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Category: Audition Advice (Page 6 of 6)

Sometimes Dad is just pulling up the blinds so you can see the garbage truck

They didn’t text you back, and it’s been three days.

You just texted him, and you see the three dots appearing and disappearing.

You read that text, and she used a period. A period!

This missive is brought to you by text, and the requisite stories that surround.

Brené Brown wrote in her book Rising Strong one of the most helpful phrases to ever enter my life: “The story I’m making up.”

The other day at the kitchen sink I got real hurt and pissy about something Melissa said.

Noticing the atmospheric shift, she inquired into my state.

My ego wanted to say, “You said this this way, and it meant that.”

But I remembered Dr. Brené’s words, and I said, “The story I just made up is….”

Inside of a second, I felt my ego experience this semi-dramatic micro-death–Wicked Witch of the West melting in fast-forward–and the next second, the the air opened right up, and Melissa said with a very open heart, “I’m sorry, sweetie, I didn’t mean to hurt your feelings.”

And the thing I understood in that moment is that Melissa did not, in fact, hurt my feelings. I hurt my feelings with the story I told myself.

Once my story dissolved like frost on a confused February day, I was sunny as a daffodil asking, “Is it okay for me to be out now? It’s February.”

Stories, y’all. They’re great. We know this. Until they’re terrible.

Our brains–capable survivalists that they are–make up a story inside of a nanosecond, and we don’t even know a story has been told to us until we’re filled with anxiety, fear, resentment, envy, and a side of outrage and indignation.

That asshole drives way too fast through the parking lot.

They stopped talking when you walked in the room.

An authority person asks to speak to you.

Adrenaline, right???

Immediate story.

I watch this in my boys all the time. Last Monday morning the older schmoopie pie, or Nugget Number One as we like to say, was looking out the front window at one of his latest obsessions: the garbage truck.

He pulled at the blinds to get a better view, and when I gently moved his hand away to pull up said window treatments, well you know what happened. He cried.

I held him up so he could see better out the window and pay proper homage to the truck collecting our trash–such a luxury, right?–and I could see the “oh-this-is-better-than-what-I-thought-was-happening” expression soften on his face.

I then queried God in my heart, “How often are you just pulling up the blinds for me so’s I can view the rubbish vehicle and I’m all like, ‘No! Hoooollllldd iiiitt!’?”

Often.

Now let’s transfer this storytelling mayhem over into the biz.

The casting director moves your resume to the side of the table while you sing.

The accompanist doesn’t respond when you smile and say hello. Nor when you collect your book and say, “thank you.”

The table people don’t give you an adjustment or ask for anything else.

Stories.

Yeah, there’s a small chance the CD is bored at a required call, the accompanist hates you, and the table people are indifferent about your work, but so are many other less jaw-clinching possibilities in the multiverse.

But you know where stories come in real handy for you?

In that song you were just singing when you were worrying about your surly piano collaborator and the table-folk who might have just received a snippy email from a boss or producer that they’re currently making up a story about.

But in your song. That’s where your magical mind can have free rein and create something beautiful and captivating that might just bless that table-ninja.

It’s pretty nuts, right? The narratives our brains spin and we believe that cause us all kinds of suffering, and then when that very practice would serve us and the work we love, we shut it down.

“But there isn’t an imaginary person in the studio with me. Referring to that point on the wall is stupid.”

Guess what. That casting director you decided was bored with you? She isn’t real either. You made her up, too.

So what would happen if we took all that natural imagination energy and directed it toward specific, artful, spontaneous work? Would that feel something akin to satisfying? Sounds good to me.

Yep, sometimes Dad is just pulling up the blinds so you can see the garbage truck.

Outstanding work stands out

You know what it’s like to emerge from a massive undertaking that requires ongoing focus and repetitive actions.

That was last semester’s end-of-term grading load when I got to teach one of my favorite courses: Music Theatre Literature.

Imagine show tunes and plots interleaved with discussions of societal issues, musical motifs, and chromaticism. Party.

So, I’m trucking along. Everyone’s doing solid work. They learned the things, and I’m really happy to see they’re using the tools. Check.

My eyes begin to cross; diminished chords, foreshadowing, and internal rhyme all start to sound like choruses of Mariah belting “All I Want for Christmas Is You” on that radio station that plays holiday music on the same day in October that Target decks the aisles with wreathes and tinsel.

Digress.

Then, y’all. I get to one project. I’m three-quarters through all this grading.

I start reading, and suddenly I am a thirteen-year-old girl circa 2006 with my copy of Twilight reading through the night because I don’t care if I have to be alert for pre-algebra at 7:55. Jacob!

Hand on my heart, this final project was nuts. Nuts.

I will leave out details to protect the brilliant, but this analysis of an oft-discounted Sondheim musical was a page turner.

The author integrated deep research, passion for the piece, compelling argument for its place in the canon, and colorful visual aids.

Nothing makes my professorial heart palpitate like an excavated motif in a neat, blue PDF-editor box.

Y’all. This. Was. Outstanding. I get chills when I remember this student’s work.

When I finished reading it, I cried. (Hello Enneagram 4.)

Then I emailed this student with the subject, “Your Final”

The commitment, passion, excellence, and heart that went into this final project impacted me on a deep level.

Move this experience into the audition room.

Put yourself in the shoes of any table-person who sees capable auditioner after capable auditioner come in the room, sing their song, read their sides, and leave.

Enter the artist who brings deep work, preparation, authentic point of view, and an open heart into the room, and there is a change.

When we prepare for an audition, we prepare for ourselves as artists. We prepare for our own satisfaction. We prepare so that we know that when we leave the room, we have done our best work for that moment.

The outcome of that is, has been, and always will be out of our hands.

Insert here every story of the actor who did excellent work in a room, didn’t book the job, but the table person remembered them for a later project that was perfect for them.

If you bring your kind, open, listening, adjustable, prepared body into the room, take it from where you are, and share the excellent work for that day, you can go about your day with a full, satisfied coziness in your guts.

You will also have given a fellow human something beautiful to carry with them that day.

It’s never a guaranteed job, but I can guarantee you that if you stay the course with excellent work, the jobs will come.

Table-people will talk to other table-people, and enthusiastic momentum will build around your contribution as a storyteller.

What can you go do right now to prepare to give your excellent, satisfying gift? You got five minutes? That’s enough to personalize one line of text.

Go! Do it! 🙂

Footnote: I’ll write another missive soon about what prepared means to me.

Now go! 🙂

Take it from where you are. Thank you, Joan Rosenfels.

One thing I say to my students all the time is a sentence I heard from my acting teacher in New York, Joan Rosenfels: Take it from where you are.

Excited? Adrenalized? Pissed? Tired? That’s where you are. Name it, and step.

This morning, Melissa and I are on the bus of struggles after our younger child regaled us with a night of creative waking patterns.

“Take it from where you are.” Fuzzy, thankful–(BRB, diaper change)–Okay, I’m back. Fuzzy, thankful, thinking about what’s helpful to share with you today.

And that’s it: Take it from where you are.

If you request directions from your GPS, it will take you from where you are.

If you’re in Boston, and Grace Patricia (that’s what Melissa calls her) starts you out in San Francisco, sorry Gracie, those directions are useless.

Same-same in life.

If you’re in Agitation Station, and you want to get to Serene-ville, your first step is to allow your inner satellite to locate you.

Then you can look at your ticket options.

We can only travel from where we are.

And it helps if we share that info with ourselves like we’d tell a friend.

This looks like this. “Friend, looks like you’re feeling a little anxious right now. Probably have a lot of things flying around your brain. Maybe we can sit down and get some of those things on paper so the nebulous stress doesn’t irritate you so much.”

This is a great alternative to “I can’t breathe. Why am I a spazzy bitch?”

We’ve all indulged in similar self-conversation. No bueno.

Yeah, what if we extended a measure of the grace to ourselves that we extend to those we care about?

“Self, you’re hurt. You’re unsure. You’re doubtful. Where do we want to go? And whom would we invite to help us get there?”

Something like that.

Yep, take it from where you are.

Name your location like a friend, and then take a step in some direction. If you’re walking to the wrong platform, you’ll know soon enough, and then you can turn around and walk toward the right one.

And if you are in New York and looking for top-notch acting training, get in touch with Joan Rosenfels.

How to Wow

We’re going back for a bottle of $2.99-buck Chuck and some English Coastal Cheddar.

It’s TJ’s Value Nombre Trois:

Produce customer wow experiences: We celebrate the special way we treat and relate to our customers.”

 

The description says everything we need to know–it’s all about how TJ employees treat and relate to the customer.

Now take this not just into the audition room but into life.

How would things change if we were focused on celebrating the special way we treat people?

Yes, do the work. Train. Prepare. This is Value Number Two. You bring forward your best work for that day.

Then there is the way we relate to the people in front of us.

Let’s look at an audition. Let’s say we’re singing.

A common internal monologue might resemble the following:

The accompanist is playing a little fast. I knew I gave that tempo wrong. I’ll try to slow down when I sing. Are they looking at my stomach? Should I have picked a different song? She just looked down. Now she’s whispering to the other woman. Maybe they’re saying I’m right for another project. I can’t even connect to the work I put into this. Who’s my scene partner again? My breath is shallow. Take a deep breath. Oh, wait, that might make my stomach look big. Suck in. That note sounded bad. Did that sound bad? Maybe I’ll start over. No. They’re in a hurry. I don’t want to waste their time.

Thank yooooou.

Don’t forget your book.

Who was the protagonist of the above monologue?

As the green lead of Wicked likes to belt, “It’s meeeeeeeeee.”

If I am celebrating the special way I treat and relate to my customers, I am going to open my heart.

I promise you this is as simple as telling yourself to slow the hell down, breathe in some kind of regular pattern, and think about your chest. Yep. Then think about opening that up. It can be a door, a gate, or a circa-1964 Jalousie window.

Now we’re sharing. Now we’re practicing hospitality. We’re saying, “Welcome to my home.”

You’ve done all the cooking and table-setting getting ready to share this time. So, open the doors and turn on the music.

Think about a performer who doesn’t have the prettiest voice (according to whose standard?) or the most conventional technique who leaves you saying wow.

For me, one that comes to mind is Ethel Waters’ “Suppertime” from As Thousands Cheer.

That’s how to wow. In Waters’ case, think of the life and heartbreak she chose to bring forward and share.

Let’s leave this one here today:

You’re Not Breathin’

My friend Kristin called me out for being a rabid T-ball dad one day at rehearsal.

My MO was to help the young actor essaying the role of Jerome in South Pacific to perform his part in the thrilling opener “Dites-moi.”

I held his 9-year-old shoulders in an encouraging manner and said, “Listen, you’re not breathing. You’ve got to breathe.”

Kristin spotted the parent-coach archetype in this scenario and reflected back my less-than-helpful instruction.

Listen to me, son. You’re not breathin’!”

(This would eventually lead us to craft alter-egos Dick and Francine, a small-town North Carolina power couple who run a studio cultivating triple threat talent. Dance Moms meets Duck Dynasty.)

There ends the story. Here begins the lesson. The first thing we stop doing when we’re in an adrenalized state is breathing.

Auditions, performances, tough conversations, a traffic stop. We stop breathing.

Maybe it’s because we go into grab-it/control-it mode. Our adrenaline and cortisol spike, our frontal lobe checks out, and our nervous system says, “get the hell out or kick something’s ass!”

Neither tactic will be helpful in the above scenarios, especially the traffic stop.

Here’s the good news. We can remember to breathe. And not just breathe, but to count and breathe.

Science has shown us that breathing in a regulated pattern brings the frontal lobe back on line and gives us the ability to think and see while the adrenaline is on full throttle.

In three, out three. In four, out six. In four, hold four, out four. All of them work as long as there is a consistent pattern.

It’s imposing order on autonomic chaos.

Anecdotal evidence: It worked well the other night when our three-month-old wouldn’t settle. He screams, I stop breathing.

But then I said to myself, “Self! You’re not breathin’!”

I tried three-in, three-out while performing the special baby bicep curl bounce that usually calms him. In a minute he chilled, and so did Daddy.

Be aware when tension or cortisol increases. Remind yourself to pick a pattern and breathe to it, and see how it works for you after a minute or two.

If you have eighteen minutes, here is a TED talk by Dr. Alan Watkins speaking about this same thing.

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