Tips I Learned at the 54th Annual NATS Conference: Casting in L.A., Chicago, and NYC
I was fortunate enough to attend a session with Bob Garrett (actor and vocal coach in LA), Lindsay Levine (casting director in NYC), and Dawn Gray (agent in Chicago). Here are some tips I thought were very useful:
Know what your goals are. Is your dream to make a living in theatre? To have big roles? To live in NYC? Going to NYC isn’t the end all be all to having a successful career. If your dream is to have a certain variety of starring roles, it’s beneficial to stay in a smaller market.
You can do absolutely everything right in an audition but be just a little too tall, and that’s the one small defining thing that stood in your way. You can only control what you do, so don’t obsess over why you didn’t land a role.
If you want to go into musical theatre, you really must learn at least a little dancing, even if you’re a superb singer and/or actor. However, this can depend on the area. Dawn Gray said that if you’re a great singer in Chicago, you can get work in theatre.
Bob Garrett emphasized on the importance of risk and personalization. Taking risks in an audition setting can be a disaster, but it can also land you the job. It is necessary that you personalize a piece.
On audition songs: keep in mind, if I can research this role and discover that it’s good for me and I’m good for it, can I find a song that isn’t overdone and has the same emotional content?
One of the biggest issues with young actors seeking jobs is that they aren’t used to constantly auditioning and are really just bad at it.
You don’t necessarily have to go to NYC to be seen by a NYC casting director. They tend to go to L.A. and Chicago.
Casting directors notice when you’re back and auditioning again and again. They will keep that in mind (which is a good thing!) Don’t give up.
It’s okay to “surprise” in an audition room. Don’t riff and run all over the place and wreck the melody, but changing maybe one note at the end could make you stand out.
If you’re singing a song about discovery, don’t show that you know the outcome while you sing the song.
Yes, really follow the rules when it comes to 16-32 bars. They see so many people a day.
In an educational setting, we tend to focus on what obstacle the character is facing, what problem they must overcome, etc. To Lindsay Levine, she said that she really looks for an actor that can bring hope to a character. Don’t play the problem. Play the person that still has hope and desire.
One of THE biggest mistakes in an audition is trying to show the extremities of your range. Really, just sing something that showcases you and your voice well. Don’t try to show off.
On resumes: understand there’s not a lot you can do about it – really, just write down what you’ve done; if you’re coming in classical to MT, not every casting director knows the terminology so don’t over-explain; don’t say you have basic anything (i.e. basic piano skills) under special skills, esp. if you aren’t really able to deliver that service; Sell the best you. Not just everything you do; there is debate over listing professional small roles you’ve done vs. interesting, bigger educational roles you’ve done first on your resume but in the end it doesn’t matter that much
On appearances in casting: understand that they aren’t thinking of casting you in an educational way. Maybe they think you have so much potential and you would grow from this experience and do it well, but they’re looking for someone who can deliver in this very specific way in a very specific show. It’s also about being comfortable in who you are. The opportunities will be affected by what you look like, but you still have opportunities (and you can write material for yourself!) Additionally, focus on your “type” and embrace the umbrella you live under.
A lot of the time your accompanist is also a music director, so if they’re looking through your book, make sure you pick songs you’re excited and ready to sing because they may just ask for it.
If you love a show and feel that the role fits you, go ahead and learn the score and study the script and keep an eye out on productions.
stormborns
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areudirty
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titsay
