How did you start acting in the first place?

I started acting in church. In our drama ministry at church, we did skits and sketches. It was always kind of a part of things. They wrote original musicals with original music at my church in Detroit, so it was always in the mix. And I’ve always been a singer. So when I actually paired the two when I was in high school singing and acting, it was explosive.

So did you then after high school, what happened? What was the path?

I actually didn’t know that acting as a career was available to me. I wasn’t sure what I wanted to do. I knew I enjoyed cooking for people, so I was thinking about culinary school. I love and picked up on sign language quickly, so I was thinking about being an interpreter for the theater.

I went to Mesa Community College for a year and a half just to try it and figure out what was what, and I took an elective group called Standing Room Only. They brought us to New York on spring break, and I saw my first Broadway show. We took some acting workshops, and I realized that this was a career. Then AMDA [the American Musical and Dramatic Academy] was auditioning the next week in Phoenix. I went home, got my monologue and my song together and I auditioned. That fall, I moved to New York to go to AMDA to pursue this thing called Broadway.

I imagine it was not a direct path from AMDA to Broadway.

No, it was not. (Laughs) Everyone’s path is different. Some people before they were even out of college had the huge gigs lined up. For me, it was step by step by step by step. I graduated and did this production, and I use the term loosely, of Aida. I was getting paid $250 a week, though, to sing and act.

You’re a professional!

Okay, baby! Yes, that’s it. But then I got a tour with George Faison, who wrote the script, directed and choreographed the show If This Hat Could Talk. I began to be connected with the right people pretty early on, but I graduated in 2005 and didn’t make my Broadway debut until 2014.

That was the revival of Sideshow. Do you consider that your big break? The moment when you knew you would make it?

Waitress. Honestly, it was Waitress. Sideshow opened and closed in two and a half seconds, then I did some regional gigs here and there. Then I booked Waitress, and I was playing Nurse Norma and was in the ensemble, but I was understudying Becky. For the first day of rehearsal, Keala Settle couldn’t be there, so for the very first day of rehearsal, I did Becky and Nurse Norma. She was already attached to me. Getting to take over six months into the run to playing Becky on Broadway playing my first principal role opened a lot of doors.

It occurs to me that this is actually your cinematic debut as well.

Yes, it is.

It’s an interesting way to do it, don’t you think?

It is, but I love the way they shot it. I didn’t know what to expect and I was a little nervous because I’d never seen myself on a screen like that. When I sat there, I was like, this is filmed like a movie. I felt like I saw things in the show that I hadn’t seen before. So it was really cool to see something that I’ve been a part of for so long in this new way.

So now that you have officially broken through cinematically, are you looking to do more?

I would love to do more. I feel like, in the past, I hadn’t had the same level of comfort in doing film or television, and I have had to grow into that. Theater actors, a lot of times we get really self-conscious about being on film because you don’t want to be too big. I don’t want to be too this or that, but shooting Waitress really helped. They were really great about saying, “Oh, I love what you did, give me one for the camera.” And I said, “Oh, I got it.” I know exactly what you mean. It was little tweaks, and I understood. I feel like I’m ready to make more of a splash over those waters. (Laughs)

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

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The post ‘Waitress: The Musical’ Star Charity Angél Dawson on Her Path as an Actor, Her Film Debut in ‘Waitress’ Fathom Event first appeared on Casting Networks.

The post ‘Waitress: The Musical’ Star Charity Angél Dawson on Her Path as an Actor, Her Film Debut in ‘Waitress’ Fathom Event appeared first on Casting Networks.

How does an understudy prep for their potential stage time and perform well when needed? Here are some things to keep in mind when you’re taking over for another actor.

Remember Your Primary Function

As tempting as it is to put your spin on everything, remember that your primary function as an understudy is to preserve the structure of what the actor you are understudying brought to the table. This doesn’t mean you should mimic their performance, but you should be consistent with them as far as the nuts and bolts go (blocking, major character arcs, bits with other actors, intentions discussed with the director). You want to be able to hop in and seamlessly slot into place so that the rest of the cast can continue their best work.

The More Prep, the Better

One of the challenges of this job is that you will likely not get much actual rehearsal time. Especially in a non-Equity production (and many times even in an Equity house), you will get little to no real stage time before hopping in. If you’re lucky, you might get put in a rehearsal with the cast, but it’s not guaranteed. This means it’s up to you to prepare yourself. Take extensive notes. Note everything. Write down every nuance of blocking (yours and that of anyone you interact with), and record any notes the director gives the actor you are understudying. If you can record videos of any choreography, do so. Watch as many rehearsals as you possibly can. Thoroughly digest any dramaturgy information given.

Rehearse on Your Feet

Whether at home with a friend, or on the sidelines of the rehearsal space, find a way to get blocking and choreography in your body. If possible, you want to build muscle memory before you’re ever put in for rehearsal or performance. Especially when learning things like fight choreography, I try to mark it through physically on the sidelines as the choreographer is teaching the actor I’m understudying. Your body will remember when your mind is overloaded.

Keep a Good Attitude

Understudying can be very stressful as the call to perform can come at the last minute. It’s easy to let the intensity of the situation overwhelm you, but the calmer, more positive and more professional you are, the more impressive it is. This can also increase your chances of getting hired in the future.

The rest of the cast may be nervous about a new element being thrown into the mix as well. A confident, positive attitude as the new person stands out and keeps you in the right frame of mind when it’s showtime. This is one of those times I would recommend faking it till you make it.

Deliver the Goods

Never accept an understudy gig if you cannot fulfill all of the duties. You need to be available on short notice for any performance in the run. If you know you are not a quick memorizer, reconsider accepting the lead understudy gig. Nothing looks worse than calling in emergency backup that can’t back it up because they haven’t done the work. That’s a quick way to get fired, or at least not re-hired.

Advocate for Yourself

The needs of understudies often go overlooked, so it’s important to be your advocate. Know your contract front to back as well as your strengths and weaknesses.

If you need extra time to learn music or choreography, ask for recordings as soon as possible. If you were promised works you aren’t getting, politely remind someone. Being communicative of your needs is not being whiny or demanding. It’s about making sure the transfer goes as smoothly as possible.

Being an understudy can be a great way to get seen in spaces unfamiliar with your work. Everyone loves a competent understudy. If you can keep your focus on supporting the existing cast while still bringing nuanced and genuine work to the table, understudying can be fulfilling, exciting and a great way to expand your experience and career.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

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The post Understudy Life: How to Hop in With Style first appeared on Casting Networks.

The post Understudy Life: How to Hop in With Style appeared first on Casting Networks.

Directing the work you have written comes with many highs and lows. I’m currently directing a musical I wrote the book and lyrics for and the struggles (as well as the joys) are very top of mind. Let’s take a look at some things to consider.

Should I direct my own work?

The first thing to do is examine whether this is the right choice for your project. There are many benefits to surrendering your script into the care of another, not the least of which is outside perspective and creativity. Many, if not most projects benefit from the added scope of collaboration.

Writing is such an intimate process. The closer you are to the words, the more time you’ve spent in the world of your own making and the narrower your perspective tends to come. If there is not a strong reason to direct your own work, I would advise against it.

Some reasons you might want to direct your own work:

• You’re developing a project from scratch and there is no one else with the drive and resources to push the project into existence.
• You have a very specific vision for the project, and in fact, wrote it for the purpose of directing it.
• You have a team of creators and collaborators working closely enough with you and with equal stakes in creation and therefore have people to provide balance and insight.

What are the challenges of directing your own words?

1. You think you have all the answers.

It’s very easy to feel like your interpretation of the characters is the right interpretation (after all, you wrote them). You were inside their heads.

This can be incredibly restrictive for the actors. If actors are not given the freedom to play, explore and interpret work in their own way, you’re not letting them do their job. Once the work is written, you have to accept that your version of the words is just one of many valid interpretations. Micromanaging the script will be the death of creativity.

What’s the fix?

Put your writer hat away. Directing your own work requires firm internal boundaries. Think of the writer as another person when you’re directing. Avoid giving direct, all-encompassing answers to actors if they ask. Instead, ask questions. What do these words mean to them? What impulses do they have? Come back to the basics: actions, obstacles, tactics. You’re creating something new together.

Of course, there is the danger of overcorrecting. You’re still the director, so you can’t give it all up to the gods and be entirely loosey-goosey or the structure of the rehearsal room will collapse and actors will lose confidence in the process. Be open-minded, not indecisive.

2. Spreading yourself too thin.

Once you start taking on multiple jobs, there is a danger of doing many jobs poorly instead of one job well. If half your mind is on script development while you’re in rehearsal, you can’t be fully present as a director.

What’s the fix?

Surround yourself with support. Make sure you have as many workhorse artists on your team as possible, people who care equally about the project and don’t need anyone to pick up their slack. An experienced stage manager is an absolute must. Make sure your producers, designers, and anyone who puts their hands on the project, are invested and competent. Invite their collaboration. And make sure you are relinquishing control when appropriate. Trust your team to do their jobs so you can do yours.

3. There is only one voice in the room.

Theatre is meant to be the result of many voices. When you are filling two of them, it’s easy to dominate the creative conversation completely.

What’s the fix?

Put as many eyes on it as you can. Get multiple editors. Workshop far and wide. Hire an assistant director. Encourage exploration in the room. Make sure you’re showing up every day ready to listen.

4. There is a power imbalance.

Much in the same vein, actors can feel hesitant about expressing their opinions when they know you wrote the thing. This is not good for the final product and makes for a terrible rehearsal environment.

What is the fix?

Keep open communication. Express clearly and often that you value the input of others and back it up with your actions. Don’t get precious about the words. Make sure the venue has a solid and clear conflict resolution path so you are not the one fielding issues that might arise.

The wonderful thing about directing your own work is the incredible creative agency it affords you. As a director, you have the advantage of the most intimate knowledge of the script and the goal of the message. As a writer, you have the safety net of knowing your work will be handled with respect and care.

There is such joy to be found in creating something from nothing and seeing it all the way through from page to stage. With a little forethought, clear boundaries and an open mind, there’s no reason this joy shouldn’t be yours.

Casting directors use Casting Networks every day to discover people like you. Sign up or log in today to get one step closer to your next role.

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The post The Pitfalls and Privileges of Directing Your Own Words first appeared on Casting Networks.

The post The Pitfalls and Privileges of Directing Your Own Words appeared first on Casting Networks.

It’s important to have these go-to pieces in your repertoire. However, just like headshots, monologues don’t last forever.

Eventually, even your best audition pieces must be swapped out for fresh material. But how do you know when you should retire a particular piece?

Here are five signs its time to let a monologue go.

1. It’s Been Seen Too Much

Especially if you’re working in the same region for some time, you’re bound to eventually shop your go-to monologues around to everyone in the circuit. If you know local directors have seen you do the same piece a couple of times, it’s probably time to reach for something fresh.

2. The Material is Dated

While you don’t have to worry about this if you’re reading for Hamlet, contemporary pieces have a way of dating themselves every 10 years or so. References to outdated technology might slide here and there, but outdated ideology is likely to ping an auditor’s ear.

If it feels like a strain to justify the character’s viewpoints by today’s standards, it’s probably time to put the monologue to rest.

3. The Stakes Can’t Be Resurrected

Much in the vein of the last point, certain things just don’t pack the same punch they used to. For example, implications that a character might be gay may have been reputation-ruining, world-ending, highest of high stakes when the play was written, but won’t hold the same weight for a modern audience.

This isn’t to say you have to automatically trash a monologue with outdated stakes. But you have to assess it differently. Are the stakes still clearly understandable to a modern audience without the context of the rest of the play to support it? Is the source text well-written enough to hold up?

If the stakes cannot be clearly acted and communicated within the space of the monologue, it’s not helping you.

4. It No Longer Matches Your Type

We all grow and change and our types grow with us. The monologue that fit like a glove right out of college might no longer ring true several years down the line.

Unless you’re auditioning for very specific roles, don’t try to use a high school monologue in your thirties. It won’t show you off. If you used to get cast as best friends, girl-next-door types, but your look has gotten harder and edgier, you’ll want to choose material that supports that.

5. You No longer Connect With the Material

Even if you could still plausibly play the character from your audition piece, if you personally no longer connect to the material the way you once did, it can feel stale.

Sometimes taking a monologue out of rotation for a few years and coming back to it with fresh eyes is enough, sometimes not. It’s perfectly fine to retire a “good” monologue just because you don’t vibe with it anymore.

Remember, there is no “right” monologue, it’s what’s right for you.

Just like any other part of the industry, monologues have expiration dates. Keep them as long as they serve you and then put them to pasture when they no longer sell your abilities.

There are plenty of strike-compliant roles available on Casting Networks. Sign up or log in and see what’s casting near you today!

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The post 5 Signs It’s Time to Retire a Monologue first appeared on Casting Networks.

The post 5 Signs It’s Time to Retire a Monologue appeared first on Casting Networks.

Shakespeare can be for anyone, even if it’s not something you plan to make a career of. Working with Shakespearean text can be an incredible tool to broaden your range, hone specificity, sharpen technical acting skills and deepen your commitment to high-stakes scenes. If you’re new to the classical acting game, here are some ways to approach Shakespeare’s acting style for the first time!

Find the rhythm.

Shakespeare often writes in verse, and specifically in iambic pentameter. Lines that conform to this style will follow a meter, broken into two-syllable “foots” or “iambs” (an unstressed syllable followed by a stressed syllable). Each line is made of five iambs.

While there are whole fields of study that can be devoted to this, the first thing to realize about it is that Shakespeare has rhythm and flow. Each iamb can be thought of as a heartbeat (bah-DUM bah-DUM etc). While you don’t want to fall into a robotic chanting monotone, neither do you want to fight the rhythm. Working with it can help reveal the flow of a monologue and the heart of the text. If this all sounds technical and overwhelming, all you have to do is speak the text out loud. Once you start speaking, the rhythm makes itself clear!

Know what you’re saying.

Shakespeare makes beautiful use of an extensive vocabulary and is full of arcane references. However, if you don’t know what you’re saying, that is immediately apparent to your audience, and it will feel empty and stiff to you as an actor.

There are so many resources to help with this. A great way to start is by breaking it up into chunks and just circling every word, phrase or reference that you don’t know. Sometimes I even circle ones I do know, but for which I would like more specific context. Then comes the research. There is no shame in No Fear Shakespeare or Cliff Notes to help you get the gist of things.

Shakespeare’s Words: A Glossary and Language Companion, by David Crystal and Ben Crystal, is an incredible resource. The book not only lists almost any word used anywhere in Shakespearean canon but also notes which plays they appear in and how they are used.

Put it on the text.

Some playwrights (Chekov for example) are all about the subtext. They want to know what’s between and underneath the words. The Shakespearean acting style, not so much. The Bard puts big feelings in the words.

For example, if a character says “This hair I tear is mine,” they are physically tearing their hair out. The challenge is to fully commit to the emotions the text demands, which is why working with Shakespeare can be such a powerful tool to cultivate honesty, vulnerability and courage in your work.

Shakespeare is meant to be heard, not read.

If you’re just reading Shakespeare and studying it academically, you’re not getting the full effect. He was a playwright; his words are meant to be played. Get up on your feet and work the text out loud; rehearsal will move faster and it will make more sense. This is especially useful for understanding the Shakespearean acting style.

Make it personal.

We don’t perform Shakespeare to replicate “the real way” it was done 400 years ago. We perform it because the themes, language and stories still speak to us. Putting your own voice and perspective into Shakespeare is not only allowed, it breathes new life into the words. It makes it relevant.

Practice makes perfect.

The more you expose yourself to Shakespeare, the more you will develop an ear for it, and the quicker you’ll pick up the text and make it feel natural.

Remember, you don’t have to experience Shakespeare all on your own. Go see live performances, watch taped live performances or start with films of his work. Whatever gets you excited and inspired. You’ll pick up the words and style faster if you connect to them.

Too often, we gatekeep Shakespeare. There can be so much elitism and snobbery surrounding his canon that it’s easy to feel discouraged, intimidated or excluded.

Shakespeare’s words are free. They’re still around for a reason. While some of his references and ideas might need updating for modern sensibilities, the core themes are universal and easily bent to tell modern stories. In short, Shakespeare is for everyone who wants to speak Shakespeare.

There are plenty of strike-compliant roles available on Casting Networks. Sign up or login and see what’s casting near you today!

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The post Shakespeare 101: Breaking in the Bard first appeared on Casting Networks.

The post Shakespeare 101: Breaking in the Bard appeared first on Casting Networks.

Children are brutal…ly honest. If you’ve ever been tempted to blame a reticent audience for their lack of response, be prepared to be humbled by the ruthless critics that are children. Kids can sense a faker a mile away and are unforgiving of anyone phoning in a performance. For any hope of keeping their attention, you have to have twice the energy they have and commit one hundred percent. Kids will respond to honesty, and they will let you know when you don’t measure up. This can be a wonderful gift. With the right mindset, testing your work on children can be an incredible barometer for highlighting things to work on.

Say goodbye to the fourth wall. While it’s not a hard and fast rule by any means, interaction with the audience is hugely prevalent in children’s theatre. Whether it’s call and response, direct address, or a post-show discussion, chances are you’re going to be staring directly into the eyeballs of a tiny human at some point. Getting comfortable with crowd work and direct address will be hugely helpful. Mindset is crucial. If you’re trying to sell to them, or teach them or push them into responding it will fall flat. You have to find a way to connect with them as people.

Technique and style. While there isn’t necessarily one set technique for performing for young audiences, there are certainly common themes. Emotions and expressions tend to be bigger, more energetic, to a point that would seem overdone in an evening performance. The trick is you still have to commit honestly. Just like with anything else, you must honor the tone of the script. And if the tone is ridiculous, you have to find a way to inhabit that genuinely. Often in children’s shows there is a little more room to put your own spin on things. Don’t be shy. Physical comedy will be your best friend if you make TYA a habit.

Stamina stamina stamina. This is going to be your most valuable skill. Touring shows might be short, but they often book multiple performances back to back. The mornings are early, the days are long, and the energy has to be there every single time. Hydrate, take care of yourself, and build your endurance.

Don’t lose sight of the point. While it can be exhausting work, bringing the arts to young kids can be incredibly rewarding. Often you’ll be performing for kids who may never have engaged with live performance before. That kind of introduction to the arts can be incredibly powerful. If you start to feel burnt out and bitter, try reconnecting with the kids. This is the kind of work you have to love. Love of the work alone can’t make TYA shows worth it, but it will certainly make it more fulfilling, and make you a better performer.

Looking to get your big break? Sign up or login to Casting Networks and land your next acting role today!

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The post The Ins and Outs of Performing for Children first appeared on Casting Networks.

The post The Ins and Outs of Performing for Children appeared first on Casting Networks.

Advice & Inspiration:

1. Kick off Women’s Month with the premiere of a brand new empowering podcast: In Her Words. Produced by nonprofit Women in Entertainment, the show will present intimate conversations with inspiring guests in their own words.
2. The SAG Awards have come and gone, but the inspiring acceptance speeches will fuel you forever! Watch stars like Michelle Yeoh, Jessica Chastain, Ke Huy Quan and more here.
3. She might not be a philosopher, but Tony Award-winner Kristen Chenoweth has thoughts! Get inspired by the Wicked star’s mini-meditations and everything in between in her new coffee table book.
4. Angela Bassett did the (audio) thing! Go deep with the Wakanda Forever force’s rollercoaster ride to stardom on Awards Chatter.
5. Friends supporting friends! Jennifer Aniston and Lisa Kudrow united to shower their friend Courteney Cox with love during her Hollywood Walk of Fame ceremony.
6. As & Juliet lights up Broadway, get invaluable insights and even an acting pep talk from one of its stars Melanie La Barrie on The Art of Kindness podcast!
7. Oscar-nominee Michelle Williams shares an incredible hack for more emotional scenes.
8. March’s Instagram spotlight is Women in Entertainment, an empowering nonprofit that uses its social media channels to uplift and inspire female-identifying folks and allies.

What to watch:

9. In addition to watching new female-powered projects, this Women’s History Month we hope you’ll check out the curated collections on all major platforms that are dedicated to uplifting women’s voices.
10. Daisy Jones & The Six (mini series) rocks onto Amazon Prime March 3: Based on a bestselling novel of the same name, this Hello Sunshine-produced series captures creativity in the wild world of the 1970s by following rock band Daisy Jones & the Six.
11. Give Me Pity! (musical comedy) in select theaters March 3: Sophie von Haselberg sprinkles the talents she inherited from her mom Bette Midler and more onto the screen as Sissy St. Claire in this psychedelic ride which presents a mock TV special.
12. Scream VI (horror) slashes onto screens March 10: Four familiar survivors of the Ghostface murders (cough, cough, Courteney Cox) leave Woodsboro behind for a new chapter in NYC. Things take a bloody turn when a new killer emerges from the shadows.
13. Extrapolations (limited anthology series) streams on Apple March 17: Meryl Streep, Kit Harington, Eiza González, Sienna Miller, Edward Norton, Forest Whitaker and Marion Cotillard… need we say more? Scott Z. Burns (Contagion, An Inconvenient Truth) has a starry cast play out 8 interwoven stories set in the near future, when climate change has wreaked havoc.
14. A Good Person (drama) hits theaters March 24: Zach Braff’s film puts Florence Pugh at the center as Allison, whose perfect life falls apart after surviving a tragedy. Morgan Freeman, Molly Shannon and Zoe-Lister Jones round out this powerhouse cast.
15. Murder Mystery 2 (comedy) streams onto Netflix March 31: End the month on a fun note with the delightful duo Jennifer Aniston and Adam Sandler. The pair find themselves at the center of a wild crime in this followup popcorn flick.
16. We’d be remiss if we didn’t spotlight that hit series like Netflix’s You, HBO Max’s Succession and Showtime’s Yellowjackets also make a welcome return this month.

Wellness Activities:

17. March into mindfulness by trying at least one of these 32 mindfulness activities. You can do it!
18. March is also National Sleep Awareness Month! Take a hard look at your sleep habits and aim to improve the quality of the z’s you are catching.
19. Think positive! Sticking with the national month theme, did you know March is also National Optimism Month? Let this inspire both the dialogues you have with others and yourself.
20. Let creativity lead you down a healing path with Rupi Kaur’s powerful guided writing book Healing Through Words.
21. From sharing free monthly plans to tips and tricks, spend some virtual time with yogi Queen Adriene Mishler.
22. One of the greatest wellness activities we can do is to connect with others. Consider this your reminder to sign up for a local class or attend community events. This month, consider looking into Stella Adler’s Studio of Acting.
23. Take a break from the blur of screen time and read! This Women’s History Month, we recommend stepping into the perspective of a female author. If you’re looking for a recommendation: Gabrielle Zevin’s Tomorrow, Tomorrow and Tomorrow is among one of the best new books, featuring almost everything one might want in a read.

Live / Virtual Events:

24. The Independent Spirit Awards will honor the best in indie film on March 8.
25. Not only is March Women’s History Month, but March 8 is International Women’s Day. Do what you can to celebrate women’s achievements, raise awareness about discrimination and take action to drive gender parity today.
26. And just like that, festivals sprout up again. South by Southwest (SXSW) kicks off in Austin, Texas on March 10 to celebrate the convergence of tech, film, music, education and culture.
27. It’s the most wonderful day of the year! The 95th Academy Awards will air live in all its glory March 12 on ABC with Jimmy Kimmel returning as host.
28. It’s corn! It has the juice! Shucked, a brand-new farm-to-fable musical from the Tony Award-winning director of Hairspray and the Tony Award-winning writer of Tootsie starts previews on Broadway.
29. He’s… flying? Laughter will be sprinkled over you like pixie dust when Peter Pan Goes Wrong on Broadway March 17.
30. March 17 means it’s time to celebrate St. Patrick’s Day! Whether you honor the Irish heritage by heading to an event like the famous NYC St. Patty’s Day Parade or eat your body weight in corned beef and cabbage, we wish you a happy day.
31. Start spreading the news! The exhilarating new Kander and Ebb musical New York, New York starts previews on March 24. Be among the first to experience an original story by David Thompson with Sharon Washington, additional lyrics by Lin-Manuel Miranda and visionary direction and choreography by Susan Stroman.

Looking to get your big break? Sign up or login to Casting Networks and land your next acting role today!

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The post March 2023: 31 Activities for Every Day This Month first appeared on Casting Networks.

The post March 2023: 31 Activities for Every Day This Month appeared first on Casting Networks.

1. 1. What has changed? Examining how changes in the production might be incorporated is important to keep things fresh. If you are returning to a remount, for example, there may be new cast members stepping in, blocking that was adjusted from last time etc. Instead of falling back on what was done before, see if there are ways these external changes might fuel growth in your performance. Just because you’re remounting the framework doesn’t mean you have to stop evolving–it’s still a new production.

 

2. 2. Keep unpacking. One of the great things about extended runs is it gives you more room to play. Ever get to closing weekend and kick yourself because you just made a discovery you could have been using this whole time? (I have). With longer runs you get more time to explore. Don’t stop working when you feel you’ve hit your stride. When you start feeling really comfortable, it could be a sign that it’s time to mine a little deeper. Reexamine bits, change up tactics, revisit your pre-beats and as ifs. Even a slight mental reframing of the scene can be a springboard for fresh work and new discoveries.

 

3. 3. Return to the text. If you don’t know where to start, go back to basics. Returning to the text with a new perspective can be a great way to open up new possibilities. Consider beating out the script again from the other side of practical experience. You might find the words hit differently.

 

4. 4. Set new challenges. When nothing is working and I feel stuck, I like to set small challenges for myself. Don’t try to rejuvenate your whole performance at once. Start with one scene and give yourself a game. For example, I recently was in a remount production and one small scene was feeling stale. The framework of the scene had me and my primacy scene partner listening to the lead while we periodically interjected. I spoke to my scene partner ahead of time and we agreed we were going to go in with the intention of always trying to one-up the other one. It made sense for our characters and the scene, it didn’t affect the lead but it returned to the scene the slight edge of urgency that had started to dull. Finding new ways to play can get your mind sparking again and breathe new life into your work.

The last thing we want is to feel like we’re phoning it in. Instead of looking at long runs and remounts as doing the same thing over and over again, try to see it as a work in progress. There will always be opportunities to stretch, evolve, and try something new. And the beauty of live theatre is if something doesn’t work tonight, you can try a different approach tomorrow.

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The post Remounts and Long Runs: How to Keep Things Fresh first appeared on Casting Networks.

The post Remounts and Long Runs: How to Keep Things Fresh appeared first on Casting Networks.

The set and crew

One of the main differences when working on-camera is the environment. Obviously, there is no stage and no live audience. Instead, you’re on location with cameras, sound equipment and around 100 people whose names you will struggle to remember. It takes time to find out who everyone is and what they do, but it’s helpful to look at the call sheet where you’ll see every crew member listed along with their job.

In the same way that the theater has a set of unspoken rules everyone seems to know, film and television sets have a similar setup. In theater, there is a director and a stage manager whereas on a set there’s a director, an assistant director and a director of photography – in both instances, there’s a team of people making sure everything comes together. Absolutely everyone has an important job to do and seeing everything in motion is similar to a tech rehearsal. There may be a lot of waiting around, which you can prepare for by bringing a book to read or your script to work on when you’re not needed to film.

Rehearsals and preparation

My first time in front of the camera professionally was as the lead in a short film called The Somasundarams. After one rehearsal we began filming the following week. I overprepared. I was eager, happy to be there and desperate not to mess up. I was compelled to work harder because I expected there to be more time to rehearse but what I’ve learned since is that rehearsal for film and television could be five minutes before we shoot the scene or it could be never. The thing to remember is that whether or not there is time for rehearsal, there’s always time to do the prep work, this can be research or journaling as your character – anything you would’ve picked up in acting classes. It may not be a lot of time but your commitment and flexibility are key.

If rehearsal time is imperative to your process then you may have to ask for it by approaching your director for more time to work on the material. Committing to a project by working on your lines or your back story before you even step on set allows you to remain open and flexible to the process.

Working with scene partners

With less time and more distraction on a film or TV set, it can be harder to focus on what you rely on as an artist. In a theater production, a strong connection to your scene partner is something that is developed over the rehearsal period. There may not be enough time to really get to know the person you’re working with on set but going back to basics, the things we learn in acting school about listening, is something that has really helped me. I may not have gotten the time I needed to form a bond but that’s okay because it’s not about me, it’s about my scene partner and the attachment I have made with their character. It’s about listening to them and connecting to what they are saying in the moment, that moment just happens to be in front of a camera.

Filming can be repetitive so how do you find the same emotion and the same objective repeatedly and from different angles? I read a quote by Sandford Meisner in drama school and it has continued to help me ever since: “To behave truthfully in imaginary circumstances.” I interpret this to mean that I must deeply believe in what I am saying and doing by enveloping myself in the world, and this will allow me to react honestly to what’s happening. What is truthful is not necessarily meant to be perfect. Each take may need a new objective, a new place or a thought to get you to repeat the scene again and again.

The finishing product

Overall the world of television and film takes time to get used to, it’s so different to theater but in some ways very similar. The main similarity is the work, the story, the people and the outcome and the impact it has. When you focus on the work you are doing, the acting part, the element that drives you to be an artist, everything else can be learned. You can research what every person’s job is on set, you can pick up new techniques about how to get camera-ready from classes or tips from other actors or how to ground yourself in the moment when you’re in a room with 40 people. The people there with you, the team, the same people choosing to make art and share it, they are what makes being on set no different from being in an auditorium.

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The post Transitioning from Theater to TV first appeared on Casting Networks.

The post Transitioning from Theater to TV appeared first on Casting Networks.

Advice & Inspiration:

1. Summer’s all about fun, right? So take a break from studying and celebrate these 28 hilarious TV/film moments that actors improvised in Stranger Things, Schitt’s Creek and more!

2. Join the SAG-AFTRA President’s Task Force on Education, Outreach & Engagement for a Commercials 101: Auditions and Casting panel.

3. iCarly and Sam & Cat teen star Jennette McCurdy releases her heartbreaking and hilarious memoir I’m Glad My Mom Died on August 9. She dives deep into her struggles as a former child actor and more.

4. From onstage mishaps to working with legends like Christine Baranski, Claybourne Elder (Broadway’s Company/ HBO Max’s The Gilded Age) shares a host of amazing stories and advice on The Art of Kindness podcast live from BroadwayCon.

5. If you’re in need of an easy refresher for “acting natural,” check out Makayla Lysiak’s tutorial on How to Act Realistically.

6. Casting Director and VP of Casting in NY for CBS Television Studios Rob Decina released the second edition of his helpful book The Art of Auditioning this year. Lounge by the pool as you discover the difference between the craft of acting and the business of auditioning, and how those two intersect in television.

7. Our Instagram recommendation of the month is @the_theatre_lovers. Get ready to fall in love with real-life couple Will and Rach as they radiate original theatre content that’s sure to brighten your feed.

8. Step your craft into the sun with these 5 ways to practice acting outdoors!

9. Don’t wait – create! Contemplate the power of creating your own projects here.

10. Check out how to use social media to your advantage with this how to for using social media to help your acting career!

What to watch:

11. Brad Pitt and Sandra Bullock? Count us in! Bullet Train chugs into theaters on August 5, promising lots of thrills.

12. Third time’s the charm! Head back to Keyhouse for one last time as the final season of Locke & Key hits Netflix on August 9, starring recent awards shows darling Emilia Jones.

13. Never have I ever… missed an episode of Never Have I Ever! The hit Mindy Kaling-powered comedy is back for a third installment, giving viewers the penultimate chapter in Devi’s coming-of-age journey.

14. 13: The Musical dances onto Netflix August 12 (though it seems like a missed opportunity not to release it on the 13th), bringing the iconic Broadway show to the wonderful world of streaming.

15. If you’ve ever dreamed of a Freaky Friday-esque story starring Diane Keaton, you’re in luck! Mack & Rita hits theaters on August 12, promising to be a feel-good summer watch.

16. Comedian Chris Estrada created an original series based on his life called This Fool that will hit Hulu on August 12.

17. The August 12 magic continues with A League of Their Own, a series inspired by the classic 1992 Penny Marshall film, heading to Amazon Prime.

18. Game of Thrones can relish in the highly-anticipated premiere of the prequel series House of the Dragon, which is set 200 years prior to the original series.

Wellness Activities:

19. One of the best things you can do for your mental health is to reach out to others. Form your artistic community by following these tips!

20. August 15th is National Relaxation Day, so slow down and do something that makes you feel at peace. Suggestion: try this performance meditation, designed to relax actors ahead of showtime.

21. Drew Barrymore reminds us all to take wellness one week at a time in the powerful post.

22. With heat waves on the rise, it’s more important than ever to stay hydrated – especially energetic performers. See all the latest tips from Health.com.

23. Surf’s up! In this anxiety-inducing business, new research from Psychology Today suggests that we should be riding the wave of anxiety rather than suppressing it.

24. If you still need to get a handle on your anxiety, try out the 333 Rule!

25. Did you know Upworthy has a weekly roundup designed to induce smiles? It’s important to feed your brain joyful content all year long. Pro tip: after a stressful audition or class, shake it off immediately by reading this list!

Live/ Virtual Events:

26. Contrary to belief, Dear Evan Hansen isn’t running on Broadway forever. The curtain will drop on the Tony-winning musical September 18, giving you limited time to attend!

27. The 60th anniversary season of The Public Theatre’s beloved free Shakespeare in the Park series bows out with a newly adapted production of As You Like It.

28. Cap off the month with a fun and trendy watch as the best music videos are honored at MTV’s VMAs on August 28.

29. Tina – The Tina Turner Musical, a jukebox musical about the life and career of the icon, ends its run on August 14 so get rollin’ to the box office!

30. The 79th Venice International Film Festival kicks off on August 31 and runs through September 10. While we can’t all jet overseas, it’s fun to keep an eye on the new films being celebrated at what’s considered to be an awards show launchpad.

31. Adapting a movie into a musical – groundbreaking. The Devil Wears Prada: The Musical struts into an out of town tryout in Chicago through August 21. That’s all.

The post August 2022: 31 Activities for Every Day This Month first appeared on Casting Networks.

The post August 2022: 31 Activities for Every Day This Month appeared first on Casting Networks.