AN ACTOR'S WARDROBE - by John Essay

I recommend that actors have a separate wardrobe for auditioning.  You may think that this is a waste of money but I assure you it will save you money in the long run and will eliminate the stress that comes with “Oh my,  what am I to wear?” or “Darn, I wore that shirt to the bar last night and now it’s dirty.”  Because we know you were probably out last night - LOL.

If you have a separate wardrobe for acting, both your acting and civilian clothes will last longer and slow down the fabrics’ wear and tear. In addition, deciding what to wear for an audition is easier because you have already set aside your acting wardrobe and thus you have already made the choice what to wear when you designated the items for “acting” only.  For on-camera auditions, there are some colors and patterns that look better on camera then they do in real life. The opposite is also true, some colors and patterns look great in real life and awful on camera. This is important for you to find out which is which. That’s where taking an on camera class will not only help you with on camera technique but it will also give you the opportunity to see what clothes look best on you on camera. This goes for hair styles, makeup and facial hair too.

What should be in your acting wardrobe? Knowing your “type” is essential.

MEN:

·         Suit/Tie – if your “type” is white collar, this is important for roles like Lawyers,   CEOs, Banker, Wall Street types. This is a piece of your wardrobe that could cross over into your personal wardrobe since they tend to be expensive and you may not get a lot of use out of it.

·         Sports Jacket and dress pants – for a less upscale look.

·         Polo shirt and khakis – great for commercials and covers a large range of “types” including Dad, Weekender, Some blue collar jobs, etc.

·         Jeans and shorts – Covers many many roles. Make sure jeans are clean with no holes. Wear shorts only when it is appropriate.

·         Several sport/dress and T-shirts. You can mix/match for all the above looks.

·         A pair of non-glare glasses are a great addition.

·         Tennis shoes and dress shoes.

WOMEN

·         Sun or summer dress – casual and not too sexy.

·         Sexy dress – if this fits your type.

·         Business suit w/pants and/or skirt – great for Lawyer, CEO, power broker. A few blouses that you can change out or just wear with skirt or pants without jacket.

·         Long skirt – for period pieces.

·         Sweater set – you know the one that the shirt matches the open sweater – great for mom types.

·         Jeans, khakis with appropriate tops. Good for woman on the go, moms, working ladies.

·         Glasses are a great addition.

Here’s a link to What toWear….Dressing the Part. 

During and After the Audition - by John Essay

As I was saying in my last article “Preparing for a Great Audition”:

Always arrive a few minutes early. As you sit in the waiting room for your name to be called, it may be helpful to carry an index card with some key phrases to remind you of your preparation and to keep you focused, i.e. “Stay focused,” “Keep energy up,” “Do my third audition first.” “Make a strong beginning,” “No one is better than me,”—write whatever sayings that inspire you to do your best. Take another look at your notes in your audition diary and get ready to make all your preparation pay off!

Now it is your turn. Once your name is called, walk in with an upbeat demeanor and greet the people behind the table with a smile and your name. Don’t try to shake hands unless prompted —not only does this slow down the auditioning process, but it is also for health concerns: no casting person wants to shake a hundred hands, nor do you want to shake the hand of someone who shook a hundred hands. 

Have your picture and résumé out and ask if they would like one (remember to take control of your audition; you lead its course). Be aware that some people behind the desk may not be as gregarious; don't let this throw you. It has nothing to do with you. Now you need to quickly assess the room (its size; where you are going to stand; if you need a chair).

The director or casting director will ask you to begin your scene or monologue. This is your time. Every audition should have the adrenaline of opening night, which you can use to fuel your performance. These are your two minutes. Get the most out of them. 

If doing a monologue, it is best not to make eye contact with anyone in the room; use a different focal point like a person's ear or forehead. You can also pick a spot on the wall, a place on the table, just as long as your head is up and your eyes are visible and your voice is loud and clear. 

When doing a scene, you should know the material well but hold your sides to refer to—you should have rehearsed both when you will look at your sides and when to flip the pages. Keep in mind that we need to see your face so hold the sides away from your head; practice turning pages as quietly as possible—this will be extremely important if you are going on tape. You must look at the person you are reading with. (What is a scene if there is no communicating between two people?)

If your reader seems to be a less stellar actor than you had anticipated, there are different ways to approach this: 

Know the material so well that you can stay on point emotionally even if the person seems absent, or try to use it to your advantage, if appropriate for the scene. (If it's a scene that requires some anger on your part, that certainly would be appropriate). Remember that the quality of the reader is not in your control. 

If you are asked to make an adjustment to your material, please make sure you understand the adjustment. (If you don't understand it, speak up.) If you need a moment to adjust to some direction, say something. If you have a question, ask it. You are in control of your audition. When you are finished with your scene or monologue, you might say, “I’d be happy to do it again if you have any adjustments for me,” or “Is there anything else I can show you?”

Most casting professionals will be friendly and encouraging—after all, they are hoping you will be terrific—but sometimes your auditioners will be less than enthusiastic at your audition. I can't tell you enough how often adverse reactions of the people behind the table have nothing to do with your audition. It just happens. Remember, these creative people are people just like you and me. We all have bad days, we all sometimes hold grudges, we all take it out on people and sometimes we can spend the day zoned out and out of touch. Don’t let it phase you.

After the audition, write down what happened in your audition diary, analyze it, learn from it, and move on! You are doing yourself a disservice by trying to figure out what was on the casting director or director's mind, or if you're getting a call back or even if you'll get the job. It's wasted energy. Just analyze how to better prepare yourself so you can figure out what you can do better at your next audition or congratulate yourself for a job well done.

Try to remember: It's not always about getting the job. Try accomplishing one of these three goals at an audition and if you walk out feeling you've done any of these, you've won the game. 

Impress the casting director enough to call you in for another project. 

Use the audition to learn something for future auditions. For example: “I asked a question about whether I could move during the scene and that was well received and helped my audition.” 

Have fun! Do not expect to be perfect, for there is no perfection. Perfection leaves no room for mistakes and growth. Aim instead for excellence. Excellence is a far healthier goal, and one that is actually attainable. 

Now, go forth and conquer!

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Preparing for a Great Audition - by John Essay

Auditioning is unavoidable for all actors. Some are great at it, others are mystified, and others are just plain awful at it. Here are some helpful tools and insight so that you can have a great audition.

I recommend that you create an “Audition Diary,” listing as much information as is available, such as:

• The time, date and place of your audition. 
• The show you are auditioning for. 
• The role you are auditioning for. 
• What you prepared. 
• Who was present at the audition. 
• Who are the creatives: producers, director, etc. 
• What you wore. 
• What headshot you used.
• Notes on how you felt the audition went.

Saving this info in a searchable format will be most helpful. Eventually you will be meeting some of the same casting directors and creatives, and if you save this information in a searchable format then it will be much easier to see when you last met these people and for what.

Do research before each audition. Who is the director? Maybe you saw some of their work. Maybe you've met the casting director—when, where and for what reason? What else do they cast? You should be aware of the producer, and the playwright or screenwriter of the project. The more you know the better. Look at the internet: IMDb has a wealth of information on actors, directors, casting directors, and movies; the IBDB has Broadway information for actors, directors, stage managers, casting directors, etc.; the Lortel Archives have Off-Broadway Play information; Doollee has playwright information. Make sure to write important information down in your audition diary.

Now prepare for the audition. 

Generally when auditioning, you want to do your third audition first. We all know that if we could audition three times in a row, the third audition would be the best. You need to find a way to achieve that third audition the first time you do it. Rehearse your material with two different character choices. Choose the best one to use at the audition while keeping the other in your back pocket. If doing a monologue, it should be memorized and you should not be holding the text. If doing a scene, practice using your sides, turning pages quietly (important if you are going to be on tape), and making sure you don’t cover your face. When possible, perform your monologue or scene in front of a friend or coach before you enter the audition room; it is always good to try your material out in front of a live person to simulate an audition setting. Hiring a private coach is worth the extra bucks for those big auditions that might move your career forward. A coach may offer some insight or confirmation to your piece. Make sure to write down any notes for your audition in your audition diary. Remember most everyone auditioning for your role will most likely be a good actor with a good audition, so you need to be exceptional – cream rises to the top and that is what we are looking for. Make bold concrete choices.

The day of your audition, do some vocal warm-ups before you arrive. It is important that your voice is strong and clear. This is especially important if you are just recovering from a cold or the flu. You don’t want any surprises when you begin your audition.

Always arrive a few minutes early for an audition. As you sit in the waiting room for your name to be called, it may be helpful to carry an index card with some key phrases to remind you of your preparation and to keep you focused, i.e. “Stay focused,” “Keep energy up,” “Do my third audition first,” “Make a strong beginning,” “No one is better than me” – write whatever sayings that inspire you to do your best. Take another look at your notes in your audition diary and get ready for when your name is called, then it’s your time to make that preparation pay off!

Stay tuned for my next article, which will explore what happens during and after the audition!

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How Actors can find Representation - by John Essay

Let’s consider for a moment that you are “ready” for a representative. (If you don’t know if you are ready, please read my Backstage article, “Are You Ready For Representation?”)

Finding the right representative for you is a lot like dating: they come in a variety of shapes and sizes, and with various strengths and weaknesses. Representatives sign people who inspire them, who they think will make them a lot of money, or those with whom their personalities “click.” That is why there are so many representatives— because we all have different tastes. If we all had the same tastes, there would be one representative to handle everyone. 

It is up to you to find out which agent or manager represents what part of the industry, and then find out which is the best fit for your strengths and interests. How do you do that? Dive into the Internet. Look up the names of representatives and find out which clients they handle. Use IMDB, IBDB, lortel.org (the Off Broadway database), etc.  Ask your actor friends and teachers if they could make an introduction to their representative. You could also try some general meetings.  Remember, all of these ideas have a better chance at producing a representative for you as long as you are “ready” for representation.

Interviewing with a representative who doesn't know you and who hasn't seen your work is difficult, because they are only judging you on your resume and your personality, and that is, in my opinion, a waste of time. I think the best scenario is when a representative approaches you, usually because they have seen your work, or you have come highly recommended by their client or colleague. That way half your work is done. This is where your friends and fellow actors who have representation can be put to use—ask them if they would recommend you to their agent or manager. If they do that, then that is when you will send their representative your photo and resume with a cover letter. Ask your teachers and mentors in the business for ideas. You could try some meet and greets, and perhaps find a representative that will work with you. This is sometimes a good way to find a representative because most junior agents who attend these events are required to bring in new talent. Since these junior agents will have a hard time enticing more established actors, the meet and greets provide them with opportunities to discover new talent like you.

Obtaining representation by an agent or manager isn’t the be-all and end-all. There is so much that you can do on your own without a representative—and plenty to do even with representation—that can help further your career. I encourage you to find opportunities for yourself, and I wish you success!

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How Actors can Benefit from Therapy - by Robert Curtiss

When working in a business as insecure as acting, it can often be difficult to remain a secure person. It's incredibly important to be of good, sound body and mind, and to maintain mental and physical health. Keep your mind clear, healthy, and balanced. I believe in positive energies. I think going through life with a positive attitude promotes positive work.

We all have times, however, when it’s a struggle to maintain a good attitude and a healthy outlook. There are times when even friends can't help you fix what’s bothering you, and acting class is not the place to work out your troubles. 

If you’re having problems in a relationship, at work, or just having difficulties adjusting to your new life in the city, consider going to therapy. Many people try to work out their problems in their minds, but there is something to be said for talking out loud about your issues and hear them reflected back to you from a mental health professional. 

A therapist can help you identify problematic behavior patterns and help you to figure out why you do what you do, help you to cope and/or make necessary changes in your life to move forward, maintain your balance, and to help you deal with new challenges. This will only enhance your life and your career.

Some people believe that therapy is only for weak or "sick" people. This is untrue. In fact, it shows inner strength to ask for help. As for the cost, many therapists have a sliding scale to accommodate clients with limited resources, and most insurance plans offer some mental health coverage. If you need therapy and can truly benefit from it, find a way to afford it. Some people can't afford to not have therapy! 

Remember: If you always do what you’ve always done, you’ll always get what you’ve always got. Therapy can help you change that cycle, and can truly enhance and enrich your life.

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How to do Business over the Phone - by John Essay

It has happened to all of us. Someone calls us on the phone and asks us to do something—a benefit concert, an acting job, attend an event—and before we know it, we say yes before we think carefully about whether or not we should do it. Sometimes we say yes before we learn all of the important details we need to know! After all, it is exciting and exhilarating to be sought after, and it feels like a confirmation of our self worth. We are so excited that we are barely listening, and all the while in our heads, we are hearing the same thing over and over again: Yes! Yes! Yes! We get off the phone and slowly dread begins to rear its ugly head. Thoughts begin to race through our heads: "What have I done? Have I accepted a job that, after some distance and contemplation, looks a lot less stellar than when I picked up the phone? Now what do I do? How can I prevent this from happening in the future?"

Preventing it from happening is really very simple. I tell my clients who are in the habit of accepting everything that comes to them on the phone, they better start using my little technique. Just follow these steps: Don't speak, don't commit, listen, and write down all that is being said. Then simply thank the caller and tell them that you will let them know as soon as possible. If you have a representative, this is particularly important. Remember that your representative needs to know all the information too, and if you have agreed to be in something then your rep has really no room to negotiate for you. (Not to mention that the non-paying gig you just agreed to do may prevent you from auditioning for and/or booking a conflicting paid job.)

I think it helps to put a sticker on your phone—yes a sticker. Any sticker would do—just make sure it is something that you will notice. Every time the phone rings, as you begin to answer it, the sticker you placed on your phone should trigger you to remember: Don't commit to anything. In the event the phone call is actually an offer to do something, you are prepared.

Here is another trick you can use when being pushed to commit to something. (Especially if it is someone you know, and they really want you to do this job for little or no pay.) Use an excuse to call them back later. This can be a little white lie—i.e. "an often trivial, diplomatic or well-intentioned untruth" that harms no one. You can say that you are crazy busy now, your significant other is on the other line, you need to check with your agent or manager to make sure the schedule works for you, or say that your apartment is on fire. (OK, this is a bit extreme, but I think you get the picture.) Just say you will call them back later. That way you can slowly and methodically process all the information that was presented to you.

This trick works with just about any phone call. A "friend" who you don't really like that calls to ask you to a party. Your mother calls to check up on you and wonders when you will be coming home to visit. Your "day" job wants you to cover a shift. Publishers Clearing House Sweepstakes saying you won a million dollars. (OK people, this call you may take!)

So take control, get a sticker, place it on your phone, and never commit until you have all the information and are fully comfortable doing so.

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Don't Compare Yourself to Other Actors - by Robert Curtiss

Actors can be supportive and encourage each other in this business, but actors can also feel competitive with each other. Some actors will get breaks that you did not, and others may become quite successful while you are still slogging away in a restaurant job or just trying to make ends meet while taking classes. These situations may feel bittersweet. You may want to feel happy for them, but you may also feel envious and frustrated that you have not been as fortunate. Try to resist the urge to compare yourself to them, and instead be happy for their success, as you would want others to be happy for you if you were in their place. The fact is that only one person gets cast in a role. So make peace with that fact and continue honing your craft. Hopefully sooner than later you will be cast.

Although it can be hard not to compare yourself to others, remember that comparing yourself to someone else is an inaccurate measuring stick, and it can erode your self-esteem and send you into depression. When you compare yourself to others—whether in regards to a relationship, a career, or other achievement—you are only comparing yourself to your perception of others. Everyone has different life circumstances and different paths. You are on your own unique journey, and it may take longer or go in a different direction. However, it will never be the same as anyone else's, and it has just as many opportunities and possibilities.

It is understandable to feel envious of others’ successes, but remember that envy is usually just a good indicator of your own insecurities. When you can figure out why you are feeling insecure, you can start to overcome it. A good psychotherapist can come in handy for these situations, and help you focus instead on your own strengths.

When you find yourself comparing yourself to others, stop for a minute and ask yourself: What am I grateful for in my life? What relationships have I made that are important to me? What accomplishments have I made in my life? What have I done recently that I am proud of? In what ways have I grown and improved? What steps am I taking to keep growing?

After all, these are the things that really matter.

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