THEATER CAREERS PACKET “PART 1” For Theater Careers Class Jim Helsinger Our Deepest Fear “Our deepest fear isnot that we are inadequate. Our deepest fear ts that we are powerful beyond measure. It is our light, not our darkness that most frightens us. We ask ourselves, Who am Ito be brilliant, gorgeous, talented, fabulous? ‘Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There {s nothing enlightened about shrinking so that other people won't feel insecure around you Weare all meant to shine, as children do. We were born to make manifest the glory of God that is within us I's not justin some of us; i's in everyone. ‘And as we let our own light shine, we unconsciously give other people permission to do the same, As we are liberated from our own fear, our presence automatically liberates others Marianne WilliamsonAbout Grading Marks in the Class & Punctuation Guidelines Whatever you can do or dream you can, begin it Boldness has genius, magic and pawer ini. Begin it now, Johann Wolfgang Von GostheGRADING FOR THEATER CAREERS For written assignments, | am looking for: + Excellent, clean, polished formatting + Focus and good order that guides the eye + No misspellings + Correct attachment of pic and res + Getting the best information in a quick glance GRADES "A" grade means excellent. Excellent means: “Of the highest or finest quality; exceptionally good of is kind. extremely meritorious; superior. outstanding," ‘This means no mistakes, or maybe a small one. B means good - “Superior to the average; satisfactory. Of high quality” This means few mistakes but stil superior. C means average - "An intermediate level or average. Usual, typical” ‘More mistakes D means poor - “lacking in quality, inferior. below average.” more than average mistakes, F - Means Failing - "To prove deficient or lacking; perform ineffectively or inadequately:" many major mistakes.4A As this is a business class, misspellings, etc., are harshly graded as follows (assuming a 50 pt exercise): + $10 words, wordy modifiers ~ 2 pts + Awkward phrasing, run-on, comma splice — 2 pts + Bad printing, bad or incorrect paper, blurs. etc - 3 pts, * confusing fonts - 2 pts * cramped spacing - 3 + Frag - Sentence fragment - 2 * generic ~ "Your theatre” etc., 3 pts + grammar - Incorrect grammar — 2 * Incorrect paragraph return —3 + Le. lower case - 2 + margins not aligned -3 + No picture 5 pts + Not attached to pic ~ 5 pts + Passive sentence ~ 2 + Personal format in a business letter ~3 pts + Poor alignment —3 + Poor delineation of categories ~ 2pts * poor order of credits ~ 3 pts + Poor paper choice 3 * Poor picture formatting on resume (bad dpi etc), poor location, ete. * Poor Spacing ~ 2 pts + Sp- Major Misspeliing —5 + sp- Minor misspelling - 3 pts + Tense change - 2 + t00 close to margin ~2 pts + Too wordy ~ 2 + Unclean columns ~ 2 pts + Unfocused formatting, confusing to the eye ~ 3 pts + Wrong size paper — 5 pts | will not grade your pictures for content, but | will grade on dpi, size, location, and color match, bad printing etc. | will also grade if a picture is missing - 5Common Proofreading Symbols insert comma “The mayors bree tel, fsa cook, apostrophe or single quotation mark ‘wounow ore to ptt sacs inser something now kina, erenone knows: se dole uoton mais My favorite poe is Design. ws a period here ‘Tis a decorate sentence lore “The loptarks turk Irealy Bs nose. anspose elements Gn lek the one he tes. close up this space ran et i foverte bask ball a space needed here nave ony Ywedhiends Ted, Raoul and Ae. begin new paragraph “ikne onl thought ,sherple. no pangraph ‘Tease sal “Hes no god" 48He SMa bevinion [Sh ha eared a Plog wih her MD an) a he piano as well asthe guitar need tunin scented [‘aiearewon Tie pianons wells the guitar acd toning sv pronoun/antecedent OK Neva epresion | Ties ai oe af ng sremwclon Tlf dls nde Cap [ft enpaon —| We pene al Sour pa : Roo ed is bs seat bal comene wile wasnt good enough Bao he ae hat ye wee wondering mee faulty diction) ‘as to whether it would rain, we stayed home. Sea Worn eran vers ae ctesaling coerce proved to be too much for him to handle. pete ca (RS Last ser wal aha Birngham, “ Depentng oie aunt af now wet | eee winter and whether the towns buy new trucks. | pn np ome gga yi pa mound [Asan cting wade CTS toma trav smn i sunt an mye Tv wel ar ron [patina cert dans a Yl tae td ison on on time games ean — Tare ene, aoa at Hibs iste [eo frwensenes [Reet et Spang ror ——— This ete te wi oo ipsa oe ae ek t's He wonder it hs tech ik Ki The poner wes Latin tr ona , tt preoteng mas cling fora change rr aaa should he ignored and the text as originally |_ stent be Send |_| gemant—| The ren win tee ce a Ti. “Toa ene en | Recon io, nde pl i Seid inv me peda dca s0 Sb, way | wong Scostetaou npn. so burned wih | anyon, ww emmgwa ‘Watt ie mv wo ST? She tied to hard to analyze its conclusion.UD [ Quick Punctuation Guidelines T COMMAS 1. Compound Sentence: Put a comma before coordinating conjunctions in a compound sentence. Coordinating conjunctions include for, and, nor, but, or, yet, & so. Use the mnemonic 2 > = 5 = ® 5Amy Kim WaschkeClaro Austria Smo ce pEe_Courtney Moors SmmvvEes——_ jeorge bennett watson __ Shows CHAACTee“Theater Careers jo D PHOTOS HEADSHOTS HEADSHOTS MUST: + Be color. + Be wel fit and in fous. + Contrast withthe buckground (no float 1g heads) + Be cut down to 8" x 10" + Show your fll head at the very least (don't cut off your head.) ‘+ Have a good contrast between you (the talent) and the background, + Show energy: convey a sense that you are nice, easy, FUN person to work With. IF you can describe the sentence that you ae telling the audience, lke fun to work with!” you are on the right track. If you don’t know what {you are saying inthe photo, it probably isn't working. + LOOK LIKE YOU?! (don’t use a“lamour shot” You need to be able to make ‘yourself up to look reasonably lke the same person when you walk in the ‘udtioner's door.) + Be kept up to date if you undergo any major changes (a large weight gain or loss would necessitae a change in pictures, as would any change in facial features.) A change in hairstyle, not radically different is OK. If itis different due o a job, let the casting dieector know when you enter the room. + Having your name on the front is good and VERY standard, but isn’t always, done, *+ Probably have a white border, that’s standard. ‘There are three types of successful headshots, generally. + Smile with teeth + smirk + sexy If you can, have all thre (or mote). Atleast fit your type, ‘TYPES OF HEADSHOTS Looked at different styles, formats from the later decades atthe cond of the 20¢h century 1970's: ~ glossy paper (not used today looks very dated) shot ofthe head only in a tight close-up, ten Heleinger vane‘Theater Creare 1980's: 1990s: ‘mid to late 1990"s: sin Helsingor matte finish paper shot of the head only studio shot use of backlight often wore doubled layers Jacket, vest, et.) ‘no border ull bleed 8x10 sometimes had shot on shot (smaller photo contrasting with big Shoton same side of phote paper) (very ‘mndely" look. Retr to add to resume in cornet) Tate 80's arly 90's: started using borders around the shots (clean and ‘roughed up’) ‘camera pulled back a bit, but nota fall 3/4 shot yet 3/4 shot becomes the standard (came out of L.A.}(Casting directors LOVE it cam realy soe the talent cat hide fat, skinny, missing ans...) bordered (rough and clean) ‘more natural lighting and settings; not necessarily done ina studio anymore sometimes edgy, artsy se ofa sideways shot (landscape format) (need to be careful that the majority of the photo isnt your background... neds tobe all, about YOU}, smaller format on 8x 10—less than 1/2 of sheet URE TO CUT YOUR RESUME TO FIT THE 8 X 10 Otherwise, it screams, “I'm lazy!” ts very unprofessional to have overhanging edges. It almost ‘guarantees that your photo becomes the cursed oddball that gets ‘caught in the file, bent up. ripped af, gets in the way, and ‘eventually i tossed as being too much trouble. Attach the appropriately cut resume tothe back of the photo with 4 Staples; one in each eomner. (Unless your agent requests something, different.) Pictures and resumes are all about getting into the door to audition. ‘Auitions cost time and money to set up and prepare for from the Sie ofthe casting director o company Ther ar nani and time restraints on how many people a person can feasibly see during a scheduled audition session. The limits on the number of| people who ean be seen are not made out of spite. (Can frotind $10 auditionee if renting an audition space in NYC.) So the people casting need to Winnow their prospeets down toa ‘manageable number. saisTheater Coroors 20008 “The quality of your headshot could impact the possibility your getting (or not getting) an audition WITH OR WITHOUT, SIGNIFICANT CREDITS. Color becomes standard Sideways and ¥ shots with borders ae the most popula. [Natural backgrounds become popular, and natural Hight [As the internet grows, i becomes necessary for your shut to “pup” ‘when itis small on a computer sereen. GETTING A GOOD HEADSHOT ‘Visit potential photographers and look at their book. Look f shots that you like and that you want your shots to “Took like” (location, angles, lighting, energy) Interview several of the photographers and get a feel for their styl, the chiemisty between the tWo of you. (VERY IMPORTANT) Do they make you laugh? Are you comfortable around them? If you get the creeps from them of feel stifled in any way, MOVE, (ON. find another photographer! PRICES VARY. ‘In Orlando: between $100 - $400 In NYC (any of the big cities): between $800 - $1500 If planning on moving to NYC (Chicago, L.A.) it's a good idea to get shots in Orlando fist. Then you are going there with tools in fhand, IF an agent or manager then wants you to change once you tte there, you will sll have something t use while arranging for new shots three MAKE AN APPOINTMENT im Holsinger Pick out a wide assortment of potential wardrobe to take with you to the photo session, The photographer and perhaps the stylist will help you choose what will work the best. solid colors textures denim is OUT (Ok for some specifie commer ro patterns no plaids ro paisley bring more stuff than you could ever possibly wear, PICTURES SAY SOMETHING TO THE PERSON LOOKING ATT THEM. . MAKE SURE THAT YOURS SAYS WHAT YOU. WANT IT TO SAY ABOUT YOU"! ial looks) sanaTheater Caroars ACT IN YOUR PHOTO SHOOT! Know what your active verbs are at every moment te mental scenarios for yourself and let yourself open up. Play with your audience (the camera) Have fun and Keep alert and your eyes bright and alive, Bring music that you like to help set up the mood and attitude that you want ‘Tay to get thee rls of film out of the photographer. (By the third roll, you'll probably be the most comfortable.) Also gives you ‘mote options to choose from. LOOKING AT THE CONTACT SHEET Jin Helsingor ‘Don't rely on looking ata computer sereen computer to select a printed pictore. Print out the ones you like, large, 50 you will see what they ae really lke ‘Ask 10 people to look at sheet and mak their favorites. Chart their responses. Everyone will probably select at leat one photo in common. USE TT...even i t's aot YOUR favorite Git won't be!) (AND, it will be the smiley one, while you prefer the one that says, “I ama serious actor!) ‘Avoid using “double-shot" or multi shot cards (unless you are ooking for print and modeling work, in which ease itis more standard) wane3B Headshot Photographers/ Reproduction Beverly Brosius Photographer - 517 N. Virginia Avenue, Winter Park, FL 32789 407-629-6550, 407-629-1939, actorheads.com. "I charge $300 for headshots. T spend lots of time with everyone I shoot, I shoot digitally, make color proof sheets, let them choose from approximately 475 proofs then I owe tein 3 retwuclied images, printed 8x10 and those images burned to a CD. Makeup and hair stylist charges $100 for women and $75-100 for men, They come to the studio and we all meet and they stay with us and change them for the different shirt changes. I like to shoot inside and outside so ‘makeup can be pretty important." Photo- Orlando, FL. (407)562-1458 www.fredzaraphoto,com **=4$75 for 2 looks (about an hour of shooting time) and 2 High-Res retouches: Hughes Fioretti - 115 E Pine St,, Orlando, FL 32801, (407) 617-1231 Unlimited Looks/ 90min, session for $295 Caroline Ross Photography - 1431 Haven Dr. Orlando, FL 32803, 407-883-5834, carolynrossphoto.com $100 makeup and location and CD (either outside/inside/both) 100 shots. hells amare eepoimnterhernmine piste sli lil biases snecigemrmay tee, Parmer Deanna Meredith - 73 Drennen Road, Orlando, FL 32806 407-331-6542, deannameredith.com *3 looks for $225 Michael Cairns Photography - 1027-8 Sligh Blvd., Orlando, FL 32805 Wet Orange 407-240-6505 Basic Plus Session Ihr. of time= $159 (2 retouched images) Susan Jeffers Photographer - 8249 131" Way North Seminole, FL 32776 727-420-3686, jeffersphography.com regular package is $195 2 looks with 2 final touch ups but you get all the images on ed 3 look headshot is $250 same deal as above but you get 3 touched up finals, Group rate: 5-9 people $150 per person 2 final touch ups each and a burned cd of all copies shot that day about 100 images10 people or more $125 each person 2 final touch ups.” ‘Thanks and hope this helps. | do travel to Orlando if, ITD Photo Headshot package $245: 2 looks, 24 exposures per look/ setting Photoscan Reproduction — Photoscan 725 W. Smith Street Orlando, FL 32804 (407) 839-5029, ggphotoscan.com 250 BRW 8x10 Headshots $74.00 500 B&W 8x10 Headshots $99.00 100 Color 8x10 Headshots $89.00 200 Color &x10 Headshots $130.00 New Image Prints 727 N. La Brea Ave., Los Angeles, CA 90038 323-965-9382 323-965-9377 fax newimageprints.comActing Resumes & Examples Don't judge each day by the harvest you reap, but by the seeds you plant. = Robert Louis StevensonACTING RESUMES SECTIONS: + Top: Name, contact, vitals ‘+ Middle: Categories of Expe * Bottom: Seducation, skills CATEGORIES OF EXPERIENCE (you should have at least 2 items to make a category, If possible) -New York Categories: Broadway, Off-Broadway, Off-OfF Broadway New York International “Tour “Theme Park -Regional -Professional -Community -Educational “Television, Film or TV/Film -Dance -Readings, Workshops or Readings/Workshops “Commercial Conflicts available upon request “Shakespeare (8-10 credits) -Straight play / Musical Other -Directing Stage Craft “Stage Management -Dramaturgy, etc.IT { [| 3cow mn | ye He thie own the 5 End's Eve: The Fest of 2012 mi ht of the Iguana Charlot ‘Arms & the Man i ‘\Chsonas Cal ‘a Tim tal “The MacCuffin Penelope Ballshot Crammond Rosemary The Thee Musketeers Zoe ‘The Taming ofthe Shrew Ensemble King John French Amy “The Good Woman of Setan Niece The Diary of Ane Frank ‘Anne ‘The Crucible Mary Warren Pm Not Rappaport Laut reper) ESUASOLO CONSERVATORY “The Blue Room Mod “The Heres Marian Atmond “The Conservation wa peice) Christine ‘The Imaginary Invalid Louison The Way ofthe World Poe Mach Ado About Nothing Hero The Lark Joan of Ate The The Lives of Luci Cabot La Salis Caesar Gasca “The Duchess of Mali Catiola ELM Whitibatt Supporting Diny Mind Lead Free Refill Lead The Proxy ead ‘TRAINING MFA - Acting, FSU/Asolo Conservatory for Actor Training, BA -In Theatre, Pennsylvania State University jou | 5 New York ohnor | 212-840-6787 wikrum Loe Angele hime | 328-405-8355 waa 95 te aes NY Fringe Festival/Erik Bryan Slavin Berkshire Theatre Festival/Anders Cato Orlando Shakespeare FesThomas Ouellette ‘Am. Drama Group Earope/Richard Clodfelter NYMP/Brendan Hughes Pennsylvania Center Stage/Brant Pope inois Shakespeare Festival/Brant Pope Mlinois Shakeapeare Festival/Karen Kessler linois Shakespeare Festival/Cal MacLean ‘Chautauqua Theatre Co/Rebecca Guy ‘Asolo Theatre Co/Howard Millman ‘Asolo Theatre Co,/isa Thomas ‘Asolo Theatre Co/Hioward Millman David Newer Barbara Redmond Gil Lazier Margaret Eginton Norman Ayrton Robert Leonard Bob Vernon Heidi Winters Vogel Annie McGregor Gabriel Grill (Chatham Light Prod /Colin MeCandles RiPfest #9/Katherine Lindberg [NY Film Academy/Omar Shakir NYU Grad Film/Jarrah GurieJUDY BOALS, INC, A Talent & Literory Agency ewan Ap| sore ort ane ter 018 (212) 800-1424 (Fax) 500-1426 (Off Broadway 31 Bont [Now York Theatre (Crono (Orga! Cot) fase and Gul Are Dead The Sears areata Tipo A Men's gh Dro Sr an to Mow Serpe Used Symphonies Porgotion Lance TheLion nr Avanced omen Find Graft ‘Regional Theatre Sone Ed ie Grog Boyd) trend ‘sss Gahan ‘Plot a the Lap Alle The Love Tater You'nee Goo M,C 8 Tet nigh Mai tal Dok fo Saco Bs. A Lite Nigh te ‘he Foner asp ante, Dremeoat Bon Ue Gren de Bogore ‘Training Avery Clark AEA Mocs Zane Betty Lon Rovere alee Dany Bhs Sinan Puy Holly Boy Pap Rober Me Thompson ithe Valeatie Je Wie Boot Pree Love Teer Snoopy Dake Onis Nike Blain exer aiversy of Atanas ‘Fo Yat London nd Stora Sy Nts’ LE Lows Inensne Cones Cat ‘ating Ba Bes, Kent Brown, Ck Gordon, Amy Herser, Alin Savage Clas: Mavourncen De, Roger Gros, Pac Kematon (email) [email protected] el ‘Bicoltyn Lyceum Mecropaian Ptmse — 4 2) tube tae Tip peed eeaeene es {ste Tae tena Tet Dreier Stolp Sealed 2 vot tene » Min Doe i? wore Gn Wotan Ae we 904 Seti 404 - ours Head Player's y ‘ator Ane Tyrone roduction ‘ou Water Sata erode These - Boar Head Payers 5 Sojes Theater ‘Ozark Siapeeworks Gi aw Sys Thee Inow Clvngo Cy Lin Upright Cuz Bgade Tara Copan ‘Spec Sts ‘Raabe Souther Ase keh (RP) Diet Rai Combat ape, Sone, vn unas Coc, Rela, Math Nerd, Teacher, RealEstate SalempesonTitania] MsBirgley y E ss : . at ictock Byer ack * Heghee 7 AEA/ AFTRA ¢ ‘ CHANTALJEAN- About Artists Agency 212-581-1857 Film/Television (One Life To Live ABC Fntertainment AIlMy Children ABC Untertainment Guiding Light (CBS Hintertainment ‘Theater ‘Weston Playhouse Theatre Ditector A Risin in the Sut ‘Malcolm Ewen LaMaMa Theater 7 ’ ‘The G-Word (4 Days for Derfur) Multiple Roles ‘aura Napier ‘Market Theatre Johannesburg, 8. Arion Sins Day Ensemble Mbongeni Ngema Shakespeare Theatre of NJ Howry ¥ Hostess / Alice Bonnie J. Monte “Te Ble Bird Night Bonnie J. Mente Folger Shakespeare King Lear Gonetil Allred Preisser People's Light & Theatre Company Fabulation Undine Abigail Adams Orlando Shakespeare Theater “Antony & Cleopatra Cleopatra Jim Helsinger Luna Stage Voie of Good Hope Julle Dunn Brian Shnipper Other Side of Newark Dinah Jane Mandel ‘American Globe Theater Harnlet Gertrude Nate Merchant ‘New York Theater Workshop Jose Wife Lady Erie Ruffin ‘Crossroads Theater Company Sheila's Day Ensemble Ricardo Khan, ‘Mandela (fatrng Avery rocks) Narrator Harold Seott ‘Worthoim Performing Arto Contor ‘The Colored Museum Multiple Roles Lesley-Ann Timlick Winter's Tale Paulina Wayne E. Robinson Jr MFA: Rutgers University, Mason Gross School of the Arts BEA: Florida International University ‘Acting: William oper, Maggie Flanigan, Loyd Richarés, Wayne E, Robinson js “Special Skills : (Diverse Diatect Stl, Fluent in Creole, Athletic Abilities -3 Cowmn PT. AFTRASEQUTTY EVES: Brown HEIGHT: 57 HAIR: Brows WEIGHT: 110 917-312-3175 THEATRE crania..uisy (Climate yo Pa) (NF Revs it) Aa Mai Ce East foemesty Cine Rep Aaything Hor You hy Cay A) Gait Centr Stage, NYC AlMen Yan Ann Wher Lee Minot) Iseh™ Hudson There Gail, Ca Paling Grace oy Mats Liz-Aane** Keaine Theater, NYC Sik snd Stones Diy Math) Profesor Angelina EST &-NY Playights Group, NYC Roc vt Abt age! United Productions, Co Departce she NYU Dramatic Witers Fest, NYC Maly Wants t ga Home May Keine Thete, NYC Shadows of Perception Marsha Lyn Noln® Centr Stage, NYC Kile stint Rachea lt Haold Caeman Theatre, NYC Ave cece" Theatre Row Sto, NYC Mrs Della Rubia Goes To Heaven [ere Dats Ri Hiadion Theatre Guild, Ca Taming ofthe Shrew Bianca Minola “The Playhoe, Ca Proof Cire Representative Role ines ofthe Heae Lenny Representative Role (indicates st, lead and/or co-lead roles indicates ensemble at) FILM & TELEVISION AL My Children us ABC Television, Diz Casey Childe “The Katherine Aan Power Story Lead/Katherine Power Mil Media An American Dream Lead QSYFA Gra Fin) Dis. Hanon Kepinnen Rotten Apple World View Inmeenet Skeeh Comedy Dit Shawn Rosa Firs Love (Showtime wevision sees) Supporting (se), Dir Ana Clavel Cyber eres) Featured Dir Neil Kine Fallen Angel Supporting) Dir Brie Swelad TRAINING etsy Rory “Scheer Si NY ya Ser 7 Seibert NY Sally Jotinson Seon Soe Sly, Mary Boyer “Sete Suto, NY Wendy Dion Voice Over(Demo wala NY Bobby Shaw Chance Scene Sta Imp, Clg, CA SKILLS & MORE ‘ens otro dre ici eye Fron on a Spe. Vasu Dale an arses on ein he ns ey ie ee op Dama is i ong ‘ener he onl Wanng en Ther Gd le» Sea 0@COTTON WRIGHT | Ata acgpeak leoes, Via , Saad by Gordon Pangilly FamicOtts@Hommaiicom , wp CirronWacircon S082 7258 ooo ance GE pe (emerrwerenerts MucHt Apo Anovr Norns Hane) Operon Tituarax Eneanents Thais Toon 4 bans Sow Yo Foc Fase ae eT Tear Men vis faon en Co Boon Wenne vir aa Date 7 baer Dover, Wat a Ain Noricas THtaen Psnroenanc, THE CONFEvATon oF Tueaex Aas ar Wins UNIVERSE Danet(stin}ooer, 2. 1m woman, anoo): Wessex Uneasy avn Borrow Dax ComPANY Me (votet ven concn): Jen Watonn, Ton Bur, st hac, Bs Ris ap Desa Kak rT a Awencae Moser at Ansan’ IDES J funn Lemar Maru Tears Base Maun, Bast Ack Cost, PROC Fasc BAGO | “Anus, Pawo a Serornowe, Car's Cannes, Onsen, Keir, Basins amo SOUND Eris (Ieroonwe HORSE |, Jesatonnc, Toney Gonnsine, Dotsn, MUTED Trowont) iJHeight: 51 Dress Size: #| 4jp'\NANESSA MOROSCO, rye pod vette pose (ATM 210 280% = oS 2 ese Tn pt oe a are Sam bee ‘[email protected] AEA 2 8 Preeialyperfel The splendid Vanessa Moroso isa revelation as Gwendolen” (fartn Danton, nytheate.com) “toroeoo 1 an des Candids, projting her charastr'sconfient assurance, Independence, and wisdor THEATRE. “The Way of dhe World Love's Labour's Lost “Two Gentlemen of Veron “The Rover Comedy of Berens Joli Cacear “The School fr Scandal The Importance of Earnest Rape of the Lock eystal Sure Duchess of Mal Ans Comey of Errors “The Importance of Earnest A Midsummer Night's Drsam—Hienr Candida Comedy of Errors ‘Smell of the Kill Blithe Spirit TRAINING Actigg BADA, ier) cbenine de Pe Stan Wojewouski, Jr. Press of Fame Nick Hutchison aan, Tao ‘Aaron Posner Angee “Karin Coon Dube Lacon tal Will Ditertine _ Cassin Dan McCleary Lady Trace Andrew Paul Genie Just Jarosz The Lusfd arm Jane Tis Jon “st Zayas Duhes Jim» Warten Hee Ralph Gohen Cowan (GureTofteland [Nick Hitchin Melanie Martin Long Guendoba Ganda Gindy Merry-Brovme Abts, Gaotean Nick Rose Molly John Healey Bio Warner Crocker wautauqua Theater Institution, Shakespeare & Company romedi € Cluny: Mick Barnather, Kate Nomis he Baltimore San) ‘Yale Repertory Theatre Fger Shakespente Theate Fulger Shakespeare Theatre [New York Classical Theate Playhouse on Park Tenneste Shakespeare Company Piusburgh leigh & Clascal Theatre Theatre Ten Ten Judith Shakespeare / Duo Theatre (Cherry Lane Theatre ‘American Shakespeare Center ‘American Shakespeare Genter American Shakespeare Genter Shenandoah Shakespeare Express Virginia Shakespeare Festival Bay Theatre Cincinnati Shakespeare Festival, Wayside ‘Wayside Theate Theatre ‘Sven &f Viewpoints SITE Company (len Lauren, Leon Ingulsud, Tom Nel), Theatre Lita (esca Lanius) EDUCATION Yale University: M.A, Religion and Pshics IL SAILS Dance (Advanced Ballet, Limon, Jazz, Choreography) Musical Instruments (Cuit Stage Combat (Brosdsvord, Rapier/Dagges, etal) Accents (Britis Manhattanville College: B.A, Philosophy and Religion Flute, Recorder) Geech, Scottish, Gerrman)—— (2) Cot Heowven neyeM O OF Sx 5°8" * 130 lbs © blonde hal + blue eyes gsr Taare ‘i Gretchen Fei rubs tic tichele zane” ams toons di esy Grossman Doms eckerradng Joy Grossman omen ten Ovwseteummeens — Onaee idendtridce ane Cunleiegmntnen dhe ube Madeneonesae yaad ont Sa Wood ct Missin fesrtatctuste dy Hest etme Ouse eine rsa ana Tetons nayocite. JENN ears: eM Lo9 TheLoramieProject:Ten DebThomsen Yeontoter‘spunedg — SuBanSwapp. —FcsTievefiowle di Amy ANNA ‘AChuisimes Story Mis Shields ws scwrThaeetmie de SeanDonie GrimeandPunihment Sonia's AsosTheavetlvile de Sean Davies Conservatory Theatre Thetark Jeanof Are ucFcanenatnyMewie ele Doeald Wt Say Monaset hzabeth Ucrcanenaiy tiene oi Ma Bethton Train ‘Actors Tea of oui, cig Apprente Compan Mehl Leg/fny Atay Mar lses:Zan Soyer Dey Monologues, Kn tute anu, one Lanett le ‘formance Ranlph Cuts Ran amps nda Fig anne ate gam an Bay Kar Lesa) ‘The Barow Goup Scene tut ers Le Brock Unies ot centrations, sea ncong Aang: Doct Dold W. Sy e Boe Mark Bote, Kate nga ‘ol et Ser Lint and Dialects Mark oterton, Be Boyt Mover: Alin Cy, Holy Mona, ara Stage Combats Cistophes Ness ‘heave Caces: sn Hebingt Special Skills Boxing lr skating Makeup ining, Dual ian (USACana.THEATER, ‘Ocha Bie Se ‘Around he Word in 80 Daye Hamer Harcy Chain Remember ‘When The Muse “Tis Fey She AWhore Much Ado About Nothing Hamlet Measure for Mesure Iatus Ceasar Winter Tale Doute The Guys Dinner With Friends ley’ Flly are (Cie oThe Nise ‘ANorma fe Top OTe World Mach Erpinhum Camo Good ‘The Tari ofthe Shrew Servant of wo Masters ilo & TY, Sra Eyer Rensisance (de Fes) “Te Eepe My Fate (desma Power OfThe Pe (Gr Fin) Frat Freedom (documentary) Training. & Skills. “The Shakespeare Theatre Compaty Academy for Casal Acting 2 The Goorge Washington Paul Joseph Bernardo (0 CONTACT: = Chalet Condorine Gaudulohort tod cht eonto ds Due Vento ‘tus Poeenstntzons Father Fino Nick onoran ‘abe ‘Met Fietnan ‘More ty Pole Moo! erwin Steer Kennedy Mostulf hd Mounice ‘ho Sear Grd Prince) ‘Mork Goatnan (rei) ‘Stephen rane (a Net Haren Princ) Nraor Geen she Square Theatre Schoo (Samer Sesion). Acting Technique Wynn Hardman Gene Friel Ace Spake “Tenesse Shakespeare Co, Sc Michaels Pause Meal Pon atmoreShakaroare Fest Barer Theater Stakepeare Tester DCJAC A Statespanre Theater DC/ACA (Ovando Shakespeare Theater (Oriando Shakespeare Thener (Ocando Shakespeare Theor (Ocho Shakespeare Thexor (Orlando Shakespeare Theater ‘Cape May Sage ‘Cape May Sate Cape May Stage (Cape May Sate Cave My Stage Vis Sreee Theatre Studio Piadlpia rar Gul Phi, Festal Th For New Pays Puladlhia Aron Revertory Priadlia Area Reoertory Piadlia Aen Repertory Pladlhi rea Reoartory Pladlhis ren Repertory Paramoune Pitures Aquamarine Producions WINS & usta Productions CCAMCO Productions ‘eiceovar- Barbra Gilbert Long Form Narration - Robin Miles Corfe Actor Combatant - rapier dager and to hand and quarters, ‘SngeTSoqgwrer; Guta: Ceried SCUBA diver; rive sock apd motel; 2004 BNW RI ISORT; most sports——— Dan MeCleary Thomas Ouse Kahr Marker chal Carezon itm Roudebueh Cristooher Gabows Michael Baral lim Hebinger Jn Helnger chard With Rone Tror Pickard With CCheis Doiman Ieoniter Oia Michal Carron Chris Michael Carton ‘Alora Kely Mary 8 Rebinson ames Christy ames Glessran Paul Waser Jeanine. Howe Paul Wasa Robert Gibo Brian DePalma avid Mercy Tom Msto Micha! Ditaro je (EA. 2008)SP EBAR Khristy Chamberlain Contact: (954) 4396620 , Email: [email protected] PROFESSIONAL THEATRE Survivor tne ——PsfrmarfOacer_—_-RUSand Ascetes Joey Wainechaney wrnecoun LPecky/narce fap. \*‘suinmerStage David Lee cote vel Summer Stage Na rarton ol 1H An dcorsMgtemare Heo UcrCensertoy Lan Hor est See try GraDance Cp, UCFCoeantry Band Bord ate ute UcrCansenatoy Kate nm Te Hot ppy Fos Esable Ur Cansetary —El Wenver ry fedy Horr Show Ueeaumbiaus — UCFCowenatry Ea Wewer : Te ect Gace Mata Dros Teste Bove anche mesctSea eben us ree Theave Bovey Blache F J) sainrcte ——eoeieas fatwa Pate tad Hex The Wariorde chance of 2 Pvivay Teste Eda Mesos Te Toi Wonen Dance Cpt _—_—refoos Tate Demis Sms FILM/RADIO LY emery tenrecrirs omowine Dea sell] Sette Comacon Pinal Valk Production Sinn Vallejo = Rado Disney ——-Varous Charades Rad Ose AM 1600 By cpucATION/TRAINING Univesity of Central Florida, &.F.A Musical Theatre (Clas of 2010) Busines Minor ‘Acting. ark Brcherton, Dr, Donal Sey, Eat Weaver, Bevery Blanchette, Denis Sims Voloe; Fred Sliver, Nick Wuerhmana, Dr. Steven Chiou, Ata Ende, Craig Ames ance Muskal Toate, Jz, Tap, Balt, Modern): Garry Q. Leis, ul Slegied, Gary Flamer, “Tiathy Es, Plazz Dance Company SPECIAL SKILLS ‘Makeup Toned, Cartwhesls/Basic Tumbling, Dance Captain, Socer, Soba Friendly, Feebity, partner Work, Dialects (Souther, Yorke, Bits, et), Col Nose Trekswe Care Byectnl Samantha McKinnon Brown Se Soemtactl | son@sononhaticinentowncom AEA cont 727)560-3464 ange Few am and Dine eta Cop Now Anarican These, FL ate Stn of Horrors ayssrate A Moder Adaptation — Word Promere aMorHeRHOOD: The Musial otLand Experience Cristmat Hoo 'N Hole Dinar Show [4s Been Homay Drown criter Casas & tists Prom Te Heart columbia Quon Majestic Lin re vii People punting The Bask tr tind Movemes Kin Floto, Michel Stanek Ballet: Special Skills: Charity Hope Valentine Mary Hately Applenite Sse ames Roxie Hat Adcey Marceny ‘Understudy All Roles Porfrmed “Any Bell/Phosbe Uilty Singer Fale Lead Singer Bety Rizzo ‘SoraKeziyMadria Singer Motty-AnaKate ‘Alexa Vere de Vere sane & Voeait Lea tear ACD supe Sergeant Sins a Sieg, Mark Jelks PG Dutch Apple, PA ‘Show Pals, FL ‘The Riverside Theat, FL Aweican Sage, FL ‘WolfathausIntraton WI ‘Theave Dowson, FL ‘American Stage, FL GFoue Productions and The Str Center, FL Wayside Tate, VA emi Simalus Pro. ‘Mt America Sage, FL Sigh. FL olyland Productions, FL Wonderwors, TN. UCF BlackBox, FL Busch Gardens Eaterainmet, FL. Daymark Productions Ships. OR Newslournal Cente, FL PLAYFEST, FL Phi Beta Kappa, BFA in Mosca Theatre with foes in Acting from The University of Centra Fora nie dwar rer fe Seven Chieu, Died Rel, Mary Walley Rabu Swisher. Roeane Boss Acting Jamie Rocco, Kate Ingram, Ellen Sone ad nga James Brown, Malady raven, rt Weave, ml, Megan Arutz, Nico Haumesser tage Violence: Cirintopher Nis, Jz: Francs (Ory) aaery, Jud Sige Pad Abt, ving using the Flying by Foy System, Animal Handing Walking Back Ben, Souther Dialects, a-Opaphy, Musical Comb, Professional Reeipe Demonsinton, Hua Hoop Kitchen Percussion -Samantha currently writes, produces, and performs her own one woman cabarets including, Pay Cline, and Don't You Forget I, Stl Hot for Peggy Lee, and Single Gal Sings.SroEeRae Amanda Anne Dayton amandadaytonOwgmail.com (801) 928-0971 Wiest Side Stony “Anybodys ‘Centerpoint Legacy Theatre Bat Boy: the Musial Shelley Souther Utah University Gost the Musica Ensemble Hale Centre Theatre Who Shot Juasito Bandito ‘Amelia Everight Lake Powell Playhouse Seven rides for Seen Brothers Liza Pickevile Playhouse Bandito Rides Agate Jessie ichlevale Maynouse Otdahomat Dance Ensemble Lake Powell Playhouse ‘Tinzel! he Musical “Tinsel Lil Buds Theatre @ No Exit Cate Chicago the Musical June Southern Utah University Once Upon a Mattress Princess Winniffed Centre Stage Theatre Boy Geis Git Theres Bedell University of Cental Florida ‘As You Like Celia Southern Utah University Maced Witcha/Fleance/Boy Cedar City Guerilla Shakespeare Iphigenia and Other Daughters Electra University of Central Florida Hedda Gabler ‘Thea Flvsted University of Central Florida igure Park Bew/Kathy University of Cental Florida ‘The Tempest (Retold) Sebastian Southern Utah University Education/Training [MEA in Acting, University of Cental Florida, 2019) BFA in Musical Theatre, Souther Utah University ‘Acting (Shakespeare, Contemporary, Period Styles, Fils Jim Helsinger, Mark Brotherton, David Reed, Be Boyd, Peter Sham, Richard Bugg, Melinda Phundstein Dance (Musca Thente, Foss, Tap, Modern, Jz, Balle) Kriten Sham, Kay Anderson, Lise ‘Mills, Paul Ocampo, Chien Ying Wang, and Denise Purvis ‘Stage Combat: Basic Pass in Rapier and Dagger by the SAFD, 2017 Recommended Pass in Unarmed, Knife, and Single Sword by the SAFD, 2017, Movement (Tuning, Commedia dl’Arte, Clowning, Mask): Christopher Neiss, David Reed, andar ae ans boas found Yee sng yin Ca Mode, Ds Ser Kae Spa ‘peerings te gr Pao Wegater et) seat ide lie tnt joss cpalon and a DED BVT my hometown, can solve a rubik's cube, can squeal lke a pg, drag kingAEA, Vcr STopaT Damian Barray Actor/Singer/Dancer Phone: 754-246-0269 Email: [email protected] ‘Website: worw.DamianBarray.com Theatre A Night n New Orleans, Joseph and the ‘Amazing. ‘Next 0 Normal Spring Awakening 254 Annual Putnam County Spelling Bee Songs fora New World Spring Awakening The Pajama Game The Pirates of Pezance ‘Theme Park Finding Nemo Beetlejuice Graveyard Reve Training Dipper (Young Louis, ‘Ammstrong) Judah (Calypso) Henry Georg chip Man 1 Melchior ws, Ensemble* Anderson/Danee Cpt Police Chorus Male 8 Niged) Woltinan Oriando Shakespeare Theatre Alhambra Dinner Theatre Mad Cow Theatre Breakthrough Theatre of Winter Pare Theatre UCE (ha Suey) ‘Theatre UCF (et Sety) “Theatre UCF ‘Theatre UCF “Theatre UCF Walt Disney World [NBC/Iniversal Studios BFA Masical Theatre- University of Central Florida ‘Acting: Mark Brotherton, Tad Ingram, Kate Ingram, Dr Don Seay, Harl Weaver, fim Brown Voice: Dr. Steven Chicuel, Sbelley Cooper, Tara Snyder Danco: Gary Flannory (Forse 323), Mayme Paul (Modern), ui Siegfried (Palle), Rael Weaver (tap), Jenifer Delgado (JazaL-yrica, Ashley Fale Balla), Leandro Frevia Hip-Hop) ‘SPECIAL SKILLS Steve MacKinnon “Tod Booth (Chr. James Key) ‘Timothy Williams Wade Hair Soshian Morales ‘Terence Jackson Joshua Chase Gold atl Weaver Brian T. Vernon James Silson Lora Wallace Piano (Intermediate), Basic Tumbling (Cartwheel, Front Walkover), Puppetry, Vocal Impersonations (Couis Armstrong, Randy Newman, Britney Spears, Alice Ripley t.), Riff Eatusiast, Singing FlavSarp on Command * denotes KCACTE Irene Ryan Award NominationUC STDENT Go5ooe Exanne Foe CLASS Nick Rishel www.NickRishel.com (386) 852-0780 yes: Blue/Green ‘[email protected] air: Brown Helght:5'5" Vocal Range: Ab2-BbS Professional Theatre igh Schoo! susan Stage Ayan Ears “essde Mose Theater Tester Maia beterPon Jan Dating Seaside Muse Theater at Weaver ess Chis Saperstor poste Seaside Muse Theater Lester Matai Ueisa Coboret Featard Slot Seside Mule Theater, Gary Cadwalader Avery Goodway Omistmes ‘Featured Solot Seaside Music Theater, (ener Malai lie iga Cabaret v Featured slit Seaside Muse Tester, (ary cadwalader Educational Theatre The tar roe ‘UcFGoncenaton Teae Be Donald Seay The Most Hopy ello Bur ov/cny boy UcF Conservatory theate——_—Ea Weaver Fidler on the oof Young toy UcEConseratoy Theate km Brown Te Secret Gorden Dickon Seabrecee ANT ary Codvalader ise, Kote! Hortense Seabeese AMT ‘ary Cadac Soul Wiccan 0.41 Unifed HS. Theatre Project Matt MacDermid ‘toute Wao Seabreeze Centre Sate Raid Conrad ote Umar Spruce Greek rama Drkkaper 90, What Cad Dertam Oleander Sproce Geek roma Kasia Komect (ur County's Good Catsriborgne Spruce Geek rama Dickaiper Theme Park igh choot isco Pep hay SsuferStudent Walk Daney Word Resor ead’ Conboy Comp ontoy ‘ial Ose Wore Resor reams Come re Porde Done Boy al Disney Wor Resor. ‘nce Usona Chismastine _Ratle the oy Factory EF al Dey Wer Resort Training Voie ‘ta Ende nicholas Wuehrmane, De Steve Geel etn ‘Mark rothrton Dr Dna Sey Gar CadwalioerLan Hats Salt Josie ant Edsey PAD) tp Tis mal oe Tl, Seid ar Flannery Ki Ball Special Skills “Spt Reading Extensive Goal Eperience, ing Waned (Peter an, Dialects (ors, Englsh Southern, One Handed Cartwhel Dive Ros, Fventin Sibbersh‘Looking For a Gig’ Audition Emails You never plough a field by turning it over in your mind. — Irish proverbEMAIL COVER LETTERS / AUDITIONS FORMAT Cover Lettor + Subject - Make subject line clear, short and searchable. Don't make the ‘subjact Hi" or no subject at all. Make something the person can search for later. Not generic le “Audition” or “Question.” ‘More tke : “John Doe Othello Audition” + Body: Keep it chort, even shorter than 2 snailmail letter ‘© Salutation ~ Dear Ms. X, (commas after the name or dash (personal style) are fine. Does not need full address at top. ) ‘© Name drop, or connection i possible "My frend X suggested” ‘© What the email is about, why are you writing © howto contact you link to aucition youtube, vimeo or email audition + Attach Photo ‘Send photos as either a jpg or a small pdf, Don't lot photo be a giant size (600k or ess) since they can only see it at 72 dpi anyway. Its big it may {get dumped to junk mall or stripped from the email. You want it to be ‘small enough that the photo will shop up in Preview Mode. + Attach Resume ‘Send as pdf's (send picture and resume as 2 separate documents) - (they download the bast and can be seen in Preview mode), send the pic fist and the resume second (photos may also be in jpg format.) (use reduce filesize) + Stationery Line Puta stationery line at the bottom, atthe least your email, phone and website, Maybe a logo (very small) or quote. “"f anything can go right, It will” - Gene's Law ; 559-555-5555 / email: [email protected] / www.johndoe.com + Keop It professional, never write anything you don't want the world to read, Remember electronic emall and web info is public and forever. + Format: HTML or plain. See examples. Resume ‘+ Send all resumes as pdf's. not docs or rifs or bt or anything else. ictures ‘© Again, send as pats’ (jpgs are ok too). If possible, reduce the size below 1 ‘mg. Reduce to 72dpi (computers can't see better anyway) Send pic and res as 2 separate files, (use Reduce File size in Preview or other program. Other info .Jpq's are ok, but not too huge (downloads too slow) An entire email shouldn't be ‘more than 1-3mg max (this will increase as download speed increase. Video's are usually oo big to email as of yet.Videos Puta link in the email to the youtube location, website location or other on the web. REALLY IMPORTANT: Make you youtube video ~ “Unlisted” but not “Private.” Remembering Passwords is a pain. Vimeo is fine too. Websites ‘Are becoming much more popular and are becoming the standard. Cover page with inks to: Resune, Biv, Pictures, Reel (al on separate pages) ‘And possibly other info - Latest News, Reviews, Schedule Example: ‘Subject John Doe Othello Audition Spring 2016 Dear Ms. Witson, My friend, Joe Smith, enjoyed being in your production of Three Days of Rain ‘and suggested that | submit myself for your upcoming production of Othello. | have played the role of Othello twice before, at Geva Theatre and at the Alabama Shakespeare Festival 11am currently out of town and unfortunately unavailable for your Orlando auditions. | have enclosed my video audition sides via Youtube: Othello Audition side 1 http://youtube auaition Othello Audition side 2 hitp:!youtube.auition I you would like me to make any adjustments or do any other sides, don't hesitate to contact me. | may also be available for alive callback, depending on when they are scheduled, | have attached my photo and resume below. Thank you, John Doe iF anything can go right Hwill”= Gene's Law — ; 555-555-5555 / email: [email protected] / waw.johndoe.comCOVER LETTER PARAGRAPH EXAMPLES Opening Paragraph examples - About THEM ‘Name Drop Style ‘Tam writing you at the recommendation of obn Keller and Lindsey Kyler, who were in your production of Othella. They both told me how much they enjoyed working at Orlando, Shakespeare Theatre and suggested | write your regarding your upcoming auditions. Website Drop styl {will be attending SETC auditions on March 13th and wish to express my interest in auditioning at Seaside Music Theater, On your website, saw that you performed Bvita this ‘winter. have performed in ittwice before and itis one of my favorite shows. Best ofuck on ‘the opening Hairspray next week! ‘Shortest possible submission Enclosed is my submission forthe role of Cassio in your upcoming auditions for Othello. 2.- Be paragraph About YOU Did/Doing/Next Here at Theater UCF, I just closed a production of Les Lions Dangereuse (Alphonse), and Will tart rehearsals for Man of La Mancha in a few weeks. 1also completed two short films this yea, Inthe Room and Revenge, and was recently called back for the Broadway tour of ‘The Lion King. Similar Work {played Cassio lst year at Theatre Zand have atached a couple reviews for your perusal. 1 ama trained classical actor witha love of Shakespeare, having performed in The Merry Wives of Windsor, Les Liasons Dongereuse, Romeo and Juliet and others. 1am also 8 SAFD certified actor/combatant with an excelent rating in rapier and dagger, quarterstaff and broadsword, 3. Closing paragraph - secking audition ~ AboutUS. ‘Avallable- Tam available to attend your auditions in New York on March 15,16, 17. Please contact me ‘at 321-899-5555 to schedule an audition, ‘can't Attend - sending Youtube Audition Tam in ehearsats for Man of La Mancha at Theatre UCF herein Orlando, and. cannot attenel ‘your New York auditions on March 15,16, 17. have, however, created a youtube audition Tor you at XXXX=XXXK Com. | will snd a followup link via emall in the next couple days so that you can more easly accessit.Calls to Action for the End of Your Email Cover Letter ‘LWILLBE AT YOUR AUDITIONS (plan to attend your audition at Chicago Academy for the Arts on February 25th and wilt be in contact on the 18th to schedule an appointment, but {wanted to ‘send you photo and resume in advance. or ein attendance at 7x headshot and resume for your consideration before that time. Additional {information can be found on my website ywvrnichelelambert.com, If there is anything else you need, please fee! free to contact me. INTERNSHIP SETC will be auditioning at SETC on Thursday, March 2 as #104, but wanted you particularly to know how interested I am in The Actor Theatre's Intera Company. In addition to acting, Lam very interested in your education programs and the teaching, ‘your internship provides. In addition to acting, lam an experienced camp counselor, teacher, writer, and mentor, Ihave included resume of my teaching experience with this email. ‘VIDEO AUDITION Tam unable to attend your Chicago auditions, but can send in a video audition by the audition date on May 7". Do you accept video submissions? Ifso, do you have ‘sides for the roles available, or would you prefer two contrasting monologues? WANT TO AUDITION Thave also submitted to audition via Actor's Access, but wanted to send you a personal email of my interest. 1fselected, lean attend your NYC auditions May 2, Bord, Please let me know via this email address, or via Actor's Access. will be in your area trom Feb 26-March 3 and am wondering if night doa ‘general audition for you, Ifso, how should I best schedule that with you? Do you have an assistant I could speak to? OPEN CALL. OR PREPARED AUDITION I would prefer to read sides at your prepared auditions if possible, but if am not selected | plan to attend your open call auditions on June 27Example Generic Emails That Don’t Work That Well‘om: Kayla Toe hnyacamasgratcon sutra oma Sauy Eno Tear Corres ‘te: Neh Zot “Po: omoianraes rg Het, | am thle tobe attending the South Eastem Theatre Conference on March Bin, Your company is of ‘great interest ome and | am looking forward to meeting with your representatives in Mobic. My ‘uliton numbor i 628 for a combined audition ‘Thank you, and have save travels this week! Kayla Tomas,From: Lai acai recat gl om subject Sar sts et: Sapna M6891 Pk “To: niborendshaue My name is Lars Macaro. 1 have attached my headshot and resume for your consideration, Thank you for your tine Baris macario.jng Diresume.pat Latis Macario[friend suggested that lok nto your company, and am really interested in your Theatre's season, Lam currenty on tous but would love the opportunity to show you what I have to offer Ive attached my resume, headshot, and nk to two contrasting menelogues. If you're interested please fel fee to ‘email me back here, o cll my cel phone a any te. Thank you so much, lok ward to hearing from you! -Brian Gravion (609)320-6955 tos youtube.com/watch2v=uRbokg TOSpecific Professional Emailsspecanic Tole Brian Michael Hoffman cm eanSPEIFIC RAE/ipeco AvBITION ‘sete: Nick & 3m, 1am very interested in auditioning for D.Carrasco in MAN OF LA MANCHA, 1am currently out of town performing as Che in Pacific Coast Repertory Theatre's EVITA trough 5/14, so please ind my headshot and resume attached, and T can also prepare a video auton for yu. hope this message finds you well, and I look forward to hearing from you. m= FesumedoceEPA_—>_AvDITN APPT _ fox ne erent @ ogg eect See caters H1Palae, t recerly si NYC EPs posted fr OST's season. 3m last hed me in for calloacks for Antony and ‘Cleopatra end auton for last year's Hamlet. Ti happy to attend EPA, but would ove sot crepe rtrnontnudiion f possbl, parietal for Macbeth or te Henry 1V/Three Musketeers in ve atached my headshot and resume for reference. Look forward to nearing from the theatre again Ai best, ton vega ‘Vega News & Events! Sore th ctr oS Porton tog Fest the sxc Fovho strc oth Gi Sci Lori Vega 917-299-6505 Ssnciorivesnanetrom: OFT Austins suctonantnansuiesm & sxtjnt. fc Funnies Samanen 01860 Pros tage onoeceaon ‘Date: Suny Apr 72019 at 8:20 PH ‘Subject W FANNING - video Submission 2019-2020 or uonsforiandshakes ofa “audlonsMorlandoshakes.ors>,jimPolendoshokes.ora Siambnsrandoshalaara™ Hello, ‘This sa video submission for your upcoming season. |am not available for the first half due to my contract at American Players Theater (May 6th -October 7th) so I have chosen to read for your Spring Rep (though | am also avalable for Miss Bennett). 1'm including Jim in this email as we met (briefly) this past summer at Utah Shakespeare Festival, You would have seen me in Henry VI Pt 1, Merchant of Venice, and Merry Wives. Here are my videos for Henry VP 1 and Three Musketeers HOTSPUR: httos://vww.voutube.com/watch?v=6lUmI68wWjESifeature=youtu.be HOTSPUR~Ty Fanning HOTSPUR-Ty Fanning yuwyoutube.com PRINCE HAL: hitos//wevw.voutube,com/watch?v=coVOlETSLY&feature=voutu.be PRINCE HAL--Ty Fanning PRINCE HAL-Ay Fanning ‘www.youtube.comUCF Student EmailsWitt BE IN: AREA . nor te nnn riots @ Seg ESSN foe ae Dear Mr. Melrose, | was recommended by Jim Helsinger and Brandon Morgan to contact you in regard to your 2019 fal season. Im Iferested in auditioning for the role of Hermione for your production (of The Winter's Tale. { wl be in the Houston area from Apri 13, - May 1 and am wondering i might do ative ‘aucion for you then. If, how should {best schedule that wih you? Do you have an assistant | ‘ould epeak to? have attached @ headshot and a resume to this emai, if you have any questions ‘please fel free to contact me Sincerely, Jessica Johnson University of Central Florida (2021) MFA Acting Jessicajaye35@gmail. com (281) 966-8699 Jessica T. Johnson "8TREQVESTINGONUNE AvdiITION From: Chety Cnt serctcaheciouctets @ subject SUGF” huton te Spf omnes Chey Clark Bet: Sepnmte 2010 008A Te: mies eres. Dear Mr Stein, 1 recently saw a casting call on Actor's Equity regarding the upcoming, season auditions at Pacific Conservatory Theatre and would love a ehance to audition for Crystal the street urchin in Little Shop of Horrors, provided this role is not already cast am unable to attend your upcoming auditions, could I upload an online audition to YouTube. Are there sides or songs you'd prefer? If you allow online submissions Iam happy to fly out for callbacks or send you another video with any adjustments you would like. Thave attached my headshot and résumé. Thank you for your consideration. [look forward to hearing from you soon, Respectfully, Christy Clark ety fara iia 20 Scnkbooknesemscon finalColorResum o19.doceWHEN 1S INFO TesTED 7 ay testnsnnayoratcam trae donot ra oaSETS From: Kea Dumbooter arcatinoachrmaom @ sable "ter Ein net arc Soar Te J rekngr Pherae Dear Ms. Bryant and Mr: Goodrum, ‘amy a Musical Theatre student at The Univers of Cental Frida, and my and Halle Chapman had 4 wonderfl time interning the Flatock Playhouse let summary prefescor im Heleinger 3-0 poke highly of Fistrock and suggested that tfeach out to You am writing fo express my teres Joining your intern team ths summer. {wl be audloning at SETC on Marsh 16% (701), and wanted you, partly, to tow my nel of interest n latroce im expect nvigued by Fattods TA Show/leses, ve taught vera musical theatre camps forks ofa ages atthe Winter Garden Theatre and Winer Park Playhouse in Orono, ‘ind would love the oppertunty fo Jon the Flatrock education team this summer. have attached my Readshot and resume for your consideration ‘Thankyou for your time! Karissa Dunbacher conanearss Socatacttemacom Kariss a Dumbacher (407) 470.0738 bareeadunbachertgnaicom ih: 58" Wath 1 Eye Hal Hale Rad Range C36 “Theme Park laren easter wet Suen aia Educational Theatre ~ a ‘Slime fnsnied Cheba tan oretng Uhbcfotal ards Matron Tre the king Gas (GrebSchesofie Ane Sunes Aeon ecStuntmenae_ Canyeor Community Theatre see ews Sbiecact titer tas Ch buena Training orton tn meorTed ttt wl matra please co ot heat to anaes rm. * Katie DeRosa ‘ainiotnyaon comHTML Formatted Emails (nice, but hasn’t really taken off)Terrell Donnell Sledge wtareonnlisldge com tertreonrlsdge com isomer peti “AdSplash Pages, Review Sheets & Business Cards The line between failure and success is so fine that we scarcely know when we pass it ‘80 fine that we often are on the line ‘and do not know i - Ralph Waldo Emersonsen Koen ‘Spr panera rpm, Hf | repens easter mamr | | nopmus TMS | pes a | | emcees Sapjeur ayy wt | ejs v jo Bru Buryoqeo-aka | am sey ays, | ceo goer wove | y [31] | | veaswnsome oor 3 | 4) sr, pms quer mer ||| | esa | S|] | | aexsrstconnn no | ee sila | alli) | \| € | a seine baa | | | om | | | ie eee | | wis eAOTETLA UNE (| : - \| RIVE TROT PAONUR]TIA USIete Villanueva gives Helena every giggle and BFA in Acting, SUNY Purchase sob and exuberant leap she needs. (Chairs Awned for Achievement in Acting ‘Cam Laude THE BosTON GLOBE ‘Tony Cer, sos W 2grd Si, #8104, New eee YVillanueva’s offbeat portrayal of Pozzo is unique and refreshing. A diminutive woman playing against type, she is ‘puckish, which unexpectedly adds an. ‘extra layer of existentialism to Beckett's unfathomable universe. ‘THE WASHINGTON PostQuotes on John Windsor-Cum ‘Contaet: 347-633-0398 masTHEAD Aye New York Eimes = The play's dominant | relationship shifts. un conditionally 0 that of Hamlet ‘and his dead father, whose image inspires more tender and sully felings in the prince than ‘any skirt can, including the fair Ophelia (Elizabeth Raetz). The triple casting of the excellent John Windsor-Cuningham as Hamlet pare’s ghost, the Player King and the Gravedigger works splendidly, underscoring Hamtet’s loving and fearful obsession with a father he worries he could never have satisfied. This Hamlet is never more intriguingly thoughtful than when surprised by his father’s living memory. ~ Ben Brantley, NYTimes ‘we usualy suspect + a least hs fther inthis production Here the ghost af the warrior king. (wonderfully played by John Windsor-Cunningham, who also is cas as the Player ing and the gravedigger) speaks in hushed plaintive tones. Instead ofa fierce paternal figure that shakes his son to Wis bones and challenges him 10 act decisively, this strangely poignant figure haunts bis son in ways far deeper than revenge, ways that cul to the very core of existence. Ils enough to drive @ prince mad. ~Frack Rizzo, Vavey The Boston Globe} Hamlet, of course, is not amused at all. He's enraged, bewildered, ‘and betrayed -- and, once he ‘meets that Ghost (the magnificent John Windsor. Cunningham), he's sworn to revenge. - Louise Kennedy, Boston Globe. Maybe this Hamlet takes after his sham, Shakespeare & Company's Hamlet, Summer 2006. @) (On Theatre, Music, Visual Arts and more! New to the company, and fr ‘and away the finest player on the stage, 1s John Windsor- ‘Ganningham who takes on three (of the most essential roles tn the play: Ghost (Dead King Hamlet); Player King; @ ‘gravedigger. This extraordinary facior makes each of his character's startlingly different ‘and specific ~ is real acting als is King Hamie is strong and almost to rea ‘00 corporeal, too daunting. His gravedigger so low ‘and common that when Hamlet himself notes the resemblance to his dead father that realization of the Iumanity in all of us is as startling to us as it 18 10 ‘him. There is true brilliance in this not-to-be-missed performance. .— Berkshire Bright Focus THE WALL STREET JOURNAL I ran out of paper long before intermission and had 10 stop scribbling excited notes about the oustanding performances of all the actors, though I want to make special mention of John Windsor- Cunningham, who was so good in the triple role of King Hamlet's ghost, the Player Kings and the Gravedigger that I would have gladly come back ‘again just 10 see him, ~ Terry Teachout, Wall Street Journal CurtainUp 4 tripte round of dpplause to John Windsor- Cunningham forall three of his roles ~ at King Hanie's Ghost the player Hing and a grave digger. — Elysse Sommer, TMCurain Up. ttn cise Wide Cumingm by Kea Sprague, Als eared Tin Pe hs et. nee.ORLA NDOW, “The forest fires give a spirited and ingratiating portrayal, do all the woodland denizens.” “No matter how many times you have seen A Midsummer Night's Dream, you won't see ‘funnier one, oF a more welloiled production ‘of racoce madness than that by the Orlando-UCF Shakespeare Festival. In fact, this romantic comedy has been polished to its full brilliance with an abundance of humor, energy, guflaws and futly silliness designed to delight” “Td gs De Agi 08 ‘a cast of strong-voiced and intelligent actors, who have shown that they are more than just good ~ they are superlative interpreters of Hugh Wheeler's cynically comic book and Sondheims brilliantly lyrical score. The Shakespeare Festival company has proven that it can take onthe challenge of performing musical theater a a high level.” Xe pie Lip Sp 208 “The Cabaret style brothel is full of debauchery with Fosse-esque song and dance and ‘rampant lasciviousness. Tis is such good theatre, It entertains, it persuades, it teaches anditstinles” ee Orlando Sentinel “With a capable cast, the show creates sense that a giant peach could really whisk a boy off into the clouds for grand escapades. James and his colorful and eclectic cohorts are a warm and funny group to have ‘along such a fantastic journey.”kathleen powers Critical Response to My Work aa rey maaan crete, serene ee jaiteneyeren ty: Sraaiear aces a aero ae i ore ASA “Tm cae Tame COME. Asean encaricontyo nena tene Tee Oe te ig mms eden Menge Cone ope! Fimoots oe te He, 04 Ts eh petri pata ct worry Ines hurenty be ayaa vat are saggy reba Talent siren A ‘ner try on ye Sat 2 enim tec “ha ay ela pag. chan fect an goa tng my ee wat $i scany wl sare you. Yo wl 0) this production fr bom Rs sebigury 8rd ic ere a any — ane es aes hs gut gush ea out “eon of nn ay dc + Bator aleon Powers saris) Sate th ls ye lm a fash mee meme, a este te tery svoning at pea on Py, Ses rea any sot ay cog re ‘a amotenay ele Bei "aro Sr syn elBusiness Cards Brand is just a perception, and perception will match reality over time, Sometimes it willbe ahead, other times it will be behind, But brand! is simply a collective impression some have about a product. = Elon MuskCOURTNEY NODKE: oan) Brooke M. Hane’ ‘eretenpe aWhere to Find Auditions ‘Tho suocessful man will profit from his mistakes and try again ina different way. ~ Dale Camegie® Auditions: Where To Find Them Central Florida (© "Florida Actors, A Free Resource For Actors and Talent in Florida pag esictoee © “Attention Must Be Paid", A Theatre Blog (cizabeth Maupin, Ovando Sentinel) + hnt/Blogsorlandosentine| com/entertainment stage thea, ‘© "Green Room Orlando", Fim and TV though Central Florida * swe ercenroomorando.com (© "Retr’shecese" (Under "Horde Breakdowns") + hit:/actorsaccess.com/proiets/?viewsbreakdownsBiresion=5 © “Actors Equity” (Under “Casing Call Audion Notes, Easter Region”) (© "Actors Acces" (Under "New York Breakdowns") oh Psewsreak ‘© "ack stage” (Under "Search Casting - East Coast") "anw.backtage com, (© "Actors Equity (Under “Casting Cal * swiowactorsequty.org Aiton Wotices, Eastern Region") LA. © "Actor's Recess” (Under “Los Angeles Breakdowns") *hito:/actorsacces.com/oroiects/view=breakdownsSiceslon=1 © "Back tage” (Under “Search Casting - WestCoast") + gom.basstagecom © "Ua Castng’ Casting Networks inc, ‘nw iacasting comWebsites for Casting Notices and Calls in Orlando Full Sail University Film Castings: https://wwwfacebook.com/groups/F ullSaiasting/ UCF Film Casting Calls: hnttps://wwvw,facebook-com/groups/u cfflm.castingcalls/ Central Florida Filmmakers and ‘Actors! httns://wwwfacebook.com/groups/1 75560135857531/ IMluminatl Film Society: htpss/ www facebook com/groups/ 27226087333894/ Green Room Orlando Casting Calls. for film/tv theatre: http://www greenroomorlando.com/ CastingCalls.aspx Film Orlando - Goat Studios Casting: hnttps://wwvw facebook.com/pages/Fil ‘m-Orlando-Goat-Studios-Actors- Casting/234625939918310 Craigslist for TV/film/radio job postings: (be VERY careful - there are sketchy posts and auditions on here, but occasionally student and independent films post good castings) huip://orlandosraigslistorg/tte/ Universal Studios: http: /wrwwainiversalauditions.com/ orlando/scheduleasp Walt Disney World: http:/J/disneyauditions.com/calendar Zindex html Orlando Sentinel Audition ‘Announcements: http://www orlandosentinel.com/ent ertainment/arts-and-theater Orlando Shakespeare Theater htp://orlandoshakes.orgy/about/audi sions.html and hnttps://wwwfacebook.com/orlandos hhakes Orlando Repertory Theatre: http://www.orlandorep.com/InDash Display.aspx?PGID=261 and htths://www facebook com/pages/Or Mad Cow Theatré |ttp://www,madeowtheatrecom/InD ash Display.aspx?PGID=127 and |hutps:/ ww facebook.com/MadCow Theatre Theatre Downtown: bhp: //svwwitheatredowntownnet/au ditions.htm and hutps://wwwfacebook.com/pages/Th ceatre-Downtown/111076849605 Breakthrough Theatre: hnttp:/www,reakthroughtheatre.co ‘m/AUDITIONS Atm ‘Winter Park Playhouse: htp://winterparkplayhouse.org/ re‘Thoatre Careors Websites for Employment AUDITIONS http:fiwww.actorsaccess.com ‘There is no charge to register and establish your account on Actors Access. By doing 80, you put your Profile into the Breakdown Services database which is ‘searched by Casting Directors when they are searching the database looking for specific talent. You can optionally receive email notification of the latest roles posted that meet certain criteria in your Profile. You can email out a link that links back to your material that you wish the recipient to see. LAcasting.com ‘Same as actorsaccess for LA hittp:lwww.actorsequity.org Actors" Equity Association (‘AEA" or "Equity’), founded in 1913, is the labor Lnion that represents more than 48,000 Actors and Stage Managers in the United States. Equity seeks to advance, promote and foster the art of live theatre ‘as an essential component of our society. Equity negotiates wages and working conditions and provides a wide range of benefits, including health and pension plans, for its members, Actors’ Equity is a member of the AFL-CIO, and is affliated with FIA, an international organization of performing arts unions. http:lactingbiz.com Actingbiz.com was created by actors - for actors. Our mission is to help where possible, We created this web site to provide free resources and guidance so that you may be successful in all of your acting endeavors. We hope the information contained here will help you get on your way toward a rewarding career in the limelight. With that said, please keep in mind that we provide our service and all of the information on our site absolutely free of charge. We welcome you to visit our site ‘as offen as you ike and want you to know that each time you read an article, preview a casting notice, or check our production updates, news, and resources, ‘you'll never be charged a dime. However, it costs money to operate our web Servers, pay our staff and writers, and keep our site online. Therefore, we ask ‘you to please click on our advertising links and visit our sponsors’ web sites. Our ‘only source of income comes from our advertising links and banners. Please ‘lick on an adverting link each and every time you visit us. (You might want to lick one now.) And please tell your friends to also visit our site and click on our advertising links after they have enjoyed our great content, ‘We also suggest you take a moment to bookmark our site and next time you are taking a break and are aimlessly clicking around the net, you visit us again if not‘only to click one our links, Thanks for clicking ‘OTHER EMPLOYMENT rtsearch tions Group (TCG), the national organization for the ‘American theatre, was founded in 1961 with a grant from the Ford Foundation to {foster communication among professional, community and university theatres. Today, TCGa€™'s constituency has grown from a handful of groundbreaking theatres to nearly 700 member theatres and affiliate organizations and more than 412,000 individuals nationwide. TCG offers its members networking and knowledge-building opportunites through our conferences, events, research and ‘communications; grants approximately $2 millin per year to theatre companies and individual artists; advocates on the federal level and serves as the U.S. Center of the International Theatre Institute, connecting its constituents to the {global theatre community. TCG is the nationa€™s largest independent publisher ‘of dramatic iterature, with 10 Pulizer Prizes for Best Play on our booklist; it also publishes the award-winning AMERICAN THEATRE magazine and. ARTSEARCHA®, the essential source for a career inthe arts. In all ofits ‘endeavors, TCG seeks to increase the organizational eficiency of its member theatres, cultivate and celebrate the artistic talent and achievements of the field and promote a larger public understanding of, and appreciation for, the theatre http:!backstagejobs.com “The national source for behind-the-scenes jobs inthe live entertainment industry jobbank.artsusa.org Celebrating its 50th anniversary in 2010, Americans for the At is the nation's leading nonprofit organization for advancing the arts in America. Americans for ‘the Aris is dedicated to representing and serving local communities and creating ‘opportunities for every American to participate in and appreciate all forms of the arts, From offices in Washington, DC, and New York City, it serves more than '160,000 organizational and individual members and stakeholders, http:/artsiynx.orgitheatro ‘As the web gels more and more cluttered, search engines become less and less useful as means of quickly finding the best resources. Curated directories of web information, though can cut through the clutter, leading you quickly to the most valuable and informative web resources. Artslynx is especially designed to provide the most efficient navigation to valuable information for the student, scholar, educator, and researcher in the arts. There is no advertising on Artslynx, ‘no pop-up windovrs; no mega-graphics to slow things down, just information, ‘organized in the most accessible way possible. Aslynx also recognizes the many fine and comprehensive resources already out there, Where possible, we try to link you directly with these wonderful resources. Why reinvent work already done? At the same time, Artslynx works to developve ‘comprehensive guides in areas not already well developed by others. In the theatre arena, Artslynx thus worked to develop its own link library of Physical ‘Theatre and Fight Direction resources because at the time, there were no ‘comprehensive listings on the web. http:/hwww.higheredjobs.com HigherEdJobs.com was founded in 1996 by three university employees who felt there had to be an easier way to search and apply for jobs in academia. At the ‘ume, print ads stil dominated now college faculty and staff searched for jobss~ process that was laborious, time intensive, and slow. And, due to the high cost of print ads, institutions typically only listed (and candidates only saw) a fraction of ‘their openings. http:twww.ny.com/academia/colleges.htmt “This education ste, designed for parents and educators, contains valuable information on New York Gty and suburban schools. Curent articles include an in-depth profile of Stuyvesant High School, tips on admission to private schoo! kindergarten, tips on geting into a public school outside of your home zone, and many inks of interest to trstate families. Families moving o the New York area often find the site particularly useful http:/jobsearch.nytimes.monster.com! http://www artsopportunities.orglindex.cfm ‘Are you looking for a job, an internship, or artist opportunities? ‘Arts Opportunities is a free online classifieds serving al arts disciplines. Start searching postings right now or create your account fo use more services such ‘as saving your resume and receiving email updates. http:twww.nyfa.org INYFA’s mission starts with individual artists inthe visual, medi, performing and literary arts. Ths site offers acoess to the most comprehensive lis of resources for artists inthe nation, opening doors tothe widest range of financial, educational, technological, and institutional resources and information.6 Professional Florida Theatres and Contact info (NOT COMPREHENSIVE LIST... but prety close) Spring 2013 ‘Actor's Playhouse a the Miracle Theatre David arisco 280 Miracle Mile oral Gables, Florida 33134 30s-444.9293 htp://ww actorsplayhouse.og ‘Alhambra Dinner Theatre Tod Booth 12000 Beach Jacksonville, FL. 32246 908-641-1212 htp:/fwwacatnambrajexcom ‘American Stage Theatre Company Todd Olson PO Box 1550 St Petersburg, FL33731 ‘ar-en 2444 hep americanstageor8 ‘Asolo Repertory Theatre [Artstle rector Michael Oonald Edwards 5555 North Tamiami rail Sarasota, Florida 34243 941-351-9010 htp://ww.asolorep.o7g ‘Banyan Theater Company Jerry M. Finn P.O, Box 49483 Sarasota FL 34230 ‘941-358-5330 hetp://wwbanyantheatercompany.com Broadway Palm Dinner Theatre ‘Ban Erzman 1390 Colonia hd, Fe Myers, £33907 239.2785664 htpi//wbroadwaypalm.com Broward Stage Door Derelle Duna and David Torees 8036 W Sample Rd Coral Springs FL. 33065-4714 954-348-7765 http:/éwew stagedoorteatre.com City Theatre tian (New Works) Joho Manze ‘448 Brickell Avenue Suite 29 ‘Miami, FL33122, 305-755-9401 htt://anwucctytheatre.com Florida Repertory Theatre Robert Cacioppo 2267 it Steet Fort Myers, FL 33901, 239-332-4488 http://w oridorep.org Eckerd Theatre Company (TYA) Julia Flood uth Eckerd Hall 11111 Mellen Booth Road Clearwater, FL.33759 nrn2-27e http://www hoffmanperformingarts.oreete{reeFall Theatre Erie Davis {6099 Central Avenue St Petersburg, FL33710 727-498-5205 bup://wwefeetaltheatre.com Flotida Studio Theatre 1261 North Palm Avene Sarasota, FL 34236 941-366-9000 ‘tt//wwrflordastudiotheatre.org ‘Gable Stage at the Bitmore Joseph Adler 1200 Anastasia Avenue Coral Gables, FL33134 305-445-1119 bntp//wun gabestage.org Gorilla Theatre Aubrey Hampton and Susan Hussey ‘4419 North Hubert Avenue Tampa, FL33614 913.879.2914 http://www goriletheatre.com Gulfshore Playhouse Kristen Coury 755 8 avenue S Naples, FL34102 239-261-7529 http://www gulfshoreplayhouse org Herb Strauss Theater Bobby Logue 2200 Periwinkle Way Sanibel, FL 33957 239-473-6862 tpi worblgorts ore Hippodrome Theatre Lauren Caldwell 25S 2nd Place Gainesville, 32602 352.375-4477 hetp://wwaithehipo.org Jobsite Theatre David Jenkins 0, 80x 7975 Tampa, 33673 813-229-7827 htpi/fwwsjobstetheater org Mad cow Theatre P.O. Box 3109 Orlando, FL.32802 407-297-8788 htp://www.madeoutheatre.com Malt Jupiter Theatre Aide Kato 1001 £23 Indiantown Road dupter, F.33477 561-743-2666 hitp://wwwjupitertheatre org ‘New Theatre Miami Rcky Martinez 1645 3W 107" Avenue Miami, FL32165, 205-4425909 htp:/fawn.new-theatre org (Orlando shakespeare Theater Jim Hekinger B12 E Rolls t Orlando, 32803 407-447-1700 ttp//wwrorandoshakes.or, COrfando Rep (T¥A) Jeffrey M. Revels 1001 Princeton Steet Orlando, 32803 107-896-7365 ttp//vwaorandorep.com Palm Beach Drama Works wittam Hayes: 201 Clematis Steet ‘West Pai Beach, FL 3340 561-514-4082 ttp://aaw-palmbeachdramaworks.orgRiverside Theatre Allen D. Comme 13250 Riverside Park Drive Vero Beach, F1.32962 772-231-6990 -ttp/ fawn versidetheatre.com ‘Show Palace Dinner Theatre Tommy Mars 16128 US. Hwy 19 Hudson, FL 34667, 727-863-7949 Itpi//wn.showpalace net Stage Aurora Theatrical Company Very. Hall, S188 Norwood Avenue Jacksonville, FL 32208 908-765-7372 http://www stageaurora.org/Home.aspx Seaside Rep Brook stetler P.0. Box 4814 Santa Rosa Beach FL 32459 850-251-0733 http://w seasidereptheatre wordpress.com Siow Burn Theatre Patrick Ftwater and Matthew Korinko 21218 st, Andrews Bla #525 Boca Raton, FL. 33633 954-323-7888 htc://mwstowburntheatre.org ‘Stages Productions (TVA) Rick and ert D'Onofrio 7906 Bayshore Drive Seminole, FL.33776 727-339-1020 tpi//wrwatagesproductions.com Stageworks Tampa ‘Anna Brennen 1120 Fast Kennedy Biv, West Bl #152 “Tampa, FL 33602 813-251-9984 hitp://wwww stageworkstheate.org L 6 ‘Theatre Winter Haven (Pays Equity Actors) Norman Smal 0 Box 1230 ‘Winter Haven, FL 33682 863-298-2672 btp:/fawstheatrewinterhaven.com ‘TheatreWorke Florida ‘East Cypress Street Davenport, FL.33837 163-419-1700 hitp:/fowwe.theatreworksflorg Theatrezone Mark Oana 13275 Uvingston Road Naples, FL34109| 888-966-3352 hutp://awue.theatrezone-lorida.com \Winter Park Playhouse Roy Alan 71 Orange Avenue Suite c Winter Park, FL32789 407-645-0145 tt:/Pwwwinterparkplayhouse org Zoctie stage Stuaet Melzer 7545 SW 54 Court Miami, FL33143 305-741-2180 htt://www-2oetistage.comAbout ActorsAccess.com The big shots are only the litle shots who keep shooting. = Christopher MorleyShare Your Passion Certo ee en actors access” Weasel omt edn eee tere bens yt leon aetine serene sear sever tr ters: Croce Tue 9) (iscsidooe a ‘Show Kids Only Projects ‘Show Projects with Paying Roles Only ‘Exclude Realty TV Breakdowns AvAt ans PROTECTS (oor roae gy PP (sew exer) -Y Submited On Project Bi times ave Poche trou tage tof 3 txt Aaa? ‘This ik CASTING DIRECTOR UPDATE {800 = ASAT ppptesbie via ra ue Suen ots ena int OK, CUE cauasecas ate Donon ayy can ou ua erin tyme som Sa OMT ev wisren ‘Swoenc in ren Manning arr, ou com, bso hae reds ansur A, SRE cur me suet im Kane wodson rneir $k, 2 yneceace Ben cel Bde vie mn St OW ayacy sue Student Fim Muhammad Al Shey ans gO, ‘u2/47 TATAL ATTRACTION £P. 617 {ADDITIONAL epzode ‘Amber Vandersiice-sheton W177 pat i cmerauamcaee Thane Cat nat wont ten 207 ann mene cn ant OWE? cu gucensine Festr n—Kbery Stewart on BS, QUE, cs tect as snr $8 CMEKE sri ee wan a, owti/i7 Omon 80 IDEA - WHAT'S 1 NAME? rome SennifrFeton api OMoWEEE TL eae EEE Do lea aaa eee actors access ona spetsnaz Cle Went me weakdown xia ome beatdown mylode submissions altos sonieas [ALWAYS SUBMIT ASAPI Suiting within he rt ly of Breakdown pubcaton is Neh recommended. A BesacDewN | on, Friday, Jon, 23, 2017, 2:50 PM Pactie GREASE (AA) Producers: Chatles Roy, David Galpea, John Kelly ‘Theatre Consulting Producer: Matt Weaver chER Director and Choreography: Wayne Clento ‘Theatre: Elgin and Winter Garden Theatre ‘Music Director: Mark camila Casting Company’ Uich/Dawson/Ksitzer (Costing Directors: Robert Ulrich and Alex Newman (Gastng Associate: Rory Schofstain Rehearsals: ofa 4/17/17 in Toronto (Opens: ofa 6/1/17 and run for 6 wooks witha tkoly ‘extension, actors must be avallabl thu Labor Day Equlty Pay Rate: Canadian Equity Seal, all travel and ‘accommodations provided Leeation: Toronto SUBMIT ELECTRONICALLY Wayne Cilonta - the Tony-auaed winning Broadway choreographer of WICKED and TOMMY, this high-octane ‘new production will be unlike any you've ever seen. [MALE ROLES 1 Male, High School Teen (16-26 years). He must be a strong singer and dancer FEMALE ROLES 1 Female, High School Teen (18 - 26 years). Must bea Strong Singer and Dancer, (Cetectwore Rows} (conpite su create¢ Hide Sidebar rurer Name coy epi foyer Zp [bron ctr [eons anon Media ‘Show ely submission with moda Selection Number aoe os 405 6 Group Rest By Selection umber Sort ‘Submision ines ‘Nphabetealy Random Clear Fier > sevecteD > mactors. ° > vactors ° 120466 1290456 # SOPHIA CAMERON @ ZAINAB.JAH (CDS) BLUMLICDS) Red Late Entertaiment PPR tne 0 © YK Swowicony ‘SitovelCopy AcTOR secterion) 120456 420456 @ STOAGHAYERE # ROCIO ALEXIS ‘alo Att Group -1Y (MENDEZ (CDS) Lege an © Suzall Entorses NY) ° YH Swoveicony Scheséad YH SwowiconyBROADWAY |AFREE MAN OF COLOR REGIONAL THEATRE ‘THE CRUCIBLE ANTONY AND CLEOPATRA JULIUS CEASAR FENOES (ONE NIGHT WN aan ‘THE FALLOF HEAVEN oTHetLo TOKILL A MOCKINGBIRD ANTIGONE. ‘MUCH ADO ABOUT NOTHING ‘TROIAN WOMEN, TELEVISION THENIGHT OF Kick ORANGE IS THE NEW BLACK. (CRIME (80) (CRIMINAL JUSTICE Height Resume: ESAU PRITCHETT Talent Rep: Jim Finn Agancy NY) Contact: 212) 868-1068 orphee (ao, Toussaint ws) John Proctor ‘stony Mare Antony Troy {co-production} sin Brown sta Ange ‘otnato Tom Robinson Caan enedike Poseidon “Me Day ecuing recuring Law & ORDER: SVU ONE LIFE TO LIVE (@esome LUncoln Center George C. Wot, decor Cleveland Ptayouse MoCarer Theatre Emiy Mann, actor Otlando Shakospoare Fest. Long Wharf & MeGartor Thoates PhyScia Rashad, crestor Balimore Center Stage Kwame Kuet-Armah, director ‘Cincinnati Playbouse ‘Croll, Ed Stem, dector ‘Alabama Shakespeare Fest University of vermont Planet Ant These, Ml ‘Alabama Shakespoare Fest #80 Nati Nati [LAW AND ORDER RO: CRIMINAL INTENT ‘1 SKILLS: Tonor Sax (Jazz & Blues impo oansed crv. AWARDS: Natlonal winner ofthe 1907 Kennedy Centar/ACTF kene Ryan acting competition Detot Nows Best Supporting Actor 4907 (1 Ama Man’), EDUCATION: BA Perfoing Art Oakland Ureray tl scholar, sed teat dove Services, Li.*! FLMy Sarbane’s Osoy* king of ho Bingo Gamo {God's Forgoton House ‘THEATRE ‘Antony and Cleopatra stiey ater inv Avena! ‘The People Bofors the Park Fy Sate House Reparation ‘Lesson Before Dying The Desi” Romeo and Jot ‘Blues Foran Alabama Sky ‘Ties How it Goes Gem ofthe Ocean “Tepdog/Underdog™ ‘ue for an Alabama Sky sey Resume: SHANE TAYLOR Talent Rep: SW Artists (NY) Contacts 646-246-8853 ‘Special Site: Vocal Range: Barone, Brilsh - BBC Engl Accent, Jamaican Acoent, Southam Accent ‘Additional Attributes: Bald Ha, Brown Eyes Union Statue EA, SAG-AFTRA Bigible Load Break into Showbiz ne Featured Pas Load Danie Slinger Productions Lepidus ‘Orlando Shakespeare Theatre ‘de Joe Discher Booster ‘Cncinnat Playhouse inthe Pa ‘Timothy Douglas Shepard Maloy Froxda Studio Theate ‘ie, Jasen Gannon ‘Black Man ¥2 Now Fedora Toatre ‘de Chaves Maryan Maion Promiere Stages ‘ie John Wooten J. Alen Florida tus Theat ‘Ricardo Khan Frank ‘Gincinat Playpouse in the Pa dic Timothy Douglas avid Bums ‘una Stage Company di Jane Mandl seterson Roundhouse Theater dr. Timothy Dougias ite Bile Hosday Theater dir Jacko Alexander Benweio Lincoln Center natitate dt Kevin Weviaty uy Jacobs Futgers Theater Compary dir Hare Scot coy ‘Aarphibian Productions di Jaime Casteneda citizen ‘twaukee Repertory Theatre di Timothy Dovglas LUncaln ‘una Stage Company ‘lr Ee tin ata ‘Actors Taste of Luisa di. Timothy Douglas Youngblood Indiana Repertory Master dl Timothy DougResume: SOPHIA CAMERON BLUM “alent Rep: Daniel Hoff Agency - Commercial Div (NY) Contact: (629) 992-2500 Special Skis: Lacrsse, Yog, Vocal Range: Mezzo Soprano, Whistler, Bish - Cockney Accent, Souther Accent ‘Additional Atibutes: Height 5 in, Weight: 180 bs, Black Har, Brown Eyes Union Status: NON-UNION Hamat Wien Lead) Yalow Tiger Fins Broaking Logs Arie (Ocean Stato Thearo Co, |AWidsummer Night's Dream Fairy Peaseblossom) ‘Commonweath Shakespear Co. King Lear Encomble Understudy Gone! Commonwealth Shakespear Co. Romeo and Juliet Lady Caputt sce Henry Vi Parts (Queen Margaret Hamat isnt Dead Hengy Vat Wench ‘Shakespeare Thereof Ni [AMidsummer Night's Oream Hippo, Tania ‘Shakespeare VEL sive Caesar Swing ‘Shakeepoare LVEL ‘ACiviimas Carol Bob Cratch, All Ghosts “The Hampetead Stage Company turn to Nama: rine Caspian Prince Caspian icy “Tho Hampstead Stage Company Honey ‘Ace, Montoy, Court, Groy Tho Next Stage Ensemble Metamorphoses ‘Arethusa, sno, Ensemble The Next Stage Ensemble Honey Vi Pat (Queen Margaret ‘Apprentice Co. Final Project ‘Shite ‘Tough Guy Drow University Capstone ‘The Stonger ie. X, Mle. Drew Universty Nain Stage Wiitng for Ly Kel, ter Drow Universty Main Stage ‘Shit We Say Y Drow Unversty Capstone ‘AMore Oppertune Time Minion Drew Unversty Main Stage ‘suburbia rea Drew Universty Worksop “wth Nght Ova Drew Unvery Main Stage Dreams of Peach Blossoms Ensemble Drew University Main Stage ‘Shokeepeare LIVE! The Shakespeare Theatre of New Jersey's turing company. The Next Stage Escomblo, and The Apprentoe Company are both pars of The Shakespeare Theatre of New Jersey's Sine Proession rang prog. pose Sees ihAuditions & Monologue Menus (One man has enthusiasm for 30 minutes, another for 30 days, but itis the man who has it for 30 years who makes a success of his life. = Edward 8, ButlerLy Fimmy Jackson, Jt, CLASSIC DRAMA Titus Andronicus r ‘Aaron William Shakespeare Sorry for my heinovs deeds? Tut [have done a thousand dreadful things as willingly as one would killa fly Romeo and Juliet ‘Mercutio William Shakespeare Lam hurt “A Plague o both your houses! CLASSIC COMEDY ‘Taming of the shrew Petruchio William Shakespeare -I pray youdo “Myself'am moved to woo thee for my wife Two Gentleman of Verona Launce William Shakespeare Nay, "willbe this hour ere I have done weeping, Now the dog al this while sheds not a tear nor speaks a word, but sees how [lay the dust ‘with my tears. ‘CONTEMPOARAY DRAMA ‘Amen Comer David James Baldwin And if listened what would happen? “Marsa, you knew this day was coming “The Piano Lesson Boy Willie August Wilson You see I'm going to doit and there's no one who ean stop me. “What now? CONTEMPORARY COMEDY ‘A Devil in God's House Kenneth Hallelujah! Let the church say Amen. What time are we going out to eat?‘Michael Pettey’s Monologue Menu Classic Drama: Richard Il, Richmond. William Shakespeare Fist Line: More than I have said, loving countrymen, the leasure and enforce- ment of the time forbids to dvsell upon, yet remember this: God and our good ‘cause fight upon our side. Last line : Advance your standards, draw your willing swords! Romeo and Juliet, Romeo. William Shakespeare Vrst Line: ‘Tis Torture, and not merey. Last Line: How hast thou the heart, being a divine, a ghostly confessor, a sin absolver and my friend professed to mangle me with that word banished? ‘Classic Comedy: ‘The Tempest, Atiel. William Shakespeare First Line: You are three men of sin. Last Line: And on this desolate isle, else falls upon your heads, is hearts sor- row and a clear life ensuing. The Comedy of Errors, Dromio of Syracuse. William Shakespeare First Line: Am I Dromio? Last Line: Ieould find countries in her. Contemporary Comedy: Only You, Rich. Timothy Mason First Line: God I wish I were this classy. Last Line: Here we are just a guy and a gal in a coffee shop relating in an in- terpersonal way. Hurlyburly, Bddie. David Rabe First Line: You know what I think? LastLine: Where does she get off hating me? ‘Contemporary Drama: ‘Conversations with my Father, Paul. Herb Gardner. First Line: You want to know why I'm late, Pop? Last Line: Take a step outside, turn to the let and look tothe sky. Birds without Wings, Juan. Ricardo Fererras First Line: Are you old enough to be married? Last Line: You are my Eve and now what shall we do with paradise. OfF-Beat: ‘The Causasian Chalk Circle, Azdak. Bertolt Brecht First Line: Shall J show you how a poor man eats? Last Line: Idon’t trust you Noises Off, Liyod. Michael Frayn First Line: Tim, let me tell you about my life. Last Line: I simply want to be taken out of myself, and preferably not put back ‘again. 28Agents Managers Casting Directors & Unions "When you invite people to share in your miracle, ‘you create future allies during rough weather." — Shannon. Alder‘Theater Caroars qu Breakdown Service Before we discuss each role, it is important fo understand what the Breakdown Service does inthe process. “Tlie Breaktiown," as itis usually called, is a national casting notification service that serves, asa Tiason between Casting Directors and Agents, ‘When a company gets ready to auditions in a major city (NY LA, ‘etc the Producer puts together a ist of basie information called & “breakdown, A reakdown ‘+The name of the preducing company + Salaries ‘+ Rehearsal and performance dates, travel, etc +A deseription of each role + Sides (pars) to read at the auditions “This list is then given tothe Casting Director, who adds the audition information (what day, location, ete) and sends ito the Breakdown Service. ‘The Service then lists the “Breakdown” to ‘every agent who isa member of the service (and almost all agents tare, ofcourse). The agents then submits potential actors to the ‘easing director, who adds them to thelist of people to audition on the conect day, Now ,as you ean see, the breakdowns a information Now, with that in mind, here are some defining notes about each of the miajor characters involved, important and useful Executive Producers Usually, the money behind the project. An executive producer can decide that someone isthe “only person for the part” and attach ‘money o that, so they are very powerful, it they choose to be hheavy part of casting, but often they don’t. Producers and Artistic Directors- Directors Jim Helsinger “These are usualy the people that are making the decision to cast you. They typically give alist of people they particularly want to See at the auditions to the casting director. If possible, you want 10 ‘eon tha ist ‘The director typically selects the cast in sonsuitation witht eh Asiatic Director with veto power going to the Artistic Directoer, ‘who, again, basically represents the money and the company. The ‘izector typically gives alist of people s/he particularly wants fo see at the auditions tothe casting director. If possible, you want to be on that ist. tl some companies, the director does not choose the cast and is ‘brought in with no real regard for auditions, This i often the case ana‘Theater Careers Casting Director ‘Agent Manager sim Hetsinger with TV serial shows. The cast remains the same basie people, but the directors change all the time. ‘The Casting Director isin charge of puting out the announcements for the audition, renting the rehearsal hall, sifts through the submissions, aranges and runs the audition, Typically, the casting director DOES NOT CAST THE SHOW. ‘Thott job is present the tirector andl producer with good actors from which to choose. Negotites contracts Gets you auditions. Pointers and information on auditions Career advice ‘Agent receives 10%, if job pays $1000, $100 goes to agent, $20 (2%) 10 union, $300 taxes, ator realizing $580 ‘TV and film contracts typically ae beter contracts residuals, In. New York, one agent in each field; theater, commercials and voice ‘overs film and TV. actor has more than one agent, whoever offers the audition first ets Fights toi Getting an agent- best if friends with someone who has an agent Be specific "I want..." “My type is.” Call agent and tll them about an audition you know you ean got “I just got an offer for... Will you negotiate the contact for me?” No 2 agents can collect on one contract. Agent works for you. You pay the Let agent know of any relationship you might have with casting directors, Yes, much ofits who you know. ‘Takes what you negotiate; not licensed, Involved in your career help you practice, get courtesy auditions specifically for anything, but to be seen, May get you an agent. ime spent with client yoney they take, wana usHow Shows Get Cast Ezy Producer * Chooses show, dates, location, people & budget. Either is the $$$ or Represents the $$$ Regional Theatre — Artistic Director — Broadway ~ Producer ~ Film —Executive Producer/Producer* ** + Can Get You an Audition + can Cast You 13/20Directs the show Prepares the sides and role breakdowns for auditions Attends auditions, works with actors, selects callbacks, and makes recommendations for casting, Can get you an Audition Can Recommend, but Cannot Cast You eases Company M Assistant to the theatre/company/producer Organizes sides and breakdown for Casting Director ‘May organize local auditions and website information r Arranges AEA open call + Arranges transportation and housing fer deacter, producer, etc, for NYC/out of town auditions May book studio for aultions, accompanist + Cannot get you an Audition, but can Recommend Cannot Cast You 4/3/20| Casting Director + Supervises prepared auditions for shows ~ Prepac and Sans out Breaktowns ~ Aararges auctions, sod ies to agons/ators ~ frarges auton schecule readers and monitors ~ Selects nd ranges the ACTORS who wil auton ~ send ecordings/or attend Ie auton for producerfrector ~ Seeks for now alent in showcases, reductions ec + Canget you an Audition + Cannot Cast You “myn el anda ecg ay be doe cing er | Agents/Managers: J Negoltes contacts or actors Submits ators to cating restr ia actorseces com, et Feces request for actors valiabilty fr roies/ations _Adéses actor an hich auton nd roles ware May itodce actors to casting rectors and producets* Margo nay mosh ous il water wt etrs Seek fornew talent in showcases, productions, tc. + Cannot get you an Auition, but can Greatly Influence + Cannot Cast You svg apxanage encase oenig decir 1/3/20Performs iinty and often Networks w/ produces rctors,& casting rectors ov for auton ee ie An ol Lobies contacts to get austin Axons bilan often Sends aut marking mates oe reducers et, know what hey are petformingin. Updates website and materials. “aber eaess to hone cat Sees new plays ands to know whats arent and tending. Cannot get you an audition, but might be a name drop Cannot Cast You "yplealy 0-6pm r+ Monitor supersees audiones, cancelation, sides and catback, Prepared Actng/Singing Autos wit ides = tnt rom re pea micro: = Seung any freeman. + ancsinging cats rae aio gous e103 faut omen eet = en srgcomaing at 41/3/20+ Typically 10.6pm MF + Monitor supervises aualtioners, cancellations & sides + Callback Auditions with Sides ~ tapes, say th em cabs, gr or flats feeding — eto acton 20-20 mite se Sea aout 25 actor dp. = stone withers ORE Wy ter ets parte toes. = Maybe sao gout ance ack wth aden ses oF + After Callbacks: producer and director decide 1%, 2%, 3 offers for each role. + Producer gives Negotiator list of 1* offers. + Negotiator may be: Managing Dir, General Mgr, Production Mag, Artistic Dir, Company Mar, et. + Negotiates salary, housing, ansportation, billing, dogs, vacations, et., with agent for with actor If no agent) + Hires You! 3/3/20OFFER! + Negotiator makes offer to agent + Agent relays offer to actor and decides negotiating points (+20%, housing, pets, car, et.) + Agent negotiates with Negotiator + Negotiator OK’s points with Producer + Counter offer, counteroffer, final offer + Offer is accepted or declined + Next offers made tl cast is complete a How Shows Get Cast . i 2 4/3/20ORLANDO AGENTS, ‘Alexa Model & Talent Management, Ine, 4100 WestKonody Boulevard Suite 228 ‘Tapa, FL. 33609 Phone: $1/289-8020 Paci Sunte Seer Frapehised by: 8AG Arthur Arthur, Ine. 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Damon Franchised by: SAG Florida Stars Model & Talent 225-4 West Univers Avenue ainesvile, FL. 32601 Phone: 352338-1086 Fax 352) ‘mal KEMRICL9S@o com Web sie ipower coms Kim Gingue Franchised by: SAG Look Model- Talent Agency 120 6h Avenue Tampa, FL 33605 Phone: 813/242-4400 Stove Benz ranchised by: SAG Louise's People Talent Agency 63 13th Avenue, Nor ‘St Petersburg FL33701 Phone: #13803-7828 Pax #1 Lie Kahle Pranhisol by: 8AG Axuree Talent, Ine. ‘Winter Park, FL32789, Phone: 7529-5025 ax: 4071629.0122 inten A Dalyemple Pranchised by: SAGIAFTRA Berg Talent & Model Agency 13908 Eagle River Way “Tampa, FL 33604 Phone: #137877-5533 Fax 6132649628 Caro Berg Franchised by: SAGIAFTRA Brevard Talent Group, Ine. 405 Palm Springs Boulevard Indian Hatbor Beach, FL 32937 Phone: 40775-1355 ax: 40773-1082 Pager: 407459-798 Franchised by: SAGIAFTRA/AEA, Departments Adults and Chikren (Sal ove) for Fil, TV and Commercials ail submission. No vali or composts. fa reply is requested, include aretarn adresse fnvelope or postcard Talent wl bo noied by Plone or malo st up a terse, ‘The Christensen Group 235 Coaine Ron Sanford FL 52771 Phone: 4713022272 Fax 4077 Linda Kollnhoven(Koienoven Asoo) Franchised by: SAG/APTRA, Dimensions III Modeling & Talent Ageney5205 South Orange Avene - Suite 209 (Orlando, FL 32809 Phan: 40751-2575 ax 407 dna Byers Franchised by: SAG/APTRA, Evelyn Stewart's Modeling & Talent Agency, Ine. ‘Tampa, FL 3613 Phone: 413968.1441 Pax #137 ely Stoware Francis by: SAG. ‘The Hurt Agency, Inc. 400 North New York Aveaue- Sule 207 ‘Winter Prk, FL 32799-3159 Phone: 4077405700 Fy 4077404929, ‘mal: thchusageney@mindsring som Web Site: wwtsragney om Melani rt Franchised by: SAG/AFTRA, ‘The Sandi Bell Talent Ageney 2882 South Maguire Road - Site 171 ‘cae FL 34761 Phove! 474455221 Pays 071445.0599 Office Hours 92 6p ME Suni Ball Franchised ty: SAG Deparment Fil, TV, Commercials Notes: Only Exclusive Talent for Cente Florida, New alent by appointment oly ater ‘ral submission ‘Susanne Haley Talent G18 Wymore Road - Suite 2 ‘Winter Park FL 32789-2862 Phoae: 40716440600, Pax 4076446316 Office Hour: 98 5p MLE Sussnne Haley Jennifer Coneader ‘Tracy Matlock Franchised by: SAG/AFTRA, ‘Model Talent Orlando (204) 918-4340 Orlando, FL ‘www. modeltalentorlando com’ ‘Slate Model & Talent (407) 251-7200 481 E Central Blvd, Orlando, FL Merchant vetfied (407) 278-8332 6022 Office Ct, Orlando, FL. ‘Astonishing Management & Talent ‘Coordinator (407) 415-7163 Orlando, FL wwnwastonishingmanagement.com, Preferred Promotional Talent Group Merchant verified (817) 490-5050 Orlando, FL ww promotalent.com! Brevard Talent Group (407) 841-7775 501 E Pine St, Orlando, FL. Slate Model & Talent (407) 841-7600 481 E Central Blvd, Orlando, FL Bicoastal Talent Incorporated (407) 830-4313 398 W Amelia Si, Orlando, FL. ‘Model Scout Incorporated Merchant verified (407) 420-5888 62 W Colonial Dr, Orlando, FL Bing (407) 894-1910 2610 Corrine Dr, Orlando, FL— 4g Unions BASICS ON UNIONS "There are 2 major unions whic most impact an actor's life + ABA (Actor's Equity Association) ~stage + SAG-AFTRA (Screen Actors Guild American Federation ‘of Television and Radio Artists) ‘They take 2% out ofeach paycheck Dues: bout $140 per year. $70 twice annually (per union) For these dues, member receives +Health / Pension benefits, + safety coverage, and + set pay rates puaranteed. What a Union Does ‘Many actors think that being a union member makes them a better actor, oF more experienced, proves that they are good at thet craft, ‘or provides them with more work, As there is no test fo join an. factors union (as therein some unions) it s no proof ofthe quality of an actor's work. Tt provides better working conditions for actors, but it does not make one a better actor. Unions do put help put out ‘auditions notices, and some are for union members only, but it ‘does n0t provide an aetor with more work per se. Only te actor's, abiliy to ger the audition, then audition brilliantly des that. A union's primary focus is working conditions. AEA Representative: "Unions are about health ‘coverage and toilets, not about developing the artist.” ‘The parameters of the benefits packages change over time, Currently: + Health: $150 - $200 per week paid by the employer. IAEA: if member works 12 weeks out of a year, will be covered by major medical, ental, other medical benefits For 6 months, if work 20, full year coverage. ‘+ Pension: Approximately 6% for your retitement ‘Safety: Al the details are in the various union manuals. ‘+ Depending on the type and level of contract: (© Actor limited t0 8 7 oF 8 howr workday se Helsing wana“Theater Caroors 44 S and 10 minute breaks ‘Time and a half paid for overtime. Double time paid on holidays, day of. ‘One day off required weekly (on or before a bank day.) ‘©. Per Diem: money paid daily 0 cover food. (Sometimes lodging 100.) + Alte rules are in he eact union manual The Stage Manager and the Equity Deputy should have a copy of the rules specific to the type of theatre contract you are ‘working under. (Available to any member through the Equity office) +The Equity Deputy volunteers ori elected by the cast 10 act as the casts” lisison with the theatre management. WHEN NEGOTIATING slim Helsingor WHEN NEGOTIATING USING UNION: it’s liable to be pretty straightforward, cut and dried...you are not likely to be cheated. WHEN NEGOTIATING A NON-UNION CONTRACT: The negotiations will demand close oversight by you. Don't negotiate for things that are already guaranteed for you. KNOW WHICH CONTRACT YOU ARE GOING TO BE WORKING UNDER AND WHAT IS SPECIFICALLY COVERED IN THAT CONTRACT. (For example, things that ‘may lteady be covered are: health and pension, housing, transport ouside of 50 mile rad) sometimes he per fem, te.) ‘There ae several different types of AEA minimum contracts + TWA: Thee or Young Aue, Approxnaty $250 Or ore po wesk or pay er peforane or separ a Scales frehearal v.prfommance. mae + SPT: Small Professional Theatre, (Approximately $250 - $550 week. Dependant om box ofc seating capacity.) + LORT: League of Regional Tease (ApgioNmately §$60 D1) "50 CA) weeks (A B° CORT teat pays Bout $250 per meek hese are the lrger teas; pay Scale based upon poecod box affce receipts) + cost: + Dinner Theatre + Disney /Theme Park + Broadway / Production Conteuets (CH (Chow) stants at ot $1300-19007 week) summer stock companies. vane‘Theater Caresrs Joining the Unions It cost approximately $1400 (pies) to jon each union as of eos approximately $400 ‘You may jin the union eter by bsing offered a job fom a union fouse or through the eancidacy prow. AEA Candidacy Points AEA uses a point system for adm ‘Member Candidate) works at an Eqh Acquire enough points, they can join if also decide o offer a contract outright. I you join the candidacy program, you get one point per week you war in an ABA theater (inderstudes can count), When you have ‘50 points, you may join the union without geting a contract from a union house. + IMPORTANT: Once you have 50 points, you are not ‘forced fo join the union, but you ean no longer work for a inion hose asa noreunion actor. They must hire you inion, or not at al + IMPORTANT! ONCE YOU JOIN THE UNION (ANY OF THEM) YOU CAN NOT DO NON-UNION WORK AEA holds open calls for its membership...these must be open to all AEA members. members. An EMC (Equi et i hon " ter wan edt ta ‘Taft — Hartley Act and Right to Work States: ‘An Act of congress designating the right to work for union and non-union workers alike Plrida isa right-to-work state, If you fre non-union in Florida and offered a union contract, you niay take te job and the union salary, but NOT join the union. You ean ‘only do this in right to work states SAG AFTRA STUFF ‘Other contract pay minimum rates (as of he eurent class date + ABTRA: Extes: $50/ day + Soap Extra: $150/day + Any speaking role: more money + Under Five: $300 / day + Day Player: $600 day + SAG: similar sliding seale. + Approximately $2000 / week Residuals can add a HUGE amount of money to your original ‘contact. sim Hetsingor sanac ABA ACTOR RATES (© )Minium Salaries for Actors “To Feb 26, 2006] To Feb, 25, 2007 | to Feb. 24, 2008 "aR Caiegeny 3800. 3516 $840 "B=" Category S756 3768 5782 Category 370 S718 5726, *C" Category $650 ‘$663, SELB "5" Category | $534 3556 Cee SAG TELEVISION RATES. . simu - Basic Agreement SE emp th Ss ims [ln {enon ligne eee aE 2 8 @ og if wma aaa aperstlGreat auditions ha ‘About Prepared Monologues: AUDITIONS Theatre Careers Jim Helsinger ‘A beginning, a middle and an end, Developed characters, ‘An are for the character Good blocking. Good choices from script & some unique ones. Great preparation. Use the script asa tool (not a deterrent), Confidence. Don't apologi ‘Monologue Menus WHAT: Essential tool for auditions, interviews Ais of at least 10 monologues that you ae prepared to do with five minutes notice. This is IN ADDITION to the prepared piece forthe audition! (Same ‘concept applies to your menu of music you can sing if you do musical auditions.) wei ‘You never know when you may be asked at an auditio you ean “show them something else” and “I don’t have anything” is not going to keep you inthe room. ‘with them for long. It makes you look unprofessional and unprepared (surprise request notwithstanding.) ‘A legitimate answer tothe above request would be to ask for a bt of extra ‘brash it up if that is not possible, ask to keep on seript and then HAVE. A COPY ‘OF EACH ONE WITH YOU that you ean refer to ifneeded, ‘Very useful if confronted with a need to change your audition piece once you get tthe audition (i. you hear through the door the three people ahead of you doing the same prepared piece you were going 0 do...) ‘Target your audition pieces to specific styles30 ‘The menu should list each monologue as well as: the play the monologue comes from the play's author the character being played the category thatthe monologue falls into (se below) the 1st and last lines of the monologue ‘The monologue menu should include: (2) classical dramas (atleast one in vers, atleast one Shakespeare) @) classical comedies (see above) {@) contemporary dramas (essentially chosen because “they sound like you") (@) contemporary comedies {@) strange / werd / wacky / other (includes accents, characters) “Classical is considered anything pre-1900. The early to mid / late 1900s are ticker to categorize. (see below) Even the fifies through the seventies have 8 retro sound toi “The contemporary pieces need tobe played very naturally, “close to the vest”, very 2000..-not Miller or Williams...they are already sounding dated. Can be used in las catogory (other) ‘You will probably use the “contemporary comedies” andthe ‘other’ category the most often. Things not to do Don’t do incest, rape, cursing, AIDS, et-type monologues... you don't know ‘what these people have personally hed to go through and you don’t want to offend them or make them otherwise uncomfortable with you. ‘Those casting are looking at you to see if you ean play an honest moment.3\ Example monologue sources: ‘CLASSICAL T ‘CONTEMPORARY ‘Shakespeare Mastisimone 7 Dorang Strindberg Simon ‘Youngblood Tenley The Greeks Restoration Wardrobe Itis important to select an audition wardrobe and have it prepared and always ready to go. Target your audience, ‘You may have separate wardrobe selections depending upon whether you are {going for an interview, an audition forthe stage or an audition for an on-camera role, Appropriate dres for an interview is defined by where you are interviewing and for what job, Don’t let yourself get caught up in “they should just accept me for ‘who Iam...” Be aware of prejudices, predilections and the culture within the ‘company you are interviewing with ‘Don't make decisions in a vacuum, Speak to friends, family, and people whose ‘opinions you respect and ask them what they think. This holds true for wardrobe, practicing phone calls, monologues, whatever, Having a support group can keep ‘you foouned and on tang. Where to find thom - NOT IN A MONOLOGUE BOOK! Plays, novels, movies, shows, Teachers. What to look for 2 minutes, Contrast Find something we don't know, or don't see much. (Ask directors)NOT the most dramatic moment in the play, show you can think intelligently, walk, & talk. Be you. At the Audition: Techniques for success Exerc Using physical stance for success Exer Using a memory and action to psych up for a good beginning & end. Exereh Making ie oer people burn, Three Questions: How am I prepared? What's going to be fun about this? What am I going to show them about myself? After the Audition: Positive attitudes toward rejection. A. Three Positive questions As soon as you walk out: What went well? How can I be better prepared? What can I do better in the moment next time? B, Getting Feedback Bxereise: Every 1 out of 6 Call on phone and ask about the job - 6 times. Getting Ready for More Au Getting feedback. Yourself, Friends. The reader. Classes. ions. Refining the Process Use your positive motivating questions to refine your process. Persistence isthe key to success! Auditioning with A Reader Its your audition, not the easting persons, so you take control. The casting personnel are tired and exhausted with seeing people every 2-10 minutes. Relax them by being prepared and in control. Practice to WHOLE aueition. Give them a choice of two things that they can make easy yes or no or choice answers to ‘What to do before the audition Get sides in advance to study. From what line to what lin.as) Ask how long time slot is for audition. Don't ty 19 memorize, bu i you do, still old script. ‘Make strong choices. Casting person wants just one honest moment about character, “Character” inthe room, not the actor. Find the comedy. ‘Tension destroys the honesty, Be in contol but with graciousness. Preparing the sides: Ifyou have alot of sides, concentrate on the one you feel best about, Try to pick ‘one with given circumstances and closest to you. [If side is long, pick outa short part, Ask reader to give Ist an last lines of any long monologues they may have. Or beter yet, cut it for them Cut through conversation and piece together your lins to sidestep the reader hhaving to read alot. Be sure to ask auditioner in advance if they'd mind that you did that, Its always fine with them, but it is polite to ask Practiced readings with a practice reader. + Hold script even if memorized. + Keep a distance from auditioner don’t gt creepy. *+ Block audition pieee- make ita seen. + Know fist and lat lines, Be an active listener to reader. + Make strong choices. *+ Call another human to get help ifnecessary. + Honesty- discovery of something right in the moment, + Find ajoumey. ‘+ Ifyou jiggle the script, put it ona lip-board. ‘At the audition Find out about the following fiom the monitor: + Who + Who should I speak to? + Should I Took at them during my pieses the answer is 99% no) *+ Write picces you will be doing on your resume. ‘Walkin: the room?“Hi, Pm XXX... Here"s my headshot and resume (to lead person). (Greet everyone) including “Hi, 'm XXX...Are you my reader? Great, I was asked to propare XXX, Ti ike to start with, XXX, is that ok? [Now consult with your reader. ‘About the Reader ‘Reader is usually an actor, Can be stage manager, ete. (OK to give reader one maybe two valid directions ‘Give the reader the energy (she) gives you. Don’t abuse the reader. Make extra copy of side for reader in case thers is not handy. Introduce se to reader and show (hes) the side and give brief explanation “I've made an extra copy of the side in ease, Briefly explain any cuts and go over “where to where. ‘After your first piece ‘Ask auditioner, “Would you lke to see that any other way? Or should I move on to the next side? Great, Tid like to do XXX ifthat's ok?” “Great.” Do what’ indicated. After last piece Say thank you and leave with confidence. ‘Thank the reader.Great Audition Checklist [Completa] Preparation [Read the pla [See the Play [Objective Divide into Beats [SubtexyParaphrase: [Active Verbs (show at least three actions -beg.mid.end imagery [Cassette work. lWorklist for Rehearsal [Get off script page (when important) Prepared lines for Beginning and End [Beginning Middle End First moment is reaction - in the play [are Blocking [Choices from script [Look for comed [Unique one (s)_ [Script as a tool |Video Tape/ Rehearsal for frends. [Rehearse greeting, questions and exit (whole audition) lWhat are you wearing? Honesty [Confidence [Performance [Get there eari Talk to monitor [Enter with Confidence, You're fun to work with [Dont apologize, look for Comedy [Greeting - All, especialy reader [Breathe [Honest moment [React - don't act, dont PERFORM, [Dol_Don't show‘SHURTLEFF BASED IDEAS FOR AUDITIONS. Fil this sheet out when you are preparing for an upcoming auton. 1. Describe relationship - Where's the love? The Emotional need. Facts: Fee! 2. In-one specific sentence, state you are Fighting For. 3. Detail the Moment Before the scene starts. 4. Desoribe the use of Humor in your scene or monologue. 5. Highlight 2 examples of the use of Opposites. 6. List $ moments of Discovery. 7. Highlight the moment of Communication in your scene or monologue, 8. What are you right about and what isthe other character wrong about? How should the other person Change? 9. Highlight the most significant moment of Importance in the scene. 40. What s the Event that happens in your plece that changes your relationship? How does Place affect your behavior? Describe where you are. 42. What is your Role in the play? 13. _ Whats the name of the Game in your scene/monologue? 14, Describe a moment of Mystery and Secret you use in the text.3 Since so few Actors get a chance to sit where Producers and Directors st, here are ‘my 10 tips on how to have better audition experience. 1. Always bring a picture and resume. I don't care ifyou have an Agent, a Manager, and a Momma Rose-style"mom- ager" who all promised to send it over. You're the one that won't be remembered if you don’t have one. A P&R is more than an American Express card. It's like a patr of ‘hoes. You wouldn't leave home without shoes, would you? 2, Haven't memorlzed the material? Don't pretend you have. Ifyou have sides, try to memorize them. Butif you cant, it's ok. We'd rather hhear the material as written with the papers in your hand than hear you make up stuff just to prove that you tried (and faled) to memorize the material (remind me totell you about the time an ator added afew lines to a Tony Award winning playwright’s monologue to kil time while he tried to get back on track). 3.Don't make excuses. {don't want to hear that you have a cold or that you have bed-head, or that your printer is broken, Do your best 4. IF ask you to make a choice, make one, | commonly ask the people auditioning for me to choose between two ‘monologues, or Lask them to give me three song choices from their book and then I say, "which would you like to do?” I want to learn what YOU are attracted to, and I also want to see you make a choice. Don't say, "Itdoesn't matter. What do you want?" Actors have to make strong clear choices when developing characters. 1 ‘want to see that side of you in everything you do, 5. Make your first 15 seconds count. ‘When you meet someone for the first time, don’t you make a lot of suppositions? Wedo too. 6.Bethe 3 Cs, Be comfortable, charismatic and confident, Actors have to command atte ‘They have to be the most interesting people in a 1000 seat theater. Be someone that‘we want to getto know, Ifyou can do thatas yourself, know you'll also be able to do that in a character. 7. Don't take the last audition times ofthe day. Casting isnot an easy process, and atthe end of the day creative team is ‘grumpy, tired and wants to go home. The early actor gets the part. (Another reeson ‘to be scheduled early? You don't have the rest ofthe day of actors to be compared to. 'm much more likely to call someone back that I see early because have no idea ‘what the rest of the day will bring) 8, Letus know where to find you. Even if you have an agent, put an email address where you can be reached directly on your resume (For safety reasons, 'd suggest a separate email just for this purpose). This way, if you ever leave your agent, or if your agent doesn’t get back to the casting director right away, interested parties have a way of atleast sending you an inquiry. You don't have to respond. Pix and Resumes sit in files for years. You always want some piece of contact information to be accurate so someone can find you fast. 9. Don't start over: Screw up? Fight through it. And it probably wasn't as bad as you thought. You're more sensitiveto it than we are. An old voice teacher of mine used to say, “If ‘you put a microphone on the inside of a Mercedes engine, you'd hear all sorts of| sputtering and spitting but from the outside, you'd hear nothing but purrrerrerr.” 10. Always audition ‘The best way to master auditioning is just like everything else. Do it over and over, You'll get numb to the nerves. You'll be able to be yourself. And you'll get free practice! Iused to go to dance calls, because learning a dance combination at an audition isa free dance class (and | needed them). Actors who get to work on sides with directors at an audition get a free coaching.Musical Theatre Auditions Opportunities mutiply as they are seized, ~ Sun TauSongs for MFA Musical Theater ‘Actor SongBook Formatting Must be ina hard binder of some kind Must look professional, not scrapbooky or sloppy ide somehow by genre for easy access. OPTIONAL: Table of Contents. OPTIONAL: Colored Tabs Ata minimum for this class, you must have at least 9 Songs: 2Ballad 2Uptempo 1 Comedy 11 Patter Song {1 Rock N Roll Song ‘They must be prepared as follows: + A 16 Dar cut (required) ‘432 bar eut (optional, ut recommended) +A full song version (required) Each cut should be on separate sheets of paper. Books may be formatted as any of the below: ‘+ 2sided in plastic sheets (non glare) + 2sided on heavy bond paper (so it won't rip easy) + Taped together for foldouton the piano (hot so popular anymore) Notes: All transpositions complete and written in your key ‘Tempo changes and dynamic marks clearly indicated Avoid songs that are overdone No charts ~ only fll written music‘The key (oa successful singing audition is PREPARATION, PREPARATION, PREPARATION! Think about what possibly could be asked of you at an audition. ..and what possibly could go wrong..and prepare for that. Here are some tips to help you be more 1. You should have TWO notebooks prepared with your musical theatre repertoire. One should bbe notebook that holds ALL your singing mpertnire “The sevond notebook should be your AUDITION notebook that includes only audition ‘material (not songs you are working on with a voice teaches): + A-classic musical theatre ballad and uptempo (examples: Beet ‘Rodgets/Tart, Rodgers/Hammerstein) ‘+ A modern musical theate ballad and uptempo (examples: Lemen/Loewe, Herman, Styne, Loesser) + A-contemporary musial theatre ballad and uptempo (examples: Sondheim, Webber, Wildhorn, Lippa, Guettel, Larson) A classical aria andlor opereta song, ‘A patter song (a quick song thet shows your ability to handle language) ‘A pop/rock song (examples: Billy Joel, Whitney Houston, Elton John, Matiah Carey), ‘A-1940s Big Band song ‘A-1950s-1960s rock song, ‘A country-western song Porter, Gershwin, ‘Whatever songs you have in your AUDITION notebook should be fully memorized and worked already as monologues. Don't include material you think you know “well enough’ or haven't worked, 2. Have your sheet music prepared appropriately. + Don’t bring in a whole songbook or pages taped together lke an accordion. Copy the song fiom the book and put it into @ nicely-organized notebook that wil sit onthe piano easly ‘+ Be sure your music is from a full score or songbook. Do not bring in music that only has chords 6 is from choral books. ..or ie written for guitar! + Besure your song is inthe correct key. The Accompanist will not transpose on sight for you. + DO NOT PUT YOUR MUSIC IN PLASTIC SHEET PROTECTORS! “+ Make sure the copy of your music has ALL THE to make sure the bottom line of music hasn’t been cutoff. sure the title ofthe song is marked clearly somewhere on the first page of your‘Mark your music clearly forthe following: Intro, Vocal Begins, Cus in the Song, ‘Repeats, Song Ends, ‘The more you prepare forthe accompanist, the better off you will be. + Always have two pages of musie ready forthe aevompanist o play. + Avoid having more than one page turn. Having NO page tums is best! + Communicate withthe Accompanist what tempo you want your song. They aren't mind readers ~ sing a litle ofthe song for them, Ifyou begin your song, and you are crashing and burning, then stop and politely ask to bogin again, This should NOT happen ifyou have communicated corrctly with tho Accompanist. ‘+ Ifthe tempo is wrong on your song, DO NOT EVER SNAP AT THE ACCOMPANIST!! Plow through and be sure you are clearer next me explaining what you want, ‘+ Always thank the Accompanist for ther help. lite politeness goes along way...even. if the Accompanist messed up your audition. + You should be able to get through your audition no matter what happens...with or ‘without that piano accompaniment 2. Seleting Auton Matera ‘Choose material you LOVE, LOVE, LOVE! Iyou aren't enjoying the material you efor, it wil shove, and you wll nt give your best audition. However, avid sing the “show ofthe month for your auition mata, Whatever's popular on Broadway andor Of Broadvay today isnt always the best material for you. 4. Know Your Type and Your Singing Voice Be honest about wht “type” you ar andthe trae range of your singing voice. Yes, you want to show us your fll ng, but dont sng songs that ae written fora diferent voice typesound Ifyou are soprano without bel, then be THAT And make sure you can sing any hightow notes you lst on your resume. whether i's 8:00 a.m. oF 8:00 p.m. 44qh WORKING WITH AN ACCOMPANIST ‘At the Audition Groat the accompanist Be pleasant, you never know how much say this person has in casting ‘The entirety of your interaction shouldbe very brief Position youself so that you backside is not facing casting director, many directors watch your interaction withthe pianist see how you are to work with ‘Tell them what song you are singing them the tempo ost done BY singing few bars of the song to them quietly Make sure you are singing the corect rhythm to allow for an accurate tempo ‘Do this for any major tempo changes Do not snap oF tap itis rude ‘Work out when they should begin playing Before you leave them, ask ifthey have any questions [After you bave completed the sulition, reieve your music and thank them for plying. [Never make any negative comments about he pianist; you never now who they ae ‘Wait ill you get home total about your audition, Preparing Your Book “Make sure all of your euts,tempe changes, holds and stops are marked clea. Clearly mark what you want fran introduction [Be cure to eliminate any markings that are not comet for this performance Highlighting the specifies (empo changes, hols, and stops is a good ide. ‘Be sure that everything is marked, dont depend onthe accompanist to remember all of the instructions. They often play hundreds of songs in single day. Cutyourmusie “Take the time to actualy ut out any sections you are not doing I'the music is nt there, they won't be able to make a mistake and play a setion you ae skipping ‘Bing your musie i the correct key While many accompanist can transpose on sight, an equal number who cannot. ‘Spend the money t have someone transpose i, and not just with chonis ora lead shet. Many accompanists will hive ditficulty with lead shets, especially if they are not familie with the son. Make sue your music is in good condition ‘Keep the music in good canition. The last thing you want isthe muse o get ripped out hile you ae trying to perform. Shes protectors can work, bu they need tobe nora. -Make sure the musi sprinted on whitepaper, not ote book paper Be sur that you have the fll song if you are doing a ut ‘Choose mattial tat is not extremely dificult for an accompanist o sight read at the auttion (No Sondheim, LeChuisa, or Jason Robert Brown unless itis some of thet casir well known works) Run your music wth an accompanist BEFORE the audition so you know what expectPrepared Auditions with a Reader ‘Shoot for the moon. Even if you miss it you will land among the stars, —Les BrownPREPARED AUDITIONS WITH A READER ABOUT SIDES What to do whe they can" them, How to deal with long sides How to deal with oo many sides How to get them Fox. Email, showfax, gt them eatly atthe auditions ‘THE MONITOR Be nice to thom, Find out who isin the room and what they are looking for. ‘What to do when they are in a hurry How to crash an audition Get the sides they have anyway. HOW TO WORK WITH A READER Bo nice to the ender, get their name Howto match your sides with the reader. How to do stage dieations with the reader ‘What you can and can't dot a reader “Thank them when you leaveFilm & Commercial Example Sides “Change will not come it we wait for some other person or some other time. We are the ones we've been waiting for. We are the change that we seek.” «President Barack ObamaHON | Steena ~ “Wlla ising” - Knite Shooting Draft ~ 9/14/2000 8. conrmiven: woRsaN ast the mon I's Looking for. Your aesictant here told me you vere fetuston nit offers to find the Seek 8a."“ieen moe cougrn ‘thanks. orca Because I want this beast! And £ Vill double". Eripie the beat offer You've heard tosay” Nordehlsen's eyes go vide. 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