Acting Archives - Dramatics Magazine Online https://dramatics.org/tag/acting/ Magazine of the International Thespian Society Wed, 02 Oct 2024 15:36:55 +0000 en-US hourly 1 https://dramatics.org/wp-content/uploads/2022/03/cropped-EdTA_Icon_FC_RGB_WEB_Small_TM-32x32.png Acting Archives - Dramatics Magazine Online https://dramatics.org/tag/acting/ 32 32 4 Tips to Avoid Being Typecast https://dramatics.org/4-tips-to-avoid-being-typecast/ Mon, 10 Jun 2024 20:55:13 +0000 https://dramatics.org/?p=73813 Showcasing Your Talents For New Roles

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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.
Man camera selfie

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.
Sophia Hillman oversees a dance rehearsal as the director of Elf.

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:

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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Ride Your Feelings with Confidence https://dramatics.org/ride-your-feelings-with-confidence/ Tue, 07 May 2024 19:22:08 +0000 https://dramatics.org/?p=73536 The Emotional Roller Coaster of Theatre

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Feelings. They’re powerful, and as a Thespian, you probably have plenty to contend with – nerves before auditions, anxiety leading up to a performance, and the general stress of being a student.

When you successfully manage emotions, they can help you become a better actor and find more joy in your theatre journey. But how do you learn to make your feelings an advantage?

Math Matters, Here’s Why

Wait! You thought we were talking about feelings and now you see the M-word: math. Fear not, we’re only talking about the basic math of the booking ratio.

In simple terms, a booking ratio is the assumed number of auditions an actor does to get cast once (or to be booked). In the professional world of acting, agents have an expectation of how many auditions are reasonable for an actor to do before winning a part.

For example, an agent’s booking ratio may be 1:25, meaning 25 auditions should lead to one booked gig.

Both sides of this equation

First, think about the ratio from an actor’s point of view. You may need to prepare and audition for 25 different shows to get one role! That’s an average, of course, and your actual experience could be fewer or more auditions.

Understanding a booking ratio this way helps you avoid living and dying by each single audition. Prepare methodically, then show up with passion and a desire for the part. Once you’ve done what you can to stand out, trust the process.

Second, the flip side of the booking ratio from the agent’s point of view helps actors understand that it’s a realistic expectation to do 25 auditions to earn a role.

Set your own booking ratio

The professional world of acting is a much larger sphere than your high school troupe’s productions and/or community theatre opportunities combined. Yet now is a great time to set realistic goals and, again, not live or die by each audition’s results.

Know how many opportunities lie ahead in your high school and/or college theatre career. Set a goal, prepare, and trust the process. The reality of auditioning beyond your school career will seem less brutal with a realistic approach.

An audition for Dear Evan Hansen at the International Thespian Festival 2018.

Audition Prep Includes Positive Thinking

A wise mentor once said: “YOU are not sad. Sadness is on you.”

Let’s back up. Imagine another audition is coming and you’re eager to get a part in the show. You’re nervous about the actual audition, happy about the opportunity, then suddenly “sadness is on you.” Those emotions of sadness may include a heaviness in your body, tears springing to your eyes, a tightness in your throat. Why? Because you remember not getting a part in the last two auditions.

Suddenly your mind thinks: “I’m not good enough to be an actor, so why am I even auditioning? I’m making a fool of myself trying out and no one is telling me how bad I am!”

Stop right there. When sadness is on you, YOU are not sad. You’re having a combination of body reactions then thoughts. Yes, it can be uncomfortable or even downright painful so go ahead and set a timer and ugly cry for five minutes. We get it.

After five minutes though, remind yourself you have power over those thoughts and stop them immediately. Take a cue from the meme that says, “You’ll talk more to yourself than anyone else in your lifetime. Talk kindly.”

Negative thoughts waste valuable prep time

If you’ve decided to audition, and you have a legitimate concern that you need to improve in a specific area, talk with your troupe director. Get input from trusted advisors on how to sharpen your skills for a better chance of winning a role. Use positive thoughts to redirect your focus on productivity that helps you grow.

Once you’ve stopped that rash of negative thoughts, ask yourself what you’ve learned since those previous auditions when you didn’t get a role. Remind yourself, for example, that you’ve learned to make better audition selections. Or remind yourself that the weight training, running, or yoga you’ve been practicing has helped you be more physically able to handle on-stage fight scenes. Even remind yourself of the booking ratio and the fact you’re not going to get every part (1:25!).

Student performers rehearse for the International Thespian Festival opening show.

You Got the Part! Now, the Next Hurdle

Congratulations! Now let’s get ready for the rigor of rehearsals. The director’s job is to bring all the parts of a production together for a thrilling performance. Their job is, in part, to identify problems with the show and work with the team to solve them for a better outcome.

It’s important to have thick skin during rehearsals. What do we mean by “thick skin?” Train yourself to not react negatively to criticism or corrections. Learn to listen to the corrections with an open mind. Regardless of how the critique sounds, there’s goodwill behind it: the director wants to help you have your best possible performance.

Directors are only human. Like you, they’ve likely had a long day before even getting to rehearsal. And just as your personal life or your physical well-being changes from one day to the next, so does the director’s. We rarely know what others are dealing with.

Of course, if you think you’re consistently being unfairly treated by the director, make an appointment to speak with them, face to face, outside of rehearsal. Be ready to share a couple specific examples of when you felt you were treated unfairly and give them a chance to respond. Clear communication, paired with your thick skin, will go a long way. Together you’ll likely forge a stronger working relationship.

Emotions Are an Asset, Not a Lability

As a Thespian, there’s a chance emotions are even more present in your day-to-day as you step out of your comfort zone on and off the stage. The bottom line is it’s OK to feel them. 

The thing to focus on is how you turn them into an asset. Whether it’s putting rejections into perspective with your booking rate, setting intentions during your audition prep, or opening yourself to feedback once you get a part, there’s plenty of strategies to try. 

And if all else fails, remember, the best plays and musicals are the ones that take the audience on an emotional roller coaster – leverage yours to make it happen!

Patty Craft is a regular contributor to Dramatics.org.

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A Conversation with Liam Pearce https://dramatics.org/a-conversation-with-liam-pearce/ Fri, 26 Jan 2024 18:04:35 +0000 https://dramatics.org/?p=72380 On college, How to Dance in Ohio, and more.

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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

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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Planning Your Theatre Off-Season https://dramatics.org/planning-your-theatre-off-season/ Thu, 04 Jan 2024 17:15:56 +0000 https://dramatics.org/?p=72147 4 Tips to Be More Intentional with Your Time

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Maybe you just took your final bow or finished striking the set for your school’s fall play. You’re so proud of all your hard work, but now, there are months until auditions for the spring production. While it can be easy to start focusing and working towards that next production, it’s also a great time to take a much-needed break (while still being a little productive).

Need some ideas? Here are tips to help fill the time between now and your next act.

1. Take Time to Rest

No matter how much fun you have throughout the process, working on a production is always exhausting. Late nights and long rehearsals can leave even the most seasoned professional drained. Now is a great time to catch up on homework, spend time with your family and friends, and get back into the rhythms of normal life. Even something as simple as returning to a normal sleep schedule will work wonders for your mental and physical health.

The hours after school may feel long at first without rehearsal, but by taking time to recharge and catch up on other responsibilities, you can make excellent use of the time.

When doing things you enjoy, like theatre, it can be easy to push yourself too hard without realizing it. But it’s important to take lots of time to rest after each production to recharge. It’s difficult to create art while running on empty. Spending time with other people and prioritizing sleep “fills your tank” so you’re energized for your next production.

2. Go See Other Shows

Now that you’re not working on a production, you have time to go watch other pieces of theatre in your community. First, look at other high schools. It’s easy schedule-wise to go see a show after school, and supporting your fellow Thespians makes the entire Thespian community stronger. Watching other high school students perform or do tech inspires you by showing you what is possible. Maybe a student from another school aced a challenging monologue or executed a perfect set change. You’re just as capable of doing that, too.

You might also have access to other forms of theatre in your area. Community theatres often produce familiar plays and musicals, and larger theatre companies tend to include brand-new plays in their lineups. Do some research to see what’s playing in your area. Seeing professional work teaches you about the complexity of bringing more large-scale productions to life, and you’ll likely leave with some ideas about things you can try in your next production.

3. Continue to Bond with Your Company

During a production, everyone involved in the company, both cast and crew, become very close. Bonding comes naturally when you’re rehearsing late into the night and spending all your free time on set. However, once the production ends and everyone goes back to their separate lives, it’s natural for people to drift apart. You can be a leader in your theatre company by hosting bonding events in between shows to keep the sense of community alive.

These events don’t have to be complicated. You can:

  • Invite people to watch a movie, such as a recording of another theatre performance, like Hamilton.
  • Grab scripts from your drama teacher’s collection or the library and do a read-through of a play you’ve never experienced before.
  • Have a brief meeting after school to check in with everyone or plan some time for coffee.

No matter what you do, be sure everyone from both the cast and crew is welcome. Sometimes, these groups feel separate, but the strongest and most unified theatre companies have lots of interaction between cast and crew.

What's Your Hamilton IQ?

Test your knowledge of the hit show’s story and lyrics with our quiz!

4. Find a New Favorite Show

Even when you’re not working on a show, you can still get excited about theatre! Technology makes it easier than ever to discover musicals that are both well and lesser known. Use online music streaming services to search for public playlists full of songs from other users’ favorite musicals. Put these playlists on shuffle and you’re sure to hear musical theatre songs of all different styles and time periods.

When you find something you like, listen to the full album to begin to understand the story, and depending on the show, it might be possible to find a published version of the script to read. Try to figure out why you prefer some types of stories over others. Does the music speak to you, or the technical elements, or the characters? By identifying which stories resonate with you, you begin to define your personal taste as a theatre maker. And who knows – maybe a new show you discover will be an option for your spring production.

After you finish work on a show, it’s important to rest, reconnect with others, and find new shows to love so you can enter your next season with fresh inspiration. It might seem like a long time until you’re onstage or backstage again, but when you’re intentional about your time, you’ll step into your next production more energized than ever.

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Callback Audition: An Actor’s Guide https://dramatics.org/callback-audition-an-actors-guide/ Fri, 01 Dec 2023 14:19:11 +0000 https://dramatics.org/?p=71878 7 Tips for Nailing the Next Round of Auditions

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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.

Theater audition director

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

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

  1. Carefully follow all instructions: Prepare any materials as instructed and stay active and engaged during the callback itself.
  2. 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.
  3. 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.
  4. 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.

    A group of Thespians prepare for adjudication at ITF 2023. Photo by David Slaughter

  5. 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.
  6. 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.)
  7. 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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5 Must-Know Musicals with Hispanic Heartbeats https://dramatics.org/5-must-know-musicals-with-hispanic-heartbeats/ Mon, 09 Oct 2023 21:04:11 +0000 https://dramatics.org/?p=71052 Celebrating NHHM in Musical Theatre

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A willingness to remember the past, and the trailblazers who made a way for today’s Latinx artists to shine on stage, is at the core of this post celebrating National Hispanic Heritage Month (NHHM) in the U.S.  

In 2023, Broadway got the party started early in September with the ¡Viva! Broadway concert. It was a showcase of current Latin excellence on Broadway. Some participants were asked: “Who is a Latin performer in the industry who inspires you?”  

Today’s artists provide shoutouts to some of “the five you want to know” when it comes to musicals with Hispanic heartbeats. 

1. West Side Story

Yani Marin, proud daughter of Cuban immigrant parents and an actress, dancer, singer, and producer from North Bergen, NJ, named living legend Rita Moreno her inspiration. Marin said, “I am inspired by Moreno’s phenomenal career, and I pray I can still be doing what I love when I’m her age.” Moreno is 91 years old at the time of this post and most recently served as an executive producer on the 2021 remake of the film West Side Story. 

Moreno is a Puerto Rican actress, dancer, and singer who has performed on stage and screen in a career that spans seven decades. She starred in the 1961 film adaptation of the 1957 musical West Side Story. The story is an updated telling of Shakespeare’s Romeo and Juliet – star-crossed lovers struggling in modern-day New York City.  

While West Side Story was (and is) a popular production, it’s vital to note that the 1961 film in which Moreno appeared is a source of controversy because it was written by non-Latinos: the music was written by Leonard Bernstein, and the lyrics were written by Stephen Sondheim. Brown face was used on many of the actors, including Natalie Wood, who played Maria. In fact, Moreno was the only Latina involved in the production! Still, it has an enduring place in the American musical theatre cannon and more recent productions (including the 2021 film adaptation) have striven to bring a higher level of authenticity to the material. 

2. In the Heights

Jaime Lozano, musical theatre composer and self-proclaimed dreamer was asked to name a Latin performer who inspires him and named Lin-Manuel Miranda. Lozano said, “Lin-Manuel has been always an inspiration and a great supporter of what we [the Viva Broadway organizers] are doing.”  

Miranda made his Broadway debut in 2008 with In the Heights, for which he wrote the music and lyrics, while also starring in the leading role. The story revolves around a street corner in the Dominican Washington Heights neighborhood of Upper Manhattan in New York City, where everyone pursues their sueñitos (little dreams) for a better life. 

3. Hamilton

Miranda returned to Broadway in 2015 with Hamilton, another show for which he wrote the script, music, and lyrics (sung and rapped) while assuming the lead role. Hamilton earned the Pulitzer Prize for Drama and was nominated for a record 16 Tony Awards (winning 11).  

If you’re a musical theatre lover, you’d have to have been under the proverbial rock not to know that Hamilton has become a pop-culture phenom. It’s the story of U.S. founding father Alexander Hamilton’s fight for honor and love, striving to leave a legacy that helped shape a nation.  

4. Kiss of the Spider Woman

Thirty years ago, Kiss of the Spider Woman ran in the West End and on Broadway. The show won the 1993 Tony Award for Best Musical. The story is based on the Manuel Puig novel El Beso de la Mujer Araña 

The story is about two prisoners in one dank cell somewhere in Latin America: A Marxist guerilla named Valentín and a gay window dresser named Molina. As the story unfolds, they learn to understand their differences and respect one another.  

A movie by the same name was made in 1985 starring William Hurt and Raúl Juliá. (Yes, you may be more familiar with Juliá in his role as Gomez in the 1990s movie versions of The Addams Family!)  

5. On Your Feet

To round out “the five you need to know” when it comes to Broadway musicals with Hispanic influence, check out the 2015 jukebox musical On Your Feet. It hit Broadway at the Marquis Theatre. The story showcased the pop-music hits of Gloria Estefan, her husband, Emilio Estefan, and their group Miami Sound Machine. Give the soundtrack a listen – the rhythm is gonna get you. (Sorry, not sorry.)  

The History of National Hispanic Heritage Month 

In the U.S., National Hispanic Heritage Month began as National Hispanic Heritage Week in 1968. Then in 1988, the celebrations were extended to a full month running from September 15 to October 15. We’ll let you explore on your own why the festivities straddle both September and October and learn what the Cry of Dolores refers to; a phrase you may hear associated with NHHM. 

Patty Craft is a regular contributor to the Educational Theatre Association. 

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Believable Characters https://dramatics.org/believable-characters/ Thu, 06 Apr 2023 20:03:29 +0000 https://dramatics.org/?p=69622 4 tips for actors to create relatable characters

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Acting isn’t just playing pretend. As an actor, you embody a key part of a show. Through your words and actions, you’ll move the story forward, play off other characters, and help convey the show’s themes. Empathetic, authentic performances also create emotional connections with the audience, allowing them to see characters not as roles in a play, but real-life people.

Your role in the show is a big responsibility! Here are four simple ways to bring your character to life.

Believable Characters in 4 Simple Steps

1. Read!
Read the whole script, cover to cover. Take notes about what your character does and (critically) what others say about them. If possible, do this before your production’s table read so you can hit the ground running. Here are other tips for reading through a play, including what elements you might focus on.

Your character study shouldn’t end when you’ve read your script or learned your blocking. As you’re learning lines, try different “takes.” Say your lines using different inflections, or processed through different emotions. This will open up new possibilities for your character (all subject, of course, to your director’s guidance).

2. Consider motivation
You might have heard the stereotypical, melodramatic actor ask “But what’s my motivation?” There’s truth in that trope, as cringeworthy as it may be. Actors need to understand their character’s wants and needs to make them believable.

Ask yourself what your character wants in each scene, and how they do or don’t get it as the action unfolds. Don’t just think about how you would feel and act—the key is getting inside the character’s head, and acting accordingly.

You should also think about how your character’s motivation might change throughout a scene. Maybe they entered the stage to get a snack from a refrigerator, but stayed after becoming interested in a conversation the other characters are having. Showing the different stages of that shift adds authenticity to your performance.

Lindsay Kujawa shares more tips for developing a character in this article. She suggests figuring out how a character’s internal emotions should be reflected externally in your action, as well as placing yourself in the character’s historical, social, political, cultural, religious and economic context. You might even complete creative exercises, like journaling, listening to a playlist inspired by the character, or creating a mood board.

3. Use your whole body
Always be aware of what your body is doing on stage, because the audience can see it. Little decisions can make or break an audience member’s immersion in the show. Any action that reminds them that the person on stage is you and not a character shatters the illusion.

Watch for any ticks or tendencies you might have, such as a repeated arm gesture or subconsciously swaying from side to side. (My wife, who’s been involved with theater for 20 years, calls the latter the “actor’s hula.”) Record and watch your performance. Does the character talk and move like you, or like your character? If you can’t be an objective judge of this, ask a trusted friend.

Here are some suggestions to involve your body in a positive way:

● Walk: Your character may strut into a scene, or tip-toe so lightly that they go unnoticed by other characters.

● Posture: Does your character slouch, or stand up straight? Consider factors like their self-confidence (both in general and in the scene), age and physical ability, occupation, and economic class.

● Arms: Are they crossed in frustration? Clenched behind the back, or placed on the hips? How expressive is your character with their hands while speaking?

● Sitting: Are legs crossed, or straight? If straight, how far apart are your feet?
Consider habits as well. Maybe your character is always fidgeting with something, or has a tendency to stroke his beard in thought. Involve your hair and costumes, too—a piece of hair that’s always in your face or clothes that look shabby, for example. Consult with your tech team.

Author’s note: Leaning into a character to this degree can be challenging. But the more you do, the less awkward and vulnerable you’ll feel. Start big and use those actions to make smaller changes to your body, thereby creating more realistic movements. Remember: you’re not doing these things—your character is!

4. Interact with the world of the show

You should be in character every second you’re on stage—including (and maybe especially) when your character isn’t the center of attention. A good actor knows the most important person on stage is everyone else. How does your character react to what’s being said in conversation. Or, if you’re meant to be in the background of a scene, how are you interacting with others or objects around you?

Though most of your movements and reactions will be prescribed (i.e., decided and rehearsed ahead of time), try to make them seem natural. You don’t want to remind the audience that you know how a scene unfolds ahead of time! Wait to respond until you hear or see something occur, rather than anticipating cues based on rehearsals.  ♦

Andrew Koch is a writer and editor from Cincinnati. As a character-development exercise, he once attended a cast dinner as his character.

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Stella Adler Acting Technique https://dramatics.org/stella-adler-acting-technique/ Mon, 27 Mar 2023 19:01:52 +0000 https://dramatics.org/?p=68511 An intro to the core tenets of this acting approach

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Stella Adler was one of America’s most memorable theatre teachers. Her dynamic presence and strong ideals drew students from coast to coast, including many celebrities such as Marlon Brando, Elaine Stritch, and Robert De Niro. Today, her legacy lives on through the theatre artists who use the technique she developed, drawing on the philosophies of Konstantin Stanislavski and the Group Theatre, a groundbreaking New York City ensemble founded in the 1930s.

Stella Adler Acting Technique: The Origin Story 

Stella Adler was born in 1901 in New York City to a family of Jewish actors. By age 4, she was appearing onstage with her parents, and her talent soon launched a career that took her from vaudeville to London to Broadway.

In 1925, Adler studied at the American Laboratory Theatre with two former members of Stanislavski’s Moscow Art Theatre. There, she encountered Stanislavski’s system for acting, which encouraged actors to focus on their characters’ inner lives rather than outer expressions. Stanislavski had transformed Russian theatre. In the U.S., he also was inspiring a new, realistic style of acting to replace what had previously been broader and more melodramatic in tone. Stanislavski’s system greatly influenced Adler and other prominent theatre-makers of the time.

Adler enjoyed a long career as a teacher and performer. She taught at the Yale School of Drama, New York University, and The New School, as well as with her conservatory, known today as the Stella Adler Studio of Acting.

WHAT SETS ADLER’S TECHNIQUE APART?

While many notable American acting teachers, including Adler, were influenced by Stanislavski, their interpretations differed. These beliefs are at the core of Adler’s method.

Analyzing the script

One element of Adler’s teaching is its emphasis on script analysis and its respect for the playwright. Adler gave young actors more responsibility by asking them to understand the play themselves rather than relying on a director to interpret it. Actors must examine the script closely to determine a character’s personality and life circumstances. Then, actors align their actions with the character’s circumstances, rather than warping the character to fit their own experiences.

However, the script does not contain everything an actor needs to craft a truthful performance. According to Tom Oppenheim, artistic director of the Stella Adler Studio of Acting and Adler’s grandson, actors must conduct dramaturgical research to fill their imaginations with helpful specifics.

Cultivating imagination

Ron Burrus is a master teacher at the Art of Acting Studio in Los Angeles. At the beginning of every class Burrus teaches, he asks students, “What did you learn today that’s new?” Some students wonder how they could possibly learn something new every day, he says. But constant observation and curiosity are essential to developing an actor’s imagination. Think of the imagination like an engine. As actors thoughtfully notice the world around them, observations provide their imaginations with fuel. The next time they need to bring a character to life, they have a wealth of details to inspire them.

Though actors draw from personal experiences under Adler’s technique, this is different from Stanislavski’s emotional recall. Instead of using personal memories to recreate emotion onstage, actors use real observations to fuel their imagination and create three-dimensional characters.

Elevating characters

While Adler famously told her students, “Don’t be boring,” this maxim goes much deeper than finding a memorable character voice or unique action.

“I think for Stella, theatre was a door that was opening to the divine,” Oppenheim said. “‘Don’t be boring’ was in service to delivering humanity the big ideas and bitter truths we need.”

In other words, “Don’t be boring” was about more than entertaining audiences. It referenced the need to think seriously about human nature and communicate important ideas. 

ADVICE FOR YOUNG ACTORS

How can you use Adler’s ideas to become a better theatre-maker now? Here is advice from two experts.

Study theatre

Oppenheim encourages young actors to treat theatre as they would a musical instrument or sport by practicing consistently. Comparing it to his effort to learn guitar, he said, “I noticed in practicing, it hurts the tips of your fingers a lot. That reminds me that learning anything takes enormous effort. One has to court discomfort and accept it, then grow.”

Exercise your imagination

Creating imagery (or pictures in your mind) is an essential tool for an actor, and reading is a good way to practice.
“Read a book that takes place in another time in another country,” Burrus suggested. “But don’t go see a movie. That’s someone else’s selection of pictures. Read a book and make your own pictures as you read.”

Do work that matters

Most actors will never be famous, so make sure you value the work more than the results. Adler urged her students to create theatre that showcased their unique perspectives.

“Don’t wait around to be discovered,” Oppenheim advised. “Get busy working. Create projects, cultivate the intention of making art, and opportunities will come your way.”  ♦

Additional Resources 
Stella Adler Studio of Acting
The Technique of Acting by Stella Adler
PBS’ American Masters series “Stella Adler: Awake and Dream!”

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3 Misconceptions About College Musical Theatre Auditions https://dramatics.org/3-misconceptions-about-college-musical-theatre-auditions/ Fri, 30 Sep 2022 12:52:37 +0000 https://dramatics.org/?p=67332 And 3 ways you can succeed!

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Here’s the thing about college auditions for BFA musical theatre and acting programs: It’s a big process. There seems to be this looming, dark cloud that hangs over the words “COLLEGE AUDITIONS,” and students (and parents) cringe any time it’s mentioned. But why? Well, there are several reasons:

  • There’s much preparation that comes with these auditions;
  • This audition process is unlike anything you’ll ever experience in your life;
  • The competition is fierce.

In working with students, I’ve found many misconceptions about college musical theatre auditions. Below, we’re going to discuss three things you’ve got wrong about college auditions, and three ways to set yourself up for success!

MISCONCEPTION #1: COLLEGES WANT YOU TO FAIL

This idea comes from fear/nerves in the audition room. Whether a student is auditioning in a room full of auditors/college department heads, or a room of a few people, it can be really scary! You don’t know what is going through their mind. Your job is to perform and to perform well. Sometimes people make “thinking” faces and that can appear “mean” or “disapproving.” We have no idea what’s going on in someone’s mind, so don’t think too much into it. Go in, do your audition and do your best.

The truth is, the colleges want you to do well. They are looking for students to fit their programs just like you’re looking for a program to fit you! They’re not sitting behind the table thinking, “Ooh, I hope this student messes up on their monologue.” No way! They want you to have your best audition. If you don’t get a callback from a particular school, it means they didn’t think you would be a good fit that year for their program needs.

College musical theatre auditions are a big deal, and you do need to prepare according to the guidelines for each school and/or the Musical Theater Common Prescreen. This isn’t something that can be thrown together overnight or put together in a weekend—especially if you really want to succeed, stand out, and get into a program that is well-suited for you.

MISCONCEPTION #2: YOU WON’T FIND A SCHOOL

The biggest concern students have shared with me is not finding a school. They’re afraid they won’t get into a “good” theatre program. But there are so many theatre programs across the country—way more than the “Top 20” lists students find online. Are some of those schools great programs? Yes! Does it mean they are the only places you can receive quality acting or musical theatre training? No! Really, the fear is hearing “no” from all of these schools and not getting to pursue the dream anywhere.

How does one solve this problem? There isn’t a quick fix or a formula that guarantees you’ll get into a certain program. Each school is looking for students to fit their program that year. And since art is subjective, it could vary from year to year. You could be the most talented tenor in the room, but if a program is looking for basses, there’s nothing you can do. It doesn’t mean that you’re not talented. Plus, you want to be at a school where you’re wanted. While it may sound simple, the best thing you can do in an audition is go in and be you.

MISCONCEPTION #3: YOU NEED A BFA

First, let’s identify the difference between a BFA (Bachelor of Fine Arts) and a BA (Bachelor of Arts). A BFA is a degree in musical theatre or acting, and is earned within the school of theatre at a university. (Note: some musical theatre degrees can be earned in the school of music). The courses for a BFA degree have a very specific track to follow, with some room for electives. You’ll have more degree-specific classes. While earning a BA in theatre, you’ll still study within the theatre department, but you’ll have more flexibility for electives.

The misconception about theatre degrees is that you must get a BFA in order to be successful or be a “good actor.” That isn’t true. There are plenty of programs out there that offer great BA options either in theatre or even musical theatre. Some students want the flexibility to have a BA so that they can double major. BA-seeking students can still audition for productions and are still part of the theatre department.

When you opt for a BA in theatre, you’ll get out of it what you put into it. (That really goes for any degree, too.) Know that a BFA isn’t a magical piece of paper that suddenly guarantees a job. A casting director won’t look down on you because you didn’t get a BFA.

Here’s the bottom line when it comes to the process of college musical theatre auditions: Prepare, be yourself, be open to programs that you might not have ever considered, and trust the process. It’s an adventurous ride, but if this is truly what you want to do, you’ll end up where you’re supposed to be—and it will be worth it.  ♦

Laura Enstall, owner and founder of Audition Well. She helps students conquer audition fears, stand out in the audition room, and find the theatre program that’s a perfect fit. Follow Audition Well on Instagram for audition tips @auditionwell.

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Censorship in Schools https://dramatics.org/censorship-in-schools/ Thu, 01 Sep 2022 19:27:30 +0000 https://dramatics.org/?p=66947 Resources for artists and educators.

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The arts in all their forms have always faced opposition, but censorship in schools seems to be more aggressive than ever. When schools perform theatrical productions that upset some viewers, the situation often becomes a hot-button issue for students, educators, administrators, parents, and communities at large. Sometimes schools are forced to cancel their artistic work because of the turmoil. It’s called censorship.

National Coalition Against Censorship (NCAC) explains: “Censorship happens whenever some people succeed in imposing their political or moral values on others by suppressing words, images, or ideas that they find offensive. A censor, traditionally, is an official whose job it is to examine literature, movies, or other forms of creative expression and to remove or ban anything she considers unsuitable. In this definition, censorship is something the government does. But censorship can also be accomplished very effectively by private groups.”

Censorship in Schools: Why it happens

There are many reasons why a school or school district decides to censor high school theatre productions. They might find the language, lyrics or actions performed on stage too mature for teenage audiences. Or they might find the story’s explorations of certain themes or issues too controversial. Students innately have a right to free speech and free expression – but when schools are tasked with managing and limiting appropriate material, censorship becomes a battlefield. 

PLAYS AND MUSICALS THAT OFTEN FACE CENSORSHIP

Censorship in school theatre productions is similar to school libraries being forced to ban specific books. In fact, Banned Books Week, which represents a collective of organizations that celebrate the freedom to read, cites the following plays and musicals that have faced controversy when performed in schools:

  • The 25th Annual Putnam County Spelling Bee by William Fin and Rachel Sheinken
  • American Idiot Michael Mayer and Billie Joe Armstrong
  • And Then Came Tango by Emily Freeman
  • Cabaret by John Kander and Fred Ebb
  • Legally Blonde by Heather Hach, Nell Benjamin and Lauren O’Keefe
  • The Producers by Mel Brooks and Thomas Meehan
  • Rent by Jonathan Larson
  • Spamalot by Eric Idle and John Du Prez
  • Sweeney Todd: The Demon Barber of Fleet Street by Stephen Sondheim and Hugh Wheeler
  • Twelfth Night by William Shakespeare

RECENTLY CENSORED HIGH SCHOOL THEATRE SHOWS 

Drama students at Hillsboro High School in Hillsboro, Ohio, were forced to cancel performances of She Kills Monsters by Qui Nguyen in October 2021. The play tells the story of a teenage girl who finds her deceased sister’s Dungeons & Dragons notebook. She’s then swept into an adventure in an imaginary world of her sister’s design. One of the discoveries she makes in this world is that her sister may have had a relationship with another girl. 

The original production of She Kills Monsters premiered in 2011 at Flea Theater in New York City. There’s a version of the play that’s revised for younger audiences, which is deemed appropriate for ages 11 and up. Hillsboro High School drama students were set to perform the younger version. 

It’s been reported that the inclusion of an LGBTQ+ character in She Kills Monsters angered parents and other adults in the community, which prompted the school district to cancel performances just weeks before opening night. Hillsboro City Schools Superintendent Tim Davis released a vague statement which said, “The fall play has been canceled this year because the play was not appropriate for our K-12 audience.” Other parents and community members cited sexual innuendo, implied sexual behavior, and foul language as their opposition to the play. Many students, parents, and educators wholly disagreed with the district’s decision. 

In response to the play’s cancellation, the Hillsboro High drama students organized a GoFundMe to raise funds that would allow them to produce She Kills Monsters at a community theatre over the summer. Their goal was $5,000, and they raised nearly $24,000. The Kindred Spirits Theatre Company presented the performance at Southern State Community College in June 2022. 

Drama students at Turlock High School in Turlock, Calif., also faced censorship challenges recently. In April 2022, their production of Be More Chill, a modern musical, was canceled. Based on the book by Ned Vizzini, the story follows a teenager who takes a pill that transforms his social status from loner to popular. The musical was a Broadway hit and earned eight Drama Desk Award nominations and one Tony Award nomination. 

Be More Chill has been praised, by critics and young audiences alike, for its representation of anxiety, depression, and the complex challenges teenagers face while growing up in the era of social media. It’s been a favorite production for many school drama departments. South Eugene High School performed their production at the 2019 International Thespian Festival. 

After opening night of their production of Be More Chill, Turlock Unified School District site administration decided, abruptly, to cancel the rest of the show’s run. A spokesperson for the district cited “concerns that the content was too mature for a general audience that includes all age levels” as reason for the cancellation. They also said the administration and the musical’s director didn’t communicate effectively about approving the show. When Joe Iconis, the musical’s creator, caught wind of the cancellation online, he tweeted that he was horrified by the district’s actions. He also encouraged his Twitter followers to donate to Turlock’s drama and speech program and included a link to do so. 

After receiving backlash from students, the community, and the expansive digital world, Turlock Unified School District allowed the production to return to performances, one month after their post-opening cancellation. They stipulated that the production needed to include signage disclaiming “some adult themes” in the show’s story. 

ADVOCATE FOR THEATRE IN OUR SCHOOLS WITHOUT CENSORSHIP

No matter their age, artists should always equip themselves with knowledge of their rights to freedom of expression. Many organizations exist to do exactly that and provide legal assistance and support for individuals or groups who find their rights threatened through censorship. Here are just a few you should keep on your radar:

  • National Coalition Against Censorship (NCAC) provides comprehensive resources for students, educators, and activists. “The Show Must Go On: A Toolkit for Organizing Against Theatre Censorship in Public Schools” provides campaigning strategies, information, and guidance for handling censorship.
  • The Foundation for Individual Rights and Expression (FIRE) promotes a culture of free speech and First Amendment expression. Their High School Network offers information, interactive content, literature, access to an educator network, and more. 
  • Dramatists Legal Defense Fund (DLDF) advocates for writers’ and artists’ protection of their First Amendment rights. They have a “Toolkit for Producing Stage Works on College Campuses in Turbulent Times,” and they provide opportunities for schools and theatre organizations to learn more about the issue directly from a DLDF representative. They also keep an extensive database of censorship issues and cases.
  • Banned Books Week offers a huge collection of resources for students, educators, librarians, retailers, writers, and artists. Unless indicated, most of these resources are free to download. 

If you’re a student artist or member of student media who is facing immediate issues with censorship, you can report your case to NCAC and FIRE and receive one-on-one guidance:

The arts provide us with a spectrum of tools, skills, and experiences that help us understand ourselves and the world around us. In troubled times, we need the arts more than ever to reflect our lives and make sense of our realities. Keep the arts free from censorship. Always advocate to keep theatre in our schools.  ♦

Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com

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