Who's That Woman? (Stagelighter Review)

Who's that woman? I know her well,
All decked out head to toe.
She lives life like a carousel:
Beau after beau after beau.
Nightly, daily,
Always laughing gaily,
Seems I see her everywhere I go.*

If you substitute audition for beau, you pretty much sum up the actor's carousel. Constantly looking for work, seeking approval, trying to get noticed. A huge part of that now in today's casting world is paying to meet casting directors (as I talked about in "Opening Doors"). In the past, I have chosen to meet casting directors at classes or seminars, in person. I like the personal contact and the idea that I go in the room, do my work and that is it. Putting myself on tape terrifies me. I first read about stagelighter on Facebook (of course) and was drawn to find out more based on the people I saw associated with it. Coaches Michael Cassara, Gayle Seay and Joy Dewing leapt out at me. I also watched a sample feedback video from Duncan Stewart and was impressed by how friendly, honest, detailed and helpful it was. I liked the whole approach. I still was not convinced about putting myself on tape, though! If an audition goes badly, it's over. You leave, wallow for a little while (my length of wallowing is becoming shorter and shorter) and move on. If it's on tape, it's there forever. And as for choosing a take to submit? I'll never be 100% happy with any of them! So, although I liked the website and the people involved, I was not going to use the service. It would mean having to watch myself on tape, for goodness' sake!

Oh--

Who's that woman?

I know I know that woman,

So clever, but ever so sad.

Love, she said, was a fad.

The kind of love that she couldn't make fun of

She'd have none of.

Who's that woman.

That cheery, weary woman

Who's dressing for yet one more spree?

Each day I see her pass

In my looking-glass--

Lord, Lord, Lord, that woman is me!*

I have, however, realised that times are changing and if we do not move with that, we are left behind. I see so many of my older actor friends who are out of touch with what is happening in the business and, in many cases, it is stopping them getting work. No matter what your opinions are on the changing nature of casting, auditions, etc. you have to put your best foot forward and be willing to try. Hard as it is to watch myself on tape and acknowledge the flaws, it is getting easier. The main reason? Heidi Marshall. Taking her class changed so much for me. She's an inspiration. I still do not like watching myself, but I am so much more at ease about the thought of going on tape. The class for a start helped with that (you tape scenes every week and have several takes to watch and learn from) and, since taking the class, I am going in for many more on camera auditions.

I was starting to warm to the idea of stagelighter.  I could see the advantages: value for money, have myself of tape, my choice of coach (casting director, directors, agents...a great library of choices). I took the plunge. 

My first port of call was Heidi. You do not need to go to a coach to tape (you can do it yourself on your computer or even iPhone or iPad) but this was my choice. I prefer someone else taping me and wanted her expert eye. Then I chose two coaches: Joel Carlton (an agent) and Stephen Kopel (casting director). I thought it would be good to have different opinions from different perspectives (or maybe they would both agree that I am terrible!) of the same video. I decided to perform a monologue rather than a song. Although I sing, the thought of taping a 32 bar cut fills me with even more dread. Somehow, that seems even more artificial. It would also be more expensive because I would want to hire a pianist and a studio. For now, I still prefer the idea of a live room for musical theatre. Get in the room, sing your 32 bars (or 16...or sometimes even 8!) smile and leave!


She thought that
Love was a matter of "Hi, there!"
"Kiss me!" "'Bye, there!"
Mirror, mirror, answer me.
Who is she who plays the clown?*

I digress, I think my whole experience of musical theatre auditions deserves a blog of its own.

Once I had my session with Heidi, she emailed me the various takes and I chose one (let's not dwell on how long that took!). Then I uploaded the video to youtube (you can keep it private if you want) and submitted it to stagelighter. The whole process is very easy (even I managed) and there are very clear instructions. I knew in advance that I had chosen very busy people so I did not sit by my computer waiting for responses. The site tells you the average response time for each coach. I posted my video on the 16th of February. Joel replied on the 27th and Stephen on the 1st of March. Joel followed the list that stagelighter gives to coaches and went through everything in great detail (this is where it really started to show that it was, in general, more comprehensive than the usual in person meet and greet. He gave feedback on my headshot, resume (already made changes based on his advice), my look, my type, the choice of monologue and acting choices within that. He was friendly, helpful and clear. And I got to see his cat on the video too, which was an added bonus. It's pretty clear he is not signing me tomorrow but that is not why I submitted. That said, if there are agents you want to target, I think this could be an excellent way to introduce yourself and start a potential relationship. Stephen did not follow the traditional list from stagelighter, but it did not matter. He liked me! There is also an opportunity to ask one specific question in your submission and he was wonderful with that. I asked about the limitations of an O1 visa when working in theatre and he was encouraging and knowledgeable. No matter which coach you choose, it is likely that they will give different insight. Or maybe they will point out the same thing and then you can see it is something to work on. Submitting the same video to two different coaches was definitely helpful. Not everyone will have the same opinion about your work and that is what makes being an artist so interesting. I'm sure any of you readers watching will also have your own thoughts. Having not wanted to send to anyone, I am now sold on the whole idea.

Of course, I shall still strive to meet casting directors in person but now I see the great advantages of this service.

Monologue from "Strange Snow" submitted for stagelighter

1. You do not have to wait for when the person you want to target is holding a class. You can choose then and there and send your video.
2. The monologue or song is on tape and can be used for other coachings or submissions. I would love, however, if they could add the option of performing sides. Most on-camera auditions ask for sides and this would be a more attractive option to me than the dreaded monologues!
3. The choice of coaches includes performers. That's usually reserved for masterclasses so it's a great chance to be seen and hear advice from some Broadway veterans.
4. It's perfect for young performers. You can submit to college faculty and get a head start with meeting casting directors and agents.
5. You do not have to be in New York! 
6. Even when you take notes at meetings with coaches, it can be hard to remember everything. With stagelighter you have the chance to watch your feedback as many times as you want to.

Although I think I still prefer the adrenalin and atmosphere involved with an in-person meeting, I have to admit that I am going to use stageligher again. Who'd have thought?

Mirror, mirror!
That woman is me.
Mirror, mirror!
That woman is me!*


* Who's that Woman from "Follies"
Music and lyrics by Stephen Sondheim 

Opening Doors

If you are seeking representation, one of the first things an agent or manager will ask you is "What casting directors do you know?" If you have representation, you're going to be asked about how you are building on those relationships and what new casting directors are you meeting.

We're opening doors,

Singing, "Look who's here!"
Beginning to sail on a dime.
That faraway shore's 
Getting very near!
We haven's a thing to fear ---
We haven't got time!*

Of course, we all have that movie fantasy that we will be seen on stage, in an audition or more and more now, on youtube, but the reality is that you need to get out there and do some work. We are lucky here in the U.S. that there are open calls for lots of non-union (however hellish those calls can be) theatres. They exist and you can show up and be seen. There are also E.P.A.s (Equity Principal Auditions) and E.C.C.s (Equity Chorus Calls) and, although casting from the E.P.A.s and E.C.C.s is often not the norm, there is still a chance.  Even if you're non-union:
(With So Little to be Sure of) and even if you might not get seen:(Merrily We Roll Along) (...roll along, following dreams), it is ALWAYS worth turning up.

But we are sometimes seen. And those 2 minutes (if you're lucky) in the room are not always enough for a casting director to give you a job or even remember you. And let's face it, we have all had those 2 minutes in the room when we bomb and wish we had not shown up at all. 

They're slamming the doors,

Singing, "Go away!"

It's less of a sail than a climb.

That faraway shore's

Farther every day.

We're learning to ricochet.

We still have a lot to say...*

No matter how many times I am rejected, I still have a lot to say! You are in for so much rejection and you have to accept that or you are not going to survive in this business. Before acting full time, I was a teacher and I got almost every job I applied for. That is certainly not the norm in acting. Looking for jobs and going to auditions does not equal getting a job! It is the norm NOT to book the job. But every audition is a chance to meet a new casting director or remind a familiar one about you and your work.Chances are that you are not going to be plucked from obscurity and rise to fame. So how can you help yourself?

Brette Goldstein chatting about casting. She knows her stuff!

We're opening doors,

SInging, "Here we are!"

We're filling up days on a dime.

That faraway shore's 

Looking not too far.

We're following every star  ---

There's not enough time!*

All of this takes a lot of time. But it is our job. It is part of being an actor. And often we think that when we have an agent or a manger, s(he) will do it all for us. Not true. I happen to be lucky enough to have a wonderful manager, Kathy Olsen: Encompass Arts, and I know she is looking, submitting and fighting for me every day. But we are a team. I have to do my share. She can tell a casting director that I am wonderful, but it will be better for all of us if that casting director has met me. There lies the position of strength (or weakness if I bombed the audition, but let's not dwell on that!).

So, do your share. There are many actors of the old school who are appalled that we pay to meet casting directors. But it is a reality of the business today and when you meet the good ones, not only is it worth meeting them, you are paying to learn something from them too. I am not a Pollyanna (despite my name) and I know there are times when you feel it has been a waste of time or you go to an E.P.A. to perform a monologue for an intern examining his navel. BUT, you take the risks and you have to be in the game. And you do not know where that intern is going next. There is no point bitching and complaining. Do something. Meet casting directors: 

• Pay for classes and meetings at many of the places offering opportunities: The Network, One on One (audition required to join), Backstage University, Actors' Connection, Stagelighter (video or written feedback), Actor's Green Room, The Actors' Loft. There are others too, I am sure and feel free to add in the comments. I go to The Network more than anywhere else. It was the first place I went when I was still a student and I met Paul Michael when he was just opening it and I loved him. So out of loyalty and many good experiences, that is where I go. I have heard good reports from the others too. I suspect that the bottom line is that if a casting director likes you at a meeting, s(he) is not going to make a judgement based on where you met. And yes, the above is going to cost you a few bucks but there are special deals and it is well worth it if you are willing to put in the time and effort.  
• Meals for Monologues (a wonderful FREE event where casting directors give up their time to see actors perform a song or monologue in exchange for donations of food for the homeless.) Last year the lovely Joy Dewing organised an open call and there was another one at Telsey (Tara Rubin herself was in one of the rooms!) There is another one coming up in February. Go!
• Audition update/Backstage University's meet-up. (the next one is on February 5th). This is not strictly speaking free. You buy a ticket. BUT, the way I look at it is, it is a night of socialising with other actors, a chance to meet a casting director and manager or agent and it's an open bar. So, although my ticket cost me $20, I drank enough Sauvignon Blanc and met enough people and had enough fun to make me feel as if I made a profit on that money! And now Tom Lapke's going to pay me for that mention and I'll be in clover.
• Go to the the theatre! Of course, this is not always free but there are many comps if you look and pay attention. And keep an eye on who is casting things. See things that are cast by C.D.s you like and want to meet.
• Send thank you notes, postcards, etc.  Keep in touch (but do not stalk them!) Follow casting directors blogs, their twitter, facebook, etc. (as appropriate i.e. follow but do not poke!). Learn when you meet casting directors what they prefer. Some hate email, others prefer it. Do your homework.
• Keep note of every audition and meeting. I have notebooks with dates and notes and have now discovered the wonder of Casting About: an online record of who is casting what and the option to keep your own personal notes for each C.D.
• I've said it before and I'll say it again: go to auditions!

All of the above seems so simple but often we need reminded. I'd like to share a couple of anecdotes about why and how I think I was lucky enough to be in those situations. In short, I followed the above list.

I first met Judy Bowman at The Network. I liked her immediately and I was able to mention the name of a friend I had worked with whom I knew Judy liked. I then went to see a play Judy had cast at the Mint and when she called me in to audition for a short film, I was able to talk about how much I had enjoyed the pIay. I have kept in touch with postcards or emails (not too many)!  Brette Goldstein (see above video) offers great advice to treat the relationship like dating. We do not want to seem too desperate. Just be sensible and a real person! Don't send emails or postcards if you have nothing to say. And do not add them as a friend on facebook unless you really have a relationship with them.  Katja Blichfeld offered similar advice and was so spot on about being a real person and not going to meet the same casting director every week at networking events. They can smell the desperation and you have to trust that they are good at their job and will remember you. Lucky me that it took one meeting (this is NOT the norm). I met Camille Hickman briefly at The Network and over a year and half later she recommended me to a colleague for a role. Thank you.

Michael Cassara seems to know everybody! He is clearly very, very good at his job. I first met him when my friend Jean Ann Garrish invited me to his birthday drinks. Then NYMF open call, Meals for Monologues and an E.P.A. (by this meeting, I was confident that he remembered me). A couple of months ago, I had a missed call one Saturday night from Michael (that's how hard he works) inviting me to audition for a project he was casting.  I said "I didn't submit." He said "I know, but I thought of you." This is a man who knows his client and knows the actors to call in.

Wise Words from Michael Cassara. The video is a couple of years old but the advice is still relevant.

I first met Holly Buczek when she was working with Michael Cassara (an E.P.A.). Then she called me in for a job I submitted for on Actors' Access. I met her again at Meals for Monologues and then at Audition Update's meet and greet (when certain actors thought I was Joy Dewing, but that's another story). Holly remembered me (and my friend Vanessa Spica who has been called back by Holly before) so we chatted and had a glass of wine. She is definitely NOT A BITCH (all actors should get this inside joke). I also bumped into her on the 42 crosstown bus (but that is not really something you can pursue as with the other examples above!).  A few weeks ago, I returned to New York after a visit to Scotland for the holidays and I saw Holly on facebook looking for a reader for her callbacks (for Joy Dewing Casting) the following day. I offered my services but she already had someone. Then the morning of the callbacks she sent me a lovely message asking me to come in that day to be seen. Again, I had not submitted, but I had come to her mind as being right for the project when I offered to be a reader. I went on to book the job.

We're banging on doors, 

Shouting, "Here again!"

We're risking it all on a dime.

That faraway shore's looking near again.

The only thing left is when,

We know we should count to ten ---*

I'm counting. I'm opening doors. Look who's here!

* Opening Doors from "Merrily We Roll Along"
Music and lyrics by Stephen Sondheim (as per)

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