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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4 Steps to Taking Criticism as an Actor - by John Essay

As a manager, I advise clients on career choices, groom them for the industry with guidance on new headshots, resumes, classes, and type choices. I also make professional introductions, and personally advise them on every step of their business, which includes some aspects of life coaching. 

Presumably, actors know this—and want this—when they are seeking a personal manager, or other forms of representation. Yet some actors come into my office thinking I am going to be amazed at how talented, professional, and on top of things they are, and they seem to think I will simply agree to represent them with no advice to offer. When they hear my suggestions, they look stunned and uncomfortable. I can't tell you how many times I have met with an actor for the first time—for our "interview"—and started to tell them something they didn't want to hear—that I was unable to represent them, or that they needed to get new pictures—and watched them "tune out." I can watch it happen before my eyes. Their eyes glaze over. They nod like they are listening, but I can tell they just want to get out of my office as soon as they can.

I wonder how well these actors take direction on stage or on screen. I wonder what is going to happen if we decide to work together and we encounter a crisis. How can I help someone who can't listen to my advice, or accept anything they feel is critical of them?

A happy life and a fulfilling career require personal growth, and understanding criticism is essential to personal growth. Criticism is everywhere so try to use it to your advantage.

Here are some simple steps to constructively deal with criticism: Hear it, evaluate it, learn from it, and take action.

1. Hear the criticism. Just listen. Resist the urge to justify, excuse, or defend yourself. If you're not ready to analyze the critique, analyze it later.

2. Evaluate the criticism. Does this criticism apply to you? Is the critic speaking truth or are they off the mark? If you are unsure if the critique is true, ask someone close to you that you trust.

3. Learn from it. If the criticism is justified, you have been made aware of something you need to adjust, change, or do. Accept this knowledge.

4. Take action. Once you have figured out what action you should take, do it. This is a typical time for procrastination, but I urge you to make the changes instead.

This process of handling with criticism will be a tremendous advantage to you as an actor. I wish you much success!
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How to Use Your Acting Skills On and Off Stage - by Robert Curtiss

Many years ago, a restaurant where I worked as a waiter hired a consultant to help train the wait staff in “upselling” techniques—that is, the ability to get people to buy more things—in order to increase revenues for the restaurant, and as a result, increase the tips earned by the staff.

I was really impressed by this consultant, Bob Brown. He had been a waiter himself and had learned through his own trial and error—as well as guidance from mentors along the way—how to increase his income and do it in a way that was not pushy or fake. I learned how my acting skills could be put to work to make money both on and off stage.

I recently had the pleasure of watching Bob in action as he conducted a day-long seminar, and I was struck at how universal his message is and I wanted to pass some of this message on to you.

Bob Brown uses an acronym to describe what he calls “star qualities” in successful people, and these qualities I find particularly suited for actors.

The acronym is KEEPER. Here is what it stands for:

1. Knowledge. We all continue to gather knowledge throughout our lives. Make sure you acquire the knowledge you need to accomplish a desired task or goal—whether that is in show business or your support job.

2. Enthusiasm. It is vital! Why do anything half-heartedly? Others pick up on your enthusiasm, and it gets them excited about what you are doing.

3. Empathy. Be aware of others, and try to understand where they are coming from. A little human kindness goes a long way. This will help you in all areas of your life, and you can tailor your approach to how your "audience" might be feeling.

4. Presentation. How do you present yourself? Ask yourself, “Would I buy from me? Would I cast me?” How neat and clean is your "uniform" or "costume"? How loudly and clearly do you speak? Always take care to present yourself as you want to be seen and heard. First impressions—and especially repeated impressions—can be lasting impressions!

5. Execution. How do you put your knowledge and skills into action? How are your technical skills? This is where rehearsal comes in—and I mean more than just your acting scenes. The more you practice how you speak, sell, greet people, interview, etc., the more you will feel prepared and relaxed, and the more your skills become ingrained into your natural behavior.

6. Reading Cues. We all communicate loudly even when we don't speak a word. Become a master at observing body language and behavioral cues. In his book "Emotional Intelligence," Bob Brown says that there are more than 20,000 gestures in our body language vocabulary. Watch and learn them. This skill is vital in everyday life, but it will also help you in the art of acting, where listening and observing are essential.

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How Following Industry Trends Can Get You The Part - by John Essay

There are trends in show business, just like in fashion. Certain types of action movies may be popular at the moment (“The Avengers,” “Thor,” “Spider-Man,” etc.), or there might be a surge of television or film projects featuring young singers and dancers (“Glee,” “Smash,” etc.). This means that certain types of actors will be cast more than others during these times.

Trends are important to recognize. Perhaps your "type" is hot right now or you might be able to adjust your image to fit a trend. There was a time when men with five o'clock shadows were everywhere.

I remember a time when one of my clients, who had previously done well commercially, had stopped getting callbacks. I thought this was so odd, since she had previously been so "popular." I watched TV for several days in a row and concentrated on those commercials that my client had auditioned for—I noticed that the women who landed the roles all had curly hair. Aha! I had spotted a new trend. I discussed this with my client, and she stopped straightening her hair. She soon began to get callbacks again. Now I know this might sound rather simple, but sometimes it IS simple—so simple that we fail to see what is there right in front of our eyes! The whole point is to always be aware of the current trends, and to see how you might fit into them. Sometimes it works!

If your type is not "in" right now, keep looking for the trends. They are always changing, and a trend for your type may not be far behind!

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3 Strategies for Staying Punctual and Professional - by Robert Curtiss

We live in a world where schedules conflict, where some auditions and appointments are tightly scheduled back to back, and though you may have plenty of time in your own schedule, the people who you are meeting, interviewing, or auditioning for may have little wiggle room to fit you in. Occasional lateness is undesirable but understandable—we all have been late some time in our lives, perhaps because of some last-minute snafu or bad traffic—and it is usually easily forgiven and forgotten by all involved. Chronic lateness, however, undermines your professionalism.

Here are a few strategies for being on time:

1. Leave 30 minutes early for every appointment, or add 15–30 minutes to your expected travel time. This means that if you ordinarily would leave home 15 minutes before your appointment, leave 30–45 minutes early. This will most likely get you there early; you can use the time to prepare yourself. If you run into delays on your route, hopefully the extra travel time will be sufficient to keep you on time.

2. Organize your life so you are not scrambling for misplaced items moments before leaving for the day. Keep a datebook calendar handy, and write down your daily schedule (of course, you have to actually look at it for this to be useful). There are smartphone apps for this.

3. It may be helpful to have an “audition survival bag” that you keep packed and ready to go. This could be a knapsack, purse, or briefcase. Here is a list of suggested items to keep in your bag: headshots and résumés, business cards, sheet music, a MetroCard, paper and a pen, makeup, a hairbrush, bottled water, breath mints, and an energy bar, and hide $10 or $20 inside just in case. This way you only have to remember your keys, cell phone, audition material, and any other audition/business needs, grab your audition bag, and out the door you go.

I hope these strategies help keep you on time and prepared for your appointments. If you still end up being late, by all means, acknowledge it and apologize for keeping them waiting. Break a leg!

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11 Pieces of an Actor's Budget - by John Essay

Actors frequently ask me, “How much money does it take to be an actor?” The short answer is every actor’s expenses will be different. However, use the list below as a guideline. Although I have tailored the costs for those pursuing the business in New York City, the general outline is applicable wherever you may be based.

1. Living expenses. This category includes rent, utilities, cable, telephone, and food. These may seem obvious, but I begin with this list because you cannot really pursue the business of acting if you cannot afford these things. Count on rent to be around $1000/month and up, depending on the neighborhood, building amenities—such as a doorman, elevator, gym, etc.—and whether or not you have a roommate. (For Manhattan, $1000/month is actually really cheap, and if you find an apartment for this rate, it will most likely be in a less accessible neighborhood). Utilities (gas, electric) are usually not included in the rent. These can average around $100-$150/month. For telephone service, you can get away with only having a cellphone, and this averages around $75/month. Cable averages around $100/month without the premium channels. You may want to forgo cable if you have Internet access, as you can watch many TV shows via Hulu, Netflix, YouTube, etc. Your job as an actor is to know what is going on in the world and also what shows are on the various channels. As for food, don't be lazy and rely on the fast food that is cheap and easily available. Many New Yorkers eat out a lot, and this zaps your income very quickly. Be smart, and eat at home. It is cheaper and healthier. Count on groceries costing you an average of $15-$20/day.

For the following expenses, consider opening a savings account where you deposit $20 a week, more or less. A separate savings account means “out of sight, out of mind,” and that is a good thing.

2. Headshots, including hair and makeup. Having your headshot photos taken and reproduced is generally the biggest expense you will incur. Good photographers run between $600-$1000. There is also hair and makeup, which is a separate expense. Yes, men, you may need makeup too! The camera lights play nasty tricks with your face, and makeup can help offset these unsightly occurrences. Be prepared to spend between $100-$150 for hair and makeup. 

3. Headshot reproductions/retouching. When your pictures are finished and you have selected the ones you'd like to use, you may need to have them retouched. Perhaps there is a stray hair, a blemish, soft circles under eyes, etc. Generally, retouching will be approximately $25-$60 per photo. Reproducing your picture can cost almost a dollar a print. There are cheaper reproduction houses, but many use cheap paper that tends to lack the crispness that you get from good quality paper. And others may use a printing technique that makes them impossible to fax and/or scan. So be careful, and remember your picture may be in a pile with hundreds of others. You want yours to stand out, not fade away. If you start working with a representative, make sure you always have enough money to pay for more reproductions. There is no excuse for saying "I can't afford it" if a representative needs more photos of you, and you have no money to comply. 

4. Resumes. First of all, don’t print them on the back of your pictures. Why? Because when you book a job and want to update your resume, you'd have to throw away these expensive prints or hand-write a credit in, which can look sloppy. Also, make sure your resumes fit your 8x10 photo. Most sheets of paper are 8.5"x11" and will need to be cut to fit and then stapled to your headshot. Resumes are generally about 5 cents to 8 cents a copy, unless you print them at home where the cost is minimal. 

5. Classes. Prices for classes are hard to list here as there are too many and the price ranges are vast. Audit classes to get a feel for the instructor, what they are teaching, and see what the class is like. I tell people to look for a class you have to audition to get into. This generally weeds out the novice teacher or "experimenting" actor, and hopefully leaves you with a class that is full of working actors. 

6. Online resources. This will vary but there are a number of worthwhile services out there. Some offer audition opportunities, some are resource oriented, and of course you don't want to forget Backstage, and The Actor’s Guide to Everything! You can get a subscription to Backstage for as little as $12/month.

7. Makeup and grooming. Yes, we must budget this in. Men, a barber runs around $20, and if you add a shave (one of my personal splurges) it would double the price. If you color your hair, just buy the home treatment kits and master the technique. This will save you a lot of money. Women, cuts usually start at around $60 and increase rapidly. Save some bucks by shampooing your hair at home before your salon visit. Also you might want to try in-home coloring if that is your thing, instead of having it done at a salon.

8. Clothing. It really is necessary to have your own business wardrobe for auditions. For several hundred dollars, you can achieve a lot of different looks that will help your auditions. You'll save money if you don't mix them with your personal clothes. They will stay fresher longer, and you'll have to launder them less frequently. 

9. Postage and supplies. You'll need to do follow-up mailings, and mailings to agents, managers, and casting directors. This will be a minimal expense, but a very important one. Count on around $20 per month. This will increase drastically if you are in a show or film or have something of significance to share with the above-mentioned agents, managers, and casting directors on your mailing list.

10. Transportation. You can't afford to take taxis everywhere (at least not yet), but you will probably use transportation every day. One round-trip per day on the subway or bus, at the standard $2.50 fare each way, adds up quickly. A monthly Metrocard costs $112, and a weekly Metrocard costs $30.

11. Entertainment. You will need to set some money aside to see theater and go to the movies. This will depend upon how much you can afford. Some theaters offer standing-room tickets for as little as $20. Other theaters offer $25 tickets to a certain number of people on any given day. Offering to usher is a way for many people of modest means to see a show. A movie ticket runs about $12, but if you don’t mind going in the morning, you can go to a show before noon for $6 at some theaters. Count on $50 to $100 per month to see theater and film.

I hope this basic expense outline is helpful for those starting out as an actor. Break a leg!

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Why You Need to Keep Growing as an Actor - by Robert Curtiss

“I'm too old to start now.” “It's too late for me.” “I'm too old to change.” How many times have you heard someone say these things? Have you ever said them yourself?

It’s sad how often we repeat these beliefs as if they are the unquestioned truth. The more we say something, the more we come to believe it is true. These beliefs limit us. When you say these things—when you really believe these things—it means you've stopped adapting to the world around you. It means you're stuck in the past and not adapting in the here-and-now. It is not a healthy mindset. I am often struck by how many people talk about dealing with their problems, yet they don't actually deal with them at all. They shun the idea of therapy by saying, “I can handle my own problems” or “I'm too old to change,” but they don't truly deal with their problems by talking about them. They don’t try to change their problematic behaviors and instead keep repeating the behaviors that cause the problems!

Older people also use the phrase “In my day” as a way to make the present inferior to the way “it used to be.” However, they use it as a way to excuse their non-participation in the present. Think about it—is today not your day?? Are you too old to learn something?? Of course not!

Sometimes we get complacent, and trying something different feels scary. However, remember that a flower in a small pot can only grow so far. An actor in Wichita, for example, who stays in Wichita, will only go as far as is possible in Wichita. That is fine for some people—being the big fish in the little pond can be satisfying. However, if you want to achieve greater things, you need to grow, to push your limits.

We all must keep growing until we die. It is the nature of all living things. It is never too late to start something that can enhance your life—be it piano lessons, or therapy, or quitting smoking.

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How to Know Which Showcases to Do as an Actor - by John Essay

I have been asked many times over the years what kinds of showcases actors should do. I have been to hundreds—if not thousands—of showcases in the nearly 30 years I have been a manager, and I can count on both hands those I actually enjoyed and benefited from. The rest were quickly forgotten—mainly because they were uninventive, un-stimulating, or downright BORING. If you are thinking of developing or participating in a showcase, make sure it is exciting, unique, and has a great selling point!

Showcases come in many "types"—scenes, monologues, one-acts—and "styles"—improve, acting, musical theatre—but the "type" or "style" is the least important thing to consider when thinking of developing or participating in a showcase. The most important element is the overall way the showcase is packaged, or the "wow factor."

Let me explain. You will draw more flies to the honey if your showcase has an interesting "gimmick." You could present your showcase in a fascinating venue—a park, an old gutted warehouse, an ice cream parlor, a bus, a train, even a theater—as long as the show is of interest. Try hiring a director of note to help add legitimacy and some industry “buzz” around your showcase. How about scenes interspersed with music from a well-known or up-and-coming composer? Or start a play contest by soliciting 10-minute plays from playwrights. Choose six of the best, cast them with great talent, and spread the word. People attending would not only benefit from seeing new talent but also the work of some new playwrights. You could even serve interesting snacks or beverages before or after the performance. How about a fondue party? Or frozen summer blender drinks? Be creative—the list of ideas is endless.

Above all, do not participate in a showcase for the sole reason of getting casting directors and agents to come to advance your career. Of course, you will invite industry folk to come and see it, but it should not be the only reason to participate in it. Your main reasons to do a showcase should be that you like and admire the other people involved; you want to perform in something sooner rather than later; you like the concept; it promises to be a learning experience; and, most importantly, it should be fun!

Putting on a great showcase only takes a group of talented people working together. I hope this article empowers you to collaborate with others and produce your own compelling showcase.

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What Actors Can Learn From Door-to-Door Salesmen - by Robert Curtiss

One summer, during my college years, I was a door-to-door book salesman. I truly hated it — I wouldn’t recommend it to anyone! However, one thing has stuck in my mind from the days I spent in training for that job. Our trainer used to always say: “Every ‘no’ gets you closer to a ‘yes.’ ” The trainer acknowledged that we would have many doors slammed in our faces, and we would probably be intimidated, fearful, and discouraged. He said, though, that you could keep your spirits up and keep going if you just remembered the odds: Most people would not buy the product, but some would. That meant that you would mostly hear “no” and occasionally hear a “yes.” Every time someone said “no” you were to thank them, for they brought you one “no” closer to that “yes” you were definitely going to hear!

This is a great life lesson, for you as an actor and as a person for anything you set out to do in life. When you interview a representative, and they are not interested in working with you; when you keep auditioning and still do not get cast; when you invite industry people to your show and no one comes — these are all versions of hearing “no.” If you are persistent, if you keep at it, and if you make sure you are good at what you do, sooner or later you will get that “yes.” You will get the job, get that representative, etc. When you do something, don’t get discouraged each time you hit a roadblock, or hear someone say “no.” Keep at it, and all those no’s will lead you closer to getting a “yes”! 

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What Do You Do When You Have a Bad Reader at an Audition?

Well, here you are, you've just arrived at your audition – and early, to boot! Now you have time to relax, go over your lines again, and freshen up! You look great, you feel great…bring it on!

The monitor calls your name, and you confidently enter the audition room. You exchange pleasantries as well as brief introductions. You notice there are two chairs facing the "casting table," and a reader is already seated. You are asked to begin your scene.

You begin your scene with your reader, and as you progress into the scene you realize, this reader is awful! You can barely hear him/her, you get no eye contact, and worse of all, there is no emotional connection between the two of you.

Stay calm! You have worked on this scene, and you know where the emotional connections are.

Whatever you do, don’t shrink to the level of this bad reader. If you try too hard to connect to this reader, you risk being sucked into his/her low-energy, lack-of-connection vortex, and then you would be doing yourself a great disservice. The "casting people" will see your acting with those limitations, and they will assume that that is the best you can do.

You must trudge on – imagining that you are getting everything you need from this reader. In fact, you can use his/her lack of engagement to increase your determination to convince/connect with him/her.

Remember, this kind of communication happens all the time in real life. You are upset about something your significant other did, and when you passionately try to explain it to him/her, he/she shuts down. But you still go on, trying to make them understand!

It is the same in an audition with a bad reader. You just have to go on and be passionately engaged in what you are doing – becoming even more determined to get them to hear you, react to you, while still being authentic and "in the moment."

You should prepare in advance for the possibility of an inadequate reader. Rehearse your material as if your partner is awful, or if you are rehearsing with a partner, ask him/her to read a few times with little or no emotion so you are able to “adjust” your performance accordingly. Use it as an opportunity to exercise your acting skills!

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Like What You Do - by Robert Curtiss

"Things turn out best for the people who make the best of the way things turn out."

Someone sent me that saying in an email; I liked it so much I put it up on the bulletin board by my desk. People who find ways to view their circumstances positively tend to be happier than those who complain about the way things are. We are human, of course, and it is natural to dislike when we have to do things that are unpleasant. We all must work to earn an income, however, and we all have the power to choose how we view whatever we have to do in our lives.

How you live your life is a choice. When you look for a job, make sure the work is something you enjoy. You don't have to love every aspect of a job, but certainly you can find some things to like about practically anything. After all, this is your life, and if you are totally miserable, well, what is the point of that?

Let's look at the job of a waiter as an example. Some of the obvious drawbacks of this kind of job are that you get covered with food, customers can sometimes be rude or otherwise unpleasant, and sometimes those rude customers don't leave a tip. All those things may be true, but there are also things to enjoy from this same job: the flexibility of a waiter's job means you are free to pursue your acting, you can make good money in tips if you are good at the job, and you can meet so many people, which may appeal to those of you who excel at hospitality skills. Waiters who like what they do end up making more tips than those who whine and complain and just do the bare minimum.

Beware of the "I don't care about this job because I'm really an actor" syndrome. I was guilty of this when I was just starting out. I thought my waiter job was so unimportant, and I barely could contain my contempt for it. As I continued to complain about every little thing I had to do, I started to notice that the waiters who came to work smiling at everyone and enthusiastically going about their duties were the people whom everyone - fellow workers and customers alike - enjoyed being around, and they seemed happier in general, and made better tips than I was making while I was waiting for my "real life" to begin. I figured out quickly that this WAS my real life, and I made a point to become one of those happier people I admired.

As Stephen Sondheim so aptly wrote in a lyric from "Sunday in the Park with George", "It's not 'Do as You Like' as it is that you ‘Like What You Do’". Try to like what you do. It really is your choice!

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Does having an accent limit acting opportunities? by John Essay

As a rule, the more versatility an actor has can only provide him/her with more opportunities. A fruit vendor that only sells bananas would most likely increase his income if he sold other fruits as well. You certainly can get work with an accent, but it will limit the jobs you can get. There are only a few movie stars that have done quite well with an accent, such as Antonio Banderas, Penelope Cruz, Sofia Vergara, Holly Hunter, Charo. These actors started their careers off with their own accents.  For them, it wasn’t necessary to “lose” their accents because they quickly established their careers with their accents.  The odds are that most actors with accents won’t be as lucky as this group of stars, so it makes sense to “lose” your accents in the beginning of your career to afford you more opportunities. I’m not saying hide it forever; you can still continue to audition for parts that have your native accent. 

In general, it helps to be able to learn to speak without accents or regionalisms (such as a Southern, a Boston, New York or Midwest American regional accent). Anna Torv and John Noble, the two leading actors on the J.J. Abrams series "Fringe", are both from Australia, yet they speak with neutral American accents on the show.  Since they haven’t made a career out of using their native accent like the actors I mentioned above, it was important to them to speak without an accent to increase their job opportunities - and a good thing they did, or they wouldn’t have starred on this cult classic series.

For those of you who want to learn to speak without an accent, there are many Speech Coaches that specialize in this area.  There are also a number of online sites that can also help you learn to speak with any regionalisms.

If you have trouble learning other dialects, or if you are just passionate enough about your own heritage and do not wish to explore neutral accents, I say good for you, nothing wrong with that, and now you know the limitations you are faced with.  Just remember: if you choose to move forward with your accent, DICTION is the important thing to remember. If you have an accent, we MUST understand everything you say!  The Casting Director or Director will appreciate it, as well as the author whose words you are saying!

Remember, just because you have learned to speak without an accent doesn't mean you must live the rest of your life without it. Use it at home, use it with your friends, but leave it at home when auditioning for roles that don’t require one.

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I Hate My Day Job But Need The Money, What Should I Do? -by Robert Curtiss

If you are an actor, chances are you also have a support job to bring in income while you pursue the business of show business (unless you are independently wealthy or have reached that enviable point in your acting career where you can survive solely on your earnings as an actor). Sometimes this means working at a job that you don’t like only because you need the money.

Most of us have, at one time or another, worked at a job that we did not like. Sometimes the boss seems stingy, or the coworkers are mean, or the pay is too low for the amount of work required, or we just don’t like the work itself. Here are some thoughts on dealing with this problem. Ask yourself the following questions:

What is it I don't like about this job? 

Is the thing I hate about this job fixable?

Would it be worth staying at the job if I could fix the problem?

Let's break it down:

What is it that you don't like about your job? Is it a personnel matter, i.e. you have a problem with people you work with, like the boss or a coworker? If so, possible solutions include asking for a private meeting with the person or persons, in which you make an effort to find out what they are thinking, and to make your feelings known. This can clear the air, and get the unspoken issues out in the open, with the hope that all those involved can adjust their behaviors accordingly. Remember to be professional and try to be respectful, because being disrespectful and angry will very likely sabotage any potential progress. Sometimes your coworkers and supervisors have no idea that their words or behaviors have upset you, and simply making them aware of your thoughts and feelings can be enough to bring them around.

Is the thing you hate about the job fixable? If your coworkers or your boss still make you miserable, or you can't seem to find a way around the thing you dislike, then it probably is time to look for employment elsewhere.

If you dislike the work itself, the best thing to do is to figure out what you would prefer to do, and then look for a job where you can do that instead. Sometimes this is simply looking at what jobs you can find, and then choosing the best out of the bunch (we can't always find the perfect job right away). In the meantime, since you need to keep your job until you can find another, try to make the best of it, and to take the path of least resistance. Sometimes it just doesn't pay to argue with people when you already know you can't win. Try just agreeing with them, and letting the conflicts just roll off your back, knowing that you will soon be gone from the unpleasant situation as soon as you can.

Remember ... communicate effectively. Use your friends and family as support systems & to help get the word out when looking for a new job.

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Take Action & Don't Worry About the Outcome - by John Essay

“Take action” should be a guiding rule in all of our lives. We all have good ideas now and then, and we all have second-guessed them when it comes time for us to actually do something about them. The only people who can actually win the lottery are the ones who actually take action and buy a ticket! If we are to succeed at running our businesses, we must always take action regardless of the outcome. (Be reasonable, folks. I’m talking about running your business not robbing a bank!) Not every action may lead to the result you had planned, but that doesn’t mean that you shouldn’t take it. Try to resist the urge to procrastinate, or the common urge to “rationalize” why you shouldn’t take action on your idea. Here are some examples of excuses actors use.

“I’m not going to that open call because I’m too tired, and I probably won’t get the part anyway.” The important thing here is to go! Take the action regardless of the outcome! You may or may not get the part at that open call, but you might meet someone who may be instrumental in your advancement, or you might become aware of an audition for a different project, or hear about something that could lead to life improvement just by being observant.

Perhaps you find out that someone you knew or worked with in the past is now working at a theater or is in some position that could help you. Contact that person. What if they don’t respond? What if they don’t remember you? What if, what if … you get the picture. Send that email. Make that call. Go to that audition. Take the action regardless of the outcome. Without the "action," there will NEVER be an outcome.

Say you were thinking of making a video of some clever sketch idea to put up on YouTube, but get cold feet because “someone’s already done this before” or “maybe it’s just not good enough” or “it’s not perfect” or “no one will look at it” or “I don’t have any video equipment.” Take the action regardless of the outcome. No equipment? Your friends may have an iPhone or a video camera, and you can record on your computer with simple FREE software. Just do it!

If it doesn't work as you imagined it in your mind, so what? By seeing it for yourself, you have accomplished more than you could imagine.

1. You actually created something yourself. It doesn't matter if it is good or not. The fact is you did it AND it will most likely lead to something else that is creative and perhaps more appropriate or funnier.

2. Trial and error usually reveals things that you never intended to discover.

3. As soon as you can find a way to tape this project, you will then know how to do many others without much thought.

Take the action regardless of the outcome. You will be glad you did.

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3 Steps to Getting Out of Your Own Way

“If you always do what you always did, you’ll always get what you always got.”  

This is one of my favorite slogans, and it really is true. There is a famous saying that the definition of insanity is doing the same thing over and over again and expecting a different result.

Think about it. Human beings are creatures of habit, and even though we may be unhappy in our particular circumstances and say we want something different, we are usually more comfortable with our familiar habits in our familiar surroundings, however miserable they may be, than we are about changing any of those same habits and surroundings!

It takes strength and determination, and insight into our own behavior, to actually change what is holding us back. Here is a helpful series of steps to guide you.

Step 1: Identify what it is you want that you are not getting. This is the easiest part!

Step 2: Recognize which patterns of your behavior may be impeding you from attaining your goal. Ask yourself: What do I do that sabotages myself from achieving what I want? As a simple example, let’s say it is consistently sleeping late, or procrastinating.

Step 3: Modify the problematic behavior. Sometimes the issue just needs a simple modification that you can do on your own (for the above examples, you could go to bed earlier and buy an alarm clock, or you could make a schedule to complete tasks and avoid procrastination), and sometimes the issue is more deeply ingrained in your psyche so that you may require additional assistance from family and friends, and perhaps from a psychotherapist, who is trained to help you with these kinds of challenges.

You have the power to get out of your own way and change your life! Good luck on your journey!

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How Acting Affects Self Esteem - by Robert Curtiss

The theater teaches us to collaborate, to feel comfortable speaking in front of others, and to be able to take direction. It gives us a forum in which to express ourselves, and it makes us think and feel, as performers and as an audience.

We tend to be drawn to it at an early age. Many remember their first introduction to the theater, whether it be a play seen or performed in elementary school or watching a parent or older sibling perform. It is a socially accepted way to fulfill the need for attention and approval, and I think most would agree that the sound of applause is thrilling, empowering, and sometimes addicting.

That said, the theater also tends to attract people with great needs, who try to use it to validate themselves, and are tremendously insecure as a result. They audition and take every job they don't get as a personal rejection and a comment on who they are. They sabotage themselves in their search for a career and find excuses not to attend another audition because they cannot face another rejection. Needy people frequently do not get cast because their "need" for the job is so obvious, and no one wants to have someone that needy to worry about. After all, needy people aren't truly behaving like professionals, because they have an ulterior motive. They need to hear approval constantly and crave attention. Hiring a needy person is akin to getting a job as a babysitter for a demanding child.

Acting, or any performing, also can confuse those with a fragile self-esteem. All too often performers confuse their performances and talent with their identity. They are what they do. They hear that they are talented, and when they are performing they are told they are wonderful. It is understandable that they are confused!

When people who need validation and attention pursue this career in show business, frequently become bitter and resentful that they have to convince people to like them, to hire them, etc. Thus, they sabotage themselves precisely for the same reason they chose this career in the first place!

If I seem a bit harsh, it is only to paint a stark picture of the psychological makeup of many performers. Most performers have some feelings of insecurity about their place in the business. It is a business without much security.

It may be useful to ask yourself how this might apply to your life. Why are you in this business, and are you "too needy"? If the answer is yes, don't be discouraged. This is where some good psychotherapy can help, to build your self-esteem, to learn skills to turn down that needy "voice" in your mind that constantly craves attention, and to help you differentiate between your own identity and your "performing self."

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ARE YOU READY FOR REPRESENTATION? by John Essay

Many actors start looking for a representative as soon as they get to the city; they have been told (usually by people who are NOT in show business!) that they first need to get an agent or manager. These actors seem to think that once they get a representative, the hard part is over; now they think someone else is going to be responsible. Remember, an agent or manager gets only 10% to 15% commission for their work. That should mean that they do 10% to 15% of the work. Think about it. Who is supposed to do the other 85 - 90%?

You should never pursue representation until you are confident that you are able to compete in the major areas of the industry: Film, TV and Theater.  If you are too green, casting directors may remember, and your representative will have a hard time getting a second chance for you to be seen.  When represented, you should always be at the top of your game.   You must be a great auditioner: you must be able to make the best of the short window of opportunity that you have in an audition. This means you must be exceptional, because good enough just doesn’t cut it, and it won’t get you the job over the other actors who are also good enough. You must be able to give your third audition first, meaning you must make strong choices and fully execute them, yet be able to take direction if it is given and fully commit yourself to that direction (instead of only doing what you had prepared).

The more you bring to the table, the more you will help your representative do his job. Have you had adequate on-camera training? Do you know the subtle differences between a TV audition and a film audition? Are you continuing to build your craft every day? Do you know what's going on in the industry, i.e. what plays you are right for, who are the casting directors for various projects, etc.? Do you have any contacts and connections that your representative should be aware of?

You have to be knowledgeable and able to do what is expected of you. Be skilled at your craft. Be open to advice and counsel (remember, they are the ones with the expertise!). Be prepared to go to auditions and know how to get there. Have the money for your basic business expenditures; there is nothing more frustrating than an actor who doesn't have the basic money to accomplish the basic needs. It does not cost a lot of money to set up your acting business. You need money for pictures; printing resumes; postage and envelopes for mailings; classes; basic wardrobe; transportation; grooming and research (theater, movies and publications). If you are not able to pay for these minimal expenses, then it doesn't really matter how talented you are; you most likely are not ready for representation.

Remember that finding a representative doesn’t necessarily mean that you have found the “right” representative for you. When you do find representation, I hope that you and your representative have an amicable relationship that is mutually beneficial.  I wish you good luck on your journey!
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WHEN AM I TOO SICK TO AUDITION? by John Essay

If you are too sick to audition, don't go! Even if it is with the casting director you have been trying to meet for years, don’t go – it is so not worth it. The fact of the matter is, if your illness will affect your audition in ANY way, don't go. An audition that was less than your best is never excusable because you were sick; it is simply an audition at which you were less than your best. SINGERS, this is particularly addressed to you! Being sick means you have far less control over your voice. And, trust me, casting directors are already sensitive to getting sick themselves because they see hundreds of actors for any given project. The last thing they need is your runny nose, your cough or a voice that doesn't sound remotely like your own healthy voice.

I had a client who auditioned for a Broadway comic musical with a severe cold; she just had to go.  She was lucky and was called back - OR WAS SHE? When she returned for her callback, she was healthy and sounded nothing like she did before. It was her sick audition voice they fell in love with, but now she couldn't replicate it. Needless to say she didn't get the job.   I hope that none of you ever have to ask yourselves “Am I too sick to go to the audition”?  Forever health to all of you.

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7 Things to Do Every Morning - by John Essay

As we approach 2013, I offer my suggestions to add to your New Year’s resolutions.  My list of 7 Things To Do Every Morning will help you to run your business more effectively and be more efficient and productive.  Happy New Year!

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1. Check email and voicemail.
Calls/email may have come through during the night and you will want to make sure to answer them as soon as possible. Make sure to check your "Spam" folder - sometimes important messages can get mistakenly labeled as Spam.

2. Take a shower right away.
Don’t laugh - this is MOST important. You need to be prepared for any last minute appointments. It can be so frustrating when I call a client with an appointment, only to hear "I haven't even showered yet!"

3. Eat something.
My personal favorite! There are days when you will hit the ground running. Don’t forget to eat. You don’t know when you’ll have another chance and you’ll need the energy.

4. Plan what you will do for your business today.
Read a play? See a play? Write some letters/emails? Look at regional theater season websites? You MUST do something business related!

5. Check the news: Internet, TV or newspapers
Being up on current news provides interesting topics of conversation and is an important part of being a well-rounded person.

6. Plan some physical exercise for the day.
Walk to an appointment or on an errand instead of taking the subway. Sometimes exercising is easier when you do it with a friend.

7. Always look your best when leaving for the day.
Dress neatly and be well groomed and ALWAYS carry a picture and resume and/or business card. Women, make sure your hair and makeup is done. You will find NYC is a small world and you never know who you will run into!

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Behavior is a Mirror - by Robert Curtiss

"Behavior is a mirror in which everyone shows his own image" (Chinese fortune cookie)

I recently read the saying above on the "fortune" in my fortune cookie, and it reminded me of other similar sayings:  "Actions speak louder than words", and, "You are what you do". All of these sayings boil down to the same simple truth: we show the world what kind of people we are by what we do, literally -- how we treat others, how we are groomed, how we manage our time, to list just a few examples.  Our behavior gives powerful non-verbal messages to others that tell them what to think about us. After all, they may say "Never judge a book by its cover", but we all make assessments and judgments based on the available evidence before us. Knowing this can help us shape how others perceive us.

Our attire and our personal hygiene send strong messages.  People may not consciously note that you look clean and neat, but they definitely notice when you are sloppy or otherwise not well-groomed.

How we manage our time sends a powerful message too. When we are on time, we are telegraphing to others that we are ready and eager for our appointment; when we are late, we may give the impression that we do not value other people's time, and that we are not responsible -- which may not be true, but this is the impression some may be left with.

When we are kind to others and offer them care and concern, our actions reflect kindly upon ourselves, and when we speak about others behind their backs -- a bit of snide gossip, perhaps, or maybe belittling another actor's talent -- it says to others that we probably talk about THEM behind their backs as well.

How do you perceive of yourself, and how do you want to be perceived by the world? Think about that, and think of ways to behave that promote that perception in yourself and in others.

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