Cold Readings

A wise theater teacher once told me this about cold readings: The less cold they are, the better. In other words, a cold reading doesn’t have to be, and in most cases, shouldn’t be, entirely “cold”. In almost all cases, you can contact the theater or individuals holding auditions and request “sides” (scenes from the play being read). In some cases, particularly when the play is new or unpublished, you can ask to read the script in advance. With published plays, get thee to a library and read a copy.

Which brings me to an extremely important point about cold readings and auditioning for shows in general: it is prudent, wise, perhaps VERY, very wise, to read the script in advance whenever possible. This doesn’t always work out, and I don’t advise skipping an audition every time you’re unable to get a hold of the script, but there are going to be times when a read or partial read of a script is going to let you know just how desperate for a part you are not. There’s no sense wasting 3-6 weeks (plus performances) of your life on something you knew from the beginning you would hate. An advance read will also keep you from experiencing any unpleasant surprises, such as a strip tease in Act Two. Even when you decide the play is what you’re looking for, strip tease or not, it’s important to have a basic idea of what’s going on in the show so that you have a better idea of where to take your character in the audition. Your choices can be greatly informed by even a quick read of the script before your adrenaline is racing and your conscious mind is on auto-pilot. Familiarity with the script and characters before the audition will give you a sense of ownership in the show, and thereby, a greater confidence.

One warning: don’t become SO familiar with the script that you become immune to input from the other actors, the directors, and from your own instincts. In other words, no rehearsing and no memorizing. You want your audition to be fresh and unrehearsed, with strong choices and a confident air. So, cold readings? Ditch ‘em – you’re seeking toasty warm.

Bitten by the Bug

You’re sitting in the theater watching a play – any theater, any play will do at this point. You’re enjoying everything you see when... WAIT...what’s going on? Your skin is itching, your face is hot, your blood is racing to your heart – you can barely sit still. You can no longer bear to be a spectator to something that you suspect is taking over your very existence – you MUST be involved, somehow, someway. If you don’t do something soon, you may never be able to watch theater or movies or even tv again. You’ve been bitten by the theater bug and you’d better act fast (ha, ha)!

All joking aside, once this urge to participate hits you, it’s best to go with it. Where should you go with it? To a local theater, as fast as your legs or car or bike will take you. Why? Because they need enthusiastic volunteers and you need any and all experience that local and regional theater can give you. Are you already in a theater school? Terrific, you still need to immerse yourself in the processes of real, working theaters. Not in school yet? Great, you’ll have an opportunity to discuss your options with talented folks who can give you the scoop on what really matters. Depending on the size and focus of the theater or theaters that you choose to grace with your presence, you may receive opportunities to direct, produce, stage manage, star, costume, etc. that would not be available to you otherwise. Ushering, ticket sales, promotional duties, and other similar work is often available. If you really want to work in a theater someday, in any capacity, then get yourself to a theater. NOW.

A few caveats. When you get to said theater, be respectful. Of everyone and everything. Don’t assume that because someone is sweeping out the restrooms that they aren’t an accomplished playwright or the artistic director or an Equity member. Real theater people often wear many hats, as much because they enjoy doing so as because they sometimes need to do so. Don’t kiss anyone’s ass (it’s rarely worth it); instead, put on a professional face, roll up your sleeves, and be prepared for a great adventure. Find out what you can do now, and DO it. Follow through on your commitments, and your experience will be golden. Yogi Berra said at some point that “90% of life is showing up”. In theater, that’s doubly true. At the same time, recognize that once you establish yourself as a reliable and talented individual, your entire life can be spent moving from one (or two or three) unpaid/low paid project to another. Know your limits, and learn how to say, “I’m sorry, but my plate is really full right now. I hope we’re able to work together in the future.” Say it with me: “No, I can’t”. It’s simple, it’s important, and it doesn’t mean that you will never be asked to work again.

Keep careful track of your shows, capacity played, and contacts. It’s too easy to forget details weeks and months down the line. When you get phone numbers, file them away (but keep them discreet – it’s not professional to share other people’s personal info without their permission). If possible keep a portfolio of your work. Take notes. Grow, share, become a professional one (or two or three) project(s) at a time. Wherever you end up later, the experiences you have here will serve you well all of your life.

Next time: Cold Readings (how cold are they?)

Theater and Motherhood

Some people have a lifelong plan before they hit the age of 15. Some develop a plan by the time they reach college, and stick to it, for good or ill. Others don’t figure out who they are and what they want until it’s absolutely the least convenient, almost impossible time to pursue their dreams simultaneously. That’d be me. I’ve always LOVED performing, writing, art, and similar pursuits, but a tiny crush on my pediatrician at the age of 5 led me to announce my plans to become a doctor. Stubborn kiddo that I was (am?), I held onto that ambition all the way through high school and into my first semester of college. At that point, I realized (with a little help from a painful theory heavy chemistry class) how I had been spending all of my extracurricular time since at least 4^th grade: writing, acting, doing art, speech and debate, language clubs, and so forth. True, I was fascinated by science, but not enough to study it day in and out, and certainly not enough to sacrifice so much of my life to pursue it. This would have been an excellent time to change my major to theater, or to begin pursuing theater and acting outside of a university setting, but I lacked one thing, a thing that I would not possess for a very long time: confidence. I was intimidated by theater students, certain that my desire to be a part of their world was only a delusional wish, with no “real” talent to back it up. Still, I continued to do a low scale show or two a year until I was I about to graduate from college (with a degree in history, minors in English and Computer Science – just about everything BUT theater or performing arts), at which point I finally formally announced my desire to pursue theater. I also was ready to start a family with my sweetheart – my husband of 3 1/2 years (yes, I married “early” and graduated “late”). Long story, short? I was quickly preggo with my first beautiful babe, and starting to enter the world of local/regional theater.

Fast forward a few years: I am now a part of two theater companies, do theater on a very regular basis, have 3 children under 5 ½ years, and am expanding my experience rapidly. I have acted, written, and even produced and directed (on a small scale). Not much perhaps for many theater enthusiasts, but frankly I am amazed at what the past 6 years have brought, given the time I’ve had available. As my children grow, I’ll be better able to travel farther and work more to follow my dreams to their next level. My current love is IMT: improvisational movement theatre. It’s an amazing blend of storytelling and movement, all improvised within a loose structure. You can see more about it here: www.nellweatherwax.com

So the real question begs to be answered: do theater and motherhood mesh? The answer is a complicated yes. Perhaps a better question would be: can two (or more) passions, both labor intensive and requiring focus, energy, and positive emotion, mesh? Motherhood is a passion and a calling in its own right; challenging, consuming, with an unbelievable intensity. Theater, at its best, is all of this, too. I’ve found that either ambition alone has the power to bring out my best while draining from me every ounce of energy, wearing me to a small nub of a soul. Together, carefully balanced like a vegetarian dinner in the ‘70s, what one takes away, the other gives back in spades. What I thought was an unfortunate and lamentable bit of timing, raising children and pursuing a dream, however slowly, turns out to be the best kind of grounding that I could hope for. What might seem to some a slow, tedious process has proven to be just right for me. Armed with this confidence, I know that I’ll be able not only to follow my own creative path, but to show my children how to do the same. Who knows, maybe they will use this knowledge gained at an early and impressionable age to become those rare and enviable teenagers: the ones who possess a keen understanding of self and are able to forge their path early and well. One can certainly dream!

Next time: Bitten by the Bug (what do I do now?)