I'm Calm

They Promised Her the Moon

I'm calm,

I'm calm,

I'm perfectly calm,

I'm utterly under control.

I haven't a worry:

Where others would hurry I stroll.

I'm calm,

I'm cool,

A gibbering fool

Is something I never become.

When thunder is rumbling

And others are crumbling,

I hum.*

On Friday night last week May 5th, I received a text from my friend (and dialect coach) Amanda Quaid at around 8.30p.m. I had been teaching for The Actor's Friend and was relaxing with a glass of wine at my favorite midtown bar, L'ybane. The text was asking what I was up to and that she had put my name in the mix as an immediate replacement for an actress who had left the play that Amanda was in. Another glass of pinot grigio down and I had locked myself in the bathroom to take a 'phone call from a director, Valentina Fratti. She told me about the play and the characters I would portray (a teacher, Jerrie Cobb's mother, a fan girl, a scientist and a reporter).  I immediately liked Valentina from just this 10 minute call. She was clearly passionate about the play and if Amanda was involved, well it seemed like a no brainer. One slight catch: there were 3 days left of rehearsal before tech and then first preview set for the following Friday night. SIX DAYS!  

 

Colour coding my script for the different characters.

I must think calm comforting things,

Butterfly wings,

Emerald rings,

Or a murmuring brook,

Murmuring, murmuring, murmuring...look,

I'm calm,

I'm calm,

I haven't a qualm,

I'm utterly under control.

Let nothing confuse me

Or faze me  -  

Excuse me.

I'm calm.

Oh so calm.*

I rushed home to check my email for the script.  I read it, loved it and went to bed (after a series of frantic texts back and forth with Amanda and Valentina) for a fitful night of sleep before my first day of rehearsal on Saturday.To say I was terrified was an understatement.  The physical sensation of the anxiety rushing through my body was overwhelming. These people had put their trust in me and I did not want to let anyone down. When I was greeted with gratitude and praise by a room full of strangers, I felt a severe case of imposter syndrome. 

Amanda Quaid as Jerrie Cobb and Polly McKie as Helena Cobb in They Promised Her the Moon
Photo Credit:  Jeremy Daniel

Friends and family asked the obvious question: "How are you going to learn all those lines?".  Yes, of course that was a concern!  And I am grateful to the friends and colleagues who drilled me. But there is so much more to it than that. 5 costumes, various entrances and exits but most of all, the actor's homework. My training at HB Studio prepared me for that. And the work I have done since. There is always more work to do. Layers to discover. Even when I was in a good run at The Mint in "A Day by the Sea", I was discovering new things 2 months into performances. 

Polly McKie, John Russell and Amanda Quaid in
They Promised her the Moon.
Photo Credit:  Jeremy Daniel

I must think calm comforting things,

Butterfly wings,

Emerald rings,

Or a murmuring brook,

Murmuring, murmuring, murmuring...look,

I'm calm,

I'm calm,

I haven't a qualm,

I'm utterly under control.

Let nothing confuse me

Or faze me-- [yawn] --

Excuse me.

I'm calm.

Oh so calm.*

During this experience, I have fallen on my face (figuratively and literally), I have cried, forgotten lines, vomited, walked backstage half naked because I forgot what change I was on, had the most vivid anxiety dreams (continuing) and worked harder than I thought was possible.  Last Tuesday (the day before tech and 3 days into rehearsals for me), I had a meltdown and kept saying I could not physically do it. I was the opposite of "The Little Engine That Could". I prayed, I cried and I kept chugging away. I could not have done it if it were not for the trust, talent, good humour, sheer class and monumental support of this cast and crew. And of course the love and support sent across the pond by my ever faithful family (I have to include that sentence for my mother).

Edmund Lewis, Andrus Nichols and Amanda Quaid
Photo Credit:  Jeremy Daniel

I'm calm,

I'm calm,

I'm perfectly calm,

Indifferent to tensions and shocks.

Unruffled and ready,

My nerves are as steady

As rocks.*

Polly McKie, John Leonard Thompson,
Amanda Quaid and John Russell
Photo Credit:  Jeremy Daniel

I'm calm, controlled,

So cool that I'm cold,

Aloofer than any giraffe.

When something's the matter,

Where others would shatter

I laugh.

I must breathe deep, ever so deep,

Think about sheep

Going to sleep,

Stop and count up to ten, 1-2-3-4-5-6-7-8-9...when

You need aplomb

And want to be calm

'Cause life is a horrible dream,

Just count up to ten

Very slowly, and then--

SCREAM!*

Life is a glorious dream and I am blessed to be living the one I was given.

*"I'm Calm" from "A Funny Thing Happened on the Way to the Forum"

Music and Lyrics by Steven Sondheim

TICKETS

www.pollymckie.com

www.theactorsfriend.com

Wait

Signing up at Actors' Equity

Easy now.

Hush, love, hush.
Don't distress yourself,
What's your rush?
Keep your thoughts
Nice and lush.

Wait.*

This week, I went to the Equity Membership department and signed myself up!  To say I have been waiting and hoping to get my Equity card for a while now is an understatement.  It does not come easy.  And nor should it.

Posing!

Before I went, my friend Toni Stanton (an Equity business rep) was so excited for me and wanted to meet me and come with me to see me make it official.  I met her at her office and we went down to the membership department together and the lovely John Fasulo (National Director of Membership) came out to congratulate me.

Toni and I were in a short play in a festival off-off Broadway years ago when I first moved here. I first met John at an E.M.C. (Equity Membership Candidate) meeting and he was so informative and supportive. I've kept in touch with both of them over the years.

They both know, in depth, (as does anyone who will listen!) about my struggles with immigration and Equity.  The first thing Toni said to me was "You got your Green card and five minutes later you're getting your Equity card!"

In many respects it was relatively fast.  Just a few months. But in reality, it has been seven years of hard work in the making.

I gave up my full time teaching job in 2008 (I had been a high school drama teacher for eleven years). I thought I would be married with children but God had another plan for me.

Giving up and moving to another country and a city like New York was terrifying and wonderful. I still pinch myself when I walk home and pass Grand Central and The Chrysler Building.

Job hunting when Backstage was still in newspaper form.

Hush, love, hush.

Think it through.

Once it bubbles, 

Then what's to do?

Watch it close.

Let it brew.

Wait.

I've been thinking, flowers--

Maybe daisies--

To brighten up the room.

Don't you think some flowers,

Pretty daisies,

Might relieve the gloom?

Ah, wait, love, wait.

I came on an F1 student visa in 2008 (to study at HB Studio) not sure if this would just be a gap year for a 33 year old in crisis, but quickly knew I wanted to stay and WORK. HB was where I first met Austin Pendleton and took his class. He does not believe that I sat quietly at the back during that first semester. I sat and listened and learned. During my second year of full-time study, I starting pounding the pavement. Knowing nothing! Excited and scared. I went to my first EPA, thanks to encouragement from the wonderful Amanda Quaid.

I first met Judy Bowman (casting director) in May 2012 at The Network. But it is not as simple as meeting once: you have to build a relationship and keep auditioning.

There are so many ways. EPAs, ECCs, appointment auditions, pay to plays, submissions, Stagelighter, and so on. Training, auditions, keeping in touch, working, working, working. It is a long journey with many ups and downs.  There are people who succeed without doing any of it. And there are people who fail while trying to do it all.

I have learned that we are never auditioning for one person or one job. This business seems so big but it's actually very small and people talk. I've been submitting to The Mint and met Jonathan Bank (Artistic Director) a few times and he is a delight. I also went to see plays there and was always impressed by them.  I was in callbacks in the past for The Mint for a role I really wanted. It was tough not to get it, but it was not for me. This is the role that has my name on it.

"A Day by the Sea"

But if I had not built the relationships over the years, I am not sure I would even have been able to get in the room.

I don't think of myself as a patient person. I am genuinely happy for friends' success but, of course, there is an element of jealousy when seeing others succeed.  It has not been easy and no one should think that it is. We have chosen a tough business and there are obstacles everywhere. The immigration obstacle was huge but I am grateful. It made me tougher, stronger and more determined. I have found ways to keep myself motivated and passionate. Having to turn down Equity work in the past and deal with rejection has made this all the sweeter. As my mother often tells me: Whit's fur ye'll no go by ye!

My first Equity Card

with Toni Stanton and John Fasulo at A.E.A.

Slow, love, slow.
Time's so fast.
Now goes quickly--
See, now it's past!
Soon will come.
Soon will last.
Wait.

Don't you know,
Silly man,
Half the fun is to
Plan the plan?
All good things come to 
Those who can
Wait. *

*"Wait" from "Sweeney Todd"
Music and Lyrics by Stephen Sondheim.


www.pollymckie.com
www.theactorsfriend.com

Someone in a Tree (The Room Where it Happens)

I have many actor friends who have been in the business for years.  They tell some great stories about what it used to be like. There were fewer people out there clambering for the same jobs. One friend with Broadway credits talks with fondness about popping into her agent's office and looking through the breakdowns while they enjoyed a glass of scotch!

I was good at climbing trees 
I was younger then 

I saw everything! 

Where they came and where they went 

I was part of the event.

I was someone in a tree!

I was younger then!*

I'm certainly no spring chicken but I came into the business later in life and that, combined with immigration challenges made it harder for me, which as a result made me more determined to do what I could to get in that room.

If I weren't, who's to say

Things would happen here the way

That they happened here?

I was there then.

I am here still.*

"The Room Where it Happens" from "Hamilton"
Music and Lyrics by Lin-Manuel Miranda**

A new year always brings fresh hope, resolutions and commitments to make it a good one. I was lucky enough to return from Scotland to several great cmails and auditions. In fact, 4 days after I got back to New York, I had 3 auditions in one day. Lucky, yes. But also this is not something that happens overnight.

It's the fragment, not the day.

It's the pebble, not the stream.

It's the ripple, not the sea.

Not the building but the beam,

Not the garden but the stone,

Not the treaty house,

Someone in a tree.

I'm a fragment of the day.*

One audition was a Cmail via Actors' Access from a Casting Director for a job neither my manager nor I had even submitted me for. Why? Because she knows and remembers me and my work from several meetings. This takes WORK on your part.(KNOWING ME, KNOWING YOU) Consistency and commitment. If you want to OPEN DOORS, you need to knock on them several times.

The other 2 were the result of knowing HOW to submit to get to the top of the list (S.O.S. SMARTER ONLINE SUBMISSIONS) There are certain tips and tricks that are basically common sense! Casting Directors are busy and you can do them a huge favor by saving them time and NOT wasting their time. You can read more about these tips in GETTING IT TOGETHER IS THE WHOLE TRICK.

It's the fragment, not the day.

It's the pebble, not the stream.

It's the ripple, not the sea

That is happening.

Not the building but the beam,

Not the garden but the stone,

Only cups of tea

And history

And someone in a tree.*

*"Someone in a Tree" from "Pacific Overtures"

Music and lyrics by Stephen Sondheim

** For regular readers of my blog, you know that I always use Sondheim lyrics. Here I also quote the brilliant Lin-Manuel Miranda. Sondheim has mentored him through "Hamilton" and "The Room Where it Happens" is also a nod to "Someone in a Tree".

www.pollymckie.com

www.theactorsfriend.com

Not a Day Goes By

From left to right: Bartender in Lolo's music video; Jack's Mother in "Into the Woods";
Gertrude Stein in "Little Wars"; Janis in "Composing Life".

Not a day goes by...

Not a single day...
But you're somewhere a part of my life,
And it looks like you'll stay.

As the days go by.

I keep thinking, when does it end?

Being an actor is not a 9 to 5 job. Thank goodness. 

I have just finished a contract playing Jack's mother in "Into the Woods" in a regional gig in Potsdam. It was exhilarating, motivating and thrilling to be working on such a wonderful show with great actors and I have returned to New York with a touch of the post-Potsdam blues. It is very normal for actors to have a rough period when a show closes. But work breeds work and the motivation to audition is stronger.

with Ryan Hook as Jack

That it can't get much better much longer.
But it only gets better and stronger
And deeper and nearer ---
And simpler and freer
And richer and clearer...*









I was lucky enough to return to auditions, a reading of a new play and my regular hosting gig at Polly's Follies, but that is not always the case. I have many friends who have long runs in Broadway shows and then periods of nothing. This is not a steady profession and, even with agents, managers and brilliant resumes, most actors have periods of "resting". 
This is never resting, though, in the sense of a holiday. Often the resting periods are when we have to work harder than ever. It is so easy to be motivated when you have a script to work on, lyrics to learn and an audience to entertain. Not so easy to stay encouraged with the daily grind of submissions, E.P.A.s or, even worse, the days when there are no auditions and nothing to submit for (summer is a typically difficult time in the industry).

I started to think of ways that will help keep the working momentum going. This is important for me as an actor, but also important for me in my role as The Actor's Friend. I run accountability groups and I try to practise what I preach. Yesterday, I went to an E.P.A. and it felt so great to be proactive. And, there I was, in the bathrooms at Telsey and the idea struck me. Do you remember #100happydays? I am starting #100daysinthelifeofanactor. 

And no,
Not a day goes by ---
Not a blessed day ---
But you somewhere come into my life
And you don't go away.

And I have to say
If you do, I'll die.
I want day after day
After day after day after ---
Day after day after day after day
After day
Till the days go by,
Till the days go by,*

Here is how it will work. Post something every day (if you miss a day, no one will punish you!) that is related to your acting. It could be something as simple as updating your resume, submitting for a role on Actors' Access, taking a class or even taking a trip to the theatre. Post wherever you like that suits you (Instagram, Twitter, Facebook) and tag @theactorsfriend with #100daysinthelifeofanactor. Are you ready for the challenge? I am...

Till the days go by...*

Not a Day Goes By from Merrily We Roll Along
Lyrics by Stephen Sondheim

www.pollymckie.com
www.theactorsfriend.com

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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