Ask Blair, January 1999

Welcome actors at all stages and ages, to the debut column of the new site.
This week's column takes a new look at some old topics like audition anxiety and age, and how to choose the best audition.

Question
Hey Blair!

Congratulations on your new site! Glad you're back!

Here's my question:
I have several opportunities coming up and I'm not sure where to focus my energies. I have a dance callback for a local, semi-pro light opera company. I've left the world of musical theatre, and am working my tail off to get back into shape for the audition. It's for one of the 3 lead dancers or else ensemble membership with this company. Also on the same horizon are some outstanding community theatre opportunities: one company is doing a play with a role I'm just right for, and another is doing Sylvia- I've wanted to play the title role for some time. Both roles would be huge acting challenges but would be less powerful in getting me seen.

So, do I go for the resume booster of having the light opera credit and an "in" with this company, or do I focus on my acting and go for the two roles I'd really love to play!

Nancy

Hey Nance,

Great to hear from you.

I always start by saying, the most important thing is to follow your heart in the matter. And you did use the word LOVE when describing the theatre roles . . . First and foremost you want to be an actress, right? Even though you would be getting a better credit(s) in the light opera company, you would be dancing.

I think you will get a lot more out of the acting challenges, personally and professionally. And, I think "Sylvia" looks better on your resume, even if it is community theatre, then "Ensemble." Also, take note if you think the people involved in the community theatre may venture into more professional theatre at a later point. They just might remember you when it counts.

If you do get the community gigs, you could do a mass mailing and really try to get people to come see you in the productions. There's no guarantee industry people will come, but it can only help.

It's a tough decision. Best of luck and please let me know.

Question
Hellooooo Blair,

It's SOOOO GOOD that you are back with us. My questions to you is: How do I convince directors to cast me as older characters? I love to do these parts, but many times when I want an older part they tell me I look too young. I can make myself appear and act older. Before the Holiday shows, I played "Truvy" in Steel Magnolias. Not that "Truvy" is old. As a matter of fact I'm the right age for that part.

Have a happy and abundant New Year.

Jeanne

Dear Jeanne,

Thanks for all the good wishes. Sounds like you're doing great work.

Question for you . . .

Why do you want to play older characters now when you're going to have so much time to play them later?

Anyway-- as far as directors, it's probably not just a matter of looks that they are responding to: Older people have the real life experience to understand their characters more deeply and truthfully. Play the older roles when you get them, but right now I would explore all the age appropriate roles you can!

Question
Hi,

Have you heard anything about the Italia Conti Academy in England? I was thinking of going there, but I don't know if it's good or not. What are some contrasting monologues I can use to get into drama school? Could you please suggest some. Also, I know this may sound ridiculous, but by the time I finish college and drama school I'll be 24. Young age, I know. But is it a good age to start? Most actresses seem to already be professionals by 18. I'm from USA. If I go to drama school in England and stay there to work, do you think I should fudge my age a bit down to maybe 21?

Thank you,
Kate

Dear Kate,

Hi! No, I haven't heard of that school. But I am more familiar with US schools. To all readers reading this who know about Italia Conti, please forward your knowledge to me and I'll pass it on to Kate.

Ask far as monologues-- I don't know you that well to recommend one for you, and I really think it's best to find one on your own. It's one of the tasks every actor must face, and I think actors tend to get lazy. Please refer to the May '97 article Monologue Search . . ." listed in previous articles. If you have more questions, you know where to reach me.

Please don't worry about your age and don't lie about it. Lying catches up with you in one wy or another. And you DON'T want to get caught. You should try to avoid getting caught up in the industry whirlwind about youth. There are many great actresses who are working and are over 25. Some of them don't make it until they are over 30. Christine Lahti is a good example. She began in theatre, and didn't star on Broadway until her early thirties. Not to mention Betty Buckley, Kathy Bates, Mary MacDonnell . . . and the list goes on. Thanks for asking.

Question
Hi-

I am a 17 year old aspiring actress. I am not a nervous person. I have never had a problem with auditions before in my life. But I walk into college auditions and shut down. And I'm ok walking in, it's just the music starts and I open my mouth and this tiny little sound comes out, I barely hit the notes... and my acting is muted and barely there... and I don't know what I can do about it. It's not a self-confidence thing, I don't doubt my talent or anything, if I did I wouldn't be going into theatre. I don't know what this is about. This has happened 5 times, at all 5 auditions I've had so far. At first I blamed the accompanist, the material, but this last audition should have been perfect. I switched material to songs I am actually really really good at , and still, the audition tanked. I have already been rejected from _______, a school that I should be going to next year, and have auditions for the rest of my top schools within the next few weeks, and I don't know quite what to do in order to prevent another horrible audition. Any advice would be appreciated. Thank you!
-Shoshanna

Dear Shoshanna,

Thanks for writing with your issue. I am sorry to hear that you are struggling in this way! I think the upshot of it is that you can get to look at these blocks now, at a young age, and conquer them.

My hunch is that you are not aware of your nervousness, so it takes over the audition. The first step is to know that it's okay to be nervous--it doesn't mean you're a bad person or performer-- and the next step is to allow that nervousness to fuel your performance, instead of overtaking it.

I also think you are responding to a lot of pressure. You really want to go to some of these schools, right? And the fear is that if you don't knock 'em dead at the audition, you won't get in. I would let go of this if you can. Just be yourself, do your best . . .even give yourself permission to go through this process and flail through all the auditions. You may be amazed at how wonderfully you end up doing. You are learning about auditions and what happens to you in them. I think allowing yourself to go through this process and remaining confident in your abilities (as you are doing) is useful. you will grow and change. Besides which, the colleges don't need finished talent. That's why they are theatre schools!

Make sure you are breathing before and during the audition. Anxiety tends to shut down respiration and can make for shallow-voiced performances. Make sure your knees are not locked and your shoulders are relaxed. Allow all those butterflies to be fluttering around, while you just focus on the first note of your song, or allow the nervousness to be what the character is feeling and start your monologue from there. Even if you think your character is not nervous, and it would be a wrong choice, just start there and see where it takes you. It is very freeing.

You have to become strong to do this, and keep in mind that becoming free from the constraints of pre-performance anxiety is a process. So keep going to auditions, and with each audition you go to, note your progress. If you can, stay optimistic.

Best of luck. Let me know how it goes!

Question
Blair,

I am so happy that you are back online. I have missed the column so much!!!

At a recent audition, the director, after having heard everyone read from the script, said that we could go unless anyone wanted to read for another role. This one woman asked to read again, but when she got her shot, she didn't sell it. It seems like this would defeat her earlier reading, which was much better. When the director asks if anyone wants to read something else, is it better to just say no? Or is it better to take the chance and show that you are willing to try?

Thanks,

Missi,

I would only read for another role if there is another role you really would like to play that you haven't read for. Then, whether you sell it or not, you are taking care of yourself and you should feel good about that. If you only audition for another role because you want to impress the director with your range, you'll really be upset if you screw it up.

Best of luck!

Sincyberly to all,
Blair