Career Wisdom & Thoughts from 2018

I asked HonesThespian’s Expert Panel what they discovered or learned during 2018 as the year came to an end. This will be the final HonesThespian post for now. The blog aspect of this project was intended for one year and I am looking at Podcast or Vlog options for the second HonesThespian panel. Please share your favorite posts from 2018.

 

Matthew McGee

An important lesson I learned from Broadway vet Lenny Wolpe was, “If they don’t love you offstage, they’ll never love you onstage.” It’s so important to remember that kindness is imperative in this business. No one wants to work with someone difficult or unpleasant to be around. Take a moment and really see the people who are so important to production (onstage, backstage, etc.). It’s so important and will truly contribute to a lasting career in this business.

 

Bridgette Karl

One thing I learned this summer was to make time for self-care. I learned how to become a bit of a hermit this summer. During my contracts, I put a lot of effort into getting enough sleep, eating healthy, taking “me time,” plus not dwelling on FOMO (fear of missing out). I put a lot of emphasis on sleep and hydration, and while that led me to miss out on things that happened after 10:00 pm, that was okay. I was first one up and feeling good for what mattered, rehearsal. I also tried to really listen to my body – more than I normally do. That meant working out on the days I felt achy, napping when I needed to or just taking time to read a book. Either way, I felt great and it made a big difference.

 

Josh Hayes

I went through a separation this summer and was playing my dream role as the Tim Man, at the fabulous Palace theater In Wisconsin Dells. I was scared and very lonely, but made it through sixty-two shows, and gave the same performance for every one of those shows. I learned that I truly respect and love anything to do with musical theater! I also learned that I can do and achieve anything I put my mind to, and feel I owe it to the Tin Man. He made me stronger than I ever knew I could be!

 

Lindsay Nantz

I learned so much this year about Actors Equity Association because I just took my card. It’s been a year of learning the rules & benefits of AEA, as well as re-introducing myself to the Equity Theatres in the area since I’ve been working in the Non-Equity scene for so long.

What is Summer Stock Theatre?

What is the difference between traditional and summer stock theatre? Expert Panelist, Bridgette Karl walks us through the three major differences in this week’s post.

As actors, we find ourselves explaining bits and pieces of our career to friends and family all the time. No one really understands our industry at first. Nine times out of ten, you will have to explain it to them and after you do, they usually respond with, “Whoa, I don’t know how you do it!” This crazy career comes with plenty of unknowns and varying circumstances but at the end of the day it is “oh so worth it!”

One of the things I find myself constantly explaining to people is the difference between a summer stock and traditional show contract. The topic of summer stock comes up every summer – surprise! I love it, but summer stock is its own beast.

The differences between the two experiences are threefold:

• Rehearsals
• Performances
• Contract Length

 

“Wait, you put that show up in two weeks?!”

Yes, we did. Generally, during a summer stock contract, you are granted an average of two weeks rehearsal – that’s including tech week y’all – and yes, they are typical, full-length productions! You’d be surprised how much you can do and learn in a short amount of time. However, doing your homework beforehand and coming into the rehearsal process prepared is crucial! I try to come in almost completely memorized so I can really focus on my character work and connecting with my castmates. I heard a quote the other day that laid this concept out rather brilliantly. Unfortunately, I don’t remember the exact quote or its author, but it went something like this: “The time you have to complete something, is all the time you need to complete it.” Needless to say, whether you have two months or two weeks, if you are dedicated and driven, you can get it done!

Performance schedules also vary. Sometimes summer stock theatres will have just two weekends of shows and you’re done. Others will perform a set amount of dates but, in rep* throughout the summer.

*Side Note: “Rep” or Repertory Theater is when a resident theatre company presents shows from a specified repertoire, usually in alternation or rotation vs. blocked out performances.

 

A standard weekend of performances in rep might look like this:

Thursday: Beauty and the Beast

Friday: Legally Blonde

Saturday: Pinkalicious (children’s matinee) & Legally Blonde (evening)

Sunday: Beauty and the Beast

On a traditional show contract, you do one show three to eight times per week until the contract is over. A little less multitasking goes on here!

The length of a contract also varies depending on what kind of contract you’re on. Summer stocks are usually a solid three-month commitment (mid-May to mid-August). Whereas traditional contracts can range anywhere from one to five months. It depends on how long the show runs for and what time of year it is. My longest contract was a month of rehearsals and a three-month run!

I personally look forward to doing summer stock during the summer (duh, obviously) and traditional shows the rest of the year. A little tidbit that both contracts have in common is that you really get to know your castmates. Because you’re with them every day for a matter of months, you get to work with a lot of different people from all walks of life. I have met some of my best friends on show contracts (summer stock and traditional)!

If you have any other questions, feel free to let me know by leaving a comment. Happy Holidays!

We Get To Do This!

Miss Jane, an education colleague of mine, is always swift to remind performing arts educators and directors that, “we get to do this,” when they are having a tough day. I asked our Expert Panel to brainstorm on a topic they wanted to be honest about based on their past year of work in the regional theatre world. Lindsay chose to focus on appreciating the opportunities you are given as an actor. Enjoy this week’s HonesThespian post.     – Matthew Belopavlovich

Hello! My name is Lindsay Nantz and I’ve had the pleasure of working consistently as an actor since graduating college in 2010. I graduated with a B.S. in Music Education, so I’m very grateful for every opportunity given to me as an actor. When you are hired by a company, they are putting their faith and trust in you to bring a specific character to life. It is our job to understand what the director wants while also putting our own spin on it. I’ve worked with a lot of actors lately who don’t seem to appreciate the opportunities they have been given. We are basically paid to play dress up and step into someone else’s life for a few hours, so we shouldn’t complain. Some don’t like the experience at the theater, others hate the material (I have been guilty of this), but it is our job to overcome and find the joy.               

If you don’t like the experience with a particular theatre company, I get it. Every theatre company has its quirks and some just aren’t a good fit for certain personalities. However, when you are having a rough day, just think of all the actors that wanted your job. Find the joy in other cast members and the material. If by the end of the contract you’re still so disappointed with the experience, guess what? You don’t have to audition for that company again. Regardless of your choice, DO NOT let anyone on the staff of the theatre company hear any of your true (negative) thoughts about their product or business. Theatre reps and directors love to talk to each other to find out about actors. I had one casting director tell me that when he calls his fellow theatre folk to ask about a particular actor, he asks, “do they play well with others?” So, just know that even if you aren’t having the best experience you still need to play well with others, so you don’t burn any future bridges.

As far as not liking the material goes, we have ALL been guilty of this. It’s hard connecting to a show you don’t like or understand, but find the joy somehow. You’ll end up liking some things about the material and truly live in those moments. Laugh openly (obviously if it’s a serious piece don’t do this), play off the energy of fellow actors, and have fun in those moments. Remember the script was written for a reason and it’s your job to give it new life for an audience. Next time you are on a contract that you aren’t so sure about, I encourage you to find the joy. Cherish the time with your fellow actors and learn from them. Find your favorite moment in the show to sing or dance and live your best life. Just remember, you are so lucky.

An Honest Fall

As the leaves begin to change colors and whither away and the evil spirits of Halloween come out to play, I thought that a blog about annoyances and pet peeves, the little things that make us “die” inside, would be appropriate. This post contains opinions and thoughts from the HonesThespian editor’s mind and doesn’t represent those of past contributors. Grab your favorite Cup, pour some apple Cider and scroll through these Three Deadly C’s of the entertainment industry.

Critics
What makes a good theatre critic? One might say that having some sort of theatrical training or background is important. Others may say that an unbiased opinion counts for something. I absolutely believe critics are essential to the creative process and am in no way questioning their existence in the entertainment world. No, my issue is “To trust or not to trust?” That is the question. How can the mainstream public or artistic community trust a reviewer that still abbreviates microphone as “mike” instead of “mic?” Shouldn’t a reviewer know the current industry standard? What about a reviewer that writes predominantly about community theatre and occasionally about one or two professional companies? Are they well-versed in national or world theatre? It seems odd that these same reviewers praise their circle of local theatre friends, but become hyper-critical when it comes to the professional company they are reviewing. I love receiving praise in a review as we all should, but every company should be treated equal. It is important for a reviewer to provide an honest critique about their friends as well. “Take everything with a grain of salt.” That’s the short answer, right? I am starting to disagree with that concept more and more. A reviewer should be well-read, have a theatrical background, remain objective and unbiased, and discuss all aspects of the production. Maybe the vocal performances weren’t that great, but the lighting was excellent and helped to tell the story. Sloppy, one-track writing is a waste of space on a newspaper page. Strong critiques aid in the creation of better productions.

Communication
Responding to an email, call or text in the age of lighting-speed internet and communication devices at our fingertips is a breeze. If that’s the case, why do many actors, young and old, neglect a simple reply or wait longer than 48-hours to respond? I have written about this before and am back on my soapbox for this post. We all know that you can see when someone has looked at your message on Facebook Messenger, but that doesn’t work for the corporate world regarding emails. I am a firm believer that everyone should recognize the receipt and understanding of a professional email. “If you got it, say ‘got it’ at the least.” Many people expect affirmation at every turn and can effortlessly “like” a plethora of posts on Facebook, but seem to be unable to write a quick “thank you” or “message received” when it comes to email communication. I have witnessed managers move on to a second or third job candidate option because of this simple misstep. I encourage you to respond even if you aren’t interested in the contract. Remember that it’s a small world out there and theatre company reps, artistic directors, and casting agents talk to each other. In a similar vein, say “hello” back if a colleague or acquaintance reaches out to you via social media. Don’t make the excuse that you were “too busy” to type a response in less than thirty seconds. We are all busy. You never know when that person might be on the other side of the casting table. Courtesy and clear communication can go a long way in the entertainment business. Use it to your advantage.

Competitions
Every city has one or two papers that will produce an annual list of city favorites for the general public to consume. Like theatre critic reviews, they influence where and how people spend their time and money. This sounds like a wonderful concept in theory, but take a closer look and you realize that these lists are sometimes generated through popularity contests that unintentionally exclude major players. Let’s start with the nomination process. How are these individuals and businesses being nominated? Not always by an elected committee or team of experts. Often times, you can easily nominate yourself or a friend. How else would a professional company who hires equity actors end up in the same category as a community theatre and arts school? Why isn’t there an equal representation of companies, organizations, and schools in that category? Should there be three or more separate categories? A high school actor is still growing both as a human and artist. They shouldn’t be compared to a company who hires actors from New York that have their BFA or MFA from a major arts university. Now that the nominations are out, it’s time to vote. Make sure to crowd your social media pages with pleas and reminders for your friends and family to vote. People that haven’t even seen your productions or stepped foot in your theater space can vote too. After all that, what does the award or status really mean? Is it an honest survey of the city and its community? At least the individuals who cast ballots for the Tony Awards have some connection to the professional theatre world and do research on the nominated productions and artists. This extends beyond theatre organizations as many of these periodical contests affect restaurants, local merchants, and other businesses. There is definitely a place for this style of local recognition, but I believe better care should be taken in placing individuals and organizations in correct categories and how nominations are collected.

Be sure to check back during the month of October for exciting posts from Expert Panelists, Bridgette and Lindsay. You can catch Lindsay onstage as Suzy in “Winter Wonderettes” at the Winter Park Playhouse, playing November 15-December 16, 2018.

Guest Blog: What Makes a Strong Resumé?

Fresh off a Paw Patrol Live! National Tour, professional actor and Emerson College grad, Gian Raffaele DiCostanzo, gives HonesThespian readers the inside scoop on what he thinks makes the perfect resumé.

I love making and formatting resumés. It’s one of those oddities that I just find really enjoyable. Your theatrical resumé represents you. It’s an awkward-sized piece of paper, stapled to the back of a photo of your face— super classy. Although they are weird, our resumés say a lot about us— literally.

When formatting your theatrical resumé, here are some tips to make it clean, concise, and eye-catching:

Format your margins for easy cutting. Having to cut your resumé down to 8×10 inches is incredibly annoying, and most of us don’t have a precision paper cutter in our homes or apartments, so to the scissors we take (or head to FedEx Office). It’s very important that when making the cuts to your paper, you don’t cut off any of the information on your resumé. To ensure that all of your information fits, use the margin settings in your word processor to set your margins to the following measurements:

• Top – 0.5 in. • Left – 0.5 in. • Right – 0.5 in. • Bottom – 1 in.

Use a clean, clear, legible font. There are a plethora of fonts available whether you use Pages or Microsoft Word, but be sure to choose one that is easy to read. We all want to stand out in some way, which is great, but using a font like Comic Sans or Snell Roundhand isn’t the way to go. It’s important to choose a font you like and that reflects your personality, but keep it professional and legible. Casting Directors need to be able to skim all of the information presented on your resumé in the quick minute and a half you’re in the audition room.

Use Bold, Italics, and Underline for clear definition. Resumés have a lot of information smushed onto the page, so putting section titles in bold or underline is very helpful for the casting team. It helps to format your resumé and helps the casting team to easily identify the work that you have done. When listing the title of the work you have done, it’s great to use italics or capitalization to differentiate between the role you had in the production and where it took place. Again— easy to read, easy to follow.

Take advantage of the table feature in your word processor. Using a table to format your resumé is the best way to keep all of your work in-line and organized. Be sure to make the table gridlines invisible so that there are no lines dividing your work.

Present personal information in a clean, concise manner. Your resumé should include the following personal information: full name (large and at the top), height, weight (if you want), voice part, hair and eye color, email address, website (if applicable), and union status (if applicable).

Organize it. The best way to organize a resumé is with your personal information at the top. It’s who you are, it’s the information they need to know— the basics. Under your personal information create sections in order of most relevant— traditionally, that would be Broadway, National Tours, Off-Broadway, and Regional Theatre. But if you haven’t been on Broadway (like most of us), list the sections in the order of what you believe to be most relevant and important to your career path. Under your theatrical credits, you can include any relevant film or TV credits or event credits that you would like to showcase. Beneath your credits, include any relevant theatrical, musical, or dance training you have received. Under your training section, include a section for your special skills. This section can contain any information that makes you special— do you juggle? Make funny voices? Can you do a handstand? Play any sports? Instruments? Burp the ABCs? All of it is good. Anything that makes you YOU should be in that section.

Give credit where credit is due. Connections are a super important part of our industry as performers. If you have worked with someone of note (directors, choreographers, music directors who have worked on Broadway, Off-Broadway, etc.), credit them on your resumé! Casting directors will look at WHERE you have worked and WHO you have worked with. They know you can be in a show, memorize lines, etc. They know you can be Ado Annie or Harold Hill or Townsperson #4. You wouldn’t be auditioning if you couldn’t. Casting teams are seeing hundreds of people at a time, all of whom are probably extremely talented. At that point, they also want to see the type of people or places you are working with— if the companies have good reputations, to what caliber you have been performing, and they may even personally know someone whom you have listed on your resumé. Casting teams can be in contact with former employers to ask about you, your work ethic, and your personality. So, while it’s important to credit the work you’ve done, it’s just as important to credit the people you have worked with and the places you have worked.

Resumés are an important part of who we are as performers and it’s the way in which we present ourselves. So, make it count. Make it pretty. Make it easy to read. Make it yours.

 

Gian offers many services for emerging and professional actors. You can reach him by visiting his website.

-Website Building & Designing
-Resume Formatting 
-Reel Editing & Design
-Music Transcription
-Dialect Coaching

http://www.gianraffaeledicostanzo.com

Set Your Sight on the Right Site

An HonesThespian reader recently asked, “What is a reliable website for finding auditions, intensives, and jobs?”

LINDSAY NANTZ
I use Playbill the most in order to find auditions. It’s very reliable in giving you all the information you need to know like pay rate, if housing is available, etc. Backstage.com is a great website as well. Another good resource for auditions and classes is Facebook. Search Theatre in your area (e.g. “Theatre in Florida”) or Audition Groups in your area. You will find a plethora of options you can pursue to help achieve your dreams.

BRIDGETTE KARL
When I look for auditions in New York, I go to Backstage.com, Playbill.com and BroadwayWorld.com, they’re great! You can also use those search engines or Backstage Magazine if you live elsewhere in the country. You can search by the state you live in. If you’re by chance looking to go to Minneapolis, I know they have their own website which is MNPlaylist.com and Chicago has one too, it’s TheatreInChicago.com/auditions. I would also ask friends or people in the business if you are going to a different city because chances are, the city has its own website where local theatres post their auditions.

Click here to subscribe to Backstage Magazine for under $7/month.

Expert Panel Stage Sightings:
Catch Josh Hayes as the Tin Man in The Wizard of Oz at the Palace Theatre in the Dells, running June 15th-August 26th.

Don’t miss Bridgette Karl in Honky Tonk Laundry at the Show Palace Dinner Theatre, running July 21st-August 19th.

Tony Awards 2018 Predictions

Our Expert Panel has made their predictions of which new show will take home the title of Best Musical at the 2018 Tony Awards tonight. What is your prediction?

Josh Hayes – SPONGEBOB

Bridgette Karl – SPONGEBOB

Lindsay Nantz – MEAN GIRLS or FROZEN

Matthew Belopavlovich – SPONGEBOB or THE BAND’S VISIT

Reblog – Reality 101

Reality 101 from College MT Guide

I was reading a blog this morning that shares many “budding artist” readers with this blog and wanted to share the post with our HonesThespian followers. Enjoy and share.

https://www.collegemtguide.com/bfaauditionblog/reality-101

Reader Submitted Summer

The HonesThespian Expert Panel will be answering reader submitted questions all summer long. This is part of the HonesThespian mission and we look forward to receiving many more questions from our readers.

How do you memorize long passages or monologues?

 

MATTHEW MCGEE
The best way to do this is study, study, study. Never hesitate to call for a line or seek clarification from stage management during rehearsal. That’s why we rehearse. A great app that I’ve started using is LineLearner. Check it out!

BRIDGETTE KARL
I break it up into chunks or beats. I try to get the first few sentences memorized then move on. I find it is alot less threatening to memorize a few sentences than a whole page! I also look at the material at least once every day, ideally a few times. I could wake up in the morning, go over it, then revisit it at lunch and look at it once more before bed. Doing it that way gives me some time to let it sink in and relieves the overwhelming feeling of having to do it all in one sitting.

JOSH HAYES
I memorize long passages by rewriting them out on index cards. At the top of the index cards, I will write the act, scene, and page. On the card itself, I write the line before mine (cue line) then my line, and the one after mine. I also read my lines right before bed.

LINDSAY NANTZ
I break it down into sections. I read each section out loud a few times, then try to write each part down. The act of writing the passage down really gets the lines into my brain. I have also recorded myself reading the passage and listening to it so much that I eventually can recite along.

Stepping Into Character

Several of our HonesThespian readers have written to the Expert Panel with questions regarding finding or “getting into” your character whether preparing for an audition or performance. The Expert Panel weighs in on such queries this week.

 

BRIDGETTE KARL
How I prepare for a performance is very similar to how I prepare for an audition monologue, I think of my moment before. I try to get in the head of my character. Live her life, think her thoughts and really delve into her everyday process. I do a lot of research and background work during the rehearsal process so, when it comes time for performances, I channel all those thoughts and feelings. I also like to warm-up my body before a show. Having my breath and mind aligned clears my head and prepares me to have a great performance.

MATTHEW MCGEE
I try to always run my entire show in my head before I get onstage. It refreshes the dialogue, blocking and character work. As for auditions, that’s often tough as you have very little time to fully create a character. The best things to do to insure success are make a strong choice, take a risk and absolutely take direction and make adjustments when asked to do so.

LINDSAY NANTZ
For an audition, I just have to remember to be myself and make strong choices without getting taken over by the character completely. In an audition setting you want to have a clear vision of the character, but also showcase that you aren’t so set in your ways you can’t take direction. Before a performance, I usually listen to music as I’m doing my makeup and putting my costume on. Then once we have gotten 5 minutes before places, I find a quiet spot to really think through the show and let myself transform into who I need to be.

 

Expert Panel Stage Sightings:

Catch Matthew McGee in American Stage’s In The Park production of The Producers, running through May 13th.

Don’t miss Josh Hayes in Happy Days the musical at the Palace Theater in the Wisconsin Dells, running through June 10th.