Actors’ Equity Association EPA Auditions

December 28, 2009 by  

Does AEA require producers to hold auditions for role that are not available, as Paul Russell states below? There are numerous AEA auditions postings I have seen online that tells actors when certain roles are not available.

Or as Paul Russell points out, what seems even more weird, is AEA requiring chorus auditions for productions that do not have a chorus? In New York, equity actors wait in line very early in the morning to sign up for an audition time slot, schedule around their day jobs, and pay for transportation. Why hold auditions for chorus roles, when the production will not have a chorus?

If you’re still idealistically holding onto the ‘audition-even-when-jobs-are-not-available’ folly then I challenge you this: Tell me the contents of the Val-Pak mailer (or similar) you received in March 2008. Or better still; name me the last time you filled out an application for a civilian job knowing that there was no available employ. (While you’re muddling in mental gymnastics the rest of us will plow forward.)

A lot of money is being wasted. And not solely from the pockets of producers. Actor dollars are being depleted without purpose as well. If an actor (AEA or non-union) has to take time-off from a survival job to attend an audition for which there is not opportunity for work; there’s money lost.

And at those required calls the producer and their casting representatives are not allowed by AEA to declare that, “Yes, Virginia there are no jobs.” An observer might find that to be a rather dishonest practice by a union that continually touts protection of its members.

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Devoted and Disgruntled – Under the Radar Festival

December 25, 2009 by  

I found this through the Community Arts Network Blog. “Devoted & Disgruntled” is an event in New York City, January 16-17, 2010, that aims to bring people together in Open Space to explore the question “What are we going to do about theater?” Part of the Under The Radar Festival, D&D is presented by London’s Improbable Theatre, which has been producing such gatherings annually for five years; this is its first U.S. manifestation.

It is the weekend I am hoping to be at the Winter Wonderland Stage Combat Workshop. If that falls through, them this is definitely on my list. Click the image to be taken to the website for more information.

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True Community Theater?

December 25, 2009 by  

Given the reputation as one who is possibly more tenacious than The Prof about the necessity to make artists part of a community, I could not pass up reflecting on Tom Loughlin’s post about the 2008 NEA survey. Loughlin’s reflection/passion reminds me of a need for what Cornerstone Theater Company did between 1986-1991. According to their website, they created twelve musical productions in ten states. These shows were epic interactions between classic plays and specific American communities: Moliere’s disintegrating and combative families in the Kansas farmland, Shakespeare’s civil strife in the streets of Mississippi, and Aeschylus’ ancient rituals on a modern Native American reservation.

“With each of the 13 communities that Cornerstone visited, one of their goals was to leave behind a group of local people, experienced in how to do theater and infused with the love and understanding of “community theater”. The community residents involved with Peer Gynt formed Stage East upon Cornerstone’s departure. Beginning with their first performance of Play Boy of the Western World in the fall of 1990, Stage East has provided a wide range of theater, three and four productions every year, involving audiences and young people and adults both on and back stage, in the creativity and excitement of the theater experience.” (Stage East Bio, Picture from production of Peer Gynt)

During graduate school, my Applied Theater class watched a documentary on Cornerstone’s work during that time and it has stuck with me. Due in part to the cast being a mix of professional actors from Cornerstone and the community members, it was even more of an incentive to attend the production as the audience wanted to see their fellow community members, but also the productions were speaking to the issues within the specific community. The power of communal storytelling created a “reality that people who don’t go to the theatre really, truly don’t want [wanted] to go to the theatre”. I have been wondering if what Cornerstone did could be replicated over twenty years later. Is there enough artists out there who would be willing? What would such a project look like now? Does it have to be a traveling company? Can the same work be done within the community in which the theater practitioners live or are the theater artists minds focused on the gigs that will get them to NY/LA/Chicago? I am concerned that if the mindset/work of theater practitioners continue to focus on those reflected in the NEA study, true community theater will be lost.

Below is a paragraph from Loughlin’s post. There is no summary I can give that would give this post justice. All I can do is to implore you to read it.

Hopefully by pointing all this out I have given the theatre world a holiday gift it can truly appreciate – the assuaging of their guilt. Once you fully understand the reality that people who don’t go to the theatre really, truly don’t want to go to the theatre, you can then stop feeling guilty about declining attendance, lack of diversity, class inequities and the like. After all, don’t you really want to produce theatre for those who want to be there, and can afford to be there? Isn’t that what counts? Isn’t that where the road to your professional success truly lies? You don’t really want the American public in your theatres, do you? Why, that might mean getting theatre out into America, and having more artists live out in America, and meet everyday Americans of all sorts of backgrounds and income levels and ethnic backgrounds and political persuasions – and what an inconvenience that would be! I mean, you just can’t get a good bagel and a smear out there! – What’s all the fuss about? (Or why the NEA study shows how successful we are!)

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Filed under: Acting, Chicago, Graduate School, Los Angeles, New York, Shakespeare, Theater/Theatre
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Support Gorilla Rep’s Independent Film of Macbeth

October 4, 2009 by  

I am signed on to play Banquo in Gorillia Rep‘s film production of Macbeth. Click the image below to read more about how you can support the film.

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Acting Twitter Conversation

September 27, 2009 by  

Had an interesting twitter conversation that I thought the blog readers would like.

@dennisbaker: 30 year old actress on @suzeormanshow incurred $30,000. Her excuse, “I thought I would book something”. C’mon #actors get real!

@dennisbaker: Actress: “I was hoping I could just book one of these commercials” @suzeormanshow: “Hope is not a finical plan.”

@dennisbaker: Actress on @suzeormanshow makes $9/hr. #Actors learn skills that U cn #freelance at an hourly that allows U 2 pay bills & pursue acting

@bwaysaint: I can believe it – I’m $25K in debt & paying it down. You can still “hope” no matter what Suze says.Keeps u positive & focused

@bwaysaint: You just can’t rely on JUST “hope.”

@dennisbaker: @bwaysaint I think U make the same point Orman is making. The mindset of going in2 debt until “I book that commercial” is hope w/out action.

@bwaysaint: Exactly. I still hope for that opp. that will take me out of it, but I’ve stopped spending…had to. I was drowning! lol

@__dana__: @daniellecasting Question Pls– about the prevalence of “national” commercials these days, and earnings abilities for commercial actors?

@daniellecasting: @__dana__wellll.. If they book it yes!! They could do two or three and be good

@daniellecasting: @__dana__ it’s a crap shoot like everything else in our business

@dennisbaker: @__dana__ @daniellecasting Is that is book 2-3 commercials a month for rent? Realistic?

@dennisbaker: @__dana__ @daniellecasting What I keep hearing is the days of the $40,000-$50,000 national commercial are over.

@daniellecasting: @dennisbaker you know honestly it depends u get lucky ur what the director is looking for ur good. The more u go out the better the chances.

@daniellecasting: @dennisbakerbut yes u can still make that money not often as b4 but u can

@__dana__: @dennisbaker YesI keep hearing that too! That’s why I asked her. (you, Danielle) That makes me hesitant to advise it as “fallback career”

@__dana__: @dennisbaker I am not certain that #actors can make a living in commercials these days. @daniellecasting Do you think? Solely from them?

@dennisbaker: @__dana__ When has anything acting related bn considered a fallback career?

@dennisbaker: @__dana__ Annual Median income of a AEA actor is $0 dollars a year. http://tinyurl.com/yew4oun My guess is SAG actors are not too far off.

@__dana__: @dennisbaker Interesting to investigate. I think SAG #actors make more, simply cuz film always pays more than theatre. But not sure, average

@__dana__: @dennisbaker Commercials have been “fallback” career, as long as I was in the business.Many actors in NY + LA used to earn there, as living

@__dana__: @dennisbaker When I was actively in the business, my consistent income, before I got ‘series regular’ type level, was voiceovers. Back up.

@__dana__: @dennisbaker Think she [@daniellecasting] means 2-3 National Commercials a year–because nationals (vs regional, et al) pay a residual evry airing-

@dennisbaker: @__dana__ I see what you mean. I would also say the percentage of actors, that have acting related back-up jobs, are small.

@__dana__: @dennisbaker I think you are right, but I do know that it’s very diff in NY and LA. I heard the other nite at a SAG event-NY actors grt av $

@__dana__: @dennisbaker I think it also depends on whether an #actor has representation, and the quality and status of their representative.

@dennisbaker: @__dana__ Luv to hear any SAG stats you can get. I agree, 10 yrs ago commercials were considered backup work.

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Filed under: Acting, Auditioning, Los Angeles, New York, Social Media, Web 2.0
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Freelance Artist: Debunking the Myth of the Starving Artist

September 6, 2009 by  

There is an article floating around the internet of an interview given by actor Thomas Jane promoting his new HBO show “Hung”. It is about how he “hung” on through the hard times to make it where he is today. In the article, Jane talks about how being a starving artist helped him. He mentions that at moments in his life he was living off of food stamps and sleeping on park benches. “There were a couple times I wanted to quit, but fortunately I didn’t have anything else I could do,” he says. “So the thought of quitting would come when I couldn’t find any purchase in the barren soul of the artist, and I carried on. I think I had that advantage over some of my peers, who were very nervous about not having a car and very worried about the social status of being poor, whereas it didn’t bother me at all. I actually thrived and had a good time being poor and made fun of people who looked to social status. I was shown the light in India that that was a bunch of hogwash. It was irreversible and untradeable and an absolute gift. It gave me the strength and wisdom to overcome a lot of rejection.”

While I agree that social status is not something that one should hold in high priority, I disagree with the starving artist myth that is being continually promoted. The acting field is a business, and to come from that perspective, one will see that the mindset of a starving artist could be detrimental to one’s career.

Diversify
The current economy is causing the work force to realize something that artists already know, one needs to diversify their work skills. The age of the freelancer is here. Many people are having to work many different part time jobs to create a stable finical foundation. This should not be news for an artist. As an artist, you need to have many different skills that you can market to many different fields. Sure you got the acting business down, but that is not going to pay the bills. What other skills do you have? Are they ones where you can freelance and create your own hours. Have you set up a business model to sell your many different skills? There are many freelance options: wedding photography, child care, dog walking, virtual assistant, etc. Do you think you do not have any skills? Well, then teach yourself. There are plenty of cheap (and free) online training programs to help you in learning a variety of skills.

Branding
Once you have your multiple set of skills. I emphasize multiple, as things will be slow when you first start out and you will need many different potential ways to generate income. Now it’s time for you to create your personal brand. Here is a hint: the personal brand is you. As an actor, you are the product. Make yourself the product for your other freelance jobs. This is what Marci Alboher calls, in her book in her book One Person/Multiple Careers: A New Model for Work/Life Success, “The Slash Effect”. An evolving workforce in which people are defined through multiple identities rather than just one job title.

Create a brand that ties in all your skills. A great place to do that is a website. As you can see here at DENNIS BAKER LLC, the website highlights my different skills. With Permalinks, it is easy to send a potential customer to the specific page that promotes the skill they need. If I am promoting my web design skills, I give out the web address “www.dennisbaker.net/web-design/”, if I am promoting myself as a teacher than I give out the address, “www.dennisbaker.net/teaching-artist/”. The potential client can read the specific information that pertains to their field, without searching pages that have nothing to do with job they are looking to hire.

Freelance Is About Freedom
Being a freelancer takes a lot of work, but in the end it is about freedom. Freedom to pursue what you want, when and how you want it. It may not feel that way at first as you will probably be working more hours in training yourself in the a variety of skills you need, building your brand, and finding freelance jobs. But for the artist, the positive out ways the negative. With many freelance jobs, you can work from anywhere. Take your laptop (and wireless internet card) on set and while you are waiting hours upon hours to be called to shoot your scene, get a couple of hours of work in for your client. Are you on tour, or away from from home for three months with a theater job, no problem your work can go with you. Your client doesn’t even need to know you are not at your home office. Being a Freelance Rockstar is about maximizing your potential income hours, without having to be tied down to one location.

Share Your Story
I am coming from the perspective of an actor. What artists in other mediums and fields are creating a freelance model that works for them? How have you branded and promoted all your skills. Please leave a comment. Share your story and help your fellow artists. Knowledge is power!

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Filed under: Acting, Auditioning, Film, Los Angeles, New York, Theater/Theatre
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SAFD SPT Broadsword and Shield

September 1, 2009 by  

I received a recommended pass for the skills proficiency test in broadsword and shield through the Society of American Fight Directors. My instructor was Joseph Travers from Swordplay and the test was adjudicated by Fight Master J. Allen Suddeth. The video above is from our rehearsal just before the test.

UPDATE: My AMAZING partner was Renee Rodriguez, who is also artistic director of the Curious Frog Theater Company. Go see their Romeo and Juliet playing Sundays till Sept. 20th.

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Filed under: Acting, New York, SAFD, Shakespeare, Stage Combat, Theater/Theatre
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Epic Theater Citizen Artist Conference

August 27, 2009 by  

I attended an amazing and inspiring workshop few weeks ago at the Citizen Artist Conference hosted by the Epic Theater Ensemble. I appreciate Epic Theater’s approach to working with kids is their work with community through Augusto Boal’s Exercises. These exercises empower the students to connect to community and to feel responsible for change.

We opened with Boal’s The Great Game of Power. After the game, four students who have been part of Epic’s summer workshop entered and read scenes from their adaptations of Ibsen’s Enemy of the People. It was great to see well-crafted scenes about current topics based on the themes of Enemy of the People of course, but even more inspiring, these were young people in high school who were just crafting their playwriting skill. What I didn’t know at the time was that these were the type of plays that we would be creating over the course of the weekend. Epic has many curriculum. The Enemy of the People curriculum is just one.

On the second day of the Conference, we had the chance to create our own works based on Ibsen’s Enemy of the People, just as we had seen from the students the previous day. As one of the Epic Theater member’s explained, to be able to give this lesson, a person has to really know the play. The class was divided up into four groups. There were five categories that we used in order to create our own idea for a new play. The main idea was that the play had to have a main character that would be an enemy of the people in some way. For example, an owner of a hotel who was covering up health issues like eroding pipes that were of real danger to the guests. The next step was that all four groups had to pitch the ideas to the class. Then we had to vote as to which story was the strongest. The idea that was the strongest was the one that we would write scenes about.

What was important was the reactions from people as the group did not accept their ideas. We talked about this afterwards. This was a lesson for all of us in the room. It is hard to produce artistic projects. Really hard. Things do get… complicated.

The following exercises we created characters and did improvs on the main idea for the story that we chose. In our case it was a school meeting where there was a debate about the use of styrofome plates and the health of students who use those plates. Afterwards, we broke up into groups and wrote individual scenes using a very simple format that the Epic Theater uses. After that we shared our improvs that were based on the checklist each group produced.

How I Hope To Use These Exercises

I would like to have my own classroom one day and I’d like to include the study of various forms of historical drama. I am sure that I will find my own way of teaching, of course, but I admire the use of Boal’s exercises and Critical Thinking exercises of classic plays in the way that Epic teaches. I would like to borrow these ideas and techniques for my future students.

And I know that Epic is happy to pass on their ideas, as at the end of the conference, we received a Curriculum Guide.

Integrating Epic’s Techniques To My Teaching Artist Work

I have taught techniques to kids to play and understand Shakespeare’s words. Epic’s lesson plans teach students to put stories into the present day and empowers them to create their own stories while they are learning a story that is very removed from them. Using these techniques would ultimately help me, to help students understand and gain a world of knowledge about the story that they are working on. It would also help me ,to help students create their own stories and learn more about their own world.

I hope that you will all get to experience the workshop the next time around.

Also, be sure to check out Epic Theater Ensembles upcoming production: Mahilda’s Extra Key To Heaven by Russell Davis and directed by Will Pomerantz, September 16-October 11.

Carrie Edel Isaacman is a regular guest blogger, look for her monthly posts to come out on the 27th of the month. She is currently working as an Adjunct Lecturer through CUNY and substitute teaching in the NYC Public Schools while she pursues her MS in Educational Theater at City College. She is also involved in TA 101 with New York State Alliance for Arts in Education.

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Filed under: Acting, Educational Theater, New York, Theater/Theatre
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Casting Director Twitters at Audition

August 14, 2009 by  

daryl eisenberg twitterThe theatreosphere has been up in arms in what is being called “Twittergate”. It is focused around casting director Daryl Eisenberg, who was making comments about actors’ auditions during an EPA of New York Musical Theatre Festival’s “Gay Bride of Frankenstein.” She has been twittering about previous auditions, but this one seemed to go public once over 200 people notified Broadwayworld.com’s “Twitter Watch“.

The story got big enough that it was covered by The New York Times’ ArtsBeat. The heightened exposure drew response from the producer Billy Butler, composer Marc Shaiman, and casting director Paul Russell. I think Russell’s blog post was the most insightful observation from all that was written. From reading his book and blog, what I appreciate about Russell’s perspective is that he is honest and does not hold back, while at the same time is able to care for the process and rigor actors, and all entertainment professionals, go through while working in a hard business.

It’s behavior such as yours Ms. Eisenberg that makes me ashamed at times to be a “gate keeper”. For that’s all we are. A casting director’s job was not created out of need but out of convenience for the creative team. Before casting directors existed, producers, directors and stage managers did the leg work that has become our trade. We’re expendable. This current economic crisis and our dwindling client base as budgets are cut should have made you more than aware of that reality

Actors deserve better treatment from those behind the audition table. I was once an actor. I have a great empathy for them. I don’t know if you Ms. Eisenberg were once an actor. If so; you should be damned ashamed of how you have treated those who now stand where you once stood. If you never had the displeasure of auditioning consider yourself fortunate that you never had to endure what actors in your audition room experienced this past week.

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Filed under: New York, Social Media, Theater/Theatre, Web 2.0
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Joan of Arc Video

July 25, 2009 by  

“What could be better than hard working, talented actors, well directed in a gem of a production….but wait, there is more, in an outdoor setting that is perhaps one of the most beautiful in NYC. How could I not recommend Joan of Arc for a fun and inspiriting evening of outdoor theatre?”

Doug Leeds, Past President, The American Theatre Wing (founders of the Tony Awards®).

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