Everyone Wants to Be an Actor 10/07/2010
It is one of the clichés, if not truisms, of the theatrical world that most people working in it will be tempted to stride across the boards at some point or another, even those who have sworn to remain out of the limelight. My own father, a committed stage manager at SPTC, used to express frequent astonishment at my willingness to show my own vulnerabilities in front of an audience. He was thrilled to contribute to our art in his own way, but acting would never be in the cards. This he avowed. Then came the call from SPTC Artistic Director David Ralphe. A bit player was needed for the role of a movie theater manager in The Boys Next Door. My father was perfect, David assured him. It was only a handful of lines. It’d be a good learning experience. I watched Dad turn green and break into a cold sweat. But once the offer was there on the table, the future was written. Even Dad’s preemptive attack of stage fright couldn’t compete with the overriding lure of the stage. Within weeks we were having breathless conversations about the craft. He had never properly considered, he told me during one of these, the difficulty actors have in fine-tuning a performance without being able to see themselves from the outside. He constantly worried and fussed over his physicality, his vocal inflections, whether what he thought he was doing was what he was actually doing. It was only a handful of lines, but all the more reason it should be good. He had the bug. Sort of, at least. My father will never give himself wholly to acting, but he’s returned to it a couple of times, and may (who knows?) yet again. I suspect his naturally charming performance as the adorably slow Rainard Chisum in Christmas Belles will be legendary amongst the SPTC regulars for some time yet. My point is, even the shyest among us has had that fantasy of getting under the lights and strutting their stuff. When people ask me about getting involved at SPTC, at least half the time they want to know how to get onstage. (As an aside, asking other ways to get involved is always appreciated, and I do my best to steer people in that direction when I can. When everyone wants to be an actor, it’s hard to find technicians. Not to mention house managers! We’re always in short supply of those. But alas, that’s for another post.) If you’re a lucky skunk like my dad, maybe David Ralphe will call you out of the blue with the perfect part that’s only a few lines and a good learning experience. But usually, time spent waiting by the phone would be better used auditioning. So, how the heck does one even learn when we’re having auditions, right? I confess there was a time we communicated this less than effectively, especially before our organization awoke to the glorious power of the interwebs. There was a time that sourpuss types would complain SPTC was overly exclusive, that we gave auditions chiefly by invitation. The reality is much more mundane: we weren’t using our tools effectively. Now we’ve got it down, and we’re always looking for fresh meat. The first place you should be checking is this website you’re on right now. Notice the banner has a link for “Auditions.” Bookmark that page. Check back periodically. SPTC typically programs five Mainstage productions a year, and our Backstage seasons are gradually getting fuller. Are you SPTC’s friend on Facebook? You should be; we’re very friendly types around here. And we periodically give helpful status updates to our friends about things like…auditions! Also, the next time you come to a production, make sure you sign our email list. Lately we’ve been putting it out in the Craftsman Pub, that great warm room where you can get cookies before the show. Our email newsletter is yet another great way you can keep up with the goings-on of the theater, including being notified of upcoming auditions. So, now you know when to show up. What should you expect? First off, at SPTC we always audition using cold reads. (For that matter, pretty much all community theater auditions in Ventura County use cold reads; the monologue audition is not really in favor around here.) A cold read means that you go up onstage and read a section (or “side”) of the script for the play being produced. So it’s helpful to read the script beforehand if you can. It isn’t required! In fact, many directors will give you an opportunity to ask clarifying questions about the script before your audition. We try to keep our auditions accessible and low-pressure. But having a prior familiarity with the script will give you that much of a leg up on the situation. When you first arrive you will be asked to sign a sign-in sheet to verify order of arrival. You’ll also be given an information sheet to fill out with important info like conflicts in your schedule and previous theatrical experience. Don’t worry if you don’t have prior experience. Show up with enthusiasm and an open mind. Plenty of regular actors at SPTC started here with little to no prior experience—I’m one good example myself, and another is our webmaster Elixeo Flores—and many of them get roles pretty regularly now. Also, don’t worry too much about headshots or anything like that. I mean, yes, bring one if you have it, but no-one expects it from an interested newbie. Mostly, come willing to share yourself and willing to take a risk. That’s the most anyone can ask. You’ll be assigned a side or two and probably a couple scene partners as well. You’ll have some time to practice reading with your partners beforehand to get comfortable. And then, when your name is up, onto the stage you go! It’s perfectly okay to be nervous (and in fact, it’s perfectly fine to let the director and other auditors know you’re a novice, if applicable). Just remember to have fun. Some tips for the uninitiated audition-er to bear in mind: 1. Don’t forget, it’s okay to ask the director for some clarity on the scene and the character relationships if you’re not overly familiar with the script. 2. Though you’re reading off the page, try to read ahead a little if you can. This lets you get in some eye contact with your scene partners, and the chemistry between players is one thing the director is looking at. 3. If the director gives you notes, it’s not a criticism. It’s a great opportunity. If they didn’t see potential at all, they wouldn’t have bothered giving them. Take them. The director wants to see that you are direct-able. 4. Super-duper-simplified Acting 101: decide what you want in the scene and go after it. If nothing else, this is what will make your read successful. Most anything else is just ornamentation this early in the process. So! Now that you’re armed with the coaching you always wanted, keep your eyes peeled for some of our auditions! We just held our last Mainstage audition for the year, but I have it on good authority that we’ll be announcing our next Backstage audition very soon (it’ll probably happen the end of this month). And next season is right around the corner. Go ahead and try it. You know you’ve been wanting to. Maybe I’ll see you there. CommentsLeslie Nichols 10/08/2010 9:58am
Peter, your SPTC blog is both entertaining and informative. Who could ask for more. ox, Leslie 10/08/2010 10:31am
Some really excellent advice here, Peter. It's as though you went through the process yourself. (g) taylorkasch 10/08/2010 11:15am
Thanks! Great advice and fun to read 07/07/2011 11:35am
Love your Blog, you are such a great writer! The information was perfect! Leave a Reply | AuthorPeter Krause ArchivesApril 2011 CategoriesAll |
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