|
| Home ║ Season Ticket ║ General Ticket Info ║ About Us ║ Helpful Links ║ Contact Us║ |
|
Calling all Artistic Directors, Vocal Directors, Stage Managers & Technical
people: A DIRECTOR’S FORUM
|
 Regina M. Belt |
| Timothy R. Curtis |
| Jeanna Hills |
| Dre Robinson |
| Rob Scharlow |
Regina has directed; 'Mousetrap', 'Arsenic and Old Lace', 'Moon Over Buffalo', and 'Miracle on 34th Street', "Play On!', 'Steel Magnolias', 'Lend Me A Tenor', and Lost in Yonkers' at the Woodstock Opera House. Other credits include; 'Soul Survivors' at MCC and 'Tribute' at ECC. She has been involved both on and off stage in almost every aspect of Community Theatre. She has also served as Vice President of TSP and serves on the Raue Executive Board and the Raue Performing Arts Board. Favorite roles include Mama Rose in 'Gypsy', Stella Deems in 'Follies', Lucy in 'Snoopy', and Petra in 'A Little Night Music'. Regina is a never ending student of London's West End and Edinburgh's Festival Fringe Theater and is a benefactor of the Stratford Shakespeare Festival.
The director has a responsibility to the playwright that their meaning and words are going to be conveyed properly---as the playwright originally intended. They have a responsibility to the Board or committee that selected them and of course, the director has the ultimate responsibility to her/himself and the cast that is assembled to be and do the very best because let's face it, it's all your names in the program and you all are at the forefront and quite vulnerable on that stage.
So what do I as a director look for at an audition?
First of all, let me set your mind at rest. I do NOT look for an opening night performance! I am however
looking for potential. I want to see what you can bring to a role, if you have room to grow, and what
experiences you can and are willing to draw upon. I have gone into an audition with a pre-conceived
determination of how a character should be and then completely changed my mind after witnessing an
actor's promise of the future.
Moreover, I am always impressed by an actor who is willing to take a risk, and perhaps that is why I like to do an improv or two. I respect actors who can think fast on their feet, primarily because all sorts of situations occur during a show, even the most professional, best prepared, well-greased ones have those unexpected occurrences. Make your decisions in the now and don't waste time analyzing. You may not know what I am looking for in that particular instance.
I try not to ask actors to do cold readings, but then again, it's great to experience the results when they agree to do one. I will, by the way, always let an actor take the time to go over a side if they ask me in another room.
I always listen to an actor's voice, the tonality, the timbre, the projection qualities (many actors ,believe it or not, cannot be heard!). I also need to hear expression and color in that voice. The audience member seated in the back who can't see a face as clearly as those in the front can get an interpretation through that magnificent instrument of the voice. When I have an actor read from the script, I will close my eyes and just listen to the voice. Communication in all aspects is extremely important. And be careful with this one: find out beforehand if an accent is needed. Don't let the pressure of doing an accent take the focus over doing the lines. If you are at all unsure of how to do an accent, be honest and say so but also say you are willing to learn and practice one.
And yes, of course, I like faces…the ones that are interesting to look at, the ones that can project emotive qualities HONESTLY and WITH SUBTLENESS. There has to be something in that face that draws and holds my eyes and hopefully later on, the audience's.
I am naturally attracted to those actors in an audition that take direction well. I like and encourage auditionees to ask questions, but I will tell you quite clearly I prefer the ones who LISTEN to the answers. And let me also assure you, I shy away from actors who say to me, "when I was in…the director told me to…." Or "when I did this show three years ago…I did…." You are cutting off your room to grow, you have closed the door to hearing my interpretation, and you also run the risk of phoning in the same performance you already did for a director that is not me. I have to know that I can work with you for the next six weeks. And please, please, please remember that if I give you a suggestion or redirection, I am trying to help you. I am not picking on you.
I watch interaction between the people I bring into a room; I look for respect toward others-this is a portent of how an ensemble is made later on---and chemistry between actors.
Let me also address an issue that comes up on a frequent basis. We all know better than to take the results of an audition personally, correct? ( HA! We also know that's baloney because we do take the announcement as a personal rejection, and it hurts!) But please believe me…too many times, a director is trapped by the confines of an author's/script's DEFINITE character description and cannot cast a person who reads/sings/moves beautifully because they are simply not what the script requires or demands.
Believe me, the director can feel thuddingly heartsick because they are not able to cast someone because their size, shape, look, or type is not correct for the script. It is very rare, a gift from the gods when a director CAN cast against type and it works….But DO find some comfort in knowing that the director will remember you and will keep you in mind for when that right part does come along! It does happen!
But perhaps the best advice was given to me from Bob Riner, the veteran director of MCC's Black Box
back when I did more acting than directing. It came from Michael Shurteleff's book, a little yellow bible in
many reprintings, simply called AUDITION. And perhaps it sums up what I have been trying to say to you
as a prospective auditionee:
"It is important that the actor convey to the auditors that the answer to all these questions is a big yes: I am easy to work with, I am affable and rational, I take direction well, I am imaginative and cooperative, I don't pout or become hostile."So, take a deep breath, congratulate yourself on wanting to and coming to an audition, and go for it. Dare I say, break a leg?
Timothy R. Curtis made his directing debut in 2004 with the Townsquare Players/Phoenix Workshop production of 'Fork in The Road' by Crystal Lake playwright Judith Fergen. For the Woodstock Opera House, he has directed 'A Christmas Story' and 'Sweet Charity' for Woodstock Musical Theatre Company and directed productions of 'Men Suck' and 'HATE MAIL' at the Stage Left Café for MarcoWoods Productions. For Harvard Players, Tim directed their successful production of 'The Complete Works of William Shakespeare (Abridged)' and 'Schoolhouse Rock Live' and directed a production of 'Steel Magnolias' for Stagedoor Manor Performing Arts Center and Theatre Camp in Loch Sheldrake, New York. On stage appearances include Charlie Brown in 'You’re A Good Man, Charlie Brown', Van Daan in 'The Diary Of Anne Frank' for TSP, Capt. Corcoran in 'H.M.S. Pinafore' and Kris Kringle in 'Miracle on 34th Street' for WMTC, Tom In 'Schoolhouse Rock Live' for Harvard Players and Joe Davidson and Governor Pilate in 'Cotton Patch Gospel' for FCC Players in Huntley, IL.
Jeanna Hills grew up in Atlanta, Georgia surrounded by music, animated family members and theatre. Her love for theatre, especially musical theatre, began at the early age of six. She attended The Art Institute of Atlanta where she studied Interior/Graphic Design. Her involvement with theatre expands through out her lifetime. For many years she was involved with an organization that focused on educational training in the performing arts for children, which allowed her to combine her love of theatre with her love for children. She has directed such performances as 'Cinderella', 'Annie', and 'Sleeping Beauty'. Some of her other credits include participation in the productions of 'The Little Mermaid', 'Charlotte's Web' and 'A Little Princess'. Jeanna is directing, 'The Sound of Music' to be presented in June at the Raue Center for TSP.
Casting a show is generally a process of working thorough a series of questions to discover which people fulfill the needs of the production. 'The Sound of Music' encompassed a wide range of ages so I have listed questions that I felt applied to those ages 5 to 85.
Be prepared...be rested...believe in yourself and don't forget the fun!
Dre has been in or around theatre since he was a child. "You name it; I've done it when it comes to the stage. You have to be multitalented and flexible if you want to succeed in this business." His training started at The Chicago Academy for The Arts and eventually took him on the "I Want To Be A Star" trek out to the Mecca of show business, L.A., where he studied theatre at U.S.C. Not being able to capture the fame and fortune that he thought he was destined for, he headed back to Chicago to study film at Columbia College. Dre has written, directed and produced original works such as 'The Trial', a modern day telling of the crucifixion of Christ, and a comedy short entitled 'Pimps' that was shown at the 2001 Chicago Short Comedy Film & Video Festival. Most recently his directing talents were seen in '5 Easy Theatre Pieces' at Chicago’s Chopin Theatre, and 'The Foreigner' at the Woodstock Opera House.
This challenge starts first with the audition process. It is very important to find actors who are multidimensional because a lot of what happens with these characters are based on their subtext (what they really want) rather than what they are saying. So the audition actually starts the moment you walk into the door.
I like to think of an audition as a Blind Date. The first moment I see you, I'm working to see if you are a good fit. How are you dressed? Are you polite? Your smile or lack of. Are you comfortable? Do you take charge of the room and the opportunity? All of these things and more go inside my mental notebook before you even mutter a word of scripted dialog. If you can't capture my attention, then how will you capture the attention of an audience for 2 hours a night? I always like an actor who can come into an audition and make me feel like I've known them forever. This is someone who I would like to work with because I already feel comfortable around them. I feel that they can take whatever I, or the show, dishes out.
As a Director I never go into an audition looking for a certain type. If I do that I may overlook some very good talent. I am, however looking for an actor to "WOW" me. That is, to just do something that makes me want to put them in the show no matter what. Basically to make me go, "wow." If someone does that I will fight tooth and nail to have them work for me. Even if that person did not have a great reading or didn't have much experience. If you take a look in Hollywood today, most of the great "STARS" are not the best actors. But they are at the top of their game because they have the IT FACTOR. A mixture of talent, charisma, looks, and that special something that makes audiences fork over cash just to see them. In every audition I am looking for those people that would make me open my wallet and pay t! o see them. Its hard for my own mother to make me do that. So bring your A Game and good luck.
Rob studied the art of acting and directing at Illinois State University. He was selected
to be the first undergrad in the theatre department to direct in the Studio Theatre. Rob studied a semester
in Canterbury, England where he spent most of his time in the theaters of London. Rob's past directing
credits include;'The Diary of Anne Frank', 'Steel Magnolias', 'Man of LaMancha', 'Rumors', 'Assassins', 'The
Elephant Man', 'Lusting After Pipino’s Wife', 'Working', and 'Reservoir Dogs'.
His most recent on stage roles, were that of Jon in 'tick,tick...BOOM!' and Linus Larabee, Jr. in 'Sabrina
Fair' at the Woodstock Opera House. He was also seen as Tito in 'Lend Me A Tenor' Mortimer in 'Arsenic
and Old Lace', Billy Flynn in 'Chicago' and "The Phantom" in 'Phantom'. He has also appeared as Lenny in
'Rumors', El Gallo in 'The Fantasticks',
Mushnik in 'Little Shop of Horrors', Stan in 'Broadway Bound', Petruchio in 'Taming of the Shrew', Claude in
the U.S. National Tour of 'Hair', and Che in 'Evita'.
I developed the nickname "the risk taker" when I started directing in high school, and it carried through even in to college. Why? I seemed to be the director that had the tendency to cast people that were not "traditional" or "may not have been the best choice." As a director, there are several aspects that I take into consideration when sitting down to piece a show together. As actors, directors, technicians, crew, sound, lights, etc., we all hold a piece of extraordinary talent and maybe we have been waiting for the correct moment to show our true colors in the theatrical world.
Below are some of the things I look for when directing a musical or a straight show. I usually apply these ideas to both.
I've never been one to believe in traditional casting, just because it has been done that way before. I believe that if you have a true desire to play a specific role and you trust in yourself enough to feel that you have the talent to play that particular role, then you should audition for it. So often we hear "I'm not right for that role," or "I don't have the look for that role." I choose to blind cast when directing. It's not about size, height, weight, color, background, etc. I feel that if you have a desire and drive to play a particular role then you should definitely audition for it. Don't let what others "think" stand in your way of pursuing something you believe in. So in short, the first thing I like to look for is someone who is willing to strive for what they want.
Take a risk. Let your thoughts and actions dominate you at an audition. Don't question what you are doing. Almost every show I direct, once it has been cast (and even in auditions) I will express to my cast (auditioners) the need to go as far as you can go. Don't hold back. It is easier for a director to tell you to pull back a little instead of constantly telling you to give more and more. When you step through the doors in to the audition, leave it all behind you and have a good time. Don't feel as though you're going to embarrass yourself in front of anyone. Everyone at an audition is there for the same reason and the more you allow yourself to take risks, the more that the production staff realizes you can tackle just about anything.
Whether it be a comedy, drama or musical, I have a tendency to use improv at an audition, but more likely, at the callback. Improv is a great way to see if you can adjust to things that are thrown your way, especially during a performance when something might not go as planned. It's always good to be thinking and reacting on your feet at all times. Actors who are aware on stage are fascinating to watch because they are projecting a wonderful energy and it makes it quite apparent when they are constantly thinking and reacting to what is going on. I find that improv comes in handy at an audition to see how quickly people can think on their feet. My advice to people who audition always contains the sentence "just be ready for some improv."
As an actor, I hate cold readings. As a director, I hate cold readings. However, there are not too many community theatre groups that ask you to prepare a monologue. If it requires a cold reading, then so be it. But I know from an actors standpoint that I hate going in and not knowing what is happening. I will do readings at a callback and I usually tell people what they are reading for. This way they can have a chance to get a script or a copy of it and take the time to look through it and see how point A leads to point B and how they can create some nice moments at their callback.
I was taught in the past that just because you do not get called back does not mean you are not being considered for a role. I never quite understood that because you wouldn't have the opportunity to see how others worked together. Unless of course you had them in groups at the actual audition. In a musical situation, it is always good to bring people back to make sure they blend properly and react well with others when trying to create specific moments on stage through music. There have also been times that I have called everyone back that auditioned. Why? Because everyone deserves the chance to make a second impression and to read for parts that they feel they should be allowed to read for even if they were not called back for those parts. It's only fair that you may see something you never saw the first time. Why not give an actor a second chance?
Overall, these are only a few of things I like to look for and how I like to run an audition. In the simplified terms it breaks down as: pursuit of a role, determination, risk taking, not holding back, a good sense of thinking on your feet with improv and letting go once you walk through that door to audition. Just have a good time and remember, all the world is a stage, so know your role.
|
Site Design & Administration by: Rae Pfundt 
|
|
Contents of this site Property of TownSquare Players, Inc. All Rights Reserved. |
