Broadway Break Thru

21 Things That Make Casting Directors Happy in the Audition Room

admin — Wed, 18 Feb 2015 18:43:16 +0000

By Risa Bramon García

Casting directors are your advocates and your champions. Your work reflects on us. Your wonderful work makes us look good and gets that role cast. Your disconnected, tentative, muddled work does nothing for anyone. We need you to be great. We’re here to host your experience and shepherd you in, not hold you back. We want to share in your excellent work.

Casting directors await you on the other side of that door – the door that you can seen as a gateway or a barricade. While you turn it into a horror movie, it’s your stage, not a torture chamber. Whether it’s a pre-read for an associate or a full-blown director/producer callback session, this is your time, your experience. This is your opportunity to do exceptional work. Enter the space and do the work for yourself, for the gratification of the work itself, and yes, to collaborate with the other creative people waiting to figure it out with you. They can’t do it without you.

Here are some choices (and they are choices) to make any casting director truly happy in the room.

1. Accept the invitation with grace and enthusiasm. You were requested to be here as our guest.

2. Come to work and not to please or get our approval.

3. Enter with certainty. Don’t give up your power as soon as the door opens.

4. Play on a level playing field. We’re all figuring it out. Together.

5. Make no excuses whatsoever. Leave your baggage outside. Better yet, at home.

6. Make the room your own. It will make us so much more comfortable.

7. Ask questions only when you truly need answers. “Do you have any questions?” is usually another way of saying: “Are you ready?” You aren’t required to have one.

8. Know your words and understand what you’re talking about. You don’t have to be totally off-book, but if you’ve spent quality time with the material, you’re going to know it.

9. Do your homework on the project. This includes knowing all the players and the show or film’s tone and style. Read all the material you can get your hands on.

10. Make choices and take responsibility for the choices you make.

11. Don’t apologize. Ever. For anything.

12. Know what you want to do and do it. Then leave yourself available to make discoveries. Know that your homework is done. Now let your preparation meet the moments.

13. Don’t mime or busy yourself with props, activity, or blocking. Keep it simple.

14. Don’t expect to be directed, but if you are, take the direction, no matter what it is. Understand how to translate results-oriented direction into action.

15. Don’t blame the reader. Make the reader the star of your audition. According to my teaching partner Steve Braun, you should engage fully no matter who’s reading those lines. Likely your reader will engage – at least somewhat – if you show up.

16. Make specific, personal, bold choices. We want your unique voice to bring the script to life.

17. Stillness is powerful. Understand how to move and work in front of the camera – eliminate running in and out and getting up and down.

18. Require no stroking, coddling, or love. We’re there to work. Don’t take it personally when we’re not touchy-feely. Know that we love actors and that’s truly why we’re here.

19. Understand that you’re there to collaborate. You’re being evaluated in terms of how you serve the role and the material. It’s not a verdict on your personhood. Judgment is something you can control.

20. What you bring in reflects how you’re received so bring in joy, conviction, and ease, and our hearts will open.

21. Share your artistry above all else.

Remember that we’re all human in those rooms, and you can affect us on an emotional level. It’s what we all really want. That’s your job. You being fully present, truthful, personal, and vulnerable is going to give us the ammunition we need to champion you with all our hearts. We all desperately want you to do great work. We’re rooting for that every time you walk into the room. You show up and do your fullest, deepest work, and we’ll slay dragons for you and follow you anywhere. And man, we’ll be so happy doing it. You have the power to make that happen. For you. For us. For the work. Hallelujah!

Risa Bramon Garcia runs a Studio for Actors in L.A. with partner, Steve Braun, The BGB Studio – Bramon Garcia Braun (link), dedicated to actors’ whole journey, connecting craft with career.

For the past 30 years Risa has worked consistently as a director, producer, casting director, writer, and teacher, collaborating with some of the most groundbreaking artists in the world. Having directed two feature films ‐ the cult classic, “200 cigarettes,” and “The Con Artist” in Canada – Risa’s also directed for television, including multiple episodes of “The Twilight Zone” for New Line/UPN, and shows for HBO, Lifetime, and Comedy Central. She’s directed dozens of plays in New York (The Ensemble Studio Theatre, Second Stage, Manhattan Theatre Club) and in Los Angeles. Risa’s casting resumé includes more than 65 feature films, classics such as “Something Wild,” “At Close Range,” “Angel Heart,” “Fatal Attraction,” “Wall Street,” “Talk Radio,” “Jacob’s Ladder,” “Born on the Fourth of July,” “JFK,” “The Doors,” “Sneakers,” “The Joy Luck Club,” “True Romance,” “Speed,” “How To Make An American Quilt,” “Dead Presidents,” “Twister,” “Benny and Joon,” and “Flirting With Disaster;” and numerous television shows, including “Roseanne,” “CSI:NY,” “The Cape,” and most recently “A Gifted Man” for CBS and the pilot “Rewind” for Syfy. She’s currently casting the new Showtime series, “Masters of Sex.” Risa served as a producer on Oliver Stone’s films “Heaven and Earth” and “Natural Born Killers,” which she also cast.

KRISTIN CHENOWETH: On Her Career, Worst Audition Moment & A Broadway Return

admin — Wed, 04 Feb 2015 15:39:40 +0000

It would be hard not to love Kristin Chenoweth. Whether you know the Emmy and Tony Award winning actress/ singer from her critically acclaimed Broadway performances or her numerous television and movie roles, her charming presence is a rare and distinguished force to be reckoned with.

With her highly anticipated return to Carnegie Hall just around the corner, Chenoweth was gracious enough to take some time out of her hectic schedule to chat.

Needless to say I was pretty excited.

RP: First of all, congratulations on your upcoming Carnegie Hall concert! What inspired you to create the Evolution of a Soprano?

KC: It’s really about the evolution of me as a person and as a woman and as an artist. There have been many journeys and roads I’ve traveled and that include music, different types of music. It shows sort of how it all started for me which includes me visiting music I haven’t sung since I was a little child into music no one would expect me to sing. So it’s really truly an evolution.

RP: You’ve worked very hard on this. It must be amazing to be able to develop your own projects. Have you ever considered writing a musical?

KC: I have considered writing a musical, a very loosely based story on my life; however, I think I might be the only person that would find it interesting.

RP: We would all love that! What would you call it?

KC: “Short and sweet”

RP: What’s the best vocal advice you ever received?

KC: Rest, don’t talk, rest.

RP: Well, it’s perfectly clear that you an incredible singer, but, what really gets me is how you’re an equally talented and unique actress. What type of roles are you typically drawn to?

KC: I’m always drawn to more of a character role, which is why The Apple Tree was so perfect for me because it was four roles but all very different vocally. I look for roles that are not on the nose for me. If you go back and look at the role of Sally in Charlie Brown, she was acerbic and the challenge was to not make her a brat, but also make her watchable. With Glinda in Wicked, it was the same. I look at roles that have opportunity for growth, just for me as an artist to get better and to build a really great character arc. I was excited to do Promises Promises for that reason, especially when no one expected me to do that. It was a very different role for me but probably closer to home than anything I’ve played. I continue to look of roles that will challenge me and make me a better actress. A lot of people can sing, and sing really well, but I really am all about the role and becoming the character.

RP: Are there any musicals that you are dying to be in?

KC: I like My Fair Lady, but I think my time has passed. I had always wanted to do that one. Of course there’s Hello Dolly and I look at the greats like Mame and Gypsy.

RP: You’d be great in all of those. Of course on the other end of the spectrum, we all have our lows. Could you share with us your most terrible audition or stage moment? That is if there is one.

KC: There’s so many I don’t even know where to start, but I’ll give you an audition story. I was new to New York. I auditioned for Smokey Joe’s Café for Jerry Zaks. We had to sing a Lieber and Stoller song. I chose “Great Balls of Fire.” I still question this decision. I got nervous and it flipped into an opera sound so I sang “Great Balls of Fire” with an opera take. Jerry Zaks was a good sport. What can I say? It just wasn’t my show.

RP: I don’t think I can picture a show that you wouldn’t be fantastic in. Are there any future projects you would like to tease us with?

KC: I think Tammy Faye Bakker are three words that I find very interesting.

We find that very interesting as well. Surely she is hinting at the new musical Rise based on the life of the late Tammy Faye Bakker. She participated in a reading of the show back in 2011, and it is now supposedly bound for Broadway. I guess we’ll have to hang tight and see what happens.

Kristin’s 3 nuggets of advice for aspiring actors: save your money, get a temp job where you have the flexibility to audition for things, and audition for anything and everything (even if you don’t think you fit the description).

Kristin’s program, ‘The Evolution of a Soprano’ debuts on May 3rd at Carnegie Hall’s Stern Auditorium/ Perelman Stage.

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Robert Peterpaul is an actor, singer and writer. He is currently working for TMZ as a correspondent and Tour Guide, AMERICA’S GOT TALENT as an assistant, and playing Melchior in the Studio Player’s upcoming production of SPRING AWAKENING. Robert has studied at Marist College, the Lee Strasberg Theatre & Film Institute in NYC, Linda Benanti Voice Studio and the Paper Mill Playhouse. Check out his IMDb link and Make sure to follow him on twitter @robpeterpaul.

How to Ace Your Audition

admin — Tue, 27 Jan 2015 15:50:05 +0000

By Daniel Lehman

Casting Director Sig De Miguel has cast dozens of independent and studio films, first with mentor Amanda Mackey and then as an independent casting director. He partnered with CD Stephen Vincent in 2006, and together the duo has cast more than 40 feature films including “Rabbit Hole,” “Holy Rollers,” “An Englishman in New York,” the 2011 Sundance hit “Gun Hill Road,” the new film “For Ellen” starring Paul Dano, and the upcoming “Affluenza.” De Miguel’s previous casting credits include “United 93,” “The Cooler,” “The Matador,” “A Love Song for Bobby Long,” and more.

Although he now specializes in casting independent films, De Miguel cautions, “Actors should not think in terms of studio films versus independent films versus episodic television versus theater versus commercials. They should aspire to be working actors and work in all mediums available to them. The reality is unless a project is doing a search for an unknown, most actors starting out are going to be considered for small roles and day players.”

In advance of his upcoming Backstage Casting Intensive, presented Wednesday, Sept. 12, in partnership with New York Film Academy, we asked De Miguel for his advice regarding auditions, submissions, and acting résumés.

What should actors always remember to do when they walk into an audition room?

Sig De Miguel: The two most important things an actor should bring into the audition room are preparedness and professionalism. I always admire it when actors come into the audition with a strong knowledge of the text, a defined point of view on the material, and assertive, specific choices. Actors should try to approach the most truthful state of being of the character and since it’s usually done in a very short period of time, knowledge of the role and material, preparedness, and specificity are the actor’s best tools.

They should also know how to read an audition room. They should be able to gauge when a casting director is open to conversation or when they have to move quickly. If they have questions, they should be concise and they should be the type of questions that help inform the choices they are about to make. I also love it when an actor has a strong sense of their space and their frame on camera. Even if you have very little experience, learning audition technique and practice can make you come across like an old pro in the room.

And what are your audition pet peeves?

Sig De Miguel: My biggest pet peeve nowadays is actors not bringing their sides to the audition. Because we are firmly in the digital age, a lot of actors are going through their lines on their iPads or phones, but they should always bring their sides to the audition. Somedays it’s like we are Kinkos! But seriously, when you are printing sides for 12 people, it becomes an annoyance. I also think that actors should always carry a couple of headshots with them, as you never know who might want an additional headshot.

What do you wish more actors knew about auditioning?

Sig De Miguel: The main thing I want actors to know is that the power is in their hands. That might be a strange concept to understand, but they are the ones coming into the room and giving the auditions. There is nothing that makes me happier than when an actor comes in and blows me away with an audition. That is why we do our job. When someone walks into the room and does extraordinary work, our job is done. It is very rewarding to see that.

No one is going to do the rehearsal and preparation but you. No one is going to give the audition but you. That audition room is your room to shine. It’s your room to show your specialness. Actors who revel in that are the ones that succeed—the ones who enjoy and take command of the process. Unless you reach a certain echelon of the business, you are going to be auditioning for many years and the audition room needs to feel like home. Regardless of whether the audition room is big or small, whether you are auditioning for two people or 10 people, whether the casting director is warm and friendly or is rude, the great work must always remain the same. The only constant is you and your work in the audition room. It is your moment to seize.

How can actors get your attention, and how do you discover new talent?

Sig De Miguel: Please never visit or call. You never know what is going on in a casting office on any given day. An actor could decide to stop by or call on a day where there is a very time sensitive deadline and things are very urgent. It would not be a good idea. In addition, think of the number of actors that live in New York and try to imagine just a hundredth of them calling every day. It would be chaos.

I strongly encourage specific self submissions, submitting for a specific project and role with a concise paragraph as to why they would be right for the role… By being specific and defined as to their type and skill is how actors tend to open their first doors. I’ve always been critical of actors who put 100 skills in the special skills section of their résumé. “Special skills” means just that—you are very knowledgeable and experienced at these skills. Too many actors put everything and the kitchen sink into this section, and it weakens it. Can you do a dialect listed on your résumé at the drop of a hat if asked by a director in an audition, and can you do it very well? If not, then you should take it off your résumé. Also don’t say you are fluent in a language if you are not truly fluent, because a director or producer could start speaking to you in the language.

How important is acting training on an actor’s résumé?

Sig De Miguel: Education is important to me, whether it means having attended a theater school or currently studying with a teacher, taking a class, private coaching, etcetera. It doesn’t mean that you need to have attended the most renowned theater program in the country, but you should always strive to further your education. There are some great teachers and classes in the city and even successful, established actors continue to take classes.

The Dos and Dont’s of Choosing a Monologue for a Young Performer

admin — Fri, 16 Jan 2015 05:31:42 +0000

by Denise Simon

Whether your child or teen is auditioning for a school theater program, a show, or an industry professional, a monologue is a must-have for every young actor. A child actor should always have two different types of monologues in their back pocket. Make sure your young performer loves the monologues! This will increase their chances of giving a great performance since they will be more excited about working on it and therefore will do a better job delivering it.

Here are some dos and don’ts to consider when picking a monologue for your child.

DO:

Choose good literature. I am not a big fan of generic monologue books. Every now and then I will run across a piece that is well-written and works nicely. However, most of the time, they are trite and obvious. Look for monologues from plays, movies, and even novels which contain conflict and good character work. These will take the actor to a whole new level. Read plays — one acts as well as full lengths. You can’t go wrong with wonderful playwrights such as Neil Simon, Christopher Durang, Eric Bogosian, and Jonathan Marc Sherman. Great writing will help your young actor look good!
Find material your child can relate to. What does your young performer find funny? What moves them emotionally? I recently came across a hilarious play called “Indoor Outdoor” by Kenny Finkle. The pooping cat monologue actually made me laugh out loud! Perhaps a piece about loss might resonate with your child. If he is grappling with adolescence, there are many plays published by Baker’s Plays and Playscripts that might interest him.
Choose age-appropriate pieces. At age thirteen, I played Mama Rose in a camp production of “Gypsy.” In local theater, at camp, and in school productions, of course we get to play these juicy roles at a young age because there are no adults. But in the professional world, where your child is being cast to play their age, they MUST pick age-appropriate material. Even in class, my students work on scenes playing characters close to their age because it is nearly impossible for them to relate to adult issues.
Look for active monologues. Storytelling is boring. Acting means to do. Find pieces where the character is doing something.
Keep it short (1-2 minutes). If you are told two minutes, make it ninety seconds. Most of the time, auditors see what they need to in thirty seconds. They may be sitting for hours listening to actors. They will appreciate you keeping the monologue short. Trust me.
Read the entire play. This is the only way you will completely understand the character and the story. The more you know, the more fully realized the performance will be.

DON’T:

Pick a monologue with a dialect. Unless the project your child is auditioning for requires one.
Perform a monologue from a movie for a theater director.
Pick a piece that can’t stand on its own. It must make sense when taken out of context.
Do monologues that contain profanity and sexual content that may make the auditor uncomfortable.
Choose overdone monologues that you find on the Internet or in monologue books. There is plenty of good, fresh and new material out there.

Master your craft, empower yourself and enjoy the journey.

Denise Simon is a New York-based acting coach and career consultant who has been involved in the entertainment industry for more than 25 years as an actor, teacher, director, and personal talent manager. For 10 years, she was an associate with Fox Albert Management, one of the leading talent management companies in New York, where she managed such clients as Scarlett Johansson, Academy Award winner Mira Sorvino, Lacey Chabert (“Party of Five”), and Judy Reyes (NBC’s “Scrubs”). Denise has coached hundreds of children and young adults appearing regularly on Broadway and in television and film, as well as educating parents on the business of show business.

7 Ways To Make Your Dreams Your Reality

admin — Sat, 10 Jan 2015 05:20:00 +0000

by David Petro

There’s no business like show business like no business we know!

Before any actor hits it big, they have to endure some incredible struggles and make major sacrifices. You’ll need to overcome the multiple obstacles that will come your way. I moved back to New York in 2006 with no job, little money but huge plans. In just two short years I had started David Petro Casting and was casting my first television series on Nickelodeon and co-cast my first Broadway show.

Broadway Break Thru was created during the most difficult time of my life. Through that adversity, I learned many difficult lessons, I re-created myself and I imagined this spectacular new life that would include all of you.

Sooner or later, you’ll have hesitations about your ability to succeed. People will ask you…“What’s your back up career?” “You have a better chance of winning the lottery than becoming a successful actor?” “You want to be an performer? WHY!!?”

Every superstar from Sutton Foster to Zac Efron to Beyonce, has felt this uncertainty at some point in their career. The difference between those who persevere and those who quit is being prepared for what it takes to cross the success line.

Some of my favorite lessons to share while teaching, are you must find a way to preserve your spirit and to keep finding the joy that drove you to this crazy business of show.

Anyone can make the decision to start, but the winners are the ones strong enough to make the decision to continue.

Here are seven of my beliefs that may help you keep pursing your dream:

1. You’ll always have more opportunities.

Whether you’re 15, 30 or 50 years old, you have all your lifetime to succeed. Steve Carell became a household name when he landed the lead role on the American version of “The Office” in 2005. He was 43 at the time. Colonel Sanders franchised the first Kentucky Fried Chicken in 1952, when he was 62 years old. Most importantly, I created BBT when I was 34.

2. Be patient.

Achieving long-term success takes time. It’s as simple as that. Don’t fall into the hype of the Justin Biebers and the Amanda Bynes. Look where that instant success got them.

3. Knock off the knocking yourself.

When the going gets tough, it’s natural to begin losing confidence in yourself. Know that we’re a lot stronger, mentally and physically, than we give ourselves credit for. My Aunt Sherry used to tell me all the time, “We are given exactly what we need, exactly when we need it.”

4. When one door closes, creativity opens another.

Failure is not a dead-end, it’s a new beginning. The solution is often in the struggle. Take this time to experiment, re-envision and re-define.

5. See it to be it.

We’ve all heard the phrase “fake it until you make it”. It’s a phrase I feel was created especially for the entertainment industry. I recently heard a line in a movie that resonated with me, “A goal without a plan is a dream”. Have a goal, make a plan and live your dream.

6. Only compare yourself to yourself.

The only person you need to be better than is you, yesterday. No one else.

7. Embrace the lowest moments.

Know that when things are at their worst, there will always be light at the end of that cold dark tunnel. SPOILER ALERT: here come the cliché, but true inspirational phrases:

“It’s always darkest before the dawn.” ~Proverb

“When you come to the end of your rope, tie a knot and hang on.” ~Franklin D. Roosevelt

“Don’t wait for the perfect moment, take the moment and make it perfect.” ~Zoey Sayward

Click here to learn more about David Petro.

DISNEY Casting Guru JUDY TAYLOR Gives TOP 5 TIPS for Open Call Auditions!

admin — Sat, 03 Jan 2015 20:23:00 +0000

by Editor Tracy Bobbitt in THE BUZZ

Dallas News recently asked Judy Taylor, Senior Vice President, Casting and Talent Relations for Disney Channel, what her top tips were for the open call auditions Disney is hosting around the country. This is what she had to say:

Be Yourself

“We cast our Disney Channel series and movies to be reflective of our diverse audience, so just be yourself and let your unique personality shine.”

Make the Script Your Own

“Put your own unique stamp on the character and the words you are saying. The easiest way to make something your own is to relate the dialogue in the scene to your own personal experiences. You don’t need to emulate another actor, just be yourself. Bring your own personality to the script. For example, if you talk to your family or friends in a certain way, try that with your lines. Really think about what you are saying and how you feel saying it.”

Come Prepared for the Wait

“We anticipate a large turnout for the open auditions and, for that reason, we want kids and parents to come prepared to wait in line. Be sure to bring water and stay hydrated, and have a selection of healthy snacks like fruit and nuts to keep your energy up. I also recommend bringing books, your favorite magazines or games to keep yourself entertained while you wait for your time.”

Dress Comfortably

“Dress comfortably in something that makes you feel good and reflects who you are. The more you feel like yourself, the more we are able to see your true personality. Dressing comfortably also allows you to move freely during your audition and concentrate on doing your best. We want you focused on the character you are portraying, not worrying about your shoes or attire being uncomfortable.”

Have Fun and Enjoy the Process

“This is my number one tip! We want everyone at the open call to have fun and enjoy the audition process. This is your moment to shine and be seen by a professional casting director. From arrival until the time you are seen, make the most of your experience. Look at this audition as an opportunity to be in a room with individuals who share a similar passion and drive. As casting directors, we love what we do and we want you to enjoy the experience just as much. Anyone who comes out to this open call has already succeeded – you made the effort to participate in something you really love and shared with us your unique talent.”

Hear how Zac Efron, Selena Gomez and Ashley Tidale became Disney stars straight from the source.

Registration for the BBT Summer Intensives are now open. Click here for more info or go to www.BroadwayBreakThru.com

Five Benefits of Pre-College Summer Programs

admin — Wed, 03 Dec 2014 02:33:00 +0000

by Rosemary Cochrane

Pre-college summer programs allow high school students to get a taste of college life, preview their dream schools, and give a boost to their college applications. It may be tempting to spend the entire summer at the beach or by the pool (and you certainly should do a little of that!), but why not use some of your free time to learn something new and make yourself a more attractive candidate for admission? In case you need convincing, here are just a few of the benefits of spending some of your summer on a college campus.

1. The gift of time

“All anybody wants is more time,” I remember hearing on an old episode of Grey’s Anatomy. I remember thinking how applicable that is to so much in life. For any big event or big life change, we always want more time—enough time to be ready, enough time to feel prepared, enough time to check everything off the (never-ending) to-do list. But the thing is, whatever amount of time you have is never enough. Will you feel ready the first day you walk into your first college class? Not necessarily, but it doesn’t mean that you aren’t as ready as you can be. Pre-college summer programs can create an environment for you to make the most of the time that you do have. They give you a chance to prepare for the first semester while you are already there—in ways you could never do at home. It gives you the ability to adjust to life away from home in a new and somewhat foreign environment. You’ll have time to ask your questions and time to get to know what college life actually means. In many pre-college summer programs, the program is shorter than a regular semester. This, too, will give you a unique experience—more time to explore and participate in other activities.

2. The gift of space

Summer programs allow you to get a taste of campus life in an environment that isn’t yet crowded with students. Regardless of the size of the school you have chosen, the campus won’t be busy yet with everyone back for the start of the regular school year. So you’ll have space—space to ride your bike, space to find the best sandwich shops on campus (with shorter lines!), space in the classroom to get used to college-level courses. This space, complemented by smaller class sizes, means a better chance to have your voice heard, to get to know professors, and for them to get to know you.

3. The gift of attention

Smaller class sizes also mean more attention can be devoted to each individual student. If you attend a large university, when the regular semester begins, you may find yourself one in the sea of a 500-student class, an environment where it can be difficult to receive one-on-one attention. In a summer program, you will be in a much smaller class and your instructors can provide more support. This will not only help you in your individual courses, but it will help you build skills you can utilize as you prepare for your first college classes. College-level courses can be a new world for some students, and a pre-college summer program gives you the chance to learn and understand what classes will be like and the work you will need to put in to succeed. Many summer programs, too, have dedicated staff, who will help you with courses, campus resources, career advice, and counseling. Don’t be afraid to ask and to learn about all of the services that are available to you.

4. A chance to learn the lay of the land

Whether you are heading to a large school or a small school (or somewhere in between), figuring out the lay of the land is important. The sooner you can do that, the more comfortable you will feel navigating your way to and from classes, back to your dorm room, and to any other events or places you want to go. Attending a pre-college summer program at the school you hope to attend (or one similar to it) allows you to map out a real college campus before most people are back, so it’s much less overwhelming. There is less pressure and you can take your time. You can try different routes. You can find hidden places for reading and where the best underground coffee shop is. You can find where your classes will be in advance—and then, if you get in and choose to attend, you can share your new found expertise with other students and friends you meet freshman year.

5. A chance to meet new people

Not only will you learn the layout of your campus during your time spent in your summer program, you will also meet new people, many of whom may share similar interests with you—and you can help each other to make the most of your summer experience, study hard, enjoy the opportunities laid out for you, and prepare for the coming fall semester together.

Please click here for more information regarding the BBT & Roosevelt Pre-College Summer Intensive. Register by December 20, 2014 and save $100.

What Does A Talent Agent, Talent Manager & Casting Director Do?

admin — Mon, 13 Oct 2014 21:00:00 +0000

by David Petro

TALENT AGENT:

Obtaining a talent agent is one of the most important steps in a performer’s career. A talent agent works for a talent agency where they use their contacts to arrange auditions for the actors represented by the agency. Actors need a talent agent to survive. A talent agent is able to provide an actor with auditions they would not otherwise know about. Without the appropriate industry auditions, an actor’s career will go nowhere. Securing auditions for the performer is the main job of the talent agent.

Agents spend most of the day on the phones, looking through the “breakdowns” (a daily listing of all the acting roles the studios/casting directors are seeking) and submitting pictures to casting directors, hoping to get you in on an audition. If an agent works hard for you, they may be able to get frequent auditions for you. This is a good thing because the more acting auditions you go on, the better chance you’ll have of getting a part. Agents also negotiate contracts and how much money you get if you do get an acting role. However, most of the days are spent trying to get you the audition.

An actor should never pay a talent agent up front for auditions or representation. A legitimate talent agent should receive a 10 to 15% commission only from the work they find the actor. A talent agent should never receive any percentage above fifteen percent.

TALENT MANAGER:

A talent manager’s focus is more on managing an actor’s career than with arranging auditions. Talent managers keep in close touch with talent agents to ensure a shared vision for the actor, but a manager stays mostly on the management end of the actor’s career. Sometimes a talent manager may set up an audition for an actor, but that is not their focus. A talent manager will not guarantee auditions for an actor. A talent manager handles public relations, business matters, and helps to make a career plan and keeps the actor on a path toward success. Most actors cannot juggle the acting demands as their fame and careers grow, interviews, and appearances that come with a prominent career. That is where a talent manager comes in.

Talent managers invest a great deal of time and energy into an actor’s potential, and into a long-term career for their clients, long before the actor has a track record of booking consistently. They typically work with their clients over a period of a number of years. They tend to genuinely care about their clients, almost like a family, and protect their clients from the harmful situations that may be encountered in the dog-eat-dog world of show business. A personal manager is the one who believes in and keeps fighting for a client when all others have given up. The following are some things that many talent managers may also do:

Prepare talent for meetings with potential talent agencies.
Arrange introductions to agents
Help talent decide on a talent agency for representation.
Advise talent on acting classes and coaching.
Help talent choose a good photographer and pick out headshots.
Promote talent to industry professionals to try to help talent get auditions.
Prepare resume or advise talent on preparation of a resume.
Help make any and all decisions related to talent’s career.
Answer questions on anything related to a career in show business.

Typically a talent manger receives 15-20%. The differences between a talent agent and a talent manager vary, but their responsibilities are geared toward the same goal… advancing an actor’s career and getting the actor more acting jobs so the actors makes more money. A good manager will help shape the direction an actor goes so as to generate the most revenue.

The bottom line is that when an actor succeeds and gets paid, everybody gets paid. Both talent agents and talent managers will work hard to make that happen.

CASTING DIRECTORS:

A casting director is a middleman/middlewoman who finds the actors needed to fill roles in movies, TV shows, theatrical productions, commercials or even corporate and music videos. A casting director works for the creative team, not the actor or performer. The studio, producers, director and writers are on one side, and the actors and talent agents on the other — with the casting director in the middle. “

A casting director’s responsibilities extend beyond contacting actors or agents and holding auditions. Casting directors assemble casts that may include hundreds of actors, negotiate deals with the actors’ agents and manage the contracts once the actors have signed.

Casting directors is involved in pre-production and has the following responsibilities:

Meets with the producers, the director and possibly the writer to understand the project.
Meets with the production accountant for information about the casting budget, the money that’ll be used to pay the actors.
Reads the script and make notes about all the speaking parts
Creates a list of possible actors, in preferred order, for the most important parts first.
Contacts the actors or their agents to determine their availability.
Provides the list to the producers and director to make their decision Lead actors may not be asked to audition.
Prepares lists of actors and production schedule for supporting and more minor actors.
Makes appointments for auditions or readings with the available actors.
Provides information about available parts to talent agencies and lists opportunities with Breakdown Services, a company that maintains a daily list of acting opportunities.
Conducts the auditions
Makes recommendations, based on auditions, for each speaking part The director and producers make the final selections.
Negotiates contracts with the actors’ agents, keeping an eye on the casting budget
Issues casting calls for minor acting parts and conducts those auditions
Acts as a liaison between the director and the actors, once contracts are signed
Finds replacements, as needed, during production for actors who can’t fulfill their contracts.

Work with the entertainment industry top Talent Agents, Talent Managers & Casting Directors only at Broadway Break Thru!

Tenacity

admin — Thu, 03 Oct 2013 16:56:00 +0000

by David Petro

“Let me tell you the secret that has led me to my goal: my strength lies solely in my tenacity.” ~ Louis Pasteur

Launching a web start up in today’s economy is extremely difficult. Almost as difficult as breaking into the entertainment industry. Both are over populated, filled with no talent hacks, offer false promises and much talent gets lost in the crowd.

I recall my performing days, running from auditions to classes to my job. Navigating through the actor rejection maze seemed insurmountable most days. Often dreams of my “big break” kept my head in the clouds long enough to blur my vision. When my feet came crashing to the New York concrete, I realized I need something much stronger than day dreams. I needed will power, a strong support system and tenacity.

Dictionary.com’s definition of tenacity is: pertinacious, persistent, stubborn, or obstinate. Adhesive or sticky; viscous or glutinous. Holding together; cohesive; not easily pulled asunder; tough. At one point in my life I have been called all these words. Rarely, in a positive context.

Day dreams do not keep me beating down closed investors’ doors, striving to motivate my team, searching for new partners and sharing a concept in which I whole-heartedly believe. Nor did they drive me to a successful career as an actor, Casting Director or Executive Director of Broadway Break Thru.

My persistent, stubborn, obstinate, viscous, glutinous, passionate and tough creed propel me beyond my goals. As an aspiring “everything” I challenge you to be even more relentless. Keeping in mind that “NO” isn’t even a four letter word.

How To Audition For A High School Play Or Musical

admin — Tue, 10 Sep 2013 18:45:00 +0000

by Eric Theigs

www.stageoflife.com

Today’s blog post comes from Eric Thiegs, Founder and CEO of www.StageofLife.com. Thank you for your contribution and for sharing your wisdom and experience.

I’m a 37-year-old director of a high school musical theatre program, and I have some audition tips for you young actors looking to perform in your fall or spring theater productions.

But first, I have to set this up for you.

I love what I do. Seriously…directing at the high school level is probably one of the things, after my wife and daughters of course, that makes the biggest and most inspirational impact on my life year in and year out.

And no, I’m not a professional director or actor.

I acted in an AFTRA commerical once. I did two regional runs with the touring company of an Off-Broadway show. I made some major call backs during my 20’s (one very close for a national TV show).

But guess what…it wasn’t in my stars to be the star, and I’m okay with that.

I’ve found that my role is to help young talent find their inner voice and hopefully give them a little encouragement to pursue acting and the arts after high school. I know enough to have passion about my job and hopefully fill the role of a mentor here and there but I fully expect my kids to find professionally trained acting instructors in college who will take them to the next level.

But all of that aside, fall approaches and I have a new round of talent ready to audition.

This year, I want to pass along some auditioning tips.

This audition advice comes from witnessing over 1000 students audition for me over the last nine years for roles in South Pacific, Footloose, Once Upon a Mattress, Bye Bye Birdie, Beaty & the Beast, Wizard of Oz, High School Musical, Little Shop of Horrors and this year…Les Miserables.

It by no means is a comprehensive list of audition wisdom but it’s definitely the top areas that need improvement by young thespians. Take a look and please add comments for other tips, suggestions, etc. that you’ve experience during the audition process:

Eight Audition Tips for the High School Actor

1. Memorization is Key. If you are asked to deliver a monologue or sing a song from memory, you better make sure you know both inside and out. No cheat sheets or crib notes. If you forget a line, don’t panic. Just keep going and think on your feet. You need to show the director that you can perform under pressure and keep your cool.

2. Don’t Just Stand There. I can’t tell you the number of times I’ve sat through an audition where the person simply stood in one spot with her hands behind jer back. You have to “act.” Use the stage. Use your body. An actor controls both his voice and his body so make sure you are not just standing there with hands behind back, or worse, in your pockets.

3. Look at the Director. It’s interesting when an audition starts and I find a young actor suddenly start looking off stage right or stage left as they roll into their monologue, as if they are delivering the monologue to an invisible person next to them. It’s interesting because the young actor has no idea that the purpose of the audition is so that I can see them…the invisible person does not care believe it or not. So don’t use your profile in the audition – deliver it full on to the director in the audience.

4. Project. Well…this one is a no brainer but again, there are been some fairly talented people I’ve seen come through auditions but with little to no projection. This is theater people, push and project your voice into the theater. Fill the auditorium. It’s going to be hard to place you in a show if I can’t hear you. And no…this does not imply that you need to yell during the audition. Project from your diaphram and use a normal speaking style based on the monologue you’re presenting, but make sure the person sitting in the last row can year you.

5. Personality. There’s something called the “X” factor or often the “It” factor. Some kids have it. Others don’t. But if you don’t, that’s okay, you’ll still make the show if you’ve got some half decent acting or singing chops. But when you only have one shot at making a positive first impression during the casting process, the thing that you have to remember is this…show a little personality during the audition. Be yourself. If the director asks you how your day is going, don’t just say, “fine” and then stand. That’s your opportunity to show off a little bit. Give the director a taste of the real you.

6. Smile. Nothing kills an audition for me than a student walking onto the stage with a flat line mouth. It’s okay. I’m not going to bite. Have a little fun with the audition and smile…it’ll definitely help with the nerves.

7. Breath. When you feel like your nerves are going to get the best of you, just take a big deep breath, let it out slow and smile at the end. Seriously.

8. Don’t Take It Personally. You have to walk into that audition with the attitude that you’ve already been cast, and be prepared to not take it personally if you don’t make the cut. If you can do those two things, all of the pressure on having to perform in the audition will start to dissolve and you can focus on the experience itself without wondering about the afters and what-ifs. Stay in the moment and don’t take the process personally. If you do…you’re not cut out to be an actor.

Eric Theigs

http://www.stageoflife.com/?tabid=72&g=posts&t=282