Putting it Together

Helen Gallagher said to me recently "I wish you'd been around in the good old days.  You'd be working non stop!"

Times have certainly changed and I would love to be living in a different era in so many ways. I am old fashioned. But, in some ways, I am not. I was born in 1975 and I came to New York in 2008. My apartment may have a murphy bed from the 1930s but that is as close to I get to the old New York lifestyle. We are not living in a Gene Kelly movie and we are not going to be discovered sipping a milkshake in a diner.

It is expected now for us to have an online presence. I recently met a broadway actress for a drink. We had been in touch via email and were meeting to discuss a new project. She said "Oh, I know you're an actress: I googled you."  Online presence is a given now (especially if you're starting out). Facebook, twitter, IMDB, YouTube, Actors Access, Backstage, etc.: these places are your friends and part of the puzzle to help you get in that room. That said, you cannot just post willy nilly everywhere and expect that to make you a star.

You can't divide art today
Into categories neatly

What matters is the means, not the ends
That is the state of the art, my dear,
That is the state of the art.*

You need to be smart online and make Smarter Online Submissions: 

S.O.S. Smarter Online Submissions. Workshops available this September: very limited space 

It's not enough knowing good from rotten
You're telling me-
When something new pops up every day
You're telling me-
It's only new, though, for now-

Nouveau

But yesterday's forgotten
And tomorrow is already as passé

That is the state of the art, my friend,
That is the state of the art. *

We might not like it, but if we want to audition, we have to accept the changing times.  Of course, there are people who do not tweet, do not use facebook, have not accepted the ice bucket challenge and do not submit on Actors' Access. And, yes, some of them work all the time. But they are not the norm. We can wonder how fellow actors might get a lucky break and then we have a choice: be bitter or be pro-active. Agents and managers can help, of course, but we are our own best advocates. Yes, there is luck involved, but we cannot rely on that in either the good or the bad sense. Do everything you can for yourself so that when the luck comes your way, you're ready.

No matter how good your representation, if casting directors do not know you, there is not much they can do for you. 

Knowing Me, Knowing You: How to get to know Casting Directors and how to get them to know YOU!

It's all promotion, but then-
It's just impersonal, but-
That is the state of the art,
Isn't it? Well...*

And it does not have to be impersonal. You need to be professional, of course, but Casting Directors want to see a real person. And, even actors who have done Broadway shows and been on T.V. are finding new struggle with the business because it is always changing.

Art isn't easy -
Even when you're hot.*

So what can we do? I am an actress. I have the same successes and struggles you do. Most of all, I try to practise what I preach. I submit regularly.  Sometimes that can be several submissions in one day, sometimes just one or two in a week. You have to learn about what to submit for and when. What is right for YOU? I sent in 2 submissions this week on Actors' Access and received 2 cmails. 


2 for 2. Pretty good odds. Why? Because I know how the system works. I have spoken to so many casting directors and the great people at Actors' Access. I can give you strategies to help you stand out from the thousands of other submissions. I'm not saying I can book you a Broadway show tomorrow. I am not saying I work all the time, but I think that is what makes my class work. I am real person with the same issues you face. I have faced them and continue to face them but I have set in place practical tools that can help actors submit successfully and with confidence. I started teaching these classes because I saw a need for them among my circle of friends alone. As I talk about in "Here's to us..." And now it has grown and grown and I am thrilled to share. Everybody needs a friend out there.  

Bit by bit,
Putting it together...
Piece by piece -
Only way to make a work of art.
Every moment makes a contribution,
Every little detail plays a part.
Having justa  vision's no solution,
Everything depends on execution:
Putting it together -
That's what counts! *

You have training and you have talent. What piece of the puzzle is missing?

Learn from someone walking in your footsteps every day.

For workshop information click here.

Art isn't easy -

Any way you look at it.*

Your friend,

Polly.

www.theactorsfriend.com

*Putting it Together from "Sunday in the Park with George"

Music and Lyrics by Stephen Sondheim

The Hills of Tomorrow

Sophie's Success Stories

Behold, Mike Longo!

Behold the hills of tomorrow!

Behold the limitless sky!

Fling wide the gates

To a world that waits!

As our journey starts,

Behold! Our hearts

Are high!*

I first met Mike Longo at Sophie's first venue, The Cafe at Broadway.  Almost exactly one year ago. I have been hosting the weekly Monday night open mic since Sophie opened.  And I met Mike who was bartending that evening.  He was cute, he was young, he was charming. I was hooked!  

And THEN he SANG!

Mike in the Spotlight at Sophie's

One year on and we have had the privilege of enjoying Mike's bartending skills (he makes a great mojito) and hearing him sing almost every week (he missed weeks when he was acting in various great projects:  Tamar of the River, Committed, Grease at Papermill) at Sophie's Open Mic which we have labeled Monday Funday.  I have never looked forward to Mondays.  Now it is my favourite day of the week.

He discovered Sophie's when a music director introduced him to Sophie Yaeger for voice coaching. "I appreciated and respected her as a fellow professional and wanted to support Sophie's grand opening back in the fall of 2013."

Mike singing "What is it about Her" at Sophie's

Mike is leaving us soon and, while we are selfishly devastated, we are thrilled for his great success. He started acting and singing about 10 years ago: started in High School plays and "excelled quickly to my surprise!" Did I mention he was modest? And YOUNG (not jealous or anything).  He credits one of his favourite roles (Percy in the Scarlet Pimpernel)  "back in my senior year of high school. It was so much fun and really broke me out of my shell." 

What struck me about Mike has been how mature and savvy he is for one so young. His talent is obvious, but the other qualities are so important in this crazy business. Often we see someone young gaining great success and not seeing the hard work and long road that has come before. When I arrive at Sophie's on a Monday, Mike and I would catch up on auditions, successes, failures, near misses, frustrations and so on.

Between the hills of tomorrow,

At times the road may seem strange.

The hills are deep,

And the way is steep,

But for those who dare

The world is there

To change!*

Mike has worked and been in some brilliant shows in New York.  I was lucky enough to see him in the brilliant Tamar of the River  at Prospect Theatre. He was also in the hilarious Committed with fellow Sophie regulars, Erica Lustig and composer, Andrew David Sotomayor.

Committed the musical.

Can you spot Erica, Andrew and Mike?

Mike Longo in Tamar of the River at Prospect Theatre

 Mike Longo WORKING IT during the recording of the album for 

Tamar of the River: Album is to be released in September.

Then raise the torch and seize the day!

Behold! Our banners fly to mark the way!

Standards billowing, unsullied, proud!

Visions bright, voices loud!*

So where is Mike going?

 "I am currently in rehearsal for the Kinky Boots 1st National Tour! It is a dream!"

As Mike says, we are a family at Sophie's.  

"The best thing about Sophie's is it's supportive family like nature. Family is always incredibly supportive but also hysterically dysfunctional. You can fall on your face there. What kind of life can you lead without ever laughing at yourself sometimes? Sophie's has built confidence in my presence on stage. Also, has helped me learn how to sing with a microphone which is important in the cabaret scene and/or concert styled performances that many actors will come to face. Being present in a scene with props and a set and direction to follow is a lot less scary than standing and seeing and being the only focus on the stage. This has helped me tremendously in the audition room."

Mike you're an inspiration. Thank you for being part of our family.


Beyond the hills of tomorrow
Are skies more beautiful still!
Behold! Begin!
There are worlds to win!
May we come to trust
The dreams we must
Fulfill!

Laughing with Mike at Sophie's Open Mic

I feel like a proud mother!

You can read more about Mike on his website and follow him on instagram and twitter.

Sophie's Open Mic takes place every Monday.  Come and sing and be one of our success stories!

*The Hills of Tomorrow from "Merrily We Roll Along"
Music and Lyrics by Stephen Sondheim

Here's to us, Who's like us? Damn few.

Hey, old friend,

Are you okay, old friend?

What do you say, old friend,

Are we or are we unique? *

We are all unique.  Of course.  And it is what actors need to channel and embrace. Of course, you can fit into a type and might choose to market and sell that. The really special work and best auditions, however, come from embracing what makes us different and not like anyone else. Our friends and family know we are special. But the real trick is how to share it in the audition room and, more important than that, how to GET INTO THE ROOM! This is not news!  I am an actor and I have the same struggles which is why I have started The Actor's Friend.

Helping Charles Baran with his online profiles
He's currently working in a regional production of "Hello Dolly"

Time goes by,

Everything else keeps changing.

You and I, 

We get continued next week. *

Things in the business are always changing. And it is our job to keep on top of it all.  It would be lovely if we could just turn up at the theatre or on set and not worry about the other stuff, but I think we have to accept it as part of our job now. I have many older actor friends who tell wonderful tales of auditioning in Broadway Theatres, turning up at their agents' offices and having a wee dram and browsing the breakdowns. Times have changed. And whether you have representation or not, YOU have to look out for YOU. You are your own old friend.

Jean Ann Garrish gets a cmail after using
The Actor's Friend's strategies!

The actor's friend sprouted from several little seeds that were planted by friends.

I am an actress and teacher, by nature and nurture (from a family of artists and teachers and I have a masters in Theatre and Post graduate in teaching and almost 20 years experience teaching). More than any of that, I am a friend.

I started blogging about my experiences as a working and auditioning actor in New York,

warts and all.  People were reading. Friends were asking for help, insights and advice. The blog about getting more Cmail had over 1300 views and casting directors and Actors' Access were sharing it. And the same tactics work for Backstage and any online submissions. A few tricks and you are at the top of the pile of submissions. With or without an agent!

One particular evening, I was out with a few actor friends who said, 

"Can we take you out and pay for lunch if you'll explain all of this stuff you know?" 

And then, a week later, my coach, mentor and friend, Heidi Marshall, said to me, "All these people are reading your blog and it is helping actors. Do you know how many of them would like workshops to teach them all of this practical stuff?"

Actors need tools, not just talent.

Even friends with agents and managers are finding this helpful. Do you have an agent and wonder "Why is he or she not getting me in the room?" YOU can help. Your agent and manager submit you so often through breakdown services and if you have clips and profile that shows YOU, that will help them! 

Most friends fade

Or they don't make the grade.

New ones are quickly made

And in a pinch, sure, they'll do.

But us, old friend,

What's to discuss, old friend?

Here's to us --

Who's like us?

Damn few! *

Extolling the wonder of Audition Update

We are different. Acting and the business is not easy. A community is important and you have to find people you trust who help you grow. I have taken many classes and know that there is a chemistry involved. Learning from fellow actors is so important. I have made lots of mistakes! And I am passionate about helping other actors. I have never viewed it as a competition. Of course we vie for parts but we are either right, or not, and so much is out of our control.  Let's stop being jealous. Let's stop competing.

We are there to help each other and I want to help you.  Come and learn from my many, many mistakes! Come and be motivated.  Come and laugh.

Click image to play video

Learn from someone walking in your footsteps every day.

For workshop information click here.

Your friend,

Polly.

*Old Friends
Music and Lyrics by Stephen Sondheim

No More

They disappoint,
They disappear,
They die but they don't...*

I have surprised myself by the reaction I had to the latest news about the film of "Into the Woods" being made more family friendly. Of course, I am disappointed. I am not, however, surprised and I still love Sondheim and support his support of the movie.  And those of you reading this who know me are probably surprised too. Let me explain.

They disappoint
In turn, I fear.
Forgive, though, they won't...

I do not like censorship. I find the bizarre notion of cleaning things up on television fundamentally flawed. In the U.S., the F word is beeped out in movies, even at 3a.m. but commercials for Viagra are shown in the middle of the day. A child is going to hear the F word (that's the least of his problems) but one can explain that it is not a good word and he should not use it (for now, at least; in time he can use it to great effect). I would have no problem explaining that to a child. I would, however, have a very difficult time explaining erectile disfunction. And that is certainly not something that they should be hearing about. Maybe this is just me, but I find the morality censors strange.

No more questions,
Please.
No more tests.
Comes the day you say, "What for?"
Please - no more.

I believe in letting children read and see just about everything. Of course we protect them and I do not suggest putting your two year old in front of "Breaking Bad".  But, I do believe in letting pre-teens and teens watch things that are labelled P.G. or 12 or 15 and so on. One of my favourite film experiences of all time was seeing a 15 rated film when I was too young for it. I was on a high because my English teacher had recommended it to me and I thought there was something thrilling about her telling me to see it when it was strictly above my age group.  It was "When Harry Met Sally".  This is a very tame example given what my parents allowed me to watch, or turned a blind eye when I was watching or, in many cases, encouraged me to watch. Shakespeare is hardly light fair and there are plenty of sexual references. But take your children! What they are not ready to ask about or understand will go over their heads.  If they are ready, they are ready and the discussion should begin. If a child asks a question, we should answer. And the answer should be the TRUTH. There are ways to answer that will leave most children satisfied. If they keep probing then they are ready for more. The dangers are in the lies.

Original Broadway Cast of "Into the Woods"

Just more questions.
Different kind.

It seems that I would be appalled by Disney's decision to make cuts and change things in "Into the Woods". Of course I am. But, having read Sondheim's defense and the various facebook posts by friends who are disgusted with the Disneyfying (is this a word made up by Forbidden Broadway?), I started to think that maybe this dumbed down version is all right. It is not what I want. It is not ideal. It is better than nothing. If Sondheim is being exposed to a greater audience then I am on board. What is Sondheim leaving behind? Art that is genius. He makes us think, feel, laugh, cry and discuss. I do not know if any songs are being cut in the film version of "Jersey Boys" but I can't imagine that anyone would care. (apologies to die-hard J.B. fans). The film version of "Cabaret" is very different from the original. Sally Bowles is American, Fraulein Shneider does not sing those great songs from the stage version. The film, however, is considered a cult classic. 

We disappoint,
We leave a mess,
We die but we don't...

I did not like the film version of "Sweeney Todd".  Apart from the fact I was not playing Mrs. Lovett, there were other issues. The lack of a chorus spoiled so much of what makes the stage show and the score work.  Tobias was too young. he does not need to be a child.  He has childlike qualities but is not a child.

I have never seen the movie of "A Little Night Music" but I am pretty sure I would not like it either.

I often talk about seeing "Follies" in London when I was 13. My parents took me. Is it suitable for a child? It changed my life! They had taken me to "A Little Night Music" when I was 11 and I am sad to say (don't tell Steve) that I was bored and did not understand it. It was over my head. But it certainly did not damage me.  Now it's one of my favourites.  I am eternally grateful to parents who exposed me to things that were way beyond my years. Not many children are so lucky. So surely this is better than nothing? Give them a taste. Let them hear a brilliant lyric and melody. Let them want more. The good parents will immediately show the interested child the DVD of the regional Broadway version and great dinner table conversation will ensue. I am not overjoyed about the junior version of "Into the Woods" performed by schools. Let them do the whole darn thing, I say. Again, though, it is something. A little taste to make them want more and surely after learning that first Act they will be desperate to know what happens after happily ever after. After catching the Sondheim bug as a child I craved more. I found every show, every film score and searched for cut songs too.

Meryl Streep as the Witch in the upcoming film version

Songs have always been cut from shows. I was devastated to read that "No more" will be no more.  Simon Russell Beale is playing the father and we know from his turn on "Sondheim at 80" at the proms that he could handle that song. It is a great song. It makes me sad but I am also excited to hear the song Sondheim wrote for Meryl Streep (apparently he added a little note to the music telling her not to f**k it up.) The brilliant original London production of "Into the Woods" (thanks again to my parents for taking me to see it) was different from the Broadway one. The narrator did not double as the mysterious man, "Our Little World" was added. Art changes. Think of all the brilliant Sondheim songs cut from various shows over the years. We have opinions and people are going to argue the merits of "Lucy and Jessie" over "Ah, but Underneath". All I can say is I am grateful he wrote them.

Stage versions and film versions are never the same. This is not new. The fact that there is such discussion is wonderful and I suspect mainly because of the passion of the kind of fans Sondheim attracts. And that's great. Art is not easy and it changes and we have to accept that. Sondheim says: "You know, if I were a Disney executive I probably would say the same thing," adding: "...censorship is part of our puritanical ethics...There has to be a point at which you don't compromise anymore, but that may mean that you won't get anyone to sell your painting or perform your musical. You have to deal with reality."We might not like it, but what are the options? If you were Sondheim, what would you do? He is letting people see his work. And if the audiences of Broadway were smarter, we would be seeing his work far more often in the original and with the kind of run Phantom has. He has not had that success. Can you blame him for letting Disney do what they are doing? I don't. How can I? I love him.

We disappoint
In turn, I guess.
Forget, though, we won't...

*No More from "Into the Woods" 
Music and Lyrics by Stephen Sondheim

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