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4 Tips to Avoid Being Typecast

Patty Craft — Mon, 10 Jun 2024 20:55:13 +0000

Yes, we all have certain skills we love to showcase and characters we love to play. These are often our most memorable roles and frequently lead to additional parts and performances. Yet, even when trying to showcase our versatility for casting directors, it can lead to the challenge of typecasting. So how do you break the mold and land the roles you want?

Here are some tips to help you showcase all your talents and avoid getting stuck in the same role over and over.

Some Who Have Been Typecast

Typecasting is the process by which an actor becomes so strongly identified with a specific character or roles they’ve played that casting directors find it hard to see them in other types of roles. It may happen because of our ethnicity, physical appearance (like height or overall build), or simply because of success in a past role.

A couple of typecasting examples:

In 2003, Johnny Depp starred as Captain Jack Sparrow in “Pirates of the Caribbean: The Curse of the Black Pearl.” Since then, he’s played characters who all behave much like Sparrow did in that first movie.
The cult classic “Friends,” debuted in 1994 and quickly skyrocketed in popularity. Even today, its popularity has persisted, with a new generation of followers thanks to streaming services and syndicated reruns. The show’s success left Jennifer Aniston (who played Rachel Green) typecast as the sweet girl-next-door type. She’s been quoted as saying that while she loved playing Rachel, the typecasting has prevented her getting offered edgier roles in Hollywood.

So how do you avoid falling into the same situation?

1. Great Headshots Will Help You in the Door

Studies show that humans connect when they see another human’s face. MIT did a multiple-duration study showing participants photos, and when asked what they saw in the split-second interval, viewers focused on faces.

In your marketing, unforgettable headshots are a must. Think of them as the perfectly designed business card or the stellar influencer’s Instagram grid that stops you from scrolling to take a closer look.

Harsh as it may sound, a harried casting director may be flipping through headshots at the speed of light, so invest your time, creativity, and money in producing the best one you can afford. Often times, actors will have multiple headshots that subtly convey different “types” of characters in their range.

Entire articles are written on how to create memorable headshots, but here are a few key Dos and Don’ts:

Dos

Do work with a photographer that helps you feel comfortable and who feels like a partner.
Do apply a bit of makeup that is neutral and polishes your natural look.
Do wear flattering, solid colors.
Do design your looks based on your casting goals.
Do format your photos to industry standards.

Don’ts

Don’t use a selfie!
Don’t use your yearbook photo as a headshot.
Don’t apply heavy makeup that distracts from your natural look.
Don’t wear patterns or styles that overshadow your skills.
Don’t include poses that go against the character you want to play.
Don’t submit black-and-white photos; don’t filter or airbrush wrinkles, freckles, laugh lines, etc.

Tip 2: Create Video Clips Showcasing All Your Skills

Thanks to the ubiquitous nature of smart phones, creating video clips is easier than ever. However, a successful video clip requires more than attaching your phone to a selfie stick and recording. Why video? Because your clips show (rather than tell about) your abilities, and allow for a level of creativity—visuals, sound, color, setting—that written words capture differently.

Remember, casting directors process information in many ways. Some will find your written resume more helpful, and others will be swayed by seeing you in action in your video clips. Your material is strongest when you show variety, creativity, and effort.

Do collect videos from as many of your performances as possible. If a professional did the photography or videography, see if you can get clips from them, and be willing to compensate them fairly if you choose to use their work.
Do collect videos of different lengths, keeping in mind the attention span of the average viewer today is, well, short. We scroll quickly as we walk to our next appointment or class. We flip across multiple platforms. Give the people what they want, and don’t waste screen time.
Do make your clips count—grab powerful dialog you delivered, or magically lit scenes from the show that show off your best performances. Be sure to show your range and depth: humor, drama, movement, voice, etc.
Don’t share videos that you do not have permission to use; copyright is a real thing and must be honored.
Don’t use any video clips with poor sound or visual quality.

Tip 3: Keep Learning New Acting Methods and Drama Techniques

The best advice we ever got: “Keep learning new things.”

Many actors stress themselves out over which acting method they should learn. Sure, it can be useful to focus on one thing at a time for positive results, but the reality is that learning multiple methods has no downside.

Fill your acting toolbox by being a lifelong learner! Here are just a few methods to consider:

Classical Acting Method
Chekhov Technique
Laban Movement
Meisner Technique
Method Acting
Stanislavski’s System
Stella Adler Acting Technique

The more we know, the more we grow. Trite, yet true. Of course, each acting method has its merits, and some techniques may be better suited for a specific production than another.

Rely on suggestions from trusted mentors, troupe directors, acting coaches, etc. Find out why they recommend a specific method, and then decide if you want that tool in your toolbox. Remember, ultimately you want to hone your method.

Tip 4: Don’t Be Afraid of Failure

Last and certainly not least, don’t be afraid to fail. Failure is the chance to begin again with experience on your side. Sure, there is pressure to succeed, but don’t typecast yourself by being afraid of trying something new. You’re going to do well with some effort, and you’re going to try things that simply aren’t your strong suit.

When an effort tanks, use the experience and knowledge you gain to get closer to what you really want to do or as a push to try it differently if you still want to hone it.

Patty Craft is a regular contributor to Dramatics.org.

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A Conversation with Liam Pearce

Dylan Malloy — Fri, 26 Jan 2024 18:04:35 +0000

Liam Pearce, star of the new Broadway musical How to Dance in Ohio, is exactly where he wants to be. While studying musical theatre at Pace University, he secured the lead role in the musical, sticking with the production as it underwent many workshops and premiered on Broadway. This heartwarming production follows seven autistic teenagers preparing for a dance; Pearce and his six young costars are all autistic as well.

Originating his character, Drew, gives Pearce the opportunity to confidently create something new onstage every night, which he has been working towards since high school.

Finding Confidence in the College Audition Process

While applying to college as a senior in high school, Pearce only applied to musical theatre schools. “There was never really a background plan or anything else I really wanted to do.” Pace University was the frontrunner for several reasons. Pearce prioritized being in New York City and connecting with others in the industry; he also valued Pace’s ability to host masterclasses with influential musical theatre performers.

He got a taste of the school’s personality as soon as he entered the audition room. “I just really loved the individuality they celebrated, specifically in the audition process,” he says. “They were like… sing what you want to sing.” Pearce changed his audition song and sang two pop-rock songs that showed off more of his personality as a performer.

He describes the college audition process as “one of the more daunting things I’ve ever done,” applying to over a dozen schools. He recommends “putting time and effort into making [your application notes] as clear and organized as possible” instead of trying to keep track of everything mentally.

Auditioning for Ohio

In July 2021, Pearce saw an open call for How to Dance in Ohio. The call invited autistic actors to submit footage of themselves singing a song they love. Pearce submitted a self-tape of himself singing “Someone to Fall Back On” by Jason Robert Brown and received a request to audition for the role of Drew three weeks later. Pearce now marvels at how the entire cast “booked the show that would lead to [their] Broadway debuts off of Zoom calls and self-tapes.”

The cast of How to Dance in Ohio.
© Curtis Brown

After booking the role in September 2021, Pearce and the other actors prepared for the show’s 29-hour reading, the first of numerous workshops and readings. “When I walked into rehearsals for the Broadway run,” Pearce says, “it was my fifth time having a ‘first day of school’ for How to Dance in Ohio.”

Pearce performed in the first reading of the musical as a senior in college, and to keep himself in top shape for performing, he had to learn how to say no to certain things, prioritizing his physical and mental health above all else. “You know your body, you know your mind, you know yourself better than anything else,” he says. “If you know that this is going to be stretching you too thin, it’s okay to say no to it because what’s meant for you is what’s meant for you.” Protecting his wellbeing gave him the strength and longevity to continue performing with How to Dance in Ohio, resulting in his Broadway debut.

Connecting and Keeping It Fresh

Stepping into the role of Drew offered Pearce something very close to his heart. While speaking of the character, he says, “our autism manifests in similar ways when it comes to the structure we like in our lives.” Pearce feels free to explore new facets of the character and the script onstage, claiming that “if I decide to say a line differently, or try a slightly new approach, within the boundaries of making sure the scene is still the same, it’s something that is encouraged.”

Performing with understudies also gives him the opportunity to experience new dynamics onstage. Pearce calls his costars “a family to me at this point” and makes a point of saying hello to all of them every day before they go onstage, grounding himself in their friendship and connection.

“I can say that 2023 was the best year of my life for so many reasons,” Pearce says. His belief that “what is meant for you will come to you” has resulted in unique confidence and courage that defines his brand as an actor.

Dylan Malloy is a regular contributor to Dramatics. Find her on Instagram at @dylan_writes.

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Callback Audition: An Actor’s Guide

Andrew Koch — Fri, 01 Dec 2023 14:19:11 +0000

Congratulations! You made it through a nerve-racking preliminary audition. But now you’ve been asked to attend another round of evaluation: the callback audition.

If you’ve never been, callbacks can seem intimidating. Here’s what you should know ahead of time, and how you can make the most of it.

What Are Callback Auditions?

Most shows have auditions, for which actors might be asked to prepare a monologue and/or (if the show is a musical) a song. Casting directors and other members of the production team use auditions to evaluate actors’ potential and make decisions about who will fill each role.

A callback audition is a second wave of testing: an opportunity for directors to finalize a cast list. Quite literally, actors are “called back” to the audition space to continue vying for a spot in the production. For some directors, callbacks are merely a “final cut” for certain roles. Others use callbacks exclusively to fine-tune a cast list they’ve already made.

Who Gets a Callback?

Generally, actors who receive callbacks for certain roles are the finalists for those roles. However, some actors may be asked to read for multiple characters.

What Will You Be Asked to Do?

Unlike auditions, you likely won’t need to memorize any materials ahead of a callback. Most callbacks involve readings from the play or musical: You’ll be given the script and asked to perform certain scenes from the show for the production team, likely alongside other actors who have also been called back. Sometimes you’ll be given some time with the material, other times, you may receive the material at the callback and be asked to perform a “cold reading,” without much prep time at all.

Note you may be asked to read for a role you didn’t audition for. Follow the director’s request, even if you aren’t interested in that role; they may simply be experimenting, and you can always decline a role if you don’t want it. (Who knows? You might be surprised to find you like playing an unexpected character!) Mostly, you want to appear receptive to the creative process of the director, display an apt ability to make strong choices and take risks, and be game, willing, and pleasant to work with.

7 Tips for a Great Callback Audition

Much of the same audition etiquette advice also applies to callbacks. Be courteous and professional, arrive early, and bring your acting resume.

Specifically, keep these principles in mind:

A Thespian participates in Thespy adjudication at ITF 2023. Photo by David Slaughter

Carefully follow all instructions: Prepare any materials as instructed and stay active and engaged during the callback itself.
Know the show: Now that you’ll be performing lines from the show itself, it’s even more important to understand the show and your (potential) role in it. Familiarize yourself with the character(s) you’ve been asked to read for. You won’t be expected to know every nuance of a character yet, but study at least the basics: the character’s motivation, their brief biography, and their dramatic arc throughout the show. If you have time, read the whole script, or watch a recording of the performance. Of course, if the show is a brand new original work, you may not have the ability to learn much ahead of the callback. Do as much research as you can.
Be flexible: As in auditions, directors are evaluating how well you take criticism and can adapt to their vision. Listen to and incorporate their suggestions for how to read a line or approach a scene—even if you don’t necessarily agree with them. Try things various ways, if you get the opportunity to read more than once.
Support your fellow actors: If you’re asked to read with another actor, treat them courteously and respect their creative decisions. The casting director will likely be assessing how you and other actors interact—both your on-stage chemistry and your level of professionalism—so be open and respectful. (After all, they may soon be your castmate!)
A group of Thespians prepare for adjudication at ITF 2023. Photo by David Slaughter
Try not to be nervous: Receiving an invitation to a callback audition is a good sign! The director saw what they liked in your audition and wants to spend more time assessing you for a role (or multiple roles). While certainly not a guarantee you’ll be cast, a callback reflects you’ve passed the hardest part of the audition process: making a favorable impression on the casting director.
Stay true to yourself: Again, the casting director saw something they liked in your audition. Don’t suddenly present yourself differently from how you did then, and definitely don’t try to copy a famous actor’s performance of a role. (A casting director isn’t interested in your imitation of Hugh Jackman’s Harold Hill. They want your Harold Hill.)
Follow up: The production team will almost certainly confirm how they’ll inform you on their casting decisions. But if they don’t (or they haven’t contacted you in the time frame they originally announced), it’s appropriate to reach out for clarification. Just be sure to check all locations information may have been conveyed already, like a callboard or your spam folder!

What if I didn’t get a callback?

Don’t panic if you didn’t receive a callback. That doesn’t necessarily mean you won’t be cast—the director may simply feel they’ve seen enough of your performance and resume to make a casting decision. Or perhaps the callbacks are only for certain roles or ensembles rather than the full cast.

Once you’re through the callback process, learn how to prepare for a table read or handle not getting the part you wanted.

Andrew Koch is a writer and editor from Cincinnati.

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Quiz: Spooky Theatre Trivia

Jose Triana — Wed, 25 Oct 2023 18:23:58 +0000

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Audition for Community Theatre

Andrew Koch — Wed, 28 Jun 2023 22:31:01 +0000

What are you doing this summer? Your love of theatre doesn’t have to end with the school year (or even with high school graduation). Acting opportunities are all around you—if you know where to look.

If you want something more organized than a backyard performance but less professional than a regional theatre, community theatre troupes might be right for you. Though mostly made up of amateurs, community theatres perform shows for the general public and bring accessible theatre to your city.

Here are five reasons to audition for a local community theatre.

Get more acting experience

Quality may be better than quantity, but you’ll still want several roles on your acting resume. Your school likely has time to do only two or three shows in a year (and may be dormant over the summer). But community theatres can operate year-round, giving you additional chances to hone your craft.

Community theatres can also be a fresh start. You may regularly compete with other students for roles you want, but the pool of actors in your age group might be smaller at a community theatre. And you’ll work with a new director and a wider variety of castmates—including older actors who have valuable experience to share (more on this later).

Acting in community theatres can even open you up to a wider variety of roles. A local community theatre might be able to put on shows that your school can’t. For example, maybe you want to play a role from a show that’s too risque (say, Cabaret) or logistically difficult (say, Phantom of the Opera) for your school to put on, or a show for which the rights aren’t available.

Broaden your theatre knowledge

Many companies are volunteer-led, meaning everyone pitches in. In addition to your acting role, you could take on tech responsibilities that will help you round out your resume.

The troupe I’ve been involved with as an adult performs in a public park’s amphitheater. As part of the agreement between the troupe and park, everything must come down after each rehearsal and performance: lights, sets, props and even backstage tents that the actors sit underneath.

By helping out, I’ve expanded my theatre skill set and developed a greater appreciation for the hard work that goes into a show. Though I’ve only been credited as an actor, I’ve also:

taken down and put up set pieces
hung lights and curtains
edited and formatted programs
worked concessions
set up stands and chairs for the orchestra

You might also have an opportunity to assist with costuming, makeup, or marketing the show, or even direct!

Network with local directors and actors

If you’d like to act professionally, community theatres help you meet key people in the local industry, such as directors and actors. They can give you important feedback and expose you to different styles and techniques, and keep you informed of other opportunities (both educational and professional).

Building these relationships can also “get your foot in the door” for future shows. In addition, directors make helpful references for jobs, and can write letters of recommendation for colleges or scholarship programs.

Don’t forget to ask veteran actors for their advice. Some of my favorite memories of community theatre are killing time backstage by tapping the brains of actors who have been in the business for years, even decades—the different roles they’ve played, how the companies have evolved, and even the “drama” behind the drama.

Give back to your community

Local arts need participants, in addition to patrons! Support the arts by showing up in your community. Your troupe might perform free shows at places like nursing homes and schools, bringing theatre to audiences who otherwise wouldn’t have access to it. Or it might provide opportunities for actors who have disabilities or other life circumstances that prevent them from participating elsewhere.

You can also give back by being the mentor you always wanted. Take other new or young actors under your wing, and share what you’ve learned to help them grow.

Have fun!

Make lifelong friends and keep your love of theatre strong. Find a troupe that’s a good fit for you, and you’ll have a creative outlet that lasts—not just for summer vacation, but also after graduation and throughout your adult life.

For more, check out the American Association of Community Theatre and similar organizations for your region.

Andrew Koch is a writer and editor from Cincinnati. He performed in his first community theatre show at age 24.re

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Do This Musical, Not That One

Andrew Koch — Wed, 17 May 2023 21:16:58 +0000

Choosing popular musicals for your program’s next productions can be tempting. Sure, top-of-the-charts cast recordings draw new people to the art of musical theatre, and it can be exciting to tap into that energy.

But popular shows aren’t always feasible. You want your program to stand out, and maybe even attract a general audience. That’s made harder by choosing a show that several other schools are performing or have recently staged. And that’s on top of licensing issues: Companies may grant rights to a popular show to only a handful of schools or programs in a region.

When planning your next season, consider these six less-performed (but no less substantial) musicals.

Popular Musicals in their Own Ways

1776 instead of Hamilton
A cultural phenomenon that sparked interest in both civics and theatre alike, Hamilton remains on Broadway and not at a community or school theater near you. But the oft-overlooked 1776 also dramatizes the founding of the United States (and, indeed was referenced in Hamilton’s “The Adams Administration”).

Of note: 1776’s characters are overwhelmingly male and white, in stark contrast to Hamilton’s race-blind approach to casting. But a 2022 all-non-male revival of 1776 paved the way for new ways of staging the show.

Honorable mentions: Lin-Manuel Miranda’s In the Heights or Bring It On. Both incorporate styles of nontraditional music and have several roles explicitly for people of color.

Once Upon a Mattress instead of Shrek
Though decades older than everyone’s favorite ogre, Once Upon a Mattress (a comedic take on The Princess and the Pea) is also a send-up of traditional fairy tales. And, like other suggestions on this list, Mattress offers more prominent roles for actresses than its male dominated counterpart, Shrek.

Mattress is a comedy, albeit with a different sense of humor. Shrek’s bawdy potty humor and pop-culture references are swapped for physical comedy and sexual innuendo. Mattress’ title itself is a double entendre, and there’s a whole song in which a father pantomimes “the birds and the bees” to his son.

Popular Musicals from the Good Old Days

All Shook Up instead of Grease
Both of these musicals are set in the 1950s. And both of these two shows are full of leather jackets and poodle skirts. All Shook Up trades Grease’s iconic doo-wop pastiche for Elvis Presley’s iconic songbook. School boards or principals concerned with Grease’s mature content might be much more supportive of the more wholesome All Shook Up.

Another reason to choose All Shook Up is that it benefits from not having a popular film adaptation that audiences will compare it to.

Popular Musicals You’ll Want to Get to Know

Once on This Island instead of The Little Mermaid
Disney’s The Little Mermaid tied for the ninth most-produced full-length musical in the Educational Theatre Association’s 2022 play survey. And for good reason: The show’s songs and characters are instantly recognizable to generations of theater goers, and its large cast allows many actors to get involved.

But Once on This Island is based on the same Hans Christian Anderson fairy tale—and it offers more roles for women (Ariel and Ursula are the only two female characters with significant lines in Mermaid) and people of color. The music is just as catchy, featuring a score from Broadway legends Stephen Flaherty and Lynn Ahrens.

Young Frankenstein instead of The Addams Family
The Addams Family, another of EdTA’s top-10 most-produced musicals, is a macabre comedy based on a much-beloved family of characters. Young Frankenstein checks several of the same boxes: a rip-roaring musical based on the popular Mel Brooks film of the same name. Both shows also allow for some audience participation, and don’t require the audience to know the source material to enjoy.

Pippin instead of The Greatest Showman
The Greatest Showman may not be a stage musical (yet), but the 2017 film’s popularity persists. Pippin, the 1972 brainchild of Stephen Schwartz and Bob Fosse, is also set in a kind of circus and features stirring melodies and physical stunts. A 2013 revival starring Patina Miller as the Lead Player (a role historically played by a man) brought new relevance to the show.

Andrew Koch is a writer and editor from Cincinnati. 1776 is his favorite “unpopular” show.

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Introducing the National Theater Institute’s Emerging Artists Intensive

Sponsor — Tue, 09 May 2023 14:59:15 +0000

New summer intensive for high school students prepping for performance in college and beyond!

High school students interested in preparing for college training and professional life as an actor have a new destination. Long considered a premiere training program for gap year, undergraduate, and professional students, the National Theater Institute (NTI), a program of the two-time Tony Award-winning Eugene O’Neill Theater Center, will welcome high school students for the first time this summer (2023) in its inaugural Emerging Artists Intensive.

Scheduled for August 6-13, 2023, NTI’s Emerging Artists Intensive is designed to give young artists ages 15-19 a taste of conservatory-style education similar to an undergraduate training program. Students will also receive help preparing for professional and educational auditions while gaining insight into life as a professional artist.

Participants will also have opportunities to interact with other artists on campus for the O’Neill’s Cabaret & Performance Conference, which includes their peers participating in the prestigious Junior Cabaret Fellows program for high school-age singers.

Tuition for the Emerging Artists Intensive program is $2,800, which includes room, board, and all programming. Travel to and from Waterford, CT, must be provided by the student.

Interested students should apply for the program by June 1. Applicants must upload a resume and headshot as well as answer a few brief questions regarding their interest and provide one reference. Applications are available at theoneill.submittable.com.

The Emerging Artists Intensive joins a long list of world-class NTI programs, including the National Theater Institute semester, National Music Theater Institute semester, Advanced Directing semester, Advanced Playwriting semester, and the Theatermakers Summer Intensive. Each of this programs earns college credit through Connecticut College. NTI also partners with the UK’s Rose Bruford College to offer an international MA/MFA program.

Since its founding in 1970, NTI has provided hundreds of students a springboard to the professional world. Alumni of NTI’s programs include John Krasinski, Rachel Dratch, Jennifer Garner, Josh Radnor, Elizabeth Olsen, Etai Benson, Kimberly Marable, Jiehae Park, Diana Oh, Rebecca Taichman, Susan V. Booth, Maria Manuela Goyanes, and more.

To learn more about NTI and the Emerging Artists Intensive, visit nationaltheaterinstutute.org. Additional information about the O’Neill is available at theoneill.org. Questions can be directed to ntiadmissions@theoneill.org.

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The Mystery of Edwin Drood

Patty Craft — Tue, 09 May 2023 21:17:20 +0000

The International Thespian Festival (ITF) main stage showcases the best of the best of student performances in school theatre. In 2023, the musical The Mystery of Edwin Drood hits the stage with Thespian Troupe 1794 of Floyd Central Theatre Arts.

Come behind the scenes with director Brooklyn Chalfant. If you’re already registered for ITF 2023 you’ll get to see this show. (Registration is closed at the time of this post.)

A Q&A with the Director of Edwin Drood

DRAMATICS: Why this show right now? What considerations were made in your selection process?

BROOKLYN CHALFANT: Our student performers are extraordinary singers and dancers, so I found a musical that would challenge them as actors. This one has rich characters and music, and has more than 30 possible endings! The audience chooses by vote at each performance which ending they do. The technical crew, performers, and musicians all had to be completely focused and prepared to follow the audience’s decision.

Choosing a show that challenges the students’ weaknesses may seem counterintuitive; typically directors highlight strengths. But one of my goals as a theatre educator is to never be comfortable. Growth happens in the challenges.

It’s been such a rewarding experience watching these students rise to the challenge. They exceeded all expectations by securing a spot on the ITF main stage!

DRAMATICS: Please finish this sentence: You wouldn’t know it but…

CHALFANT: You wouldn’t know it, but our entire production crew is students. Our technical theatre director and teacher, Mr. Jared Willis, and I work to ensure that the tech students are trained and empowered to run all technical aspects of the show.

Then there’s a team of student carpenters that Mr. Willis leads that built the set. I worked closely with our student charge artist and her painting team to bring the Music Hall Royale to life through professional techniques I learned at Cobalt Studios. Our lighting, sound, and props designers are all students as well! During the show, the student stage management team keeps everything running, while our deck, fly, and wardrobe crew make sure the magic takes place behind the scenes. For this show, our crew is actually larger than the cast! They are such professionals.

You also wouldn’t know it, but this is the first show for some of our student performers. One of the best things about theatre education is that it welcomes everyone. So while some of our performers have been doing this since they were quite young, others tried it for the first time in this show and even earned leading roles.

DRAMATICS: What do you want readers to know that we haven’t asked?

CHALFANT: The Mystery of Edwin Drood is weird and quirky. Yet, it’s a perfect show for thespians who love all things metatheatrical and audience interaction. Insider Tip: If you want to get involved with voting on the ending for the performance you see, be sure to sit in an aisle seat!

For ITF 2020, our seniors had earned the privilege of bringing Guys and Dolls to the main stage at festival. Then COVID restrictions resulted in cancellation of the in-person event and festival was virtual. It’s been cathartic for them to have a chance to return and fulfill that dream from their freshman year. They’ve encouraged the other students in the program through the process, too.

Plus, this is my first ITF main stage appearance as a director. I’ve only been teaching theatre for three year. It’s been a career goal of mine since I was a teenage thespian to have a show on the ITF main stage! After festival, it’s time to start dreaming again.

Our Floyd Central Theatre is active all over social media. You can find us on Instagram, TikTok, and Facebook.

Patty Craft is Dramatics.org content manager.

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Becoming Scorpius Malfoy

Dylan Malloy — Mon, 08 May 2023 18:31:30 +0000

Becoming Scorpius Malfoy is something this actor can tell you all about. Erik C. Peterson, a young actor (and former Dramatics reader) currently starring as Scorpius Malfoy in the Broadway production of Harry Potter and the Cursed Child, knows a thing or two about magic. He says that, when he was 14 years old and heard about the show for the first time, “I was a Harry Potter fan, so I was like, whoa! That could be me! And of course, it wasn’t for years and years, and now I’m so incredibly fortunate to be in that role.” Peterson landed the breakout role in August 2022 after seven rounds of in-person auditions and two video auditions, and he sat down for an interview with Dramatics the day after completing his 162nd Broadway show. Here are three key tips to acing your next audition.

Control what you can control

While still in high school in Colorado, Peterson looked at approximately 16 colleges and used a combination of 12 different monologues for his auditions. An organized system and over-preparation kept him from getting overwhelmed by the process. “I made a big, old spreadsheet on my computer,” he says, “and I included every school and every audition requirement. I noted what piece I was going to do. What the time limits were. Remember that there are so many things outside of your sphere of control, that being very organized and very methodical and very prepared … is the best thing you can do to set yourself up for success.”

Erik C. Peterson as Scorpius Malfoy (center). Matthew Murphy photo credit.

Peterson carried the same intensity into his auditions years later for Harry Potter and the Cursed Child. After spotting an open call on Playbill in February 2022, he submitted a video audition. As he advanced further, he regularly flew into New York for auditions involving movement and reading sides. He prepared by reading the play over and over. (He’s not sure exactly how many times he read it during the audition process, but estimates it’s in the double digits.)

Peterson also likes to follow a specific ritual before his auditions. He says that, before one of his auditions in New York, “I ate at the Westway Diner in Hell’s Kitchen, and I got a callback. I proceeded to eat at the Westway Diner before almost every audition.” The bottom line? Hard work and preparation are the keys to acing auditions. And having a special pre-audition routine can ground you as you step into a big opportunity.

Trust your instincts

Peterson earned his BFA in acting at the Webster Conservatory and, during the college admissions process, had a strong gut feeling that this school was the right place for him. He describes meeting two faculty members during his audition for the conservatory like this: “We just chatted for about five minutes before I even did my pieces. Just having a good time. It felt like the type of room that I wanted to spend more time in and my instincts told me that was a good sign.” He ended up visiting three different schools and shadowed a current student at Webster for a day. The shadowing experience allowed him to see what real life looked like on campus. However, the memory of that audition room guided him toward making the decision to attend Webster.

Scorpius Malfoy (played by Erik C. Peterson) in the Broadway production of “Harry Potter and the Cursed Child.” Matthew Murphy photo credit.

When you tour colleges, it helps to ask current students what they enjoy most about the program. It’s equally important to pay attention to how you feel when you’re there. If you feel welcome, eager, and calm, then those are positive signs that the school could possibly be the best fit for you.

Learn the classics

Before making his Broadway debut, Peterson performed in numerous Shakespeare plays, including Romeo and Juliet, Othello, and The Tempest. He returns to Shakespeare’s plays because there is “something timeless in the core of those scripts that speaks to the human experience on a grand scale.” He understands that, for a student, approaching these scripts can feel intimidating, but he’s reminded of something said to him about Shakespeare by a professor at the Webster Conservatory: “It’s just English.” Peterson says that “letting those words [in Shakespeare’s plays] hit you in the heart instead of trying to wrap your brain around them is the way to go.” He claims that reading out loud makes it click for him, and “once that kind of connection happens, and you become fluent in Shakespeare, the words and the way they feel and the way they sound are so striking.”

This tip can be applied toward any play you are assigned, classical or contemporary: when you’re studying a play, reading it out loud allows you to hear different dimensions and explore new emotions. Reading Shakespeare can be a bit intimidating at first, but it is just English, which means you can understand it and perform it beautifully.

Now, Peterson performs as Scorpius Malfoy in a sensational Broadway production. He regularly revisits his artist’s statement, which he wrote to define his creative career. His goal is “using storytelling as a catalyst for increasing empathy with an audience and myself.” He does so by working hard to make a magical world come to life.

Dylan Malloy is a regular contributor to Dramatics. Find her on Instagram at @dylan_writes.

The post Becoming Scorpius Malfoy appeared first on Dramatics Magazine Online.

ITF Main Stage: Antigone in Munich

Matt Curtis — Mon, 01 May 2023 14:13:28 +0000

Troupe 2075 from Mount Carmel Academy, an all-female high school in New Orleans, Louisiana, has been garnering attention for their powerful production of Antigone in Munich by Claudia Haas. Drawing inspiration from Sophocles’ classic Greek tragedy, the play brings new life to the timeless themes of love, loyalty, and sacrifice by recounting the story of a group of German university students who resist the Nazi regime during World War II. The production has been selected to perform at the International Thespian Festival in June 2023.

Kristi Jacobs-Stanley, director of the production and teacher at Mount Carmel Academy, shared, “We selected Antigone in Munich because of its relevance to the current world situation. The play is about moral courage and resistance, and it is an important reminder that we all have a responsibility to stand up for what is right, even when it is difficult.”

The story of Sophie Scholl and the White Rose Society is not as well-known as other World War II stories, but it is one that is so identifiable today. Sophie and her friends faced great danger as they spoke out against the Nazi regime, but their bravery and commitment to doing what was right continues to inspire people around the world. By updating the setting and reimagining the storyline of Sophocles’ Antigone, the play offers a fresh perspective on the original work, while still capturing its spirit and message. Through the character of Antigone, the play explores the importance of fighting for what is right, even when doing so comes at a great personal cost. Mount Carmel Academy’s talented cast and crew bring this powerful story to life, offering audiences a chance to reflect on the importance of courage, determination, and resilience.

Jacobs-Stanley also shared a fun fact about the production: “We had to get creative with our casting because we are an all-female school with limited access to male performers. So, some of our female actresses are playing male characters in the show!”

Finally, Jacobs-Stanley wanted readers to know that “theater offers us a great opportunity to tell important stories like Antigone in Munich and inspire audiences to take action. We hope that our production will encourage others to speak out against injustice and fight for what is right.”

If you’re attending the International Thespian Festival in June 2023, be sure to catch this inspiring production of Antigone in Munich and witness the power of theatre to tell important stories and inspire change.

The post ITF Main Stage: Antigone in Munich appeared first on Dramatics Magazine Online.