singing and/or dancing talents are “Thoroughly Modern Millie,” “Grease” and “A Chorus Line.” On the other hand, musicals such as “How to Succeed in Business Without Really Trying” and “The Wizard of Oz” are great choices for musicals that can involve students with less-trained singing voices but still have plenty of meaty acting roles.
There are also several all-male and all-female musicals to choose from, should you need to consider those. Great choices are “Nunsense,” “Nunsense A-Men” (male version) and “Beehive the Musical.”
It’s imperative to keep your budget in mind when choosing the appropriate school musical, as costs add up quickly. Don’t fret. Whether your budget is large or small, there is an appropriate show for you. For bigger budgets, choose more spectacle-based musicals such as “Annie,” “Oliver” and “Hello, Dolly!” For smaller budgets, look at shows such as “The 25th Annual Putnam County Spelling Bee” and “You’re a Good Man, Charlie Brown,” which require less focus on big sets and elaborate costumes that can quickly eat money.
Keep in mind your behind-the-scenes talent to ensure you have the staff backstage that is capable of making the musical look amazing from a technical standpoint. If you have parents and students who are well-versed and skilled in making costumes, props and scenery and you have the budget to support it, don’t hesitate to mount more spectacle-based musicals such as “Mary Poppins,” “Into the Woods” and “Sweet Charity.”
However, if you do not, veer toward more character-driven musicals that require minimal sets and props. You could pick a modern show so any costumes and scenery can be purchased at your local thrift shop or secondhand store and/or borrowed.
Another recommendation for those with less-skilled technical staff is to choose shows that lend themselves to black-box spaces. This way, even if you have a bare stage, the show will still work and look appropriate for the bare space. Great musical choices for this would be “Chicago,” “Man of La Mancha” and “Pippin.”
Remember to keep your audience base in mind. In order to keep the musical theatre program alive, you need to continue to have your audience come in to support it. Because of this, it’s important to consider whether your show is something they’d enjoy and can bring friends and family to. If you are unsure, try to do an audience poll of several options on the school social media page. Great audience-pleasers are “The Sound of Music,” “The Pajama Game” and “Shrek.”
Does your school have an orchestra or band that can play the music? Will you hire musicians? Or, if you will use tracks, do you have a good and reliable sound system and someone to run the board? It’s important to take this facet into consideration to make sure you are serving the score of the show and making the music enjoyable for the audience and easy to follow for the performers.
A sung-through musical such as “Les Misérables” would be a great choice if you’re planning to use tracks, as long as you have an experienced sound person to run the soundboard and keep up with the cues. Shows with lavish scores such as “Oklahoma!” and “Fiddler on the Roof” work well to perform with the school orchestra and band.
There are also plenty of musicals you can do with just a piano or small trio of musicians. “My Way,” “Songs from a New World” and “Snoopy” are good options.
Performing in a musical is a way for students to learn and grow, not only as performers, but also as individuals and team players — whether it be singing in a new register, learning how to do basic simple tap steps or choreography, harmonizing or even learning to take cues and work together in an ensemble-based show. Don’t hesitate to pick a musical that students can take something from to use in the future. There are some especially great ensemble-based shows such as “Seussical” and “Little Women” where everyone has an equal share of stage time and there is an intense amount of ensemble work.
Are you working in a theatre/auditorium setting? Is it a proscenium, thrust or in the round? Are you working in a black box? Outside? In a classroom? Keep the location of where you’ll be presenting the musical in mind when making your decision. Having a small musical take place in a large auditorium may not work as well as doing a bigger, more lavish musical. And, if you are doing a musical in a classroom, pick something that lends itself to a smaller, more intimate space with minimal sets and costumes. Great examples of musicals for any type of space are “Cinderella” and “Oklahoma!” Small musicals that work well in an intimate atmosphere are “The Fantasticks” and “Godspell.”
Take a tip from Julie Andrews and “start at the very beginning, a very good place to start.” Even if you are teaching an upper-year class, it’s always a good idea to spend some time at the outset reviewing the basics. Think about the building blocks of being an actor, like voice, character, reading a script and moving about the stage, then go from there.
I always start with warming up and the importance of preparing the body and voice, as I find most students don’t realize it’s crucial to warm up before performing, even just for class.
Positive reinforcement goes a long way. Always begin with the positives and ensure you find something to praise your students for each time. Keeping students encouraged will help them be open to feedback. When giving constructive criticism, stick to only one or two corrections at a time — otherwise, you risk overwhelming your recipients.
Where do your students excel? Find their strength and help them develop it. Find ways for them to share their talents in the group setting, outside of acting. If they are also a talented artist, have them design sets or create posters for performances. If they are very organized, let them arrange the setup of the backstage area. The more they feel like they have a special and important place in the class, the more they will want to be there. No one is good at everything, and there is always room to stretch and grow beyond their comfort zone. However, confidence to do that will come from first finding where they shine.
Each class or week should have its own focus. Throwing too many concepts at students at once will lead to confusion. Mastering a skill requires it to be taught, reviewed and then practiced. Students can then move forward and continue building on those skills. Taking things slowly and having a theme for each class will ensure maximum absorption and avoid frustration for both you and your students.
It is important to have your students challenge themselves, but remember, each student is different. For some, just getting up to speak in front of a small group of peers in their class is going to be a huge challenge. Others might be looking to challenge themselves by moving into a professional audition process. Have students create individualized goals you can help them work toward. Encouraging self-evaluation with progress is a positive life skill that is worth reinforcing.
A common fear you will encounter among students is the fear of failing, especially in front of others. Not every student who comes to drama class will be outgoing and eager. Stage fright will pop up from time to time. Encourage bravery and consistently applaud each effort, whether it was successful or not. For some, just standing in front of others is a huge step. Let them know you are not expecting perfection, just their personal best. Keep the room a positive and safe space for creativity and failure to coincide together as tools for learning.
When teaching beginners, go slow when giving each instruction. Don’t assume they will know basics, particularly with terminology, such as stage right and stage left. Be sure to stop intermittently to see if anyone has questions.
Getting up yourself and giving an example of the skill you are trying to teach will not only make you more relatable to your students, but it will also provide them with some confidence seeing you go in front of everyone and demonstrate the skill first.
Again, the fear of failure may see some students hanging back and avoiding participation. For the first few classes, avoid large group presentations while they are still getting to know one another and you. Allowing the students to work in and present to smaller groups at the start will give them an opportunity to get comfortable with the class and boost their confidence. You can then build toward the large group setting with less resistance.
Try to give opportunities to learn from more than just yourself. Bring in a speaker or group, take them to a performance, participate in a workshop, show a performance DVD or organize a backstage tour. Seeing the arts in action will make it more applicable to your students.
There is more to drama than just being onstage. You may have a budding stage manager in your class, but they don’t know what that job is or what it entails. Give your students the opportunity to learn about as many of the different facets of working in the theatre as you can.
In the words of East High’s enigmatic educator Ms. Darbus, “The stage can be a wonderful partner in the process of self-discovery.” So, whether you teach in a school, a community theatre or an extracurricular program, be encouraged knowing the work you do to create opportunities in the arts for students of all ages is an important and life-changing endeavor. To all those teaching arts out there, we salute you.
If you can look at yourself in a mirror while wearing a crazy wig and false teeth and start laughing, you’ll learn to do the same when you have a bad hair day or find a zit.
In the same vein, the costumes and makeup are often the best part of playing a character role. Who can deny loving a neon tuxedo or particularly well-articulated stage makeup? Plus, they make for great backstage selfies.
Maybe your dialogue doesn’t drive the plot as much as another character’s does, but it’ll certainly make the audience laugh. You might not get that stage kiss you’ve been pining for, but you can certainly insist that Courtneys everywhere take their breaks.
More often than not, the lines and lyrics written for character roles can make us laugh through read-throughs and even rehearsals. The discipline required to know how to make others laugh without laughing yourself is difficult to attain but so valuable once mastered.
It isn’t uncommon for a character role to require a specific skill, such as tap dancing, an accent or even slight-of-hand magic. The great thing is that if you land a role and don’t yet have those skills, you’ll have time to learn them and perfect them before opening night. Then, you can add them to your resume!
I’ll admit, I might be biased, but character roles have some of the best songs in the musical theatre canon. “Guys and Dolls” wouldn’t be nearly as fun without “Bushel and a Peck,” and “The Music Man” would be missing something special if “Shipoopi!” was cut.
There are so many different kinds of character roles to take on. Perhaps you’ll play a bumbling con artist one week and an eccentric pirate the next. While every role is different, some archetypes require a more specific type than others. Embrace your flexibility and jump around between ages, accents and looks.
A great woman — Maleficent, played by Kristin Chenoweth — once sang, “Don’t you wanna be evil like me?” The villain can be the most exciting role in any show because of how heightened their emotions often are and how much draw they have over the audience. It’s always fun to embrace your dark side, even if it’s only for a few performances.
Not every character roles requires stunt work, but the ones that do are a lot of fun. Every once in awhile, a character gets in a huge fight with another character and is thrown from a roof, or a group dance number will require you to learn how to do a back flip. These skills will dazzle audiences and come in handy later as well.
You don’t see this in every show, but sometimes, the comedic lead also gets to be the romantic lead. Think of Winnifred the Woebegone in “Once Upon a Mattress” or Leo Bloom in “The Producers.” They get some of the funniest lines in their respective shows and a ton of “aww” moments as well.
Opportunities for character actors are everywhere. Don’t shy away if you want to audition to play a zany senior citizen, a talking animal, a monster who lives under the bed or yes, even someone’s funny friend.
[post_title] => 10 Benefits Of Being A Character Actor
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[post_content] => If you’re not feeling the urge to take a bite out of the Big Apple, you can still have a great theatre career in many other cities within the United States. The regional market is thriving, so if you’re considering laying down your hat and stepping into the footlights, check out these five cities:
Philadelphia, the city of brotherly love and the home of Rocky, has a huge theatre scene for professionals and amateurs alike. It is also the home of the iconic Walnut Street Theatre, the oldest continually operating theatre in America. And, with a slew of Actors Equity Association houses and community theatres, dinner theatres, a fringe festival and the prestigious Barrymore Awards held once a year to honor those in this bustling theatre community, it’s certainly a market where artists thrive.
As another plus, according to a recent article in the Philly Voice, it’s also known as a city where most acting gigs pay, even for amateur/community theatre jobs.In addition, the Philadelphia tourism market provides terrific opportunities for actors. There’s great potential to have a supplementary gig as a living history actor or tour guide.
As an added bonus, there is easily accessible public transportation to practically everywhere within the city limits, which means you don’t need to invest in a car. The city itself is even within a few hours to New York City, so you could visit if you wanted.
Learn more about the Philly theatre scene on Theatre Philadelphia.
This city has five Tony Award-winning regional houses, including Steppenwolf and the Goodman, along with smaller surrounding suburban areas with theatre companies creating new and experimental works and reviving old favorites. Here, an artist can certainly find his or her niche. Chicago is a market where many shows at the prestigious venues transfer to Broadway, so you’d even have the possibility of moving with a show born here to New York City.
While you will have to deal with the cold Chicago winters, you can up your comedy skills by taking classes at Second City or delve into the TV/film realm, since many episodes and films shoot here.
Learn more about the Chicago Theatre Scene on Chicago Plays.
While this city is home to the nation’s capitol, it’s also home to many theatrical opportunities and amazing venues. The prestigious Kennedy Center, Folger Theatre (the first Elizabethan-style theatre built in North America) and Ford’s Theatre (the site of President Lincoln’s assassination) are just a few spots you can check out if you want to be a serious theatre actor. In addition, there is a huge regional scene, experimental theatre, touring companies, fringe festivals and more.
Learn more about what the theatre in this city has to offer on DC Theatre Scene.
Boston has a thriving theatre scene that can make any performer feel artistically fulfilled. Current top-notch theatres include the Huntington Theatre Company and the American Repertory Theatre in nearby Cambridge. “Waitress,” “Natasha, Pierre and the Great COmet of 1812” and “Finding Neverland” were presented at the A.R.T. before they arrived on Broadway.
Boston has a rich history, a driveable distance to New York City, accoladed performing arts universities and Ivy League institutions, as well as a bustling city and quiet surrounding suburbs. With all of this, it could make this the right actor market for you!
Learn more about the Boston theatre scene at Stage Source.
Minneapolis has the second most theatre seats per capita in the nation and ranks as the fifth most “creatively vital” city in the country, according to a 2015 report by the Western States Arts Foundation. This makes it a great place to pursue a career as a performer.
The Guthrie is one of the most esteemed theatres in this city, but there are also many other theatres, as well as theatre festivals and many other types of performance opportunities. Minneapolis is a place to certainly consider making your mark.
You can find more information about this theatre scene from Minnesota Playlist.
Susan Holloway Scott’s latest read speaks for itself. ‘I, ELIZA HAMILTON’ chronicles the life and impact of Alexander Hamilton’s leading lady. While the ten-dollar Found Father may be the centerpiece of our favorite musical, it’s no doubt that Eliza is a pretty epic heroine. This book sheds light on her complex marriage to George Washington’s right-hand man, as well as her extraordinary work in shaping our country.
There are two sides to every story. While A.Ham is certainly a key player in Scott’s book, his tale is told through the eyes of his closest companion. The Hamiltons’ relationship wasn’t exactly smooth sailing (remember that Reynolds Pamphlet?) and we’re down to see what Eliza had to say about all of this.
Knowing every lyric to “Guns and Ships” is all good and fun, but it’s even better when we’re reminded that the Hamiltons were real people who helped create the world we live in today. Though this novel is historical fiction -- because even Susan Holloway Scott wasn’t in the room where it happened -- Eliza’s story is based on true events and showcases a powerful example of a real-life, fierce boss lady.
If marathoning “Downton Abbey” as you steep a steamy pot of tea isn’t your thing, don’t let the term “historical fiction” scare you off. It’s a genre that often gets a bad rap for being boring and kind of like a textbook from history class, but ‘I, ELIZA HAMILTON’ falls under this umbrella because it’s a fictionalized re-telling of a real human’s life. Sort of like that one musical Lin-Manuel Miranda wrote…
She has written books about a number of royals and historical figures: The Countess of Dorchester and King James II, The Dutchess of Portsmouth and King Charles II, Sarah Churchill and more. You can browse her books HERE.
You’re probably still obsessing over the entire soundtrack, but in case you needed reason to listen to “Burn” on repeat...
Hitting bookshelves September 26, this read makes its arrival just in time for pumpkin spice lattes and all things autumn. Whether you tackled all of the books on your summer reading list or not, you won’t want to throw away your shot to read Mrs. Hamilton’s inspiring story.
Click HERE to pre-order your copy of ‘I, ELIZA HAMILTON’ now!
[post_title] => 7 Reasons 'I, ELIZA HAMILTON' Needs To Be On Your Reading List
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[post_content] => Summer is dwindling down, and although the BBQs and pool parties will fade into fall, thespians going back to school have much to look forward to. School means auditions, rehearsals, fall plays & spring musicals.
After making its home at Lincoln Center Theater, “Oslo” was crowned this year’s Best Play at the Tony Awards. Chronicling the story of the 1993 Oslo Peace Accords between the Israelis and Palestinians, this powerful story dominated Broadway this season.
Playwright Tracy Letts’ creation is a black comedy that has also been translated to an Academy Award-winning Hollywood adaptation. When a father dies, his wife and their three daughters must come together despite drastic differences. “August: Osage County” weaves a beautiful and tragic tale of humanity and family.
Based on Mark Haddon’s bestselling novel, this popular play is one that almost every theatre-goer can appreciate. The show opens on Christopher Boone, a 15-year-old boy with autism, who embarks on an adventure to solve the mysterious murder of a neighborhood dog. This memorable production features sensory lights and sounds that bring the audience into Christopher’s mind in order to show the world through his eyes.
If you’re a theatre nerd, you’ve likely heard of this famous Tony Kushner drama. Written in 1993, the play quickly gained attention for shedding light on the AIDS epidemic and the LGBTQ community during the early ‘90s. A mini series with an all-star cast followed in 2003. Today, “Angels in America” remains a timeless and notable piece of social commentary.
Who doesn’t love a good “whodunnit” story? Though this is the oldest play on the list (written in 1978), Ira Levin’s “Deathtrap” embodies all the elements of a perfect psychological thriller. This dark comedy will definitely leave you stewing over its many twists and turns for the rest of the week.
If you’re a sucker for political dramas or are a total history buff, this play is for you. The show documents President Nixon’s interviews regarding the Watergate scandal with broadcast journalist David Frost. It received critical acclaim and has been made into a movie.
After seeing or reading the plays on this list, you might want something a bit on the lighter side. This West End creation, written by Henry Lewis, Jonathan Sayer and Henry Shields, received recognition at the Olivier Awards in London, winning Best New Comedy, and now plays on Broadway. If you’ve ever been involved with a production, you will appreciate the brilliance of this show as you watch this play within a play unravel and spiral into madness. No matter what, this play will cause you to laugh your head off.
During my time with college auditions, I did two auditions on-campus, two auditions at New York Unifieds, one local audition in a hotel ballroom (in November) and one audition via video. I auditioned for two programs that had prescreens, which are videos you send in to a college before live auditions. If they want to see you again, you’ll be invited to campus for a callback.
This leads me to my first point: Get your prescreens done early. I decided to wait on mine until November, even though both of mine were due Dec. 1 (which seems to be the universal date for Common App applications and prescreens, but check with each program individually. Some schools, like Carnegie Mellon, open prescreens on a first-come-first-served basis as early as September 1st.)
When I recorded my videos, I went from my first college audition to my accompanist’s house, and then to a rehearsal, and I was sick while recording them. It was a mess, and I still had to edit my videos. I ended up submitting them at 11 that night, and that added a lot of unnecessary stress. If you start working on your prescreens early, you won’t be rushing to get them all done in a day or so. Even if you feel like they’re not your best, you’ll have time to redo them.
I was lucky enough to already have a relationship with a good accompanist before going into this, but when I was auditioning, I heard plenty of horror stories about kids doing their prescreens with an accompanist for the first time. Find an accompanist and rehearse with them before you record. Don’t know where to find one? Head to your local university’s music department and ask about an accompanist. I happen to live close to Kennesaw State University, so my accompanist works there.
One song I’ve recorded before is “Astonishing” from “Little Women.” This was originally my competition piece, and not to be done with live accompaniment. When I ran it for the first time with a pianist, it was so difficult and it took me a couple tries to adjust. You don't want your hour with an accompanist to result in only one or two takes for your prescreen. Rehearse first, then record.
Everyone has a different way that they learn, grow and progress. Personally, I’ve always liked working on different shows with different directors because this gives me multiple perspectives. I like this approach because I feel like every college will have a different take on the material and I can ask many of my coaches and pick and choose what feels truthful and right to me. Find out what coaching style works for you, and work at it! I feel much better after hearing what multiple people have to say, but you might be the kind of person who does better with a single coach. Experiment for a little bit until you find what works for you.
One thing a lot of kids mentioned going in is that working with an accompanist in an audition was a fairly foreign concept to them. Personally, I was surprised, because most of my auditions for the past two years have been with a piano. I realized that part of it was because we had different strategies for auditioning. Since I started, I have been encouraged to audition for professional theatres in the area. One tip I cannot stress enough is to go on professional auditions. I’m not saying to pack up and start auditioning for Broadway, but look around for your local equity/non-equity houses and go to their auditions. There is a 99 percent chance you won’t be cast, but that’s OK! The whole point of these auditions is experience, not booking the job. Going into my college auditions, I felt so comfortable (well, as comfortable as you can feel while auditioning) because it felt just like walking into one of my typical Equity-house auditions.
Another thing that professional auditions made me start to do was find an audition routine. I happened to stumble upon mine randomly, but I’ve adopted it and used it for every morning audition. I auditioned at one of the biggest Disney Theatrical cattle calls and had to be there by 7:30 a.m., and it takes a little over an hour to get into the city from my home. I ended up getting up at 4 a.m. to get ready and realized how well that worked for my voice and body. I was awake, alert and ready to go! This always helps me perform at my best, and I’m not in that “I’m really tired and need my coffee” zone at 8 a.m. when I need to belt “Astonishing.”
You’ll also learn what you do with your diet during audition days. For me, I cut out soda a week before big auditions and dairy two days before. The morning of, I chug a Mountain Dew (seems hypocritical, I know) because it gives me 96 milligrams of caffeine and 77 grams of sugar. Then I stick to just water and Throat Coat until after I sing. Everyone is different, and this may not work for you, so find your routine and stick with what works best.
Traveling is often a big part of the college audition process. We chose to drive because we wanted to carry specific bigger items in the backseat, namely a HEPA filter and humidifier. Think about you, your body and how you like to feel when you sing and act. Personally, I have allergies, and hotel rooms often agitate them. I always carry a HEPA filter when I travel and have to sing so it cleans the air. I go set it up in the room and then try to stay out of the room for about an hour or two to let it get to work. This is also a great opportunity to eat and check out your new surroundings.
Hotel rooms also tend to have very, very dry air. This is actually helpful to 99 percent of people there because it helps limit the spread of infection, but it’s not good for vocalists. There is a simple solution: a humidifier! We also set up the humidifier so that when I woke up, my throat wasn’t dry and I wasn’t guzzling water to play catch-up. You can take a bigger one if you and your family choose to drive, but if this is an issue and you have to fly, you can find smaller ones to fit in your carry-on. However, this will take up half of your bag, so try to budget space in your checked bag or family members’ carry-ons.
With traveling, sometimes the “luxury” of driving isn’t an option (hey, I wouldn’t want to drive from LA to NYC!). When this happens, the magic of flying often swoops in to save the day. You’ll probably end up packing more than you usually would for vacation, and most people check a bag. Keep your rep book, dance shoes and one audition outfit in your carry-on. That way, if your checked bag gets lost or delayed, you’ll still have the stuff you need to audition. Toothpaste is easily replaceable, but your rep book filled with all your sheet music and cuts? Not so much.
As I mentioned earlier, I auditioned through many platforms, including New York Unifieds, which is a gathering of different programs conducting auditions under one roof (or two, in the case of New York). Unifieds is a great way to knock out multiple auditions in one weekend. If a college you apply to will be at New York, Chicago or Los Angeles Unifieds, you’ll have the option to audition there. You sign up for each college individually with time slots. You can also do walk-in auditions to schools that have an open slot. However, try to plan all Unifieds auditions with a large gap in the middle of the day so you can rest or eat lunch.
I wear three-inch heels to every audition, show and formal event and don’t ever complain about my feet hurting. But by around 1 p.m., my feet were hurting so badly from literally jumping over people, standing in lines and going from building to building. I actually went to the Duane Reade, got some epsom salt and soaked my feet at every gap I had, which helped a lot. My family also decided to stay four blocks away, which was a lifesaver. I’m not sure I would have been able to get through my dance calls if I hadn’t taken the time to rest. Don’t underestimate the time you’ll spend on your feet, and choose comfy shoes!
Now, we’re all restless 17- and 18-year-olds, but don’t be too independent. One big tip I learned during this process was to let your parents be stage parents just one time: when talking to your counselors. You’re probably looking at this with a weird gaze, and I don’t blame you! I’ve always been very independent when it comes to my theatre work. My parents made me do all the legwork for theatre myself, so I find auditions, set them up, set up voice coaches and do everything in between. So, when I was applying to colleges, I naturally took things into my own hands.
I called my counselor (I am completely online-schooled) and tried to get her to send transcripts and forms. She told me she had everything handled, and I went on with my life. Well, things didn’t go as smoothly as I’d thought. I received letters from Carnegie Mellon, the first school I applied to, on Dec. 13, saying it hadn’t received my transcript yet. I called my counselor again, and she assured me everything was now fixed. I logged into Wolverine Access for Michigan the day live auditions were supposed to be emailed — no transcript. My prescreens were denied, and I know Michigan does stipulate a certain GPA, so this could have been a reason why my prescreen was denied. Let your parents get involved when you start applying. Parents always outrank students when dealing with schools, unfortunately.
College auditions are a big milestone in your life, so enjoy it! This is something you’ll likely only do once in your life, and although I find them to be similar to professional auditions, it’s not exactly the same. You meet so many people, see people encourage you left and right and get to learn so much about what you want in a program and a school. You are you, and that’s enough. You’re not auditioning for a role or a part of a show; you’re showing colleges who you are and putting yourself out there. Go be you, because that’s all you can do!
The day before I embarked on 71 percent of my college auditions, I had a coaching session with Rosemary, a coach I’m close with and feel like I can trust wholeheartedly. As we were packing up, she asked me how I felt about all this, and I told her how anxious I was. She smiled, looked me dead in the eye and said, “Don’t worry. If they don’t see the gift, you don’t need to be there.” That moment changed how I felt about college auditions altogether. It’s very true — if a program rejects you, it’s not a reflection of your talent or anything about you. They didn’t see your gift and what you bring to the table, so it’s obviously not the right fit for you. Take a deep breath, smile, go out there and be the best you can be~
Nikki is an incoming Freshman at Elon University studying Drama and Theatre Studies and Marketing. She currently spends her time bouncing from Atlanta to Elon to New York to pursue work as an actress and marketer. During her free time, you can always find her watching a musical or Disney Princess movie and practicing her Disney impressions.
[post_title] => What I Wish I Knew Before College Auditions
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[post_content] => Greetings and salutations.
Read carefully...
[post_title] => Quiz: How Well Do You Know 'Heathers: the Musical' Lyrics?
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Guest post by Anne Berkowitz
We love how much these people make us laugh, and for that reason, we think their wit and charisma would lend themselves well to this handful of iconic Broadway characters! Some of these performers sing (and some have already been on Broadway) but most have yet to whet their musical theater appetite. Here are some dream castings of our favorite comedians.
Our girl Sarah is brash, funny, and vulnerable. These are qualities she shares with Kate Monster, the leading puppet-lady of the groundbreaking musical Avenue Q, now celebrating its 13th year on stage.
Amy is witty, talkative, and isn't shy about her feelings (or her love of pie). We think she'd make an ingenious Mrs. Lovett in the Sondheim masterpiece, Sweeney Todd. You can currently see the “Demon Barber of Fleet Street” at the Barrow Street Theater.
Dolly Levi, the magical matchmaker and titular character of Hello, Dolly!, is the ultimate leading lady. Whoopi is one of the few strong, multitalented performers who has the charisma and chops to carry the classic show. You can't miss Whoopi's "Get Bruce" co-star Bette Midler give her Tony Award-winning performance right now on Broadway.
Loud, wacky, and with a heart (and lamp) of gold, the Genie in the Disney musical Aladdin is an amazing character that would suit the style of comedy legend Chris Rock. Chris has already been on Broadway but has yet to try his hand at a big musical.
Though it may not seem like it at first, Louis C.K. shares a lot with the character of King George in the smash-hit musical Hamilton. Both are political, sassy, take pride in their vulnerability, and are open about some bad luck they've had in past relationships!
Need we say more? Fey and Poehler would knock it out of the park playing portraying the trailblazing cosmetic rivals in War Paint. You can currently see two-time Tony Award-winning legends (and good friends) Patti LuPone and Christine Ebersole in the roles.
Aziz would be perfect as the charming meerkat in the long-running musical The Lion King. Can't you just hear the Master of None star singing "Hakuna Matata," talking about how great bugs taste, and helping to save the day with hilarity and love?
Though we aren't sure if movie star Kevin Hart has the rock-and-roll chops to pull off playing Dewey in the Andrew Lloyd Webber musical School of Rock, we know he absolutely has the right sensibilities to play the lovable substitute teacher.
[post_title] => Broadway Dream Casting Our Favorite Comedians [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => broadway-dream-casting-our-favorite-comedians [to_ping] => [pinged] => [post_modified] => 2017-08-14 10:08:29 [post_modified_gmt] => 2017-08-14 14:08:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10807 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [34] => WP_Post Object ( [ID] => 9070 [post_author] => 780 [post_date] => 2017-08-13 08:53:13 [post_date_gmt] => 2017-08-13 12:53:13 [post_content] => [post_title] => Quiz: Which Schuyler Sister Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => which-schuyler-sister-are-you [to_ping] => [pinged] => [post_modified] => 2017-08-13 18:21:26 [post_modified_gmt] => 2017-08-13 22:21:26 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=9070 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [35] => WP_Post Object ( [ID] => 10686 [post_author] => 68 [post_date] => 2017-08-12 18:24:36 [post_date_gmt] => 2017-08-12 22:24:36 [post_content] => If you do these things... Broadway is LIFE! Community list so add your submission! [post_title] => Top 10+ Signs That Broadway Is Your Life [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => top-10-signs-broadway-life [to_ping] => [pinged] => [post_modified] => 2018-03-16 09:21:45 [post_modified_gmt] => 2018-03-16 13:21:45 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10686 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 11859 [post_author] => 736 [post_date] => 2017-10-02 08:00:37 [post_date_gmt] => 2017-10-02 12:00:37 [post_content] => If you think being a dresser backstage on Broadway is just putting actors in their costumes and helping with quick changes, think again. There are many facets to the skilled trade of being a professional wardrobe person. One Broadway show could have dressers in many positions who go beyond helping actors in and out of clothes. Here is a rundown of those types of roles:
In addition to a bead worker, other dressers are employed to do daywork in order to prepare and check the costumes before a performance. They ensure they look as pristine as they did on opening night.
Ironing, steaming and minor repairs are all allowed. The costumes are meticulously checked for any damage and are repaired onsite. Anyone who wants to be employed as a dayworker needs to have at least basic sewing skills and be able to sew small rips and buttons, among other things.
A stitcher is also onsite during daywork and sometimes during showtimes. This is a dresser who is a whiz with a sewing machine. It’s also helpful if this person can do pattern-making, use a serger and operate other applicable instruments. Stitchers will repair more difficult and larger rips and holes in costumes. They may also do alterations to costumes if a new actor or swing/understudy is going in the show.
During daywork, a dresser who knows how to repair and keep shoes looking like new is also employed. Shoes take a beating from everyday wear and tear and hardcore dancing, so the shoe person can give shoes a fresh coat of paint/polish, check for repairs, replace or fix any rubber or hardware and/or take the shoes to a local cobbler for a more involved fix.
These tracks usually require extra-special care, and star dressers will sometimes act as a special assistant, guest greeter and more in addition to helping carry out the costume changes with his or her actress. Many times, a star of a show will take their star dresser with them from show to show, since they are familiar with their work and have a good rapport. If you are meticulous and a people-person, this is a great job for you!
Laundry Person
While you may easily do your laundry at home, doing the laundry for a Broadway show is quite the task. Shows with large casts produce lots of dirty laundry, and doing all of it can be a full-day ordeal. If costumes have beadwork, special dyes or delicate stitching, they need special care when being washed. At least one person is usually dedicated to doing the laundry every day. This includes, but is not limited to, washing and drying (whether in a machine or by hand), sorting the clean laundry and putting it away in the appropriate place. Here is an inside look at all the jobs of a dresser when “Mary Poppins” was on Broadway, with a special glimpse into the laundry room. https://youtu.be/bdfmVlEh088Beader
If a show has costumes with intricate beadwork or even sequins, a beader is usually on staff to repair these specific costumes during non-performance hours (otherwise known as doing “daywork”). Beading is certainly a learned specialized skill and requires patience. This video from “Wicked” gives you an inside look at the beading skills and prep work that went into creating the costumes, as well as an idea of the dresser skills it would take to do upkeep during a beading daywork call. https://youtu.be/-u5lcCkYznYDayworker
In addition to a bead worker, other dressers are employed to do daywork in order to prepare and check the costumes before a performance. They ensure they look as pristine as they did on opening night.
Ironing, steaming and minor repairs are all allowed. The costumes are meticulously checked for any damage and are repaired onsite. Anyone who wants to be employed as a dayworker needs to have at least basic sewing skills and be able to sew small rips and buttons, among other things.
Stitcher
A stitcher is also onsite during daywork and sometimes during showtimes. This is a dresser who is a whiz with a sewing machine. It’s also helpful if this person can do pattern-making, use a serger and operate other applicable instruments. Stitchers will repair more difficult and larger rips and holes in costumes. They may also do alterations to costumes if a new actor or swing/understudy is going in the show.
Shoe Person
During daywork, a dresser who knows how to repair and keep shoes looking like new is also employed. Shoes take a beating from everyday wear and tear and hardcore dancing, so the shoe person can give shoes a fresh coat of paint/polish, check for repairs, replace or fix any rubber or hardware and/or take the shoes to a local cobbler for a more involved fix.
Wardrobes Supervisor
The wardrobe supervisor is in charge of all the dressers and oversees all the jobs listed here. The supervisor usually was once a dresser and has moved up the ranks to become someone who is now in charge. Due to union rules, the supervisor doesn’t usually dress. Instead, he or she works with the creative team to ensure costumes come onstage and offstage accordingly, schedules and hires the dressers and is the go-between for management, actors and the costume designer.Assistant Wardrobe Supervisor
This person does exactly as the title implies. He or she assists the supervisor with managerial work and sometimes dresses actors. It takes a special kind of person to be able to assist the supervisor in everyday tasks but also take the lead when the supervisor is out of the building. In addition, an assistant can serve as an extra hand during quick changes and fill in for dressers who call out sick at the last-minute when a swing isn’t available. Here is a great backstage tour and inside scoop from wardrobe supervisor Irene Bunis when “Mamma Mia” was running on Broadway. https://youtu.be/nxKs-rB6U8EDresser
https://youtu.be/widLgDuK-nk This great video from the National Theatre gives you a tour of the daily routine of a wardrobe dresser. There are two specialized dresser positions that also can exist during the run of a show beyond a regular dressing track of ensemble or principal actors: swing dressers and star dressers. Swing dressers fill in for the regular dressers when they are out sick or on vacation. Theatres will typically spend some time training a swing for this type of episode, but not always. Swings need to be quick on their feet and meld in easily with the daily show routines of the dresser they are taking over for. Check out this video from the former company of “Billy Elliot” in London, which showcases swing dresser Lauren Adams. https://youtu.be/eTp-q2BacEs Star dressers do exactly as this title implies: dresses the names/stars of the show. Pictured below is star dresser Jennifer Hohn with Lin-Manuel Miranda backstage at “Hamilton.”
These tracks usually require extra-special care, and star dressers will sometimes act as a special assistant, guest greeter and more in addition to helping carry out the costume changes with his or her actress. Many times, a star of a show will take their star dresser with them from show to show, since they are familiar with their work and have a good rapport. If you are meticulous and a people-person, this is a great job for you!
Have you worked or do you want to work in any of these areas? Share in the comments below
[post_title] => Beyond The Quick Change: The Many Jobs Of A Broadway Dresser [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => beyond-quick-change-many-jobs-broadway-dresser [to_ping] => [pinged] => [post_modified] => 2017-10-02 17:55:06 [post_modified_gmt] => 2017-10-02 21:55:06 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11859 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [1] => WP_Post Object ( [ID] => 10159 [post_author] => 886 [post_date] => 2017-09-30 10:51:18 [post_date_gmt] => 2017-09-30 14:51:18 [post_content] =>School of Rock the musical is full of different kids, but which one are you?
[post_title] => Which School of Rock Kid Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => school-rock-kid [to_ping] => [pinged] => [post_modified] => 2017-09-30 10:51:38 [post_modified_gmt] => 2017-09-30 14:51:38 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=10159 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [2] => WP_Post Object ( [ID] => 11724 [post_author] => 1121 [post_date] => 2017-09-28 12:50:44 [post_date_gmt] => 2017-09-28 16:50:44 [post_content] => Can you guess these musicals based on a single lyric? Give it a try! [post_title] => Quiz: Can You Guess These Musicals Based On One Random Song Lyric? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => can-guess-musicals-based-one-random-song-lyric [to_ping] => [pinged] => [post_modified] => 2017-09-28 12:52:14 [post_modified_gmt] => 2017-09-28 16:52:14 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=11724 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [3] => WP_Post Object ( [ID] => 11812 [post_author] => 736 [post_date] => 2017-09-27 10:09:43 [post_date_gmt] => 2017-09-27 14:09:43 [post_content] => Whether on Broadway or beyond, working backstage can be fun, challenging, stressful and rewarding. Additionally, the skills you learn while working backstage can easily transition into real life in the seven following ways:1. Teamwork Makes the Dream Work
Theatre is a collaborative art form, and it takes a cast of thousands onstage and offstage working together as a team to make a show go off without a hitch.
Life Lesson: Be sure to include teamwork in your real life, whether it’s in another career endeavor, playing a sport, relationships, family or even achieving life goals. There’s no need to go it alone. So much can be achieved with a little help from a friend, colleague or mentor.
2. Problem-Solving
If you can’t problem-solve, you certainly can’t work backstage. You must not be afraid to fix an issue quickly when sets, costumes and props break or something else goes amiss.
Life Lesson: Bring this type of problem-solving into your real life. Take initiative to act quickly to fix things when they go wrong, whether it be at home, at school or at a job.
3. Multitasking
Who says you can’t do two things at once? How about three or four? How about doing a quick change with an actor while presetting another change for a different actor and safety-pinning a rip in a third actor’s costume? Think this hasn’t happened? Think again!
Life Lesson: Multitasking not just backstage can help you achieve goals faster, use your time more wisely and get so many things done. Even your parents will be impressed!
4. Trust Your Instincts
Trusting your instincts while you are problem-solving backstage is imperative when you only have 30 seconds for a quick change or a very short blackout. The show won’t stop to fix a mishap!
Life Lesson: Remembering to listen to your inner voice will always be the right choice, whether you’re choosing the right audition song, picking your future college/university or aiming to make a big life decision.
5. Be Nice to Everyone
Doing theatre means working closely with everyone onstage and backstage for long hours. Creating a positive working environment is a must and is the direct result of everyone being nice to one another despite individual idiosyncrasies.
Life Lesson: Remembering to be nice to everyone no matter your environment will bring you many friends, supportive teachers, mentors and colleagues who will help guide and support you throughout your life journey.
6. No One’s Job Is Easy
Looking at the other guy hooking up a microphone while you’re handling a costume emergency may make you think he has the easiest job in the world. Think again! What if that mic goes out or is positioned in such a way that the sound doesn’t work correctly?
Life Lesson: No one’s job is easy. Reminding yourself that everyone has challenges and obstacles to overcome can help you when you’re struggling. You are not alone.
7. Rest
Theatre is exhausting, and rest is imperative to ensure you are at your best so the show can go off smoothly.
Life Lesson: If you don’t get enough sleep before that big test, upcoming audition or even a vacation, you won’t have as much fun or be able to fully enjoy the experience or carry it out with vigor. Take your time to treat yourself kindly and get some zzz’s to recharge your battery.
What life lessons have you learned from working backstage? Let us know in the comments below
[post_title] => 7 Life Lessons Learned From Working Backstage [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-life-lessons-learned-working-backstage [to_ping] => [pinged] => [post_modified] => 2017-09-27 10:09:43 [post_modified_gmt] => 2017-09-27 14:09:43 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11812 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) [4] => WP_Post Object ( [ID] => 11803 [post_author] => 440 [post_date] => 2017-09-26 11:30:31 [post_date_gmt] => 2017-09-26 15:30:31 [post_content] => Yes, that’s your name up on that list! It doesn’t matter if you are 16 or 60 — going out for a role for community theatre can be daunting, especially when you aren’t sure what to expect. Creative teams will often assume members already know what’s required of them and won’t spell it out. To help you out, here is our advice for community theatre first-timers:Auditions
1. Avoid picking a song from the show for which you are auditioning. Choose something that showcases your vocals and acting ability.
2. Come prepared with everything they’ve asked for and more. Having a second song ready can be helpful, just in case.
3. Wear something that makes you feel comfortable and confident. It will help steady your nerves.
4. If there is a dance audition, make sure you have proper attire and don’t hide in the back. They can’t cast you if they can’t see you.
5. Don’t let the talent of the other auditionees psyche you out. You never know what the creative team is looking for, and it might be something you have!
Rehearsals
1 Show up on time. This cannot be stressed enough. You are a part of a team. Being late without an exceptional reason gives the impression you feel your time is more valuable than others’.
2. If you are sick or can’t make it, be sure to contact your director. They don’t need to waste rehearsal time tracking you down. If you are an integral part of that session’s rehearsal, they might use the advance notice to alter the rehearsal and work on something else instead.
3. When you miss a rehearsal, take the initiative to find out what you missed and get caught up before the next rehearsal.
4. Always have a pencil on hand. You will need to jot down stage directions and notes as they happen. Don’t leave it until the end of rehearsal, or you may forget things. The creative team will be annoyed if they have to tell you a second time.
5. Whether you’re playing the leading role or a mute tree, give it 100 percent. Every person who is part of the show is integral to the finished product. If you want to earn larger roles, show the creative team you can handle more by being the best at whatever you’re given and doing it with a smile.
6. There will be regulars and already established friend groups. Don’t let it intimidate you. If it does, find other newbies in the cast and start there. Then, get to know everyone as you work on scenes together. Just being friendly and saying hello goes a long way.
7. Another way to bond with members of the production and get involved is to help out with backstage tasks when you have downtime. Making props, helping build or strike the set, marking up the floor or even just tidying up the stage or rehearsal space are all good options.
8. Every production has drama going on backstage and onstage. Try to stay out of it. If you find yourself involved, diffuse the situation to the best of your ability. Keeping the group as cohesive as possible will ensure the best performance onstage.
9. In some companies or groups, you will be required to provide your costumes. Establish that as early as you can and start hunting for those perfect pieces. Don’t leave it to the last minute, or you may end up disappointed.
10. If you are responsible for getting your own costumes, be sure the director approves of all your choices. Don’t wait for them to see the costumes onstage during dress rehearsal. If they tell you what you chose isn’t going to work, you’ll be left scrambling at the last minute.
11. You will be expected to practice and review on your time. Showing up to a rehearsal unprepared is unfair to your fellow castmates and the creative team. Block out a small pocket of time a few times a week to go over what you’ve learned.
12. Ask questions if you are confused or need something repeated. Don’t be embarrassed — someone else may have the same question and is also afraid to speak up. Giving a poor performance will be far more embarrassing, so get clarification if you need it.
13. If you have a conflict, speak to that person directly, if you can, or take it to the director. Avoid spreading gossip at all costs. The worst thing you can do is talk to someone else in the cast. The more people involved, the bigger the problem gets.
14. Don’t take constructive criticism of your performance personally. A lot of first-timers will get upset if the director or choreographer corrects them or asks them to change what they’re doing. They are just trying to make the show the best it can be, and their approach may not be the same as yours. Keep your chin up, listen to what they are saying and take everything in stride.
15. Make sure you warm up before every rehearsal. There may not always be time to warm up as a group, so leave yourself a few moments to stretch your limbs and vocal chords.
16. Keep the diva moments to a minimum. Respectfully voicing your ideas to members of the creative time is fine, but it’s ultimately up to them to decide how the show is put on.
17. It is good to try new things and grow as an artist, but if you are really uncomfortable with something, speak to the director about it. Most are very accommodating and will do their best to rework it.
18. Be patient. There will be a fair bit of standing around and waiting for others. Keeping a positive attitude will help maintain a pleasant and creative environment.
Tech Week
1. Tech week is grueling. Go into it with that in mind, and you will avoid an unpleasant surprise.
2. Be patient. There are a lot of elements at play, and everyone is tired and on edge. Emotions run very high during this period, and a little bit of patience can go a long way toward avoiding a major incident.
3. Stay positive. Tech week rehearsals are notorious for having everything go wrong that can, but 99 percent of the time, it all turns out okay in the end.
4. Stay focused. There will be a lot going on, and this is when injuries can happen. Adding set pieces, costumes, props, lighting and sound can cause a lot of confusion. There will be people everywhere. Be aware of your surroundings, and don’t get distracted by what others are doing.
5. Do everything you can to stay healthy. The stress, rehearsals and physical demands will take their toll on you. Be preventative by doing things that keep you relaxed, drinking lots of water, resting when you can, taking vitamins and staying warm.
6. Do not schedule anything social during this week. You will not make it to that. Tech week is very demanding, and adding commitments will just add to your stress.
7. Keep your area of the dressing room as neat and organized as you can. Quick changes are a recipe for lost items, so try to have designated places for your things. A storage container for makeup and hair items, a bag for shoes, a bag for laundry, your own hangers and clothing bag for costumes and a general bag or suitcase to store it all in can be beneficial.
8. Make sure you label all your things with your name or initials. That way, if they are misplaced, you’re more likely to recover them.
9. Bring your own small mirror. There are never enough mirrors for everyone, and you’ll need one.
10. Always have water on hand. It gets extremely warm onstage and in dressing rooms, and the last thing you want is to pass out or get sick from dehydration.
11. If you can, do as much preparation at home before you go to the theatre. It will help you stay relaxed among the backstage frenzy.
Performance
1. Invite your friends and family as soon as you know the date of the show. Booking people ahead of time will ensure you have some friendly faces in the crowd to give you that extra energy during the performance.
2. Promote your show as much as you can. Tell everyone you know and advertise it on your social media. The more people there are in seats, the better it is for the group.
3. If something goes wrong or you mess up, don’t let it break your focus. Treat it like it was intentional and keep going. It’s unlikely the audience will even realize or remember.
4. Give every performance as much energy as opening night. Most people in the crowd will be seeing the show for the first time and deserve the best performance possible.
5. Keep track of your cues. It’s easy to get distracted backstage, and there’s nothing worse than an angry stage manager tracking you down.
6. Treat your backstage crew with respect. They are the unsung heroes of every show, work just as hard as the cast onstage and are often unrecognized for their contributions. Be sure to thank them when you see them around.
7. Don’t eat in your costume. If your stage manager finds out, you’ll live to regret it.
8. Use the bathroom before the show starts and at intermission. It sounds silly, but it can mess up your focus if you need to go. Plus, trying to go to the restroom with your costume on can be really tough.
9. Nerves are completely normal and expected. Try to channel that energy into each performance. Keep yourself from freaking out by taking everything one step at a time, one scene at a time. Breaking it down into smaller chunks will make it less frightening and more manageable.
10. Don’t freak out if the audience doesn’t laugh or react when they are expected to. Some audiences are more reactive than others. It doesn’t mean they didn’t find it funny or enjoyable — they might just be more reserved theatergoers.
11. When it’s all over, be sure to thank everyone involved. Appreciation is always remembered.
It’s easy to get caught up in the chaos of community theatre, but before you know it, the show will close its last performance. Whether it’s your first show or your 20th, try to enjoy each moment and each experience for what it is: pure magic.
What advice would you give someone joining community theatre for the first time? Let us know in the comments below...
[post_title] => A Beginners Guide To Community Theatre [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => beginners-guide-community-theatre [to_ping] => [pinged] => [post_modified] => 2018-10-18 12:59:26 [post_modified_gmt] => 2018-10-18 16:59:26 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11803 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 11 [filter] => raw ) [5] => WP_Post Object ( [ID] => 11711 [post_author] => 714 [post_date] => 2017-09-25 09:12:07 [post_date_gmt] => 2017-09-25 13:12:07 [post_content] => We’ve all been there. You prepare hours and hours to nail the perfect song for your next audition. Your music is perfectly printed, you have a killer outfit and you’re sucking on a Thayers Slippery Elm lozenge as you head out the door. However, when you get to the audition, you hear, “Do you have any other songs prepared? Maybe something more [insert strange adjective here].” Your heart stops, and you freeze. You don’t have anything else! You don’t sing another song, you leave the audition and you don’t get the role. Don’t let this be you. The No. 1 thing you have to be as an actor is prepared. This means having a ton of songs in your audition book that you can pull out at a moment’s notice. After all, you could get a call today that you have an audition and have no time to learn something new. You must have an arsenal of material that you can hit out of the park at all times. Here’s a breakdown of the types of songs you should have in your audition book:1. Golden Age
The Golden Age (anything from 1940 to the 1960s) is a musical era you must have in your book. Ideally, you’d have at least one Rodgers and Hammerstein song in there.
2. Jazz Standards (American Songbook)
For this genre, think of the tunes made famous by Frank Sinatra. Jessie Mueller once told the story of how she auditioned for “On a Clear Day You Can See Forever” and sang, “It Might as Well Be Spring” from “State Fair.” They immediately asked her if she had anything more jazzy to fit the style of the show. She didn’t have anything, so she asked the accompanist to speed up her original song and sang the Rodgers and Hammerstein classic as if she were Ella Fitzgerald. She got the job.
The moral of the story is to make sure you have a jazz standard in your book — or be prepared to do some major musical tweaking on the spot if you don’t.
3. Sondheim
Most people say to never sing Sondheim, but if you can handle his crazy rhythms and phrasings at the drop of a hat, you’ll be sure to impress the casting team.
4. Rock Musical
This is what you need for shows like “Rent,” “Rock of Ages,” “American Idiot,” “Spring Awakening” and “Jesus Christ Superstar.”
5. Contemporary
I call this the Jason Robert Brown-style song. Look for standalone cabaret songs, such as those from Goldrich and Heisler or Kerrigan and Lowdermilk.
6. Pop
With more recording artists such as Sara Bareilles and Carole King dipping their toes into Broadway, it’s good to have a Top 40 song in your book.
7. Disney
Disney has such a strong presence on Broadway that if you are a working musical theatre actor, you probably already have done or will do a Disney production one day. Examples include “Mary Poppins,” “Newsies,” “Aladdin,” “The Little Mermaid” and “Beauty and the Beast.”
This is just a list to start you out with getting more variety in your book. There are many other types of songs that would be great to have for an audition. Also, keep in mind that while your book should vary in musical genre, you should also have a good mix of up-tempo and ballad songs. Best of luck with your future auditions!
Think of another type of song to have in your audition book? Leave a comment below...
[post_title] => 7 Types Of Songs That Should Be In Your Audition Book [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-types-songs-audition-book [to_ping] => [pinged] => [post_modified] => 2017-09-25 09:12:07 [post_modified_gmt] => 2017-09-25 13:12:07 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11711 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [6] => WP_Post Object ( [ID] => 11649 [post_author] => 1116 [post_date] => 2017-09-23 18:05:35 [post_date_gmt] => 2017-09-23 22:05:35 [post_content] => https://www.youtube.com/watch?v=31x6Tt-J6FsHi, Theatre Nerds! Tech week. Who doesn't know how harsh can it get sometimes... most times.
[post_title] => Tech week nightmare pt. 1 [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tech-week-nightmare-pt-1 [to_ping] => [pinged] => [post_modified] => 2017-09-23 18:05:35 [post_modified_gmt] => 2017-09-23 22:05:35 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11649 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [7] => WP_Post Object ( [ID] => 11644 [post_author] => 391 [post_date] => 2017-09-22 09:27:58 [post_date_gmt] => 2017-09-22 13:27:58 [post_content] => Act 1 finales such as “One Day More,” “A New Argentina” and “And I Am Telling You I’m Not Going” thrill audiences and keep them excited for the next half of the show. Whether it’s a show-stopping solo, a rousing ensemble number or a subtle encounter between two lovers, Act 1 finales are crucial to any great musical. In no particular order, here are 16 of our favorite contemporary Act 1 finales, with “contemporary” meaning anything from “Rent” onward:1. ‘Defying Gravity’ from ‘Wicked’
https://www.youtube.com/watch?v=glsmLGpqMzA No one can bring down this epic Act 1 closer, complete with an electric platform sending Elphaba as high as her top notes!2. ‘Non Stop’ from ‘Hamilton’
https://www.youtube.com/watch?v=xjc5bLdtB64 Similar to “One Day More,” this finale uses counterpoint in the final minute as all the characters prepare for the next phase in history.3. ‘So Much Better’ from ‘Legally Blonde: The Musical’
https://www.youtube.com/watch?v=Br50XFvrsp8 Elle Woods rests her case as an up-and-coming lawyer by scoring an internship with Professor Callahan.4. ‘You Will Be Found’ from ‘Dear Evan Hansen’
https://www.youtube.com/watch?v=ssCFUdXQAqw The shy, awkward Evan Hansen devises the Connor Project to keep the memory of his deceased “friend” alive.5. ‘The Ball’ from ‘Natasha, Pierre, and the Great Comet of 1812’
https://www.youtube.com/watch?v=U7Hx7XgJ1IQ Seduced by Anatole, Natasha is sucked into an affair of astronomical proportions.6. ‘Blackout’ from ‘In the Heights’
https://www.youtube.com/watch?v=T0V2cCjf1Tk Here’s another fantastic Lin-Manuel Miranda finale that will have the whole barrio on its feet!7. ‘La Vie Boheme’ from ‘Rent’
https://www.youtube.com/watch?v=xIOV74lFW78 Honestly, what’s better than seeing a group of artists spontaneously turning dinner into a tribute to their idols and inspirations?8. ‘Esmeralda’ from ‘The Hunchback of Notre Dame’
https://www.youtube.com/watch?v=PrU94AinA08 The glorious melodies and harmonies in this ensemble number ring out like the bells of the famous Paris cathedral.9. ‘Bottom’s Gonna Be On Top’ from ‘Something Rotten!’
https://www.youtube.com/watch?v=GSvDzg3Up70 This Shakespeare-themed number is chock-full of references and subtle one-liners from the Bard’s own characters interacting with one another.10. ‘Man Up’ from ‘The Book of Mormon’
https://www.youtube.com/watch?v=bzUGL6BGMc4 After being let go by Elder Price, Elder Cunningham takes advantage of an opportunity to teach the Ugandan people about the Mormon faith.11. ‘Conga’ from ‘On Your Feet!’
https://www.youtube.com/watch?v=ToKC_U4x_f8 One of the best jukebox musical finales in recent years, the music of Miami Sound Machine makes it irresistible to dance along.12. ‘Here I Go Again’ from ‘Rock of Ages’
https://www.youtube.com/watch?v=H-yrrNaIjhI This jukebox musical, a tribute to ‘80s rock hits, closes the first act with Whitesnake’s best-known song.13. ‘Stronger’ from ‘Finding Neverland’
https://www.youtube.com/watch?v=fevDew-8oSo An encounter between J.M. Barrie and a certain “Peter Pan” character will keep you hooked for the rest of the show!14. ‘Who I’d Be’ from ‘Shrek the Musical’
https://www.youtube.com/watch?v=sZWGsOJhBs4 This monster-level number features Shrek opening up about who he’d be if he weren’t an ogre.15. ‘Bad Idea’ from ‘Waitress the Musical’
https://www.youtube.com/watch?v=nscV-V48k7A Jenna and Dr. Pomatter serve the audience some serious chemistry in this fast-paced duet.16. ‘Astonishing’ from ‘Little Women’
https://www.youtube.com/watch?v=5pNO71-yVN4 One of Sutton Foster’s signature numbers, this finale finds Jo March resolving to conquer her future.You May Also Enjoy: 15 Best Contemporary Opening Numbers In Musicals
Did we leave out your favorite contemporary Act 1 finale? Let us know in the comments below...
[post_title] => Top 16 Contemporary Act 1 Finales [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => top-16-contemporary-act-1-finales [to_ping] => [pinged] => https://theatrenerds.com/15-best-contemporary-opening-numbers-musicals/ [post_modified] => 2018-09-30 18:22:00 [post_modified_gmt] => 2018-09-30 22:22:00 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11644 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) [8] => WP_Post Object ( [ID] => 11509 [post_author] => 736 [post_date] => 2017-09-19 09:18:34 [post_date_gmt] => 2017-09-19 13:18:34 [post_content] => Got the moves? Want to work on Broadway and beyond? Here is some great audition advice from Broadway’s professional dancers:1. Nili Bassman
Nili Bassman has been seen on Broadway in “Curtains,” “Never Gonna Dance” and “Chicago.” Here’s her advice:
“The most important thing to bring into a room at a Broadway dance audition (or any audition, for that matter) is you. One-of-a-kind, beautiful, flawed you. Directors, choreographers and music directors want to see individuals with points of views — dancers with an awareness of who they are and access to all of that beautiful uniqueness. Steps can be refined and drilled during rehearsals, but presence, passion, creativity and personality cannot be taught. You’ve studied technique your entire life. Trust that. The audition room is the place to leave class behind and dance from your soul. All dancers are actors. We tell stories with our bodies. So, use the choreography presented to you to tell a story. Bring your life experience to the dance and make it your own. Have fun! Think of every audition as an opportunity to perform and leave your heart and soul and joy in the room. That is why we dance. That is why others are moved by dance. And yes, warm up, eat a snack and bring water and extra shoes!”
2. Correy West
Correy West has been seen on Broadway in “Nice Work If You Can Get It” and “South Pacific.”
Here’s his advice:
“I think the most important thing in a dance audition is to know your strengths and use them to your advantage. I used to spend so much time getting intimidated by the guys who were the most flexible or the ones who could do the most turns, but at the end of the day, there is only one you. If that shines through and you feel like you couldn’t have done anything else towards getting the part when you leave the room, it was a success!”
3. Justin Boccitto
Justin Boccitto is a New York City performer, teacher, director, choreographer and producer. His work has been seen Off-Broadway, regionally and beyond. He is also the executive director of The Group Theatre Too and the creator of Choreographer’s Canvas. And, if you like what he has to say, you can take a dance class from him at Broadway Dance Center.
Here’s his advice:
“Being on the other side of the table, I find the following things extremely important at dance calls:
- Invest in some nice dancewear. If you look good and feel good in your clothes, you will exude confidence. We spot that immediately.
- Work on your kicks and turns. These are two things that I use to quickly weed people out of the mix. You want high kicks and at least a triple pirouette.
- Tell a story with the combo. Even if the choreographer hasn’t given a lot of direction, don’t be passive in your performance. Make a specific choice and commit to it.”
4. Stephanie Bissonnette
Stephanie Bissonnette is an accomplished New York City dancer who has now joined the company of “Mean Girls” as it heads toward Broadway and its first regional premiere at the National Theatre.
Here’s her advice:
“I would say my biggest advice would be to just be yourself. Often the final decision is made because of a certain minor detail. Don’t take anything personally. Just keep getting up and heading to those auditions every day. You never know which one will be the one to skyrocket your career.”
5. Jeffry Denman
Jeffry Denman is an accoladed Broadway performer (“White Christmas,” “How to Succeed in Business Without Really Trying,” “Cats,” “Dream”), director, choreographer, playwright, author and founder of the Denman Theatre and Dance Company. Here’s his great advice about reading for a role once you’ve made it past the dance stage:
“If you’re reading sides, get off book as much as you can. If you’ve just been given the sides, don’t worry, but if you’ve had them overnight, get off book. It is the single most effective way to get me to consider you. If I’m watching you simply look into papers, I have no idea how you are as an actor.”
What is your best advice for dance auditions? Let us know in the comments below...
Cover Photo: Broadway Dance Center
[post_title] => Dance Audition Advice From Five Broadway Pros [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => dance-audition-advice-five-broadway-pros [to_ping] => [pinged] => [post_modified] => 2017-09-19 09:24:54 [post_modified_gmt] => 2017-09-19 13:24:54 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11509 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [9] => WP_Post Object ( [ID] => 11497 [post_author] => 440 [post_date] => 2017-09-18 09:43:15 [post_date_gmt] => 2017-09-18 13:43:15 [post_content] => Games are the perfect way to break the ice and engage people of all ages. Within the structure of a drama class, games can be used as a get-to-know-you exercise, for warm-up, to introduce or practice a new skill or just for fun.Here are 10 drama games that are ideal for your next class:
1. Park Bench
Three chairs are set up in a row at the front. Pick one person to sit on the “park bench,” aka the row of chairs. They can pretend to read the newspaper, watch the birds, etc., but they must remain seated on the bench at all times. Select a second person to be the pedestrian. Their job is to embody a character and try to get the park bench occupant to laugh or leave the bench. They are not allowed any physical contact.
If the park bench occupant laughs or leaves the bench, the pedestrian takes their place. They become the park bench occupant and the game starts over. If the pedestrian is able to get the park bench occupant to laugh or leave the bench after an allotted amount of time, a new pedestrian is selected.
2. Party Quirks
Choose one person to be the party host and ask them to leave the room briefly. Choose three people to be party guests, and have the rest of the students suggest characters for each of them (such as man on a rollercoaster, Justin Bieber, girl who has lost her pet snake, etc.). The party host comes back into the room and returns to the front.
The party starts, and the first guest enters the party. They converse with the host while in character for one minute before the next guest enters the party to converse with the host. Stagger each guest until all three guests are at the party conversing with the host and each other. The guest must stay in character at all times. At the end of five minutes, the host must guess the character for each guest.
3. One-Word Story
This can be played in a small group or large group. The teacher starts the story with one sentence (i.e., “Once upon a time, there was a princess who dreamed of being an astronaut”). Moving clockwise around the circle, each student adds one word to the story. The circle is repeated as many times as the teacher deems necessary until they feel the story is finished.
4. Giants, Wizards and Elves
https://www.youtube.com/watch?v=nNP9FpgdLjI You will need a larger playing space for this one — going outside or into a gymnasium is preferable. This is like a giant game of “Rock, Paper, Scissors.” Giants beat elves because they can step on them. Wizards beat giants because they can shrink them. Elves beat wizards because they are quick and can duck their magic. Divide the students into two teams and put them on either side of the playing area. Teams huddle together and choose which of the three they will play first. They will also need to have a backup in the event that the other team has selected the same one. Once both teams have chosen, they meet in the middle and face each other. The teacher calls out, “Ready, set, go!” and both teams must yell what they chose while acting it out. Whichever teams wins the face-off chases the other team back to their side and tries to tag as many players as possible. Any players they tag from the losing team must now join their team, and they continue onto the next round. The game is over when one team has all the players on its side.5. Tableau Olympics
Divide the group into teams of four to six people and have each team choose a spot around the room. The teacher calls out a scene (such as Spiderman at the scene of a bank robbery, a birthday party gone wrong or a television awards show) and then counts down from 10. Teams have 10 seconds to organize a tableau and then freeze. The teacher then goes around and views each tableau before choosing a winner for that round. The winning team receives a point. Every student from the team must participate in the tableau or the team will be disqualified from the round.
Tip: Remind the students about the use of levels and facial expressions at the start of the game.
6. Change the Channel
Choose two to four students to start onstage and give them a scene to start (such as lifeguards rescuing someone from drowning). The teacher calls, “Action!” and the students begin acting out the given scene. At any point, the teacher calls “Freeze!” and the whole scene must freeze. The teacher selects one new volunteer, and they can tap any of the people onstage to go sit down and the assume that actor’s position.
When the teacher calls “Action!” again, the person who just tapped in must start a whole new scene based on the positions the remaining actors ended in. The other actors will need to improvise and join in the new scene. It must be completely different to the scene that was happening before. Every time the teacher calls “Freeze!” new students replace the previous ones and begin a new scene.
7. Graveyard
The teacher selects one person to be a gravekeeper, and they stand off to the side. The other students lie on their backs on the ground with their eyes open. They must stay completely still, with a straight face. The gravekeeper’s job is to go around and try to make each person laugh or speak using only acting. They are not allowed to touch the person on the ground. Anyone they succeed at making laugh is alive again and joins the gravekeeper in going around and trying to make the other students laugh or speak.
8. Simon Says (Stage Directions Version)
This is a great game for helping your students learn stage directions. This game follows the usual rules of “Simon Says.” Students should only do what the caller says if they say “Simon says.” If they do not put “Simon says” in front of the instruction and the student does it anyway, they are eliminated. The teacher calls out stage directions, such as downstage right or center. Students can only move to those places on the stage if the teacher says “Simon says” in front of it. Any students who move there otherwise are eliminated. Try to keep the calls coming quickly to keep the game interesting.
9. Greetings, Your Majesty
The teacher selects one student to sit in a chair and face away from the rest of the group. Ask the student in the chair to close their eyes. Select three students from the remaining group and have each one take a turn standing behind the chair and saying, “Greetings, your majesty” in whatever voice they like. Once all three students have gone, the student in the chair must guess who each one was.
10. Directors
Choose two to three actors to be onstage. Choose a director for each actor. The directors sit at the back, and the actors play out the scene at the front. The teacher assigns the actors a scene and the first direction, and the scene begins. The actors can only do what their directors say. The directors each take a turn narrating the scene, and the actors must act it out. Whenever the teacher sees fit, they can call “Cut!” and new actors and directors are selected.
Playing drama games is a great informal benchmark for where students are at in both comfort and range. Having them engage in games continuously over the length of the course allows you to see visible progress as students learn, become more comfortable and grow their abilities. Encourage everyone to participate and watch as they flourish and have fun!
Which drama games would you recommend? Let us know in the comments below...
[post_title] => 10 Theatre Games Perfect For Drama Class [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 10-theatre-games-perfect-drama-class [to_ping] => [pinged] => [post_modified] => 2019-01-28 10:33:18 [post_modified_gmt] => 2019-01-28 15:33:18 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11497 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [10] => WP_Post Object ( [ID] => 11387 [post_author] => 1020 [post_date] => 2017-09-17 09:58:56 [post_date_gmt] => 2017-09-17 13:58:56 [post_content] => Laurence O'Keefe's biggest and best musical hit features a variety of strong female characters, including Elle Woods's spunky and supportive sorority sisters. Take this quiz to find out which one you are! [post_title] => Quiz: Which Delta Nu Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => quiz-delta-nu [to_ping] => [pinged] => [post_modified] => 2017-09-17 09:59:25 [post_modified_gmt] => 2017-09-17 13:59:25 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=11387 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [11] => WP_Post Object ( [ID] => 11385 [post_author] => 774 [post_date] => 2017-09-16 11:12:50 [post_date_gmt] => 2017-09-16 15:12:50 [post_content] =>[adthrive-in-post-video-player video-id="smHdTcQX" upload-date="2018-09-27T16:07:28.000Z" name="Waitress Pie Pillows DIY" description="In thes episide of Broadway DIY, Katie shows us how to create perfect pie pillows. These pillows are a comfortable way to show your Waitress musical pride."]
Welcome back to another Theatre Nerds DIY project!
Today we will be making a No-Sew Pie Pillows, inspired by our beloved show, Waitress!
To begin this project, what you will need is:
- Scissors
- Pencil
- Ruler
- Glue (you can use both fabric glue, or hot glue)
- Pom Poms
- Felt (light brown, brown, red and blue)
- Stuffing
Instructions:
*In the tutorial I only showed working on one pillow, if you care to make more than one, just repeat the same process!* 1. We will start off by measuring out on our light brown felt, a 12 inch circle to create as the body of the pie. You will need to make two of these, as these pieces will become the pouch to make the pillow. 2. Using your fabric glue, glue 3/4 of the two light brown felt pieces together. We want to leave a hole to later fill with stuffing. Allow the pieces to sit to the side and dry. 3. After making our pie crust, take your “pie filling” color of your choosing (in the video I made a red cherry pie) and measure out an 11 inch circle. This piece will sit inside of the pie crust we just made. Once that is cut out, adhere the filling piece to the crust and let dry. 4. To make the top crust pieces, we will be taking our darker brown felt pieces, and creating strips to later weave together. I used 8 strips per pie, however you can make yours smaller, or bigger-to your liking. 5. Once the pillow has finished drying, take your brown strips and begin to weave them together using the over under method. Once you have completed this, go ahead and glue the pieces to the top piece of felt and let dry. 6. For fun decoration, take your pom poms (berries for us) and decorate the top of the pie as you see fit. This gives it a fun and cute flare! Glue the pom poms onto the desired area and set it to the side. 7. Make sure your pillow is completely dry before beginning the stuffing process. Using your own personal preferences, fill the pillow to your desired need, without filling it too much and popping the seams. Once you have filled your pillow, carefully glue the small hole closed to complete the pillow. And there it is! An adorable, no-sew pie pillow! This will get any sweet tooth jealous of your delicious taste and skills. Thank you for watching! Follow Katie on Instagram for more fun projects @kbettiniart Happy Crafting! [post_title] => 'Waitress' DIY Pie Pillows [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => waitress-diy-pie-pillows [to_ping] => [pinged] => [post_modified] => 2019-05-08 09:57:54 [post_modified_gmt] => 2019-05-08 13:57:54 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11385 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [12] => WP_Post Object ( [ID] => 11362 [post_author] => 1 [post_date] => 2017-09-14 09:17:42 [post_date_gmt] => 2017-09-14 13:17:42 [post_content] => Click the 'More Details' under the song to get context, see lyrics and hear the song. To clarify, by 'fresh' we do not mean new, but under-done or overlooked songs that are great for auditioning.Here are 51 fresh audition songs for altos:
1. Nobody's Chasing Me from 'Out of This World'
Range : F3-Bb4
Style : Uptempo (Golden Age)
Mood : Frustrated, Comedic
MORE DETAILS2. Happy to Keep His Dinner Warm from 'How to Succeed in Business Without Really Trying'
Range : C4-Eb5
Style : Ballad
Mood : Romantic, Comedic, Flirtatious
MORE DETAILS3. If He Really Knew Me from 'They're Playing Our Song'
Range : G3-B4
Style : Ballad
Mood : Romantic, Pivotal Moment
MORE DETAILS4. You’d Better Love Me from 'High Spirits'
Range : A3-C#5
Style : Midtempo (Swing)
Mood : Romantic, Sassy
MORE DETAILS5. Disneyland from 'Smile'
Range : G3-D5
Style : Ballad
Mood : Hopeful, Uplifting
MORE DETAILS6. Plant You Now, Dig You Later from 'Pal Joey'
Range : Bb3-D5
Style : Midtempo (Golden Age)
Mood : Romantic, Conniving
MORE DETAILS7. You Don’t Tell Me from 'No Strings'
Range : Ab3-C5
Style : Midtempo Swing
Mood : Kiss-Off, Defiant, Empowering
MORE DETAILS8. Someone Woke Up from 'Do I Hear A Waltz?'
Range : A3-B4
Style : Uptempo
Mood : Excited, Fascinated
MORE DETAILS9. That Terrific Rainbow from 'Pal Joey'
Range : B3-Bb4
Style : Midtempo Swing (Golden Age)
Mood : Sassy, Seductive
MORE DETAILS10. How I Feel from 'The Me Nobody Knows'
Range : G3-C5
Style : Ballad
Mood : Dramatic, Heartbreak
MORE DETAILS11. The Colors of My Life from 'Barnum'
Range : C4-Eb5
Style : Ballad
Mood : Introspective, Romantic
MORE DETAILS12. City Lights from 'The Act'
Range : G3-F5
Style : Uptempo Rag
Mood : Comedic, Sassy, Showstopper
MORE DETAILS13. What A Nice Idea from 'Two Gentlemen of Verona'
Range : A3-B4
Style : Midtempo (Soft Rock)
Mood : Jealous, Romantic
MORE DETAILS14. What Is A Woman from 'I Do! I Do!'
Range : G3-Db5
Style : Ballad
Mood : Dramatic, Nostalgic
MORE DETAILS15. Old Friend from 'I'm Getting My Act Together And Taking It On the Road'
Range : G3-Db5
Style : Ballad (Pop)
Mood : Romantic, Uplifting
MORE DETAILS16. The Music Still Plays On from 'A New Brain'
Range : F#3-G4
Style : Ballad (Contemporary)
Mood : Nostalgic, Motherly
MORE DETAILS17. Millwork from 'Working'
Range : A3-A4
Style : Ballad (Soft Rock)
Mood : Nostalgic, Emotional
MORE DETAILS18. If You Hadn’t But You Did from 'Two On the Aisle'
Range : G3-C5
Style : Uptempo
Mood : Comedic, Break-up, Showstopper
MORE DETAILS19. Lazy Afternoon from 'The Golden Apple'
Range : F3-C5
Style : Ballad (Golden Age)
Mood : Romantic, Seductive
MORE DETAILS20. Ladies from 'Destry Rides Again'
Range : G3-Bb4
Style : Midtempo (Golden Age)
Mood : Comedic, Sassy
MORE DETAILS21. How Can I Wait? from 'Paint Your Wagon'
Range : F3-C5
Style : Midtempo (Golden Age)
Mood : Romantic, Infatuated
MORE DETAILS22. Goodbye My Love from 'Ragtime'
Range : F#3-Db5
Style : Ballad (Waltz)
Mood : Hopeful, Dramatic, Romantic
MORE DETAILS23. My Big Mistake from 'The Will Rogers Follies'
Range : F3-D5
Style : Uptempo Swing
Mood : Romantic, Light-hearted
MORE DETAILS24. I Wish I Could Forget You from 'Passion'
Range : A3-E5
Style : Ballad (Contemporary)
Mood : Dark, Romantic, Dramatic
MORE DETAILS25. Change from 'A New Brain'
Range : F3-D5
Style : Uptempo (Contemporary)
Mood : Boisterous, Outgoing
MORE DETAILS26. No Time At All from 'Pippin'
Range : E3-A4
Style : Uptempo (Swing)
Mood : Carefree, 60s Pop-feel, Comedic
MORE DETAILS27. Our Kind of Love from 'The Beautiful Game'
Range : G3-D5
Style : Midtempo (Waltz)
Mood : Romantic, Inspiring
MORE DETAILS28. Why Do the Wrong People Travel? from 'Sail Away'
Range : C4-Eb5
Style : Midtempo (Golden Age)
Mood : Comedic, Wise-cracking
MORE DETAILS29. Hold On from 'The Secret Garden'
Range : F3-B4
Style : Ballad (Contemporary)
Mood : Motherly, Dramatic
MORE DETAILS30. If He Walked Into My Life from 'Mame'
Range : Bb3-D5
Style : Ballad
Mood : Regretful, Dramatic
MORE DETAILS31. It’s a Helluva Way to Run a Love Affair from 'Plain and Fancy'
Range : G3-C5
Style : Uptempo Swing (Golden Age)
Mood : Comedic, Romantic
MORE DETAILS32. I Ain’t Down Yet from 'The Unsinkable Molly Brown'
Range : Bb3-F5
Style : Uptempo (Golden Age)
Mood : Empowering, Confident
MORE DETAILS33. Turn Back, O Man from 'Godspell'
Range : D3-D5
Style : Midtempo (Rock/Blues)
Mood : Husky, Seductive
MORE DETAILS34. Anyone Can Whistle from 'Anyone Can Whistle'
Range : G3-C5
Style : Ballad (Golden Age)
Mood : Romantic, Hopeful
MORE DETAILS35. Look to the Rainbow from 'Finian's Rainbow'
Range : Bb3-Eb5
Style : Ballad (Golden Age)
Mood : Story-telling, Inspirational
MORE DETAILS36. How Are Things in Glocca Morra from 'Finian's Rainbow'
Range : A3-F5
Style : Ballad (Golden Age)
Mood : Folk tune-esque, Nostalgic
MORE DETAILS37. The Best In the World from 'A Day In Hollywood, A Night in the Ukraine'
Range : F3-D5
Style : Ballad
Mood : Nostalgic, Dramatic
MORE DETAILS38. Stop, Time from 'Big the Musical'
Range : G3-D5
Style : Ballad (Contemporary)
Mood : Motherly, Dramatic
MORE DETAILS39. I Just Want to Be a Star from 'Nunsense'
Range : G3-C5
Style : Midtempo (Swing)
Mood : Showstopper, Comedic, Sassy
MORE DETAILS40. Kiss Her Now from 'Dear World'
Range : Ab3-E5
Style : Ballad
Mood : Romantic, Dramatic
MORE DETAILS41. It's A Business from 'Curtains'
Range : C3-Ab5
Style : Midtempo (Swing)
Mood : Comedic, Wise-cracking, Character number
MORE DETAILS42. Lucky from 'A Little Princess'
Range : G3-C5
Style : Midtempo (Contemporary)
Mood : Jealous, Villainous, Cantankerous
MORE DETAILS43. It's An Art from 'Working'
Range : A3-D5
Style : Uptempo (Waltz)
Mood : Proud, Empowering
MORE DETAILS44. The Cake I Had from 'Grey Gardens'
Range : F#3-C#5
Style : Midtempo (Swing)
Mood : Comedic, Regretful, Cantankerous
MORE DETAILS45. I'm Going Back from 'Bells Are Ringing'
Range : Bb3-D5
Style : Uptempo (Golden Age, Jazzy)
Mood : Empowering, Finale
MORE DETAILS46. Flaming Agnes from 'I Do! I Do!'
Range : D3-Db5
Style : Midtempo (Jazzy)
Mood : Sassy, Comedic, Confident
MORE DETAILS47. Kiss of the Spider Woman from 'Kiss of the Spider Woman'
Range : G#3-G#5
Style : Midtempo (Waltz)
Mood : Dark, Menacing, Villainous
MORE DETAILS48. Special from 'Avenue Q'
Range : F3-Db5
Style : Midtempo (Jazzy)
Mood : Sassy, Seductive, Tongue-in-Cheek
MORE DETAILS49. Teaching Third Grade from 'Ruthless'
Range : Eb3-B4
Style : Midtempo (Contemporary)
Mood : Comedic, Sarcastic
MORE DETAILS50. The Dark I Know Well from 'Spring Awakening'
Style: Midtempo (contemporary) Mood: Dramatic, Story-Telling51. Just Around The Corner from 'The Addams Family'
Style: Midtempo Mood: Dark comedy, Satirical, Awkwardly inspirationalYou Might Like: 15 Great Contemporary Roles For Altos
Have a good alto audition song to add to the list? Leave a comment below...
[post_title] => 51 Fresh Audition Songs For Altos [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 51-audition-songs-for-altos [to_ping] => [pinged] => https://theatrenerds.com/audition_songs/change/ https://theatrenerds.com/audition_songs/just-want-star/ https://theatrenerds.com/audition_songs/its-a-business/ https://theatrenerds.com/audition_songs/ladies/ https://theatrenerds.com/audition_songs/wrong-people-travel/ https://theatrenerds.com/audition_songs/kiss-her-now/ https://theatrenerds.com/audition_songs/im-going-back/ https://theatrenerds.com/audition_songs/kiss-of-the-spider-woman/ https://theatrenerds.com/audition_songs/if-he-walked-into-my-life/ https://theatrenerds.com/audition_songs/teaching-third-grade/ https://theatrenerds.com/audition_songs/stop-time/ https://theatrenerds.com/audition_songs/the-cake-i-had/ [post_modified] => 2018-10-17 01:12:09 [post_modified_gmt] => 2018-10-17 05:12:09 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11362 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 48 [filter] => raw ) [13] => WP_Post Object ( [ID] => 11358 [post_author] => 7 [post_date] => 2017-09-13 09:52:50 [post_date_gmt] => 2017-09-13 13:52:50 [post_content] => There’s no denying that technology and theatre have a complicated relationship. While some shows, such as “Dear Evan Hansen” and “The Encounter,” have embraced social media, others have sworn against it. Let’s be real, no one wants to get Patti LuPoned during a show (yes, it’s a verb now). So, then, what role does technology and social media play in theatre, both in the audience and onstage? Once again, the answer to that question is complicated. However, social media and marketing expert Tony Howell thankfully took the time to speak with me on the matter and discuss how producers can begin to embrace technological advances while still maintaining the integrity and beauty of live theatre. “I think it has a place in certain pieces,” Howell said of social media. “I don't think it needs to take over, but I would like to see stories that include it because it’s part of the world we live in now.” Recently, social media has been brought to the stage, most notably in the 2017 Tony Award winner for Best Musical, “Dear Evan Hansen.” But how can the audience use social media without interrupting the performance? [caption id="attachment_11360" align="alignnone" width="768"] Ben Platt in 'Dear Evan Hansen'[/caption]
“What I would encourage in terms of best practices is that it’s totally great to take a picture of the procedium and playbill,” he said. “Another great thing is to leave a review. After you see something, review the piece yourself, go to their Facebook page and share your thoughts, especially when they’re positive.”
When it comes to producers’ and marketers’ use of social media, Howell said the most effective method to getting people to share their experiences of the show is to have a step and repeat in the lobby of the theatre. This way, everyone who comes to the show can take a picture and post it online.
Social media is undeniably a great tool to be used before or after a show. However, surfing social media and the internet during a performance has recently become far too regular. Rest assured, theatre fans, this isn’t just a Broadway problem, but a global one.
“I think we will see a global problem of attention spans and people disconnecting from the real world around them to engage with the virtual world around them, but I don’t think it’s limited to theatre,” Howell said. “We see our union and industry fighting against it, saying that live theatre needs to be live.”
However, Howell hopes that embracing social media within limits will actually bring great changes to the Great White Way.
“What I think will happen with Broadway and theatre, I hope, is that we’ll be able to share our art form with audiences and more people through digital with the expectation that if you want the premium live experience, you buy a ticket,” he said. “I would like to see more digital integration where we get to be a part of the show. Word-of-mouth marketing is the No. 1 form of marketing because it doesn’t cost you anything, and people trust their family and friends’ recommendations. I think producers are hurting themselves by not encouraging social media. I just think that we have to write the rules and teach etiquette.”
What about onstage? Could social media be incorporated more frequently into shows themselves, like “Hit List” from the hit NBC show “Smash?” (Yes, it’s a hit in my heart.)
Howell warns that it may remove people from the story, since taking a second look at their phone may cause audiences to then surf the web or check email. However, in the right context, with limitations, it could potentially work.
Aside from within the theatres themselves, Howell has also seen how social media has started to have an impact on casting decisions.
“I see it being involved in casting decisions, but I think people make the mistake of looking at 10,000 followers versus the actual engagement rate,” he said. “So someone with a hundred followers and a higher engagement could actually bring more results to the ticket process than someone with a bunch of spambots that they bought from Russia.”
Frankly, it’s 2017. Technology and social media are bound to start to find their place within theatre, whether onstage or offstage. While this does present some potential negatives to the experience of live theatre we’ve come to know and love, with the right rules and guidance, it could have a profound effect on the art form.
[post_title] => What Role Does Social Media Play In The Theatre?
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[post_content] => It seems that everyone in theatre has a side gig, side hustle, side hobby or day job. What if your non-theatre experiences actual could help your career in the theatre? Wouldn’t that be a perfect world? If you look for unconventional ways to further your career, your next job might be just around the corner. Here are some ways that your time outside the theatre can be time well spent:
1. Website Design
It’s vital for every working actor to have a website. Most actor websites have headshots, resumes, dance reels, press articles and other information that help you sell your brand as an actor.
2. Photography
Having quality photography skills is always helpful in the theatre. You gain knowledge about what looks best on camera, so you don’t make rookie mistakes with your own headshots. Plus, you can earn extra cash on the side by taking other actors’ headshots or productions’ publicity photos.
3. Sewing
This is a must. From broken shoes to ripping your pants 10 minutes before curtain, you should always be prepared with a small sewing kit to help repair any emergency costume problems. Plus, if costumes need alterations, you are prepared to volunteer to help. Your friends will thank you!4. Yoga
It’s not just about being flexible and strong, although that is a fantastic result of doing yoga. Most importantly, yoga trains you to have control of your breath. Keeping focused on your breathing and diaphragm coordination can do wonders to help you sing an aria or deliver a lengthy monologue. Learning how to listen to your body and how it moves is very important for actors. Remember, your body is an instrument. And speaking of instruments...
5. Musical Instruments
Having the ability to play a few musical instruments will only help your chances of getting cast. From the musicals “Once” to “Bandstand,” you never know when you will have to play a musically talented character. Gaining knowledge about music will only help you in your musical theatre endeavors. Plus, you can get a lot of side gigs as an accompanist for your fellow actors or yourself.
6. Makeup
If you find the makeup aisle dangerous for your wallet, you might be able to put that passion to use. Experiment with different types of stage makeup, and one day, you could find yourself getting a job as the makeup artist for a show. With so many fantasy shows such as “Shrek” currently playing in regional and community theaters across the country, the theatre needs people with a knack for makeup.
7. Cooking
Eating well is very important to keeping yourself in top shape as an actor. Know how to eat the best foods to power through your two-show day. Study what makes you feel good and what keeps your voice healthy and strong. This knowledge will give your acting career more longevity if you remember to always take care of yourself. Make being healthy part of the job!
What are some special skills that helped you get a role or a job in the theatre? Let us know in the comments below...
You may also like:7 Life Skills Every Theatre Kid Will Learn
8 Life-Winning Skills All Thespians Possess
[post_title] => These Hobbies And Special Skills Will Help Your Theatrical Career [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => hobbies-special-skills-will-help-theatrical-career [to_ping] => [pinged] => https://theatrenerds.com/rock-your-performer-website-with-these-8-must-haves/ https://theatrenerds.com/life-skills-every-theatre-kid-will-learn/ [post_modified] => 2024-10-12 08:31:40 [post_modified_gmt] => 2024-10-12 12:31:40 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11348 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [15] => WP_Post Object ( [ID] => 11327 [post_author] => 736 [post_date] => 2017-09-11 09:09:36 [post_date_gmt] => 2017-09-11 13:09:36 [post_content] =>Costumes help make a character, but in some shows, the costume itself has become so iconic that no future production can be repeated without the specific look. These costumes immediately define the musical they reference, even when they’re out of the context of the show.
The following are our top eight musical theatre costumes that have become absolutely classic over the years:1. Dolly Levi’s Harmonia Gardens Dress in ‘Hello Dolly!’
With the costume by Freddy Wittop, Dolly Levi (originally played by Carol Channing) descends the staircase into Harmonica Gardens in a red sequin gown, turning heads and winning the hearts of everyone she comes into contact with.
https://m.youtube.com/watch?v=iVh9zjf0Tww
2. Barbra Streisand’s Fanny Brice Sailor Suit in ‘Funny Girl’
This sailor suit, designed by Irene Sharaff and worn by Barbra Streisand in both the musical and movie versions of “Funny Girl,” has been repeated time and again in many productions of this beloved musical. It has also become a standard piece for Streisand’s appearances and an iconic representation of both the star and the show on TV and film. Just look at Lea Michele’s ensemble when she won the part of playing Fanny Brice in “Glee.”
3. Cassie’s Red Dress in ‘A Chorus Line’
Cassie’s red dress, originally designed by Theoni V. Aldredge and worn by Donna McKechnie in the original Broadway production of “A Chorus Line,” speaks volumes about her character’s fiery spirit and her need to stand out and be noticed. This dress has been recreated over and over in all productions since.
Watch this dress move and Cassie (Charlotte d’Amboise) sing and dance her heart out in “The Music and the Mirror” from the Broadway revival of the show.
https://m.youtube.com/watch?v=tOWh6LSHa48
4. Annie’s Red Dress in ‘Annie’
[caption id="attachment_11332" align="alignnone" width="700"] Credit 2012 JIM LEE PHOTO[/caption]
Originally appearing as a comic strip in the late 19th century, “Annie” became a musical when Charles Strouse, Martin Charnin and Thomas Meehan collaborated on it in 1976. Aldredge took the inspiration from the comic in creating Annie’s finale red dress, catapulting the look to girls everywhere.
5. Dorothy Gale’s Blue-and-White-Checkered Dress in ‘The Wizard of Oz’
This dress became iconic when Dorothy is whisked away to Oz and it magically goes from black and white to living color. Like “Annie” and “A Chorus Line,” a production of this show can’t be done without recreating this look. The original designer, Adrian Adolph Greenberg took his design inspiration from the book series itself. Check out the original covers of the series to see the resemblance.
6. Elphaba’s Costume and Makeup in ‘Wicked’
Speaking of “The Wizard of Oz,” the Wicked Witch of the West lives on eight shows a week in “Wicked” on Broadway, as well as in other productions around the world. Her green skin is just as iconic as the black witch’s outfit — and, not to mention, an ordeal to put on for any actress who plays this character.
Check out this video, which gives you an inside look at actress Rachel Tucker becoming Elphaba.
https://m.youtube.com/watch?v=01GGW2QRU1c
7. Anna Leonowens’ Ballgown in ‘The King and I’
Anna’s gown, originally designed by Sharaff for the movie version of “The King and I” has become iconic — not for its color, but for the fullness of the skirt. The skirt itself literally takes on a life of its own as Anna is being waltzed around the stage during “Shall We Dance?”
Here is a great video of Anna (Kelli O’Hara) being quick-changed into the dress at the Tony Awards by some fabulous dressers.
https://www.youtube.com/watch?v=G4OcqWxsKL0
8. Belle’s Yellow Gown in ‘Beauty and the Beast’
[caption id="attachment_11339" align="alignnone" width="1200"] Dress Designer Credit: Mela Hoyt-Heydon for 3-D Theatrical’s 2016 production of Beauty and the Beast.[/caption]
Belle’s yellow gown became infamous in the animated version of this beloved musical. Of course, whenever you attend a production, you’ll certainly find yourself surrounded by many little girls dressed up like this princess in a replica of this gown.
Here is a great video about the creation of Belle’s costumes for the most recent movie version, starring Emma Watson.
https://m.youtube.com/watch?v=M95NsqegWIA
What are some of your favorite iconic musical theatre costumes? Let us know in the comments below...
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We all know and love the movie and musical hit, Little Shop of Horrors, but what we don't all know is whether we're sweet Audrey or sweet-talking Audrey II. Take this quiz to find out!
[post_title] => Quiz: Are You Audrey Or Audrey II?
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[post_content] => There is a time in everyone’s life when they can look back and see all the moments that led them to become the person they are today. I am no exception. I can identify exactly what led me to teaching, what led me to become a writer, and the stepping stones to my lifelong vocation as a theatre lover. All the signs were there, even in childhood. No one could tell you better than the people who watched me blossom into the theatre nerd I am today: my family.
Here are nine times my family knew I was destined to become a theatre nerd:
1. My parents spent an entire summer listening to my sister and I sing the entire soundtrack from “Joseph and the Amazing Technicolor Dreamcoat” on our numerous four-hour drives to the cottage every weekend. We would always fight over who would get the only female singing role and see who could belt louder during “Close Every Door.” The following summer, my father insisted the cassette tape had mysteriously worn out.
2. Family friends came to visit once, and I coerced them into being a part of an elaborate production of the musical numbers from “Pocahontas,” staged in my basement. Our costumes included a dress I made from a burlap sack and an unfortunate selection of vests I owned (give me a break, it was the ‘90s). A baby carriage doubled as the canoe in “Just Around the Riverbend,” and my sister was pushed around in it while using a broom as a paddle. The others held up a blue bedsheet that acted as the river while also hiding the wheels on the stroller. Needless to say, the show opened and closed the same afternoon.
3. My first crush was Lt. Joe Cable in the movie-musical “South Pacific.” We spent a month one summer visiting my father’s aunt in Prince Edward Island. She lived in the tiniest town, where the video store doubled as the gas station and convenience store. They had five kid-friendly rentals available: four Rodgers and Hammerstein movie musicals and a Shirley Temple flick. I watched a lot of “South Pacific” that summer.
4. I saw “Wicked” for the first time as a teenager when the touring cast came to Toronto. I loved the show so much that I bought the CD soundtrack afterward and became obsessed. After discovering iron-on transfer sheets for the printer, I bought a plain tote bag and ironed a print-out of the musical poster on the front of it. I got strange looks from the cool kids when I carried it to class, but to the theatre and music kids, my bag was hot. I walked into those arts classes with my bag like Tyra Banks on a catwalk. Yeah, you know it.
5. My family owned a camcorder, and I loved filming music videos and fake reality shows with my friends. They were works of art, with synchronized dancing, poorly chosen hairstyles involving far too many butterfly clips, baggy neon wind pants and crop tops we created by folding up the bottoms of our tank tops and tucking them underneath, just like Britney. I still have some of those videos and recently joked about showing them at my theatre friend’s wedding. She threatened to kill me if I ever showed them in public.
6. My parents put me and my older sister in charge of babysitting my little brother one Saturday afternoon while they were out. My brother ended up running into a wall and getting a big bump on his head because we stole his stuffed animal and made him chase us around the house to get it back. My parents were livid. We were supposed to be the older, responsible sisters. Most kids would be grounded or have their television privileges revoked, but we had our theatre tickets taken away. A friend had given our family free tickets to see “Joseph and the Amazing Technicolor Dreamcoat” the following weekend. My parents gave the tickets away to my aunt, and I was crushed. We did get to see the musical a few months later, but I always remembered how I would have preferred to lose the television.
7. I essentially pestered one of my middle school teachers into directing a school play. Extracurricular activities in the arts were hard to come by where I grew up. To my surprise, I did not get the lead role. Gutted, I withdrew from the production entirely in true dramatic fashion. When my mother finally convinced me quitting was not the mature thing to do, I crawled back with my tail between my legs and took the only job that was still available, leading the choir. So, what I imagined to be my big moment as a star was not quite as I pictured. My theatrical debut was not even onstage, but rather on the floor to the left of it.
8. In my youth, I had a habit of dramatic, huffy exits followed by the slamming of my bedroom door whenever I had a disagreement with anyone in my family. After one particular set of fits, my mother had my father remove my bedroom door from the hinges and put it in the basement. Shrewd move, lady, but I could play that game. I proceeded to sing at the top of my lungs for the entire house to enjoy. This went on for about a week before the door was returned.
9. For two years, I forced my mother to let me attend a local theatre camp for three weeks in the summer. My second summer, they were putting on a production of “Alice in Wonderland,” and I was hell-bent on playing Alice. Much to my disappointment, the part went to a boy, and the character was renamed “Alex.” Instead, I got the part of the Queen of Hearts, who only appears in the second act. She is supposed to end up with a cake getting smashed in her face, which our director decided would be fake. However, I wanted to Daniel Day Lewis the shit out of that part and insisted the week before the show that the cake be real for each production. The director eventually gave in. The cake was smashed, I acted my heart out and soaked up the cheers and laughter as icing and cake ran down my face. I worked at that camp every summer after for seven years.
These are only a few of the charming anecdotes my family loves to regale my prospective mates with at holiday dinners. Jokes on them, though, because I expect these stories will provide excellent material for my future memoir, which will obviously skyrocket me to fame and later become a major motion picture. Does anyone know what Anna Kendrick’s schedule looks like in the future? I’ll have her people call my people.
Were there moments you knew you were also destined to become a theatre nerd? Let us know in the comments below...
[post_title] => 9 Times My Family Knew I'd Grow Up To Be A Theatre Nerd [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-times-family-knew-id-grow-theatre-nerd [to_ping] => [pinged] => [post_modified] => 2017-09-08 18:12:47 [post_modified_gmt] => 2017-09-08 22:12:47 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11272 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [18] => WP_Post Object ( [ID] => 9494 [post_author] => 736 [post_date] => 2017-09-06 10:16:48 [post_date_gmt] => 2017-09-06 14:16:48 [post_content] => When deciding it’s time to mount the school musical, there are literally hundreds to choose from. Here are nine tips that can help you determine what might be the right fit for you:1. Current Interests
What are your students’ current interests, musical preferences and hobbies? Use these as a guide to pinpoint musicals that fall along a similar genre. You want students to be excited about performing in a musical because they can find some relation to it, whether it’s based on their love of pop music (with a show such as “Rent”), their love of movies (with shows such as “Hairspray,” “Footloose” and “Legally Blonde”) or even their love of Disney (with musicals such as “High School Musical,” “The Little Mermaid” and “Beauty and the Beast”).
2. School Curriculum
Choosing a musical that corresponds with the subject matter currently being studied will not only enhance your students’ interest and knowledge on the subject itself, but it will give many students a reason to see the show as well. Whether it involves American history (with shows such as “The Civil War,” “Ragtime” and “1776”), world history (with musicals such as “Cabaret” and “Evita”) or current reading lists (with shows such as “The Secret Garden,” “Yours, Anne” and “Peter Pan”), it will certainly make the subject matter something the students will remember for a lifetime.
3. Talent Pool
Keep in mind your available acting talent. For example, do you have more boys than girls or vice versa? Do you have great singers and/or those with dance training? Try to choose musicals that meet their strengths and highlights the students you know want to participate.
Great school musicals for those with skilled singing and/or dancing talents are “Thoroughly Modern Millie,” “Grease” and “A Chorus Line.” On the other hand, musicals such as “How to Succeed in Business Without Really Trying” and “The Wizard of Oz” are great choices for musicals that can involve students with less-trained singing voices but still have plenty of meaty acting roles.
There are also several all-male and all-female musicals to choose from, should you need to consider those. Great choices are “Nunsense,” “Nunsense A-Men” (male version) and “Beehive the Musical.”
4. Cost
It’s imperative to keep your budget in mind when choosing the appropriate school musical, as costs add up quickly. Don’t fret. Whether your budget is large or small, there is an appropriate show for you. For bigger budgets, choose more spectacle-based musicals such as “Annie,” “Oliver” and “Hello, Dolly!” For smaller budgets, look at shows such as “The 25th Annual Putnam County Spelling Bee” and “You’re a Good Man, Charlie Brown,” which require less focus on big sets and elaborate costumes that can quickly eat money.
5. Technical Talent Pool
6. Audience
Remember to keep your audience base in mind. In order to keep the musical theatre program alive, you need to continue to have your audience come in to support it. Because of this, it’s important to consider whether your show is something they’d enjoy and can bring friends and family to. If you are unsure, try to do an audience poll of several options on the school social media page. Great audience-pleasers are “The Sound of Music,” “The Pajama Game” and “Shrek.”
7. Instrument Talent Pool
Does your school have an orchestra or band that can play the music? Will you hire musicians? Or, if you will use tracks, do you have a good and reliable sound system and someone to run the board? It’s important to take this facet into consideration to make sure you are serving the score of the show and making the music enjoyable for the audience and easy to follow for the performers.
A sung-through musical such as “Les Misérables” would be a great choice if you’re planning to use tracks, as long as you have an experienced sound person to run the soundboard and keep up with the cues. Shows with lavish scores such as “Oklahoma!” and “Fiddler on the Roof” work well to perform with the school orchestra and band.
There are also plenty of musicals you can do with just a piano or small trio of musicians. “My Way,” “Songs from a New World” and “Snoopy” are good options.
8. Learning
Performing in a musical is a way for students to learn and grow, not only as performers, but also as individuals and team players — whether it be singing in a new register, learning how to do basic simple tap steps or choreography, harmonizing or even learning to take cues and work together in an ensemble-based show. Don’t hesitate to pick a musical that students can take something from to use in the future. There are some especially great ensemble-based shows such as “Seussical” and “Little Women” where everyone has an equal share of stage time and there is an intense amount of ensemble work.
9. Space
Are you working in a theatre/auditorium setting? Is it a proscenium, thrust or in the round? Are you working in a black box? Outside? In a classroom? Keep the location of where you’ll be presenting the musical in mind when making your decision. Having a small musical take place in a large auditorium may not work as well as doing a bigger, more lavish musical. And, if you are doing a musical in a classroom, pick something that lends itself to a smaller, more intimate space with minimal sets and costumes. Great examples of musicals for any type of space are “Cinderella” and “Oklahoma!” Small musicals that work well in an intimate atmosphere are “The Fantasticks” and “Godspell.”
Tell us which school musicals you have chosen and why...
[post_title] => 9 Tips For Choosing The Perfect School Musical [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-tips-for-choosing-perfect-school-musical [to_ping] => [pinged] => [post_modified] => 2017-09-06 10:16:48 [post_modified_gmt] => 2017-09-06 14:16:48 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=9494 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [19] => WP_Post Object ( [ID] => 9471 [post_author] => 440 [post_date] => 2017-09-05 09:33:18 [post_date_gmt] => 2017-09-05 13:33:18 [post_content] => When I saw “High School Musical 2” for the first time, I was disappointed because one of my favorite characters, enthusiastic drama teacher Ms. Darbus, was largely absent from the sequel. By the time the third movie came around, the quirky teacher had returned to provide her usual comic relief, with a side of wisdom. While the films don’t see Ms. Darbus doing a lot of traditional teaching, she delivers her lessons in the form of helpful tips and encouraging her students to explore the arts and find their passion. She assures them they can stretch beyond where they feel their capabilities lie. Ms. Darbus shows creating the environment for learning is often just as important as the teaching material itself.With that in mind, here are 11 tips for teaching student drama:
1. Start With the Basics
Take a tip from Julie Andrews and “start at the very beginning, a very good place to start.” Even if you are teaching an upper-year class, it’s always a good idea to spend some time at the outset reviewing the basics. Think about the building blocks of being an actor, like voice, character, reading a script and moving about the stage, then go from there.
I always start with warming up and the importance of preparing the body and voice, as I find most students don’t realize it’s crucial to warm up before performing, even just for class.
2. Prioritize Quality Over Quantity When It Comes to Feedback
Positive reinforcement goes a long way. Always begin with the positives and ensure you find something to praise your students for each time. Keeping students encouraged will help them be open to feedback. When giving constructive criticism, stick to only one or two corrections at a time — otherwise, you risk overwhelming your recipients.
3. Find the Passion
Where do your students excel? Find their strength and help them develop it. Find ways for them to share their talents in the group setting, outside of acting. If they are also a talented artist, have them design sets or create posters for performances. If they are very organized, let them arrange the setup of the backstage area. The more they feel like they have a special and important place in the class, the more they will want to be there. No one is good at everything, and there is always room to stretch and grow beyond their comfort zone. However, confidence to do that will come from first finding where they shine.
4. Keep Your Focus Areas Narrow
Each class or week should have its own focus. Throwing too many concepts at students at once will lead to confusion. Mastering a skill requires it to be taught, reviewed and then practiced. Students can then move forward and continue building on those skills. Taking things slowly and having a theme for each class will ensure maximum absorption and avoid frustration for both you and your students.
5. Challenge Them
It is important to have your students challenge themselves, but remember, each student is different. For some, just getting up to speak in front of a small group of peers in their class is going to be a huge challenge. Others might be looking to challenge themselves by moving into a professional audition process. Have students create individualized goals you can help them work toward. Encouraging self-evaluation with progress is a positive life skill that is worth reinforcing.
6. De-stigmatize Failure
A common fear you will encounter among students is the fear of failing, especially in front of others. Not every student who comes to drama class will be outgoing and eager. Stage fright will pop up from time to time. Encourage bravery and consistently applaud each effort, whether it was successful or not. For some, just standing in front of others is a huge step. Let them know you are not expecting perfection, just their personal best. Keep the room a positive and safe space for creativity and failure to coincide together as tools for learning.
7. Slow and Steady
When teaching beginners, go slow when giving each instruction. Don’t assume they will know basics, particularly with terminology, such as stage right and stage left. Be sure to stop intermittently to see if anyone has questions.
8. Model Behavior
Getting up yourself and giving an example of the skill you are trying to teach will not only make you more relatable to your students, but it will also provide them with some confidence seeing you go in front of everyone and demonstrate the skill first.
9. Encourage Participation
Again, the fear of failure may see some students hanging back and avoiding participation. For the first few classes, avoid large group presentations while they are still getting to know one another and you. Allowing the students to work in and present to smaller groups at the start will give them an opportunity to get comfortable with the class and boost their confidence. You can then build toward the large group setting with less resistance.
10. Take the Classroom Outside
Try to give opportunities to learn from more than just yourself. Bring in a speaker or group, take them to a performance, participate in a workshop, show a performance DVD or organize a backstage tour. Seeing the arts in action will make it more applicable to your students.
11. Go Beyond Acting
There is more to drama than just being onstage. You may have a budding stage manager in your class, but they don’t know what that job is or what it entails. Give your students the opportunity to learn about as many of the different facets of working in the theatre as you can.
In the words of East High’s enigmatic educator Ms. Darbus, “The stage can be a wonderful partner in the process of self-discovery.” So, whether you teach in a school, a community theatre or an extracurricular program, be encouraged knowing the work you do to create opportunities in the arts for students of all ages is an important and life-changing endeavor. To all those teaching arts out there, we salute you.
What are your tips and advice for drama teachers? Let us know in the comments below...
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[post_title] => Quiz: Pick Your Favorite Foods & We'll Guess Your Favorite Musical [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-pick-your-favorite-foods-well-guess-your-favorite-musical [to_ping] => [pinged] => https://theatrenerds.com/quiz-build-an-ice-cream-sundae-to-reveal-which-movie-musical-you-should-watch/ [post_modified] => 2018-09-29 12:08:16 [post_modified_gmt] => 2018-09-29 16:08:16 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10856 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 16 [filter] => raw ) [21] => WP_Post Object ( [ID] => 11174 [post_author] => 1016 [post_date] => 2017-08-31 11:05:49 [post_date_gmt] => 2017-08-31 15:05:49 [post_content] => Picture this: I’m sitting in a circle with some other actors after a particularly long and stressful rehearsal. Our senior musical has just been announced, and we’re discussing which roles we’d like to play. When I express interest in the lead, people stare at me as though I’ve said I won’t be doing the show at all. “You could never be the leading man. You’re his funny friend,” one of my friends says. At the moment, I wasn’t sure why her words hit me as hard as they did, but they stuck with me for a while. Was I not talented or handsome enough to play the leading man? Was I just not trying hard enough to suppress my Cosmo Brown and let my inner Don Lockwood shine? Was funny all I could do? Auditions finally came around, and I was worried. I knew every actor would be reading for the romantic male lead, but something in me told me I had to go in for it too. When I got to the piano and told our music director what I’d be singing, he asked me if I was sure. I wasn’t. I had been so concerned with how I was perceived by others that I didn’t even think about being original and auditioning with the comedic lead’s song. I changed my song right then and there, and landed what became one of my all-time favorite comedic roles. In fact, it was that role that showed me how fun it is to be a character actor. Now I’ve decided to share some of those reasons with you:1. You Learn to Laugh at Yourself
If you can look at yourself in a mirror while wearing a crazy wig and false teeth and start laughing, you’ll learn to do the same when you have a bad hair day or find a zit.
2. Costumes, Costumes, Costumes (and Makeup)
In the same vein, the costumes and makeup are often the best part of playing a character role. Who can deny loving a neon tuxedo or particularly well-articulated stage makeup? Plus, they make for great backstage selfies.
3. The One-Liners
Maybe your dialogue doesn’t drive the plot as much as another character’s does, but it’ll certainly make the audience laugh. You might not get that stage kiss you’ve been pining for, but you can certainly insist that Courtneys everywhere take their breaks.
4. It’s an Exercise in Self-Control
More often than not, the lines and lyrics written for character roles can make us laugh through read-throughs and even rehearsals. The discipline required to know how to make others laugh without laughing yourself is difficult to attain but so valuable once mastered.
5. You Get Newfound Skills
It isn’t uncommon for a character role to require a specific skill, such as tap dancing, an accent or even slight-of-hand magic. The great thing is that if you land a role and don’t yet have those skills, you’ll have time to learn them and perfect them before opening night. Then, you can add them to your resume!
6. The Music
I’ll admit, I might be biased, but character roles have some of the best songs in the musical theatre canon. “Guys and Dolls” wouldn’t be nearly as fun without “Bushel and a Peck,” and “The Music Man” would be missing something special if “Shipoopi!” was cut.
7. Variety
There are so many different kinds of character roles to take on. Perhaps you’ll play a bumbling con artist one week and an eccentric pirate the next. While every role is different, some archetypes require a more specific type than others. Embrace your flexibility and jump around between ages, accents and looks.
8. Playing the Villain
A great woman — Maleficent, played by Kristin Chenoweth — once sang, “Don’t you wanna be evil like me?” The villain can be the most exciting role in any show because of how heightened their emotions often are and how much draw they have over the audience. It’s always fun to embrace your dark side, even if it’s only for a few performances.
9. Stunt Choreography
Not every character roles requires stunt work, but the ones that do are a lot of fun. Every once in awhile, a character gets in a huge fight with another character and is thrown from a roof, or a group dance number will require you to learn how to do a back flip. These skills will dazzle audiences and come in handy later as well.
10. Every So Often, You’re Also the Romantic Lead
You don’t see this in every show, but sometimes, the comedic lead also gets to be the romantic lead. Think of Winnifred the Woebegone in “Once Upon a Mattress” or Leo Bloom in “The Producers.” They get some of the funniest lines in their respective shows and a ton of “aww” moments as well.
Opportunities for character actors are everywhere. Don’t shy away if you want to audition to play a zany senior citizen, a talking animal, a monster who lives under the bed or yes, even someone’s funny friend.
[post_title] => 10 Benefits Of Being A Character Actor
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[post_content] => If you’re not feeling the urge to take a bite out of the Big Apple, you can still have a great theatre career in many other cities within the United States. The regional market is thriving, so if you’re considering laying down your hat and stepping into the footlights, check out these five cities:
1. Philadelphia, Pennsylvania
Philadelphia, the city of brotherly love and the home of Rocky, has a huge theatre scene for professionals and amateurs alike. It is also the home of the iconic Walnut Street Theatre, the oldest continually operating theatre in America. And, with a slew of Actors Equity Association houses and community theatres, dinner theatres, a fringe festival and the prestigious Barrymore Awards held once a year to honor those in this bustling theatre community, it’s certainly a market where artists thrive.
As another plus, according to a recent article in the Philly Voice, it’s also known as a city where most acting gigs pay, even for amateur/community theatre jobs.In addition, the Philadelphia tourism market provides terrific opportunities for actors. There’s great potential to have a supplementary gig as a living history actor or tour guide.
As an added bonus, there is easily accessible public transportation to practically everywhere within the city limits, which means you don’t need to invest in a car. The city itself is even within a few hours to New York City, so you could visit if you wanted.
Learn more about the Philly theatre scene on Theatre Philadelphia.
2. Chicago, Illinois
This city has five Tony Award-winning regional houses, including Steppenwolf and the Goodman, along with smaller surrounding suburban areas with theatre companies creating new and experimental works and reviving old favorites. Here, an artist can certainly find his or her niche. Chicago is a market where many shows at the prestigious venues transfer to Broadway, so you’d even have the possibility of moving with a show born here to New York City.
While you will have to deal with the cold Chicago winters, you can up your comedy skills by taking classes at Second City or delve into the TV/film realm, since many episodes and films shoot here.
Learn more about the Chicago Theatre Scene on Chicago Plays.
3. Washington, D.C.
While this city is home to the nation’s capitol, it’s also home to many theatrical opportunities and amazing venues. The prestigious Kennedy Center, Folger Theatre (the first Elizabethan-style theatre built in North America) and Ford’s Theatre (the site of President Lincoln’s assassination) are just a few spots you can check out if you want to be a serious theatre actor. In addition, there is a huge regional scene, experimental theatre, touring companies, fringe festivals and more.
Learn more about what the theatre in this city has to offer on DC Theatre Scene.
4. Boston, Massachusetts
Boston has a thriving theatre scene that can make any performer feel artistically fulfilled. Current top-notch theatres include the Huntington Theatre Company and the American Repertory Theatre in nearby Cambridge. “Waitress,” “Natasha, Pierre and the Great COmet of 1812” and “Finding Neverland” were presented at the A.R.T. before they arrived on Broadway.
Boston has a rich history, a driveable distance to New York City, accoladed performing arts universities and Ivy League institutions, as well as a bustling city and quiet surrounding suburbs. With all of this, it could make this the right actor market for you!
Learn more about the Boston theatre scene at Stage Source.
5. Minneapolis, Minnesota
Minneapolis has the second most theatre seats per capita in the nation and ranks as the fifth most “creatively vital” city in the country, according to a 2015 report by the Western States Arts Foundation. This makes it a great place to pursue a career as a performer.
The Guthrie is one of the most esteemed theatres in this city, but there are also many other theatres, as well as theatre festivals and many other types of performance opportunities. Minneapolis is a place to certainly consider making your mark.
You can find more information about this theatre scene from Minnesota Playlist.
Are you thinking about pursuing a career in any of these cities? Let us know in the comments below...
[post_title] => 5 Cities Outside Of NYC Where You Can Pursue A Career In Theatre [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 5-cities-outside-nyc-can-pursue-career-theatre [to_ping] => [pinged] => [post_modified] => 2017-08-28 11:19:33 [post_modified_gmt] => 2017-08-28 15:19:33 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11138 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [23] => WP_Post Object ( [ID] => 11135 [post_author] => 714 [post_date] => 2017-08-25 09:45:13 [post_date_gmt] => 2017-08-25 13:45:13 [post_content] => “I don’t sing in the shower, I perform,” my fellow thespian friend said at rehearsal one night. I laughed out loud and responded sarcastically, “Oh, I’m sure your roommates love that.” My friend leaned in close as if she were about to reveal one of her deepest, darkest secrets, and said, “My roommate hates ‘Wicked,’ so I make sure to belt out the end of ‘Defying Gravity’ really loud if I know she’s home.” Who knew musical theatre could be used as a strange form of torture? Luckily, singing showtunes doesn’t count as a form of cruel and unusual punishments, so sing away with these six songs:1. ‘Tomorrow’ from ‘Annie’
This one is at the top of the list for a reason. One surefire way to torment those around you is singing this overdone screamfest with the same amount of passion as a young Andrea McArdle. https://www.youtube.com/watch?v=eCV7MbTtjAY2. ‘Oklahoma!’ from ‘Oklahoma!”
“And the land we belong to is grand! And then we saaaayyyyy NO PLEASE! STOP! WHY!” You’re not “doin’ fine” if you think this a Top 40 hit. It’s tolerable during the show, but humming this song while you lather, rinse and repeat is a little coo-coo ka-choo. https://www.youtube.com/watch?v=ZbrnXl2gO_k3. ‘One More Angel in Heaven’ from ‘Joseph and the Amazing Technicolor Dreamcoat’
Once upon a time, Andrew Lloyd Webber tried to write a hoedown — long story short, it’s a fun dance number, but it has the power to get stuck in your head for months on end. The brothers are singing a song to their father about how Joseph died unexpectedly, when in reality, the brothers sold him into slavery. They’re pure evil! No wonder the song is so bad! Also, any musical number with sudden, unexplained southern accents can’t be a good thing. https://www.youtube.com/watch?v=B0lJV4vOkAQ4. ‘Shipoopi’ from ‘The Music Man’
The title says it all. https://www.youtube.com/watch?v=9Jj622vbrrU5. ‘Fugue for Tinhorns’ from ‘Guys and Dolls’
It’s a classic: three guys singing about horses in a horse race for no other reason than to show the audience they are going to watch a show about gambling. Although, if you were me, you spent the rest of the show trying to figure out why they kept mentioning Paul Revere. This one is bound to annoy those around you. For the best results, try singing all three parts at once. https://www.youtube.com/watch?v=BAIlVCStp3c6. 'Anything' from ‘Cats’
Or, better yet, just buy a funky leotard, throw on some cat ears and heavy makeup and dance around your house. Your roommates will hate it. I know this from personal experience. https://www.youtube.com/watch?v=m0xiS6dk5iwWhich showtunes make you cringe? Or better yet, what’s your guilty pleasure musical theatre song? Add yours to the list!
[post_title] => Torturing Your Roommates: The Most Annoying Showtunes To Sing In The Shower [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => torturing-roommates-most-annoying-showtunes-sing-shower [to_ping] => [pinged] => [post_modified] => 2017-09-10 23:36:44 [post_modified_gmt] => 2017-09-11 03:36:44 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11135 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 14 [filter] => raw ) [24] => WP_Post Object ( [ID] => 11120 [post_author] => 11 [post_date] => 2017-08-24 09:02:29 [post_date_gmt] => 2017-08-24 13:02:29 [post_content] => Our days of summer sun might be coming to an end but you don’t need to toss out that reading list quiiiiiite yet. Lucky for Theatre Nerds (more specifically “Hamilton” fans), there’s a new book hitting shelves this September based on the life of one Eliza Hamilton.There are seven things you need to know:
1. As you’d expect it’s all about Eliza Hamilton. WORK!
Susan Holloway Scott’s latest read speaks for itself. ‘I, ELIZA HAMILTON’ chronicles the life and impact of Alexander Hamilton’s leading lady. While the ten-dollar Found Father may be the centerpiece of our favorite musical, it’s no doubt that Eliza is a pretty epic heroine. This book sheds light on her complex marriage to George Washington’s right-hand man, as well as her extraordinary work in shaping our country.
2. Hamilton’s life is shown from another perspective.
There are two sides to every story. While A.Ham is certainly a key player in Scott’s book, his tale is told through the eyes of his closest companion. The Hamiltons’ relationship wasn’t exactly smooth sailing (remember that Reynolds Pamphlet?) and we’re down to see what Eliza had to say about all of this.
3. It’s all about an empowering (and real) woman.
Knowing every lyric to “Guns and Ships” is all good and fun, but it’s even better when we’re reminded that the Hamiltons were real people who helped create the world we live in today. Though this novel is historical fiction -- because even Susan Holloway Scott wasn’t in the room where it happened -- Eliza’s story is based on true events and showcases a powerful example of a real-life, fierce boss lady.
4. It’s historical fiction at its finest.
If marathoning “Downton Abbey” as you steep a steamy pot of tea isn’t your thing, don’t let the term “historical fiction” scare you off. It’s a genre that often gets a bad rap for being boring and kind of like a textbook from history class, but ‘I, ELIZA HAMILTON’ falls under this umbrella because it’s a fictionalized re-telling of a real human’s life. Sort of like that one musical Lin-Manuel Miranda wrote…
5. Susan Holloway Scott is QUEEN.
She has written books about a number of royals and historical figures: The Countess of Dorchester and King James II, The Dutchess of Portsmouth and King Charles II, Sarah Churchill and more. You can browse her books HERE.
6. It will remind you of your undying love for “Hamilton.”
You’re probably still obsessing over the entire soundtrack, but in case you needed reason to listen to “Burn” on repeat...
7. ‘I, ELIZA HAMILTON’ makes its debut just in time for fall!
Hitting bookshelves September 26, this read makes its arrival just in time for pumpkin spice lattes and all things autumn. Whether you tackled all of the books on your summer reading list or not, you won’t want to throw away your shot to read Mrs. Hamilton’s inspiring story.
Click HERE to pre-order your copy of ‘I, ELIZA HAMILTON’ now!
[post_title] => 7 Reasons 'I, ELIZA HAMILTON' Needs To Be On Your Reading List
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[post_content] => Summer is dwindling down, and although the BBQs and pool parties will fade into fall, thespians going back to school have much to look forward to. School means auditions, rehearsals, fall plays & spring musicals.
We've put together collections of bestselling gear to help show off your thespian pride in the hallways:
1. Break Into Showtunes
A proclamation? A courtesy? Sure! Warn the passersby in the hallway before you break out into your current fav showtune.
SEE COLLECTION2. I Can't I Have Rehearsal
We've all been there and said these words dozens of times. Classmates and friends just don't get theatre-life. Next time someone is inquiring about a social activity, save your voice and just point to your chest instead.
SEE COLLECTION
3. The Thespian GPS
But honestly, it's hard to remember sometimes.
SEE COLLECTION4. The Theatre Snob
A shirt that instantly makes friends and enemies, yay! (It's theatre)
SEE COLLECTION5. Theatre Is My Sport
Jocks beware, theatre is my sport!
SEE COLLECTION6. Broadway Coloring Sets
Art project? School play promotional posters? These colored pencils will be envy of all your fellow thespians. Check them out and be in the 'Maroon Where It Happens'.
SEE COLLECTION
7. Broadway Enamel Pins
Pins are subtle way to show your Broadway pride. Stick to your backpack, shirt, hat, etc.
SEE COLLECTION
8. Thespian Mask Jewelry
Elegantly display you belong to the thespians. These pendants come in necklaces and bracelets.
SEE COLLECTION
Want more? Check out our entire swag shop collection
SHOP ALL
[post_title] => The Best Back To School Swag For Thespians [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => best-back-school-swag-thespians [to_ping] => [pinged] => [post_modified] => 2018-10-17 02:17:54 [post_modified_gmt] => 2018-10-17 06:17:54 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11111 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [26] => WP_Post Object ( [ID] => 11101 [post_author] => 11 [post_date] => 2017-08-22 08:55:37 [post_date_gmt] => 2017-08-22 12:55:37 [post_content] => Plays — they make us laugh, think and cry. While classic playwrights such as Chekhov, Beckett, Miller and Shakespeare are vital to the world of theatre, the past 50 years have brought us contemporary works that continue to pave the way for new and bold stories. Take it from these seven plays:1. ‘Oslo’
After making its home at Lincoln Center Theater, “Oslo” was crowned this year’s Best Play at the Tony Awards. Chronicling the story of the 1993 Oslo Peace Accords between the Israelis and Palestinians, this powerful story dominated Broadway this season.
2. ‘August: Osage County’
Playwright Tracy Letts’ creation is a black comedy that has also been translated to an Academy Award-winning Hollywood adaptation. When a father dies, his wife and their three daughters must come together despite drastic differences. “August: Osage County” weaves a beautiful and tragic tale of humanity and family.
3. ‘The Curious Incident of the Dog in the Night-Time’
Based on Mark Haddon’s bestselling novel, this popular play is one that almost every theatre-goer can appreciate. The show opens on Christopher Boone, a 15-year-old boy with autism, who embarks on an adventure to solve the mysterious murder of a neighborhood dog. This memorable production features sensory lights and sounds that bring the audience into Christopher’s mind in order to show the world through his eyes.
4. ‘Angels In America’
If you’re a theatre nerd, you’ve likely heard of this famous Tony Kushner drama. Written in 1993, the play quickly gained attention for shedding light on the AIDS epidemic and the LGBTQ community during the early ‘90s. A mini series with an all-star cast followed in 2003. Today, “Angels in America” remains a timeless and notable piece of social commentary.
5. ‘Deathtrap’
Who doesn’t love a good “whodunnit” story? Though this is the oldest play on the list (written in 1978), Ira Levin’s “Deathtrap” embodies all the elements of a perfect psychological thriller. This dark comedy will definitely leave you stewing over its many twists and turns for the rest of the week.
6. ‘Frost/Nixon’
If you’re a sucker for political dramas or are a total history buff, this play is for you. The show documents President Nixon’s interviews regarding the Watergate scandal with broadcast journalist David Frost. It received critical acclaim and has been made into a movie.
7. ‘The Play That Goes Wrong’
After seeing or reading the plays on this list, you might want something a bit on the lighter side. This West End creation, written by Henry Lewis, Jonathan Sayer and Henry Shields, received recognition at the Olivier Awards in London, winning Best New Comedy, and now plays on Broadway. If you’ve ever been involved with a production, you will appreciate the brilliance of this show as you watch this play within a play unravel and spiral into madness. No matter what, this play will cause you to laugh your head off.
Want to recommend another contemporary play that you love? Share in the comments below...
[post_title] => 7 Modern Plays That Will Be Your Next Obsession [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-modern-plays-will-next-obsession [to_ping] => [pinged] => [post_modified] => 2017-08-22 08:55:37 [post_modified_gmt] => 2017-08-22 12:55:37 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=11101 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) [27] => WP_Post Object ( [ID] => 9019 [post_author] => 639 [post_date] => 2017-08-19 10:36:43 [post_date_gmt] => 2017-08-19 14:36:43 [post_content] =>1. The Time He Met Robert De Niro
https://www.youtube.com/watch?v=2BD8idIsZoU Rannells tells of the range of reactions to Robert De Niro by members of the cast and crew on the set of his recent film, “The Intern.” If the content of the story doesn't make you laugh, Rannells’ reenactment will.2. The Time He Did a Bit With Neil Patrick Harris at the 2013 Tony Awards
https://www.youtube.com/watch?v=NnB6ynZEr2U Everyone knows NPH is sure thing when it comes to award show hosts, but pair him up with Rannells, and you’ve got even more side-splitting laughs. Along with Megan Hilty and Laura Benanti, they spoof some of Broadway’s greatest hits while lamenting the struggle for Broadway actors to break into screen acting.3. The Time He Auditioned for ‘Law & Order’
https://www.youtube.com/watch?v=fQ7MiEpdhyA Many actors have appeared on “Law & Order” at some point in their careers. While detailing his failed audition experience, Rannells also hilariously brings to light one of the issues with police interviews on the show.4. The Time He Shot an Intimate Scene On ‘Girls’
https://www.youtube.com/watch?v=s4bvJbXhSBg The anecdote detailing an awkward interaction with a co-star is priceless. Enough said.5. The Time He Flubbed His Lyrics During ‘Hamilton’
https://www.youtube.com/watch?v=aBpmA6-g2uw The experience of forgetting lyrics onstage is universal among actors. But Rannells’ solution to deal with his mind blank on the Broadway stage during one of its biggest shows is both ridiculous and laughable.6. The Time He Toured With ‘Pokémon Live’
https://www.youtube.com/watch?v=qnw0BXKk8Ow For starters, “Pokémon” was a live show? Did anyone else not know about this? This interview finds Rannells discussing the questionable choices he made as a broke young actor. Anyone who has ever taken a terrible job for the sake of making money can relate. For further laughs, watch him read from reality star Kendra Wilkinson’s memoir using his “Pokémon” voice. https://www.youtube.com/watch?v=QqyJJjUV8Z47. The Time He Was in a Basketball Musical
https://www.youtube.com/watch?v=nS2etrfKbYY Rannells reps theatre kids everywhere when he talks about sports and the truth behind his character’s audition scene in “Girls.” Bonus, see his mindblowing rendition of “Let Me Be Your Star” from NBC’s “Smash.” With all of these hilarious stories, the only question that remains is why there are no comedians around who specifically discuss theatre life. Netflix, if you’re listening please give Rannells a comedy special. That is all.What is your favorite Andrew Rannells moment? Let us know in the comments below...
[post_title] => Tony Nominated Andrew Rannells' Best LOL Moments [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tony-nominated-andrew-rannells-best-lol-moments [to_ping] => [pinged] => [post_modified] => 2017-08-18 11:01:29 [post_modified_gmt] => 2017-08-18 15:01:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10993 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [29] => WP_Post Object ( [ID] => 10979 [post_author] => 391 [post_date] => 2017-08-17 08:21:27 [post_date_gmt] => 2017-08-17 12:21:27 [post_content] => With all of the riffs, aggressive rock singing and seemingly impossible high notes, contemporary musical theatre is chock full of incessant demands for up-and-coming singers. While many such roles help turn a next-to-normal new actor into a Broadway phenomenon, other roles are written as vehicles to help immortalize legends. Demanding contemporary music is not just confined to rock musicals, though. Here are 15 of the most vocally challenging contemporary roles for men:1. Evan Hansen from ‘Dear Evan Hansen’
https://www.youtube.com/watch?v=xkdPRcY0k4o Ben Platt’s awkward, well-meaning character is one of the most vocally demanding roles from the past Broadway season. The role calls for a clear tone while effortlessly executing long phrases in a high tessitura.2. Gabe from ‘Next to Normal’
https://www.youtube.com/watch?v=ZAhgX7RleDQ Originally premiered by Aaron Tveit, Gabe’s vocal writing is alive with riffs and thrilling high notes reserved only for the strongest rock tenors.3. Jekyll/Hyde from ‘Jekyll and Hyde’
https://www.youtube.com/watch?v=vmxVjXtmSaA The dual title role is one of the greatest challenges for contemporary singing actors. The clean, beautiful tone needed for Jekyll and the contrasting growl needed for Hyde require superb technique.4. Lafayette/Thomas Jefferson from ‘Hamilton’
https://www.youtube.com/watch?v=dwydujSqMRA Where Lafayette and Jefferson lack in stratospheric high notes, they make up for with tongue-twisting, record-shattering raps few have mastered.5. Roger from ‘Rent’
https://www.youtube.com/watch?v=JgTObLnwYB4 Adam Pascal set a solid precedent for everyone after him playing the struggling singer-songwriter in Jonathan Larson’s best-known work.6. J.D. from ‘Heathers’
https://www.youtube.com/watch?v=hD7x_7tUFNI The Baudelaire-quoting male lead in this musical is every young rock tenor’s dream, with riffs, high notes any Heather would envy and a killer second-act number (no pun intended here).7. Anatole from ‘Natasha, Pierre, and the Great Comet of 1812’
https://www.youtube.com/watch?v=UaNZfaYmrho The seductive, conniving main antagonist in Dave Malloy’s musical based on Book 8 of “War and Peace” has a range like few roles before it. The character’s last note in “Pierre and Anatole” was written as a joke before Lucas Steele attempted it, according to Malloy.8. Pierre from ‘Natasha, Pierre, and the Great Comet of 1812’
https://www.youtube.com/watch?v=vuYPDlTjCMo Speaking of “Great Comet,” Pierre’s vocal range is incredible, reaching its zenith at a B4 in “The Duel.” Josh Groban’s powerful classical tone against a more contemporary ensemble sound is sheer perfection.9. The D’Ysquith Family from ‘A Gentleman’s Guide to Love and Murder’
https://www.youtube.com/watch?v=oC2lNyBmQFQ One actor plays nine family members (of both sexes) in the 2014 Tony winner for Best Musical.10. Quasimodo from ‘The Hunchback of Notre Dame’
https://www.youtube.com/watch?v=1NZUWYCy5pk The hero of the stage version of the classic Disney film is a challenge vocally and physically. The actor must maintain a hunched posture and speak in a raspy tone while singing angelically.11. Elder Price from ‘The Book of Mormon’
https://www.youtube.com/watch?v=GVJgmp2Tc2s The main character in the 2011 Tony winner for Best Musical has a show-stopping solo in which he reaffirms his faith and purpose in life.12. The Phantom from ‘Love Never Dies’
https://www.youtube.com/watch?v=vaQCVzUn4oQ This flawed but beautifully scored sequel to “The Phantom of the Opera” has spectacular vocal lines for the Phantom. The character not only sings higher than in the previous show, but has a more complex storyline involving Christine’s son, Gustave.13. Frank Abagnale, Jr. from ‘Catch Me If You Can’
https://www.youtube.com/watch?v=BYvzDg3ydm8 Another role created by Tveit, this character has a brisk, demanding eleven o’clock number to cap off an already arduous role.14. Dewey Finn from ‘School of Rock’
https://www.youtube.com/watch?v=u5JAQGUyIPE Based on Jack Black’s character from the film “School of Rock,” Alex Brightman premiered a role with stratospheric rock solos as well as a contagiously energetic personality.15. Huey Calhoun from ‘Memphis’
https://www.youtube.com/watch?v=OGO5rIAAVrQ Loosely based on the real-life disc jockey Dewey Phillips, Huey Calhoun is a character whose rock-soul vocal writing climaxes with the eleven-o'clock number “Memphis Lives in Me.”Did we leave out your favorite role? Let us know in the comments below...
[post_title] => 15 Most Vocally Challenging Contemporary Male Roles [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-vocally-challenging-contemporary-male-roles [to_ping] => [pinged] => [post_modified] => 2017-08-17 08:21:27 [post_modified_gmt] => 2017-08-17 12:21:27 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10979 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 21 [filter] => raw ) [30] => WP_Post Object ( [ID] => 10873 [post_author] => 960 [post_date] => 2017-08-16 23:49:05 [post_date_gmt] => 2017-08-17 03:49:05 [post_content] => Just answer what musical these song titles come from. It may be pretty self-explanatory, but that doesn't mean it's easy. The last one is extra hard! If you get it, then... great job... (PS: The pictures are just there to confuse and distract you. They have nothing to do with the right answer.) [post_title] => Quiz: Can You Tell Us What Musicals These 11 Song Titles Are From? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => quiz-can-tell-us-musicals-11-song-titles [to_ping] => [pinged] => [post_modified] => 2017-08-29 02:19:33 [post_modified_gmt] => 2017-08-29 06:19:33 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=10873 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [31] => WP_Post Object ( [ID] => 8646 [post_author] => 1 [post_date] => 2017-08-15 09:54:03 [post_date_gmt] => 2017-08-15 13:54:03 [post_content] => Guest post by Nikki Kim A new school year brings many things: new clothes, old friends, and the dreaded textbooks breaking your back. On top of all this, Seniors have another big thing on their mind--college. For music theatre, and dance majors, that means more than just filling out the CommonApp--that means the start of preparation for college auditions. As someone who dealt with this chaos as a senior last year, there are several things I wish I'd known beforehand:1. Get Your Prescreens Done Early
During my time with college auditions, I did two auditions on-campus, two auditions at New York Unifieds, one local audition in a hotel ballroom (in November) and one audition via video. I auditioned for two programs that had prescreens, which are videos you send in to a college before live auditions. If they want to see you again, you’ll be invited to campus for a callback.
This leads me to my first point: Get your prescreens done early. I decided to wait on mine until November, even though both of mine were due Dec. 1 (which seems to be the universal date for Common App applications and prescreens, but check with each program individually. Some schools, like Carnegie Mellon, open prescreens on a first-come-first-served basis as early as September 1st.)
When I recorded my videos, I went from my first college audition to my accompanist’s house, and then to a rehearsal, and I was sick while recording them. It was a mess, and I still had to edit my videos. I ended up submitting them at 11 that night, and that added a lot of unnecessary stress. If you start working on your prescreens early, you won’t be rushing to get them all done in a day or so. Even if you feel like they’re not your best, you’ll have time to redo them.
2. Rehearse With an Accompanist
I was lucky enough to already have a relationship with a good accompanist before going into this, but when I was auditioning, I heard plenty of horror stories about kids doing their prescreens with an accompanist for the first time. Find an accompanist and rehearse with them before you record. Don’t know where to find one? Head to your local university’s music department and ask about an accompanist. I happen to live close to Kennesaw State University, so my accompanist works there.
One song I’ve recorded before is “Astonishing” from “Little Women.” This was originally my competition piece, and not to be done with live accompaniment. When I ran it for the first time with a pianist, it was so difficult and it took me a couple tries to adjust. You don't want your hour with an accompanist to result in only one or two takes for your prescreen. Rehearse first, then record.
3. Find Out What Coaching Style Works for You
Everyone has a different way that they learn, grow and progress. Personally, I’ve always liked working on different shows with different directors because this gives me multiple perspectives. I like this approach because I feel like every college will have a different take on the material and I can ask many of my coaches and pick and choose what feels truthful and right to me. Find out what coaching style works for you, and work at it! I feel much better after hearing what multiple people have to say, but you might be the kind of person who does better with a single coach. Experiment for a little bit until you find what works for you.
4. Go to Professional Auditions
One thing a lot of kids mentioned going in is that working with an accompanist in an audition was a fairly foreign concept to them. Personally, I was surprised, because most of my auditions for the past two years have been with a piano. I realized that part of it was because we had different strategies for auditioning. Since I started, I have been encouraged to audition for professional theatres in the area. One tip I cannot stress enough is to go on professional auditions. I’m not saying to pack up and start auditioning for Broadway, but look around for your local equity/non-equity houses and go to their auditions. There is a 99 percent chance you won’t be cast, but that’s OK! The whole point of these auditions is experience, not booking the job. Going into my college auditions, I felt so comfortable (well, as comfortable as you can feel while auditioning) because it felt just like walking into one of my typical Equity-house auditions.
5. Find an Audition Routine
Another thing that professional auditions made me start to do was find an audition routine. I happened to stumble upon mine randomly, but I’ve adopted it and used it for every morning audition. I auditioned at one of the biggest Disney Theatrical cattle calls and had to be there by 7:30 a.m., and it takes a little over an hour to get into the city from my home. I ended up getting up at 4 a.m. to get ready and realized how well that worked for my voice and body. I was awake, alert and ready to go! This always helps me perform at my best, and I’m not in that “I’m really tired and need my coffee” zone at 8 a.m. when I need to belt “Astonishing.”
You’ll also learn what you do with your diet during audition days. For me, I cut out soda a week before big auditions and dairy two days before. The morning of, I chug a Mountain Dew (seems hypocritical, I know) because it gives me 96 milligrams of caffeine and 77 grams of sugar. Then I stick to just water and Throat Coat until after I sing. Everyone is different, and this may not work for you, so find your routine and stick with what works best.
6. Stay in Tune With Your Body
Traveling is often a big part of the college audition process. We chose to drive because we wanted to carry specific bigger items in the backseat, namely a HEPA filter and humidifier. Think about you, your body and how you like to feel when you sing and act. Personally, I have allergies, and hotel rooms often agitate them. I always carry a HEPA filter when I travel and have to sing so it cleans the air. I go set it up in the room and then try to stay out of the room for about an hour or two to let it get to work. This is also a great opportunity to eat and check out your new surroundings.
Hotel rooms also tend to have very, very dry air. This is actually helpful to 99 percent of people there because it helps limit the spread of infection, but it’s not good for vocalists. There is a simple solution: a humidifier! We also set up the humidifier so that when I woke up, my throat wasn’t dry and I wasn’t guzzling water to play catch-up. You can take a bigger one if you and your family choose to drive, but if this is an issue and you have to fly, you can find smaller ones to fit in your carry-on. However, this will take up half of your bag, so try to budget space in your checked bag or family members’ carry-ons.
7. Keep Important Items With You
With traveling, sometimes the “luxury” of driving isn’t an option (hey, I wouldn’t want to drive from LA to NYC!). When this happens, the magic of flying often swoops in to save the day. You’ll probably end up packing more than you usually would for vacation, and most people check a bag. Keep your rep book, dance shoes and one audition outfit in your carry-on. That way, if your checked bag gets lost or delayed, you’ll still have the stuff you need to audition. Toothpaste is easily replaceable, but your rep book filled with all your sheet music and cuts? Not so much.
8. Plan All Unifieds Auditions With a Large Gap in the Middle of the Day
As I mentioned earlier, I auditioned through many platforms, including New York Unifieds, which is a gathering of different programs conducting auditions under one roof (or two, in the case of New York). Unifieds is a great way to knock out multiple auditions in one weekend. If a college you apply to will be at New York, Chicago or Los Angeles Unifieds, you’ll have the option to audition there. You sign up for each college individually with time slots. You can also do walk-in auditions to schools that have an open slot. However, try to plan all Unifieds auditions with a large gap in the middle of the day so you can rest or eat lunch.
I wear three-inch heels to every audition, show and formal event and don’t ever complain about my feet hurting. But by around 1 p.m., my feet were hurting so badly from literally jumping over people, standing in lines and going from building to building. I actually went to the Duane Reade, got some epsom salt and soaked my feet at every gap I had, which helped a lot. My family also decided to stay four blocks away, which was a lifesaver. I’m not sure I would have been able to get through my dance calls if I hadn’t taken the time to rest. Don’t underestimate the time you’ll spend on your feet, and choose comfy shoes!
9. Get Your Parents’ Help
Now, we’re all restless 17- and 18-year-olds, but don’t be too independent. One big tip I learned during this process was to let your parents be stage parents just one time: when talking to your counselors. You’re probably looking at this with a weird gaze, and I don’t blame you! I’ve always been very independent when it comes to my theatre work. My parents made me do all the legwork for theatre myself, so I find auditions, set them up, set up voice coaches and do everything in between. So, when I was applying to colleges, I naturally took things into my own hands.
I called my counselor (I am completely online-schooled) and tried to get her to send transcripts and forms. She told me she had everything handled, and I went on with my life. Well, things didn’t go as smoothly as I’d thought. I received letters from Carnegie Mellon, the first school I applied to, on Dec. 13, saying it hadn’t received my transcript yet. I called my counselor again, and she assured me everything was now fixed. I logged into Wolverine Access for Michigan the day live auditions were supposed to be emailed — no transcript. My prescreens were denied, and I know Michigan does stipulate a certain GPA, so this could have been a reason why my prescreen was denied. Let your parents get involved when you start applying. Parents always outrank students when dealing with schools, unfortunately.
10. Enjoy It!
College auditions are a big milestone in your life, so enjoy it! This is something you’ll likely only do once in your life, and although I find them to be similar to professional auditions, it’s not exactly the same. You meet so many people, see people encourage you left and right and get to learn so much about what you want in a program and a school. You are you, and that’s enough. You’re not auditioning for a role or a part of a show; you’re showing colleges who you are and putting yourself out there. Go be you, because that’s all you can do!
The day before I embarked on 71 percent of my college auditions, I had a coaching session with Rosemary, a coach I’m close with and feel like I can trust wholeheartedly. As we were packing up, she asked me how I felt about all this, and I told her how anxious I was. She smiled, looked me dead in the eye and said, “Don’t worry. If they don’t see the gift, you don’t need to be there.” That moment changed how I felt about college auditions altogether. It’s very true — if a program rejects you, it’s not a reflection of your talent or anything about you. They didn’t see your gift and what you bring to the table, so it’s obviously not the right fit for you. Take a deep breath, smile, go out there and be the best you can be~
Nikki is an incoming Freshman at Elon University studying Drama and Theatre Studies and Marketing. She currently spends her time bouncing from Atlanta to Elon to New York to pursue work as an actress and marketer. During her free time, you can always find her watching a musical or Disney Princess movie and practicing her Disney impressions.
[post_title] => What I Wish I Knew Before College Auditions
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[post_content] => Greetings and salutations.
Read carefully...
[post_title] => Quiz: How Well Do You Know 'Heathers: the Musical' Lyrics?
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Guest post by Anne Berkowitz
We love how much these people make us laugh, and for that reason, we think their wit and charisma would lend themselves well to this handful of iconic Broadway characters! Some of these performers sing (and some have already been on Broadway) but most have yet to whet their musical theater appetite. Here are some dream castings of our favorite comedians.
1. Sarah Silverman - Kate Monster
Our girl Sarah is brash, funny, and vulnerable. These are qualities she shares with Kate Monster, the leading puppet-lady of the groundbreaking musical Avenue Q, now celebrating its 13th year on stage.
2. Amy Schumer - Mrs. Lovett
Amy is witty, talkative, and isn't shy about her feelings (or her love of pie). We think she'd make an ingenious Mrs. Lovett in the Sondheim masterpiece, Sweeney Todd. You can currently see the “Demon Barber of Fleet Street” at the Barrow Street Theater.
3. Whoopi Goldberg - Dolly Levi
Dolly Levi, the magical matchmaker and titular character of Hello, Dolly!, is the ultimate leading lady. Whoopi is one of the few strong, multitalented performers who has the charisma and chops to carry the classic show. You can't miss Whoopi's "Get Bruce" co-star Bette Midler give her Tony Award-winning performance right now on Broadway.
4. Chris Rock - The Genie
Loud, wacky, and with a heart (and lamp) of gold, the Genie in the Disney musical Aladdin is an amazing character that would suit the style of comedy legend Chris Rock. Chris has already been on Broadway but has yet to try his hand at a big musical.
5. Louis C.K. - King George
Though it may not seem like it at first, Louis C.K. shares a lot with the character of King George in the smash-hit musical Hamilton. Both are political, sassy, take pride in their vulnerability, and are open about some bad luck they've had in past relationships!
6. Tina Fey & Amy Poheler - Helena Rubinstein and Elizabeth Arden
Need we say more? Fey and Poehler would knock it out of the park playing portraying the trailblazing cosmetic rivals in War Paint. You can currently see two-time Tony Award-winning legends (and good friends) Patti LuPone and Christine Ebersole in the roles.
7. Aziz Ansari - Timon
Aziz would be perfect as the charming meerkat in the long-running musical The Lion King. Can't you just hear the Master of None star singing "Hakuna Matata," talking about how great bugs taste, and helping to save the day with hilarity and love?
8. Kevin Hart - Dewey Finn
Though we aren't sure if movie star Kevin Hart has the rock-and-roll chops to pull off playing Dewey in the Andrew Lloyd Webber musical School of Rock, we know he absolutely has the right sensibilities to play the lovable substitute teacher.
For more comedy content, check out Comedy Month on TodayTix.
[post_title] => Broadway Dream Casting Our Favorite Comedians [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => broadway-dream-casting-our-favorite-comedians [to_ping] => [pinged] => [post_modified] => 2017-08-14 10:08:29 [post_modified_gmt] => 2017-08-14 14:08:29 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10807 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [34] => WP_Post Object ( [ID] => 9070 [post_author] => 780 [post_date] => 2017-08-13 08:53:13 [post_date_gmt] => 2017-08-13 12:53:13 [post_content] => [post_title] => Quiz: Which Schuyler Sister Are You? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => which-schuyler-sister-are-you [to_ping] => [pinged] => [post_modified] => 2017-08-13 18:21:26 [post_modified_gmt] => 2017-08-13 22:21:26 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=9070 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [35] => WP_Post Object ( [ID] => 10686 [post_author] => 68 [post_date] => 2017-08-12 18:24:36 [post_date_gmt] => 2017-08-12 22:24:36 [post_content] => If you do these things... Broadway is LIFE! Community list so add your submission! [post_title] => Top 10+ Signs That Broadway Is Your Life [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => top-10-signs-broadway-life [to_ping] => [pinged] => [post_modified] => 2018-03-16 09:21:45 [post_modified_gmt] => 2018-03-16 13:21:45 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=10686 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 11859 [post_author] => 736 [post_date] => 2017-10-02 08:00:37 [post_date_gmt] => 2017-10-02 12:00:37 [post_content] => If you think being a dresser backstage on Broadway is just putting actors in their costumes and helping with quick changes, think again. There are many facets to the skilled trade of being a professional wardrobe person. One Broadway show could have dressers in many positions who go beyond helping actors in and out of clothes. Here is a rundown of those types of roles:
Laundry Person
While you may easily do your laundry at home, doing the laundry for a Broadway show is quite the task. Shows with large casts produce lots of dirty laundry, and doing all of it can be a full-day ordeal. If costumes have beadwork, special dyes or delicate stitching, they need special care when being washed. At least one person is usually dedicated to doing the laundry every day. This includes, but is not limited to, washing and drying (whether in a machine or by hand), sorting the clean laundry and putting it away in the appropriate place. Here is an inside look at all the jobs of a dresser when “Mary Poppins” was on Broadway, with a special glimpse into the laundry room. https://youtu.be/bdfmVlEh088Beader
If a show has costumes with intricate beadwork or even sequins, a beader is usually on staff to repair these specific costumes during non-performance hours (otherwise known as doing “daywork”). Beading is certainly a learned specialized skill and requires patience. This video from “Wicked” gives you an inside look at the beading skills and prep work that went into creating the costumes, as well as an idea of the dresser skills it would take to do upkeep during a beading daywork call. https://youtu.be/-u5lcCkYznYDayworker
In addition to a bead worker, other dressers are employed to do daywork in order to prepare and check the costumes before a performance. They ensure they look as pristine as they did on opening night.
Ironing, steaming and minor repairs are all allowed. The costumes are meticulously checked for any damage and are repaired onsite. Anyone who wants to be employed as a dayworker needs to have at least basic sewing skills and be able to sew small rips and buttons, among other things.
Stitcher
A stitcher is also onsite during daywork and sometimes during showtimes. This is a dresser who is a whiz with a sewing machine. It’s also helpful if this person can do pattern-making, use a serger and operate other applicable instruments. Stitchers will repair more difficult and larger rips and holes in costumes. They may also do alterations to costumes if a new actor or swing/understudy is going in the show.
Shoe Person
During daywork, a dresser who knows how to repair and keep shoes looking like new is also employed. Shoes take a beating from everyday wear and tear and hardcore dancing, so the shoe person can give shoes a fresh coat of paint/polish, check for repairs, replace or fix any rubber or hardware and/or take the shoes to a local cobbler for a more involved fix.
Wardrobes Supervisor
The wardrobe supervisor is in charge of all the dressers and oversees all the jobs listed here. The supervisor usually was once a dresser and has moved up the ranks to become someone who is now in charge. Due to union rules, the supervisor doesn’t usually dress. Instead, he or she works with the creative team to ensure costumes come onstage and offstage accordingly, schedules and hires the dressers and is the go-between for management, actors and the costume designer.Assistant Wardrobe Supervisor
This person does exactly as the title implies. He or she assists the supervisor with managerial work and sometimes dresses actors. It takes a special kind of person to be able to assist the supervisor in everyday tasks but also take the lead when the supervisor is out of the building. In addition, an assistant can serve as an extra hand during quick changes and fill in for dressers who call out sick at the last-minute when a swing isn’t available. Here is a great backstage tour and inside scoop from wardrobe supervisor Irene Bunis when “Mamma Mia” was running on Broadway. https://youtu.be/nxKs-rB6U8EDresser
https://youtu.be/widLgDuK-nk This great video from the National Theatre gives you a tour of the daily routine of a wardrobe dresser. There are two specialized dresser positions that also can exist during the run of a show beyond a regular dressing track of ensemble or principal actors: swing dressers and star dressers. Swing dressers fill in for the regular dressers when they are out sick or on vacation. Theatres will typically spend some time training a swing for this type of episode, but not always. Swings need to be quick on their feet and meld in easily with the daily show routines of the dresser they are taking over for. Check out this video from the former company of “Billy Elliot” in London, which showcases swing dresser Lauren Adams. https://youtu.be/eTp-q2BacEs Star dressers do exactly as this title implies: dresses the names/stars of the show. Pictured below is star dresser Jennifer Hohn with Lin-Manuel Miranda backstage at “Hamilton.”
These tracks usually require extra-special care, and star dressers will sometimes act as a special assistant, guest greeter and more in addition to helping carry out the costume changes with his or her actress. Many times, a star of a show will take their star dresser with them from show to show, since they are familiar with their work and have a good rapport. If you are meticulous and a people-person, this is a great job for you!
Have you worked or do you want to work in any of these areas? Share in the comments below
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