Thespian Nation Archives - Dramatics Magazine Online

2024 College Guide

Jose Triana — Tue, 22 Oct 2024 15:28:15 +0000

College on the horizon? Don’t sweat it! We know it can feel like a lot, but EdTA is here to make it easier. Whether you’re checking out schools for yourself or helping your students make their big decisions, we’ve got what you need.

Our 2024 College Guide is your go-to resource with tips for mastering campus visits, a step-by-step college application timeline, and an extensive list of theatre programs on the lookout for talent just like yours!

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An Inside Look at the ITF Short Film Festival

Jose Triana — Fri, 09 Aug 2024 15:04:43 +0000

The inaugural Thespy Short Film Festival brought together Thespians from around the country to showcase and celebrate students’ creative work in film. Dramatics chatted with some of the creators and collected all the films to celebrate these talented Thespians once again.

At ITF, a packed house enjoyed 18 films created by 30 Thespians from 10 different states exploring themes ranging from preparing for college to growing older to first loves. “It was an incredible experience to be part of the first Thespy Short Film Festival,” said Patrick Cashion, Washed Up. “It was both inspiring and humbling to have my own film showcased among my fellow Thespians, and the supportive and dynamic atmosphere made it a truly memorable night.”

From Stage to Film – Unique Challenges for Thespians

Featuring 21 categories, the Thespy awards celebrate student achievement in a range of practices, many of which focus on and around the stage. That’s why the short film category provides a unique departure that challenges Thespians not only on their medium, but also their creative process.

“It’s a different type of ‘suspense of disbelief’ that resonates with a larger audience. It also has so many moving parts that anyone and everyone can find a home in to fulfill their passions,” said Ella Wissing, When the Grass Was Greener. “The challenges of continuity and needing to understand your story fully from writing to filming to editing; the artistic and technical aspects need to be all in sync.”

In some cases, that also meant finding the talent for the films. “Oftentimes you have to come up with a plot, find actors, film it all yourself, and even act in your own film,” said Jack McCarthy, DUNK.

Of course, film also offers some advantages. In addition to having more control of what the viewer experiences and the flexibility of multiple takes, it also sharpened many Thespians’ directorial skills.

“While on the stage, a director’s main objective is to essentially train an actor over multiple rehearsals to independently perform a scene in the director’s vision without any input from the director. In film, the director and actor only need to get the take right once. This usually means that the director and actor have a sense of co-dependency that never leaves throughout production,” said Drew Gordon, The Understudy. “I found this process to be both challenging and rewarding, as I had to carefully choose my words and pieces of direction while my actors carefully adjusted subtle nuances and emotional delivery of their acting from take to take. Despite this sometimes-painstaking ordeal, I feel as though my actors and I grew closer and more understanding of each other not just over the course of production of the film, but also in later shows and rehearsals.”

Succeeding with Your Short Film

Thinking of applying for adjudication next year? Our Thespians also had plenty of advice on how to find success throughout their journey and what worked best for them.

“For future filmmakers, I have two pieces of advice: First, never underestimate the power of an in-depth storyboard. Draw and write down everything you want in your film; down to the second,” says Ella Duffey, Marionette Nez Rogue. “Second, although it can be tempting to capture moments with one long continuous shot, I found that having many shorter shots can keep the audience engaged and allow you to capture moments to their fullest.”

“Use all the resources available to you, and don’t be afraid to ask for help,” says Mikayla Salazar, 1GN1T10N. “The teachers and students around you can be surprisingly helpful, even if you’re just looking for extra actors.”

“Every opportunity you don’t take is one success you could miss out on. Whether you want to be a filmmaker, an actor/actress, behind the scenes, or on the big stage, do it because that’s what feels right. Surely always take a drink of uncharted waters and find what you feel connects as your true legitimate passion first,” said Dawson V Jackson, Dean. “But remember we’re still human. Judgement is severe in this generation, but the most impactful judge is yourself. Do what you do because YOU love it.”

2024 Thespy Short Film Festival

Now without further ado, here is the 2024 collection of superior-rated Thespy Short Films.

Yours Dearly

Flip It

Marionette Nez Rouge

Washed Up

The Understudy

How Can I Even

DUNK

Night Owl

Solace

Escapism

Dean

Laundromat Therapy

When the Grass Was Greener

Disconnect

1GN1T10N

Butterfly Fly Away

Love, J

Modus Vivendi

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College Audition Tips for ITF

Jose Triana — Thu, 18 Apr 2024 15:15:27 +0000

Dreaming of continuing your theatre education in college? With so many schools and programs to learn about, and the need for countless auditions, it can be challenging to know where to start. Luckily, you can get all the info you need plus opportunities to audition for many of these programs at the International Thespian Festival (ITF).

The ITF college audition program is designed to connect rising seniors with more than 50 colleges and universities. But before you head to Indiana University this summer, here’s what you’ll need to participate and some advice from the university professionals you’ll be meeting.

What You’ll Need to Participate

To participate in the college audition process, you must meet a few criteria, including:

You’re an inducted Thespian graduating in 2025.
Your troupe director, teacher, or parent/guardian has registered you for ITF and selected the college audition add-on.
You’re preparing to submit your audition materials by the May 15, 2024 deadline. Note: you’ll receive a separate email after registering with the link to a secure platform to submit your materials.

When submitting your audition materials, you’ll have the chance to choose your preferred category, including performance, technical theatre, or theatre education – be sure to visit our site for more details on the specifics you’ll need to submit based on your selected category.

Your College Audition Materials

There aren’t many opportunities to get in front of so many colleges at once, so making the most of it starts with preparation. Regardless of the category you’re applying for, you’ll need to submit materials ahead of time. These materials are available to all participating colleges for review and are often the criteria used to schedule their callbacks.

Depending on the category you’re applying for, you’ll need to submit:

Performance Auditions – An audition video with two monologues for students pursuing acting, or a monologue and song for students pursuing musical theatre, a current headshot, and resume. (Performance Audition Tips)
Technical Auditions – Three samples of work, an audition video of you speaking about your work, a current headshot, and resume. (Technical Audition Tips)
Theatre Education Auditions – A current headshot and resume, written responses, and either a performance or technical audition tape based on your strongest skills. (Theatre Education Audition Tips)

7 College Audition Tips from the Pros

Paul Steger, Dean of the Leigh Gerdine College of Fine Arts at Webster University, and Sharla Cowden, Department Chair at University of Evansville, have been attending ITF and college auditions for over 50 years combined.

In that time, they’ve seen the evolution of the audition process and shared seven tips to help seniors make the most of their experience.

1. Ask for Help

Your audition tape is often your best opportunity to make a first impression, so make sure it’s a good one. While you may be tempted to do things on your own (and you totally can), don’t hesitate to ask for help.

“Encouraging students to ask for help from their high school teacher, counselor, or upper classmen could be really helpful,” says Cowden. Asking someone to operate the camera also “[gives] them someone else in the room to play to.”

Whether they’re checking the framing, spotting distractions in the background, checking audio to make sure you sound your best, or “watching it with them afterwards and redoing it (if needed),” another set of eyes is never a bad thing. Using them as an off-screen scene partner can help inform acting choices and line deliveries, even though the other person should remain unseen and unheard.

2. Be Authentic

The materials you choose for your college audition are always going to be important, but so is your delivery. While you may be tempted to be as elaborate or animated as possible, Steger says authenticity is more important.

“[We] don’t have to see extreme characterizations in your body, speech, dialects, or any of those things. Just be as natural and close to you in real life as you can imagine,” says Steger. “You don’t have to costume it up or use props or anything like that. If you want to sit in a chair, go for it.”

And the same goes for Cowden. “I always encourage the kids to start with a piece that is the most like themselves,” she says. “We’re looking for honest and truthful work, so let me see a little bit of who you are through each character.”

3. Understand Your Material

Showing your range is important, and it’s why most Thespians opt for performing contrasting content like comedy and drama. However, having a deeper understanding of your material can make a bigger impression on colleges. One strategy Steger suggests is choosing a monologue from a play script rather than a monologue book.

The folks watching your auditions likely have read and have a deep understanding of the material you’ll perform – and you want to show you do too. Often, that contextual knowledge can shine through in a performance and allows for less time spent establishing the character’s dynamics and conflicts, instead showcasing the material and performance skills.

4. Be Coachable

Once schools have reviewed your material, they may want to meet you in person. This can happen either at their booth in the exhibit hall or in dedicated callback rooms, with many participating schools bringing multiple staff members. For example, the Webster University team often includes design tech or stage management faculty, design students, and additional senior staff.

Why? To get an opportunity to work with students in their discipline.

“We want to give everybody we think has a talent and that might fit with the program an opportunity to explore it,” says Steger. “It might be to give a direction, like upgrading what their relationship is with the person they’re singing to or doing the monologue with, or we might give a vocal adjustment,” he says. “I always say, just come prepared with the monologues you did as polished as possible… that would be a place where we would start the conversation.”

For Steger and many colleges at ITF, this is also a chance to see how you work with others and your coachability.

5. Remember to Schedule Time for Callbacks

Participating colleges have limited timeslots to meet with students. And if everyone is aiming for the same spot, you may not have an opportunity to visit the schools you’re most interested in.

“Workshops are an important part of [ITF], but you also need time to really do your callbacks,” Cowden says. “All our students have to audition and interview, and this is a place where they can do both.”

Colleges will contact you directly if they want to schedule a callback, so be sure the email you use is one you have access to and check often. And if there’s a school at the top of your list and you get a callback, don’t wait to schedule your meeting. It may be tougher to find a convenient timeslot towards the end of the week.

6. Have an Idea of Your Interests

While you don’t have to be settled on your degree (i.e. BA vs BFA) or where you’re planning on going, having some expectations or goals for your education can help. For example, knowing how many shows you’d hope the program does each season or what your responsibilities behind the scenes might be can help narrow your choices for schools you want additional information from.

“Do the research to see all the different programs, because there’s usually general information about what kind of plays we’re doing or have done in the past, plus all the audition requirements, degrees that are offered, the faculty, and kinds of classes you might take,” says Steger.

He also suggests thinking about your college experience. Whether that means schools with huge sports programs and stadiums or smaller private campuses where there may be 5,000 students total, knowing what you want out of your time at a school is equally as important as what the school is looking for in you.

“It’s [has to be] the right fit for the student and the right fit for the program,” he says. “That’s the difference between looking at the auditions versus doing a callback; who’s going to show up for four years beside their talent.”

7. Open Your Mindset

Finally, relax and have fun. Like most things in your theatre career, college auditions will be a learning experience. While it can be intimidating to perform in front of new people or interview with schools you’d love to attend, it’s important to remember the schools are just as excited to meet you too.

“They want you to be great and I think a lot of kids forget that when they walk in a room. They want you to solve the problem for them and they’re rooting for you, so take away the judgment part,” says Cowden. “I always tell kids, don’t close doors. Enough people are going to close doors on you. Use ITF to walk through doors that are opening to you.”

Explore Your Theatre Future

There’s plenty to do at ITF, but if continuing your theatre career into college is on the list, applying for college auditions can be an amazing opportunity. Not only is it an opportunity to get in front of wonderful theatre programs from around the country, but it’s also a chance to explore what the next four years can potentially look like.

But before you arrive in Indiana this summer, be sure to get your application completed, remember the materials you need to submit, and focus on our helpful tips to make the most of your experience.

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From Thespy Stage to Working Artists

Jose Triana — Thu, 01 Feb 2024 13:32:02 +0000

Becoming a Thespian can be a rewarding and enjoyable experience. Not only can you find community amongst fellow students, but often it kicks off a long-term artistic journey. While every student’s experience will be different, there are always Thespian alum to look to for guidance and inspiration.

Muhammad Khaerisman and Tyren Duncan are two such Thespians.

Members of Troupe 7961, their Thespian journey earned them Thespy accolades, long-lasting memories at the International Thespian Festival, college educations from University of Houston and Texas A&M University-Corpus Christi respectively, and a career as working artists, where they still attend Texas Thespians – now as teaching artists.

As Kendra Willeby, their former teacher and troupe director, explains, their journey represents that “pie in the sky dream outcome” of becoming a Thespian.

Today, they run Faces Network, an artistic collective and platform for artists, with performance arts pieces hosted in Atlanta and a new film, Prodigal, premiering in 2024. EdTA caught up with them to learn more about their Thespian experience and how these lessons have helped shape their careers.

The Early Days as a High School Thespian

For Khaerisman, who like many children, aspired to be an astronaut, the path to theatre unexpectedly started with early wins. “In the summer of 11th grade, Ms. Willeby signed me up for college auditions, and out of something like 74 schools, 72 called me back,” he says. “It blew my mind. I don’t know if it’s my upbringing or because I wasn’t exposed to anyone in this space, but it didn’t occur to me that I could pursue acting as a life course.”

For Duncan, football was the main priority, playing from elementary all the way until his junior year of high school. However, his passion for football declined, and the need for a new creative outlet led back to theatre. In his freshman year of high school, he had performed in South Pacific, had a “good time,” and figured it would be a great place to return to. But his second run in theatre didn’t start as expected.

“Oh God, [the audition] was a school bus breakdown on the side of road: flames, smoke, everything,” he said. “When you’re in high school, you feel like that’s it. You feel like ‘Ah, if I didn’t do this one thing then I’m completely done in life, and I’ll never amount to anything, I’ll be a failure.’ While the audition wasn’t ideal, he still got his opportunity to return to theatre. “Ms. Willeby took a shot on me and saw potential in my ability… I thought it was really great that someone saw a lot in me.”

Finding Theatre on a Larger Scale

Growing as a Thespian often means challenging yourself and expanding your skills. One of the easiest ways to start is by attending state festivals. “I decided to go to Texas Thespians [state festival] because I really wanted to be better. A better artist; a better actor for people around me and for myself,” Duncan says. “I remember a moment specifically where we made it to the hotel, and I was with my friends, and looking out the window of the hotel. It was just so beautiful, seeing Dallas and all the lights at night, and I was like, “Wow bro, theatre took me here, and I wonder where else it could take me.”

Ultimately, it took Duncan and Khaerisman to the largest stage of all, the International Thespian Festival (ITF), where they would make lasting memories and learn some tough lessons too. Khaerisman says those annual trips to ITF are filled with memories of adventuring with friends, random jam sessions with troupes from around the country, and a chance to connect deeply with the craft.

“One of the featured artists was the composer of Big Fish. I’d never been exposed to this musical before, and he sang a song called ‘Fight the Dragons.’ It was just him on the piano – a very simple performance – but I remember crying and [feeling] so much relief and catharsis,” he says. “If this medium of art could give me that, as a human being, as a student, as a person, I really wanted to commit to be able to provide that for other people.”

Competition 101

Of course, for many Thespians, ITF isn’t just about bonding with fellow theatre students – it’s a stage for competition and an opportunity to see talent from around the county – and our reactions to that dynamic can often be varied.

For some, it’s a comforting experience. “It’s reassuring that you’re not the only person that’s really good at what you do,” says Duncan. However, that experience also opens doubts that require intentionality and mindset shifts. “There’s a lot of kids who are also very talented. And, of course, that impostor syndrome sets in because you’re like, ‘Oh, maybe I’m not good enough,’” he says. “I just had to check myself and realize it’s not about that; it’s about being a part of a larger community and knowing that these people are bringing their best, I’m bringing my best, and we should all want to make each other better.”

For others, like Khaerisman, ITF is the ultimate proving ground on the largest stage possible. Coming from a competitive background, his mindset was laser-focused, seeing fellow Thespians as an obstacle to overcome. However, after an early exit from competition, it proved to be a learning experience too.

“I remember my first time going to [ITF] I was like, ‘We got main stage. We did it all: we got the right writing, we rehearsed it, my partner’s gas, I’m gas, everything’s going to be incredible.’ There was no thought in my mind that there was a possibility we wouldn’t even break out of the room [advance to main stage],” Khaerisman says. “Being taken out of the competition early on just freed my time to do workshops, watch shows, and experience [ITF] without having to be in that challenger mindset.”

Opportunities to be surrounded by thousands of theatre fans and practitioners are few and far between, which is why one of the things Duncan and Khaerisman agree on is that the biggest reward of attending ITF is finding community. Whether that means stepping out of your comfort zone to experience new practices in a workshop, chatting with Thespians from other states, or simply enjoying a show, there’s more to ITF than competition.

Finding Community Post-Grad

Part of the challenge for Thespians continuing their journey after graduation is finding opportunities. For starters, community is often a byproduct of being in high school. Having graduated from college at the height of the pandemic, where interaction was at an all-time low, figuring out new ways to meet artists was an experience both men had to navigate.

According to Duncan, one of the places to start is with social media. “I love acting, but I also love underground hip-hop, house music, people who create fine art as far as sculptures, paintings, and things like that,” he says. “I always go on Instagram and figure out, ‘OK, what gallery is showing XYZ, how can I pull up to show support and actually get to know these artists?’”

This intentionality has helped them land opportunities like costume designing for smaller theatrical companies and expanding their network of agency contacts, making life as working artists a real possibility.

The other challenge post-graduation is understanding who you are as an artist. “For me it was unlearning that my identity – who Muhammad is and what Muhammad be doin’ – are two separate things,” Khaerisman says. “I thought my community of artists was going to be just actors, because I’m an actor and those are the people who would understand my journey. But it’s the complete opposite. Don’t just seek out actors or theatre practitioners. Go to an open mic, go to a stand-up comedy night, go to a movement workshop. Be in community with creators, cause anybody doing [art] at a DIY independent level… there’s going to be alignment.”

“Making It” as a Working Artist

Today, they’re both working artists and have founded a business to continue their passion in the arts. And while their journey is unique to them, there are some nuggets of advice they offer Thespians looking to pursue a similar journey.

“Everybody’s path is different. I might be wearing something that may not fit for somebody else, but I can assure you, the more you actually listen to your voice as an actor and as a person, the better off you’ll be,” says Duncan. “That’s the biggest advice I can give to any young artists out there. Don’t let them change you, let the world be your mirror.”

“It’s kind of silly, but all of us jumped into art because there was something we felt emotionally passionate about. But if you’re going down a path where you’re trying to build a life as an artist – a career and something that sustains you – approach it logically,” says Khaerisman. “Figure out the tools, skills, and knowledge you already have. Then create that plan for yourself. It’s only impossible if you don’t write it down.”

Stay connected with Muhammad and Tyren on Instagram @_xxfacesxx_ or their YouTube Channel.

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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.

The post Callback Audition: An Actor’s Guide appeared first on Dramatics Magazine Online.

Dramaturgy 101: Creating an Actor Packet

Dylan Malloy — Thu, 16 Nov 2023 14:18:25 +0000

This fall, I learned about dramaturgy for the first time by serving as a dramaturg for my college theatre department’s production of Lost Girl, written and directed by Professor Kimberly Belflower. Dramaturgs perform the research and story analysis that make a play come alive for the actors and creative team. They’re also often responsible for creating the “actor packet,” a short research document with information relevant to the play.

4 Tips for Creating a Great Actor Packet

The actors use this packet to gain more context about the themes present within the script, essentially helping build the story from the inside out! While there’s plenty to learn, here are four of my biggest lessons creating my very first actor packet.

1: Read the play.

First, sit down with the play and read it thoroughly. It helps to make note of what you notice while reading. Do certain character dynamics stand out? What themes seem particularly clear? Does the ending make sense, or is it more ambiguous? Is the style realistic or not?

Once you finish reading the play, ask yourself one key question: What information do actors need to know to tell this story well?

The answer to this question can come in the form of themes, historical context, storytelling devices, information about the play’s genre – the options are endless. You’ll research many different things while working on your actor packet, but answering this question for yourself narrows your focus.

2: Research the context.

Next, begin your research into the play’s context, as this often determines so much about the story from the start. Context is the particular lens through which the author, director, and/or creative team approach the material, informing how characters relate to each other and how they interact with the setting.

For example, Cabaret is a story about a passionate love affair between a British nightclub singer and an American author. However, its context is that it’s set in Berlin on the eve of the holocaust, and this affects how the actors might portray the story. Knowing details about the world the story is set in helps you understand what different characters value.

Even if the play takes place in the present, do some broad Google searches into a play’s historical setting and geographical location. What was happening in the world at the time when the play takes place? Where is the play located in the world, and how has that location been impacted by global issues?

Make a bullet-point list of the most relevant facts that actors should know. The list doesn’t have to include everything – just enough information to provide some background. At the end of the actor packet, include some links that actors can reference if they would like more information.

Think of it like drawing: by providing historical context in the actor packet, you’re outlining the sketch. Next, you’ll focus on the smaller details of the story and add some color.

3: Explore themes and genres.

In every play, the playwright wants to communicate a message about the world. They do so by exploring conflict between characters and the world around them. You can help the actors understand the themes of the story by pointing to works with similar themes. Everything you include in the actor packet helps the actors to ground themselves within the story.

For example, if the play you’re working on is a romance that ends tragically, you can provide a list of other romances that end tragically. Actors can read or watch these stories to understand the nuances of the emotions they will portray onstage. When actors understand a play’s genre, they can also work to understand what makes this particular play different from stories of the same genre. Different themes and approaches set stories apart.

While creating the actor packet for Theater Emory’s production of Lost Girl, the dramaturgy team included information about different genres: fantasy and coming-of-age. Lost Girl is inspired by the story of Peter Pan and follows Wendy Darling after she returns home from Neverland and tries to start her life again. We wanted to have a section of the actor packet that talked about tropes commonly found in both genres so they could understand how the play works with and subverts those tropes.

4: Study the characters.

Once you’ve provided research about the context, themes, and genre of the play, shift your attention to the characters. Every character pursues different goals and experiences conflict along the way, and actors seek to find out why they act the way they do. You can help them in this process by sharing research related to psychology and behavior.

For example, if a character is grieving a loss, including a scientific article about grief makes it easier for an actor to understand the character’s emotions. While working on the production of Lost Girl, which focuses on Wendy’s heartbreak after losing Peter Pan, the dramaturgy team provided research about mental health in the actor packet to contextualize why Wendy struggles to move on.

However, always be careful that the sources you include are accurate, professional, and trustworthy. If you have any questions about whether you should include a source, be sure to ask your theatre teacher. It’s best not to try to explain the characters, but to share interesting pieces of research that empower actors to draw their own conclusions.

Once you compile all your research, you’ll have a completed actor packet ready to distribute! Your research and attention to detail will help the cast and creative team see the story in a kaleidoscope of different ways.

The post Dramaturgy 101: Creating an Actor Packet appeared first on Dramatics Magazine Online.

A Meteoric Rise in the World of Lighting Design

Patty Craft — Fri, 03 Nov 2023 12:58:50 +0000

Jack Cannon is the principal designer at the company he founded, Cann Light. Jack is just 20 years old and the youngest graduate of the California Institute of the Arts, which means if you’re a high school or early college reader, Cannon was recently right where you are.

So how has he built a career in the world of lighting design and what advice does he have for students looking to do the same? Read on as Jack shares his story and actionable tips to chart your path beyond the school stage.

Focus Delivers Results

Jack Cannon Headshot – Photo By Meredith Adelaide

At age 14 Cannon got involved in theatre and quickly “fell in love,” and realized he strongly disliked having to turn down theatre work gigs because he had to finish high school first. So Cannon graduated early in 2020 as a 17-year-old junior.

Even before he’d graduated from high school, Cannon was focused on his dream. “I taught theatrical design for the first time when I was 15, at the Illinois Community Theatre Festival,” he said. “At age 16, in January 2020, I taught at the Illinois High School Theatre Festival and the Indiana State Thespians Conference where I also adjudicated the [state] Thespian Excellence Awards.”

During the pandemic, Cannon completed his CalArts degree plus an associate’s in Business Management and Administration.

Seeing is Believing

Students experimenting with lighting design at the California State Thespian Festival Workshops – Photo by Cann Light

While not everyone knows so early in life what they’re passionate about, Cannon knew what he enjoyed and saw opportunities that became stepping stones to his current career. If you know it’s theatre you love but you’re still not sure what you want to do, check out this post.

At the end of the 2020 Illinois High School Theatre Festival where Cannon taught six workshops, a participating teacher told Cannon, “It’s one thing when an older professional comes in to teach. Students see what they can become in 30 years. It’s a whole other thing when a student sees someone who is literally their age; a working professional and teaching.”

That experience has led to much of his success in lighting design and has also led to countless other opportunities.

Jack Cannon’s Tips for Theatre-Industry Success

1: You Be You.

“The best advice I can give to students is to never let anyone put you in a box or try to keep you in a box. You have to force yourself to push boundaries,” says Cannon. “It’s the only way you can explore your art and the art form that you enjoy most.” So be brave enough to figure out who you are and courageous enough to bring a unique set of skills to the table.

2: Think Like a Business Owner.

“Another piece of advice is that you must learn the business side of entertainment. Art programs struggle to effectively teach the business of being an artist,” he said. “It’s important that you take the time early in your career to understand business management, client development, accounting, and contracts.”

3: You Must Network. Period.

NBC Universal Virtual Production – Photo by Cann Light

Cannon admits, “All of my work can be traced back to asking and having coffee with an industry professional.” Who you know, who knows you, and who knows what you can do, makes the difference in getting gigs. In a world full of so many choices, it’s human nature to choose someone you know – or at least think we think we know. Introduce yourself and talk to people at every gig you do.

Choose the social media platforms where your decision-makers are hanging out; you don’t have to have a profile on them all. Then present a polished, on-brand profile with clear and easy ways to communicate with you. Interact in a general way on social. That is, don’t leave your profile to gather dust from inactivity.

Go to trade shows and meet people; leave a positive impression on them along with a way for them to remember you and contact you. And believe it or not, email is still one of the most effective ways to connect with people. Grow your email list and use it wisely. Reach out via email with a clear reason for someone to respond and have a conversation with you.

Jack Cannon teaching lighting design at California State Thespian Festival Workshops – Photo by Cann Light

4: A Picture is Worth a Thousand Words.

“Photography of your work is key. Start building a portfolio as soon as you have work to showcase,” Cannon says. Become friends with photographers that you meet, because it takes a special skill to capture the right image in a theatrical environment. Make genuine connections so photographers can also get to know you and what you’re trying to convey through your photography.

You can contact Cannon who said, “I’m open to everything and can be reached for engagements via email at education@cann-light.com.” Find him on Instagram and LinkedIn, too.

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

The post A Meteoric Rise in the World of Lighting Design appeared first on Dramatics Magazine Online.

3 Ways to Get Your Back-to-School Theatre Goals on Track

Patty Craft — Tue, 24 Oct 2023 15:35:48 +0000

We’re well into the school year, and you’re way past prepping for back to school—you’re living the reality. Your days may seem beyond full; been there, done that. But all that business could leave you feeling like your back-to-school theatre goals have fallen by the wayside.

Luckily, there’s still plenty of time to get back on track. Here are three tips to help get organized and make time to do more theatre.

Tip 1: Learn to (Respectfully) Say No

It’s trite because it’s true: There are only so many hours in a day. While we want to spend plenty of time with our “want to” activities, like theatre, we’re often left with a lot of “have to” chores—it’s hard to enjoy anything when we’re over-committed.

We suggest you make time to talk with your theatre teacher or Thespian troupe director. Why? They want to see you succeed and have some fun doing it. Be brave enough to ask for help organizing (or reorganizing) your days so that you can balance your responsibilities with your passions.

Until you get the chance to have that important conversation with your teacher (and if no one has told you yet), it’s OK to say no.

How? Practice the pause. That is, every time you’re asked to volunteer for a cause, participate in a group project, or are invited to an event, learn to say, “Let me check my calendar and get back to you.” With a bit of time to consider the offer, ask yourself if saying yes supports your goals and passions.

It’s not too late to get your schedule under control, and honing the “just say no” skill will help you manage well in all aspects of your life.

Tip 2: Get Back to Basics

People who stand out in their chosen fields often possess a small amount of natural talent, but those who find lasting success developed discipline. They all know that practice makes progress and understand the proven value of preparation and repetition.

What that means for you: Right now is a great time to get back to basics.

With auditions in your future, you can regain a sense of control by revisiting what you’ve been taught from the very start. Audition coach Laura Enstall put together this easy-to-follow audition etiquette guide. “Act like you’re auditioning the minute you arrive,” she advises. “Maybe the stage manager is holding the door for you, or maybe you run into the choreographer in the hall. It’s important to be aware of your surroundings.”

Maybe you’re already cast in the first show of your school’s season and you have a table read coming up. Arrive well-prepared and you’ll help the entire process flow a bit more smoothly. Do you know that you should read the whole script ahead of time, and not just your parts? Plus, here’s a separate post if you’re the playwright running a table read.

Tip 3: Get Curious with a Purpose

To be the kind of actor who transforms into a character so authentic that the audience suspends disbelief, you must understand people.

And to meet a variety of people, you’re going to need to go where you don’t normally go; talk with people you may not normally talk with. Get to know people outside the theatre. Yes, the musicians, the STEM gang, the 4-H crew, the athletes, and whomever else you can interact with.

Talking with new acquaintances opens doors into worlds you’ve not explored. For example, be curious and ask the first chair trumpet player in the marching band how they honed their skills. Ask about their practice routines or performance-day rituals. Connect with students in the STEM program and listen to what motivates them to be part of those activities. Even find out how the kicker on the football team stays ready to play when they’re only on the field for a few opportunities in each game.

And when it comes to your theatre skills, now’s a great time to explore new parts of every production. Instead of auditioning for an acting role in the next production, join the tech crew and experience what goes on behind the scenes so the show can go on. You may even discover talents you haven’t tapped into yet.

Remember that it’s not too late to begin again. Schedule a meet-up with your theatre teacher. Return to the basics and practice, practice, practice. And light a fire under your curiosity so you can achieve all your theatre goals.

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

The post 3 Ways to Get Your Back-to-School Theatre Goals on Track appeared first on Dramatics Magazine Online.

From Dreams to Stage

Dylan Malloy — Wed, 18 Oct 2023 18:41:21 +0000

As a double major in playwriting and business at Emory University, seeing my work onstage is always a dream come true. This summer, my full-length play The Groundwater won the Blank Theatre’s 31st Annual Young Playwrights Festival, producing the play in Hollywood in July 2023. The play is the final installment of a five-play series about human connection and the climate crisis.

This was my second production with the Young Playwrights Festival, and it was also the company’s first in-person festival since 2019 (due to the pandemic). Any playwright between the ages of 9 and 19 can submit work to the festival, and 12 winners are chosen from the nationwide submissions every year. I can’t recommend the program highly enough!

Bringing The Groundwater to the West Coast was an exciting challenge, and while the play was first performed as a staged reading by Emory’s Oxford College theatre department in September 2022, the Blank Theatre produced the first fully staged production.

Here’s a peek into the festival experience and the playwriting lessons I learned along the way.

Mentorship and Edits

The Blank Theatre assigns every playwright a mentor as they edit their script. I worked with Aliza Goldstein, a playwright who is also an alumnus of the Young Playwrights Festival. She and I met over Zoom multiple times to reread the play and discuss how to make it stronger.

Because I tend to overwrite, this meant cutting down the script and removing unnecessary lines of dialogue. The mentorship process also gave me the opportunity to explore different facets of the characters and include an entirely new scene.

Lesson: Keep it short

From these meetings, I learned that brevity makes a script stronger and dense paragraphs of dialogue are difficult for the audience to follow. When writing, ask yourself how the characters can communicate using as few words as possible.

The Rehearsal Process

We began rehearsals in early July, where I met the cast and creative team for the first time. Madison McLaughlin (Arrow on CW, Chicago PD), Jorge-Luis Pallo (The Secret Life of the American Teenager), and David Bloom (American Born Chinese on Disney+) starred in the production. I learned so much about the craft of theatre from watching them work!

The actors all brought an incredible amount of enthusiasm, talent, and dedication to the play. As we analyzed the characters, I discovered even more about the story, which I’d been working on for two years. We all grew very close during late-night rehearsals and became fast friends. The new relationships formed over the summer are one of the most transformative parts of the Young Playwrights Festival!

Lesson: Make space for creativity and rest

Our director, Laura Stribling, wanted the actors to feel free to make bold decisions onstage, so she let them improvise certain movements to see what felt natural. From this experience, I learned that stage directions should work for the actors, not the other way around. If you’re working on an original play and notice that a certain direction is uncomfortable or unnatural for the actors, it helps to step back and see if there is another way to approach this movement.

Though we usually rehearsed at night, I spent the rest of the day working on other writing projects. It’s easy to become burnt out while juggling multiple stories. I realized that I had to make time for rest so that I could bring my best self to rehearsal. Going on long walks, spending time with family, reading, and taking naps gave me energy. If you’re working on a production and want to recharge, try setting aside time in your day when you are not doing anything creative. Spending time in silence quiets your mind and reduces stress levels.

The Finishing Touches

The production ran from July 20-23 and was performed alongside two short one-act plays written by other winning playwrights. The West Coast premiere of The Groundwater was magical, and I’m so excited to continue developing this script.

We performed in the Skylight Theatre, a gorgeous venue in Los Angeles with an actual skylight.

Lesson: Shows will always evolve

After multiple productions and performances, a play is never “done” until a playwright decides that it is. The world of your story is like a sandbox: You can build and rebuild different parts of the story for as long as you’d like.

Our director decided to introduce classical music mixed with sounds of dripping water, which formed the musical motif of the show. We loaded in furniture pieces and then experimented with different technical elements. Blue and purple light represented moments where the characters are dreaming or feeling distanced from reality. It was wonderful to learn more about how technical elements highlight the emotions of a story.

The Blank Theatre has changed the lives of countless young playwrights, and I’m forever grateful for the summers I spent with the company. Working in the theatre this summer taught me how to revise a script to make it punchier and more efficient. I also learned how to balance a demanding rehearsal schedule with time to write and work on other projects. Through the friends I made on set, I once again discovered the joy of telling stories with other people and watching their talent shine onstage.

The post From Dreams to Stage appeared first on Dramatics Magazine Online.