JUST 45 MINUTES FROM BROADWAY

By Henry Jaglom

Now playing at the Edgemar Center For The Arts, in Santa Monica

When the highlight of a stage production is the set and when the reaction of everyone around you is, “Well, the set, at least, is wonderful!” it’s pretty clear that something is amiss.

In the case of “Just 45 Minutes From Broadway”, Henry Jaglom’s new comedy, the problem is not with the actors, most of whom are up to the task of handling an over-written comedy that is too long by at least a half hour. Unfortunately, however, two of the characters are so annoying that it is difficult to see past the roles and appreciate the actors portraying them.

Tanna Frederick, in the purported lead (this really is an ensemble cast, folks), is talented, charming, and for the most part, very funny. Her character, Pandora, is a neurotic, over-the-top nut job, whose incessant crying and whining start to wear very thin about twenty minutes into the story. Panda, as she is called by her eccentric family, is the youngest daughter in a typical household of second-rate thespians. Oh, yes, we’ve seen these people before in far better plays: The goofy-but-endearing gypsyish mother (Karen Black) and the befuddled father (Jack Heller) living on past glories of the Yiddish theater. Panda still lives at home with her beloved parents, an uncle (David Proval, almost unrecognizable from his “Sopranos” days) who dotes on them, and a delightfully silly renter (Harriet Schock, a pick-me-up whenever she’s on stage), who seems to be harboring “feelings” for…someone in the group.

As the play opens, Panda is reeling from her latest breakup and dreading (with good reason) the arrival of her older sister, played with unrelenting bad humor by Julie Davis. Betsy is the only member of the family to have escaped into the real world and she detests the theatrical environment in which she was raised. Now in her late 30s, she arrives with her fiancé, Jimmy, to introduce him to everyone and what a mistake that turns out to be. David Garver as Jimmy is a true find: A tall, blandly good-looking man who provides one of the sexiest, most romantic seductions we’ve seen in years. He is the only one in the piece that seems to be a real, flesh-and-blood human being and is someone with whom you wouldn’t mind sharing a glass of wine or more.

We aren’t sure if Julie Davis’ portrayal of super-bitch Betsy was meant to be so one-note – meaning if it was written that way or if Ms. Davis was directed that way – but we suspect that there is a good actress lurking beneath. Too bad she isn’t allowed to show us just how good, because as played, Betsy is hateful, with virtually no redeeming qualities.

This is one of those productions in which there are a number of fine performances (Ms. Black should thank director Gary Imhoff for leading her through one of the most grounded, normal characters she has ever played – and she is marvelous throughout), but as a whole, the play is rather ordinary and forgettable. If someone could get Panda to stop crying and Betsy to stop bitching, thereby shortening the play by at least twenty minutes, there might just be something better to talk about on the ride home than…Joel Daavid’s truly wondrous  set.

- K. Malone

June 2010

TUXEDO MAN

By Zack Hoffman

“Tuxedo Man” is a one-man show written and performed by a Canadian-turned Angeleno-turned Seattleite named Zach Hoffman. He recently took this show about a used-up, has-been lounge singer on the road and our intrepid reporter, Pat Lach (a longtime, very savvy Hollywood actress, who recently relocated to Oregon), was fortunate enough to catch it in Portland. Pat reports:

“Tuxedo Man” was REALLY VERY GOOD!! AND…as I told the star afterwards…WHAT A SET OF PIPES!! Can that man sing!!! He had everyone in the audience shout out their favorite song, then sang a medley of so many “golden goodies” – club songs – that I couldn’t count them.

The material covered all the emotional bases and included audience participation. What a treat to get a one-person show at a level of competence and talent that is more than worth the ticket price!!

L.A. “one man shows” have much to learn from him! Oh, and the accents for each of his characters, along with the voice/pitch alterations…enviable!

Didn’t have a chance to ask, but HOPE he takes it to LA – lots of stuff for our “vintage” to appreciate about those that are “gone!” (one of the tag words on several references), places that are “gone”, and some (Cantor’s, Micelli’s) that are still there.

He wrote this piece and it took him 5-6 yrs. Well worth it! The guy is amazing and really needs to be seen/heard in bigger venues!

- Pat Lach

June 2010

For more information on future venues, call Zack at 206-353-4044 or go to www.zackhoffman.com

NOTE FROM Editor: Even though Portland is NOT “Hollywood”, the lesson to be learned from this is that sometimes, an actor just has to create his own opportunities. Think about it…

BENGAL TIGER AT THE BAGHDAD ZOO

By Rajiv Joseph

Mark Taper Forum
April 14 – May 30, 2010

When this play premiered in 2009 at the Kirk Douglas Theatre, in Culver City, I very deliberately avoided it, simply because of what the name implied. As an overly empathetic animal lover, I cannot tolerate the thought of any creature suffering and assumed that this play would, at the very least, touch on that. Animal lover or not, when my season tickets at the Taper call, I feel compelled to go. Thankfully, my original reservations about this marvelous piece were misplaced.

In a nutshell, yes, there is a tiger in the ruins of the Baghdad Zoo when the play opens – a tiger played to his grumpy hilt by the only semi-name actor in the piece, Kenneth Tighe. Tighe does not attempt to impersonate a 4-legged animal, however; this tiger is all smart-mouthed humor and dead-on (no pun intended) philosophical musings, relayed with a deep, growly, riveting voice.

Tigh-er is being guarded by a pair of rough-edged American marines – one a self-deluding thief, Tom (Glenn Davis), who feels entitled to the spoils of war and the other, Kev (a slightly over-the-top in Act I Brad Fleischer, who hits his stride in Act II), a stereotypical dumber-than-dirt newcomer to Iraq. A truly stupid encounter with the caged tiger relieves Tom of his right hand and when he returns from his rehab in the States with a state-of-the-art new hand, it causes a certain sexual problem for him: Masturbating left-handed just doesn’t suit him! He enlists the aid of the camp interpreter, Musa (the outstanding Arian Moayed), to explain to a young prostitute (Sheila Vand) exactly what it is he needs her to do for him. This entire exchange is done in Arabic and is hysterically funny.

The play is peppered throughout with extremely active ghosts, the most compelling of which is Uday Hussein, slithering around the stage with the severed head of his brother in a plastic bag. Hrach Titizian is a wonder to behold as Sadam’s most feared and hated son.

The uniformly excellent cast is rounded out by Necar Zadegan, playing both a very much alive Iraqi woman and a hauntingly deformed leper.

I haven’t read the notes in the program yet, but here’s my take on the allegory of the caged animals: As the tiger explains it, he was minding his own business in the Sumatran jungle, having just lunched on a pair of yummy children, when he was captured and transported to this Iraqi jail. Although fed and kept “safe”, he spent the next dozen or so years in the wrong place at the wrong time. When the bombing of Baghdad resulted in the escape of his fellow inmates – a group of lions – he chose to remain in his cage. He discovered that the newly freed lions were almost immediately shot and killed by their so-called liberators and/or “fellow” Iraqi citizens. So, which is better? To be trapped in a place you can never leave (Iraq under Sadam Hussein) or to be liberated, only to suffer years of countless humiliations and losses, thanks to your former enemies? It’s a terrible choice at best and one with which the people of Iraq must deal, as the world watches.

- K. Malone

“I made many of the classic actor mistakes when I left New York,” Michael tells us. “Instead of remaining with my agents there, I foolishly closed that door and quit them. It never occurred to me that I could maintain that relationship long-distance and better yet, that they might have been able to introduce me to some agents in Hollywood.

“Of course, I had to buy a used car when I got here – I couldn’t afford a new one! – and it instantly needed about $800 worth of repairs. Even though I had brought $5,000 with me (a small fortune in those days), it was very quickly eaten up: The car, the first-and-last month’s rent, classes, L.A.-style headshots, etc. So…I became a waiter. Nothing wrong with that; it’s really an ideal job for an actor and it allowed me to continue pursuing my career.

“Several years later, I directed a play. The wonderful commercial casting director, Beth Holmes, happened to attend a performance of that play and was so impressed by my directing abilities, she asked me if I’d like to help direct some of her casting sessions. Well, I’m no dummy – it was a paying gig working in my area of expertise – so of course I took the job. I eventually went into partnership with another great CD, Megan Foley, and continued pretty much specializing in commercial casting, as well as some TV and film. Eventually, I decided to give up acting completely and I’ve never looked back.”

We wondered how it happened that Michael made the transition to legit casting several years ago.

“When the huge and awful commercial actors strike happened in the late ‘90s, there was literally nothing for me to cast. As a SAG member myself, I refused to cast any project that had originally been union and there weren’t enough new, never-union spots to go around. When someone asked me if I’d like to cast a play, I thought, ‘Sure. Why not?’ After all, the legit stage was my first love and by this time, I knew hundreds of terrific actors who were dying to do theater.

“Today, I cast for the International City Theatre (ICT) in Long Beach, the Hollywood Bowl, Reprise and loads of other houses. One of my favorites is The Pasadena Playhouse, which, unfortunately, has recently been forced to close its doors, due to financial problems. I can’t wait for it to start up again! Of course, I still cast films and commercials, too, but it’s live theater that is my main focus.”

We asked Michael why he thinks it is important for actors to work on stage, even if it’s in Equity 99-seat contract (i.e., virtually non-paying) theaters.

“Are you kidding? As far as I’m concerned, no one can call himself An Actor if he doesn’t do stage work and doesn’t have theater credits. Stagecraft is the basis for all other facets of acting. I realize that acting is acting, but…without the basics, you simply aren’t a pro, in my opinion.”

Michael was happy to share some insights and tips for actors regarding the audition process for theater. Some of this may seem obvious, but we all know that unfortunately, far too many actors enter the audition room poorly prepared, which is a waste of everyone’s time and an embarrassment to everyone involved, particularly the agents who represent these non-pros.

“I wish I didn’t have to mention this kind of thing, but you wouldn’t believe how many so-called actors come to auditions totally unprepared. But instead of listing all of the things they shouldn’t do, let me just give you some basics of what they must do.

“Let’s start with the play itself. If it’s a published and/or well-known piece, it is the actor’s absolute responsibility to be familiar with the entire play. In other words, get of copy of it and read it before coming in to audition for us. This isn’t TV, where you might get to appear in one scene and really don’t have to understand much about your character, other than the obvious. A play is an entire story and you’re going to be part of that story for weeks to come, should you book it. The more you understand about your character and the other characters, as well, the better chance you’ll have to show us that you’ll be able to handle a whole play.

“Now, if this is a brand new play and you can’t obtain a copy of it, try to look at the sides for all of the other roles. They will give you a much better sense of what’s going on than merely going by your own character’s sides.

“Never, ever ad lib your lines at a play audition. I’ve actually had people ad lib Shakespeare and we couldn’t get them out of the room fast enough! The writer’s words in a play are set in stone; they do not change, unlike the scripts for TV and film, which are constantly being rewritten. Stick to the script for a play.

“Even if you’re one of those actors who can memorize very quickly,
keep the sides in your hand when you audition. For one thing, if you don’t, you make it seem as if you’re giving a ‘performance’, not an audition. For me, personally, if I see that the actor doesn’t have the sides in his hand, I’m subconsciously waiting for him to go up on the lines. So, instead of concentrating on his audition, I’m looking at the sides in my own hands, in case I have to prompt him. Obviously, that can really work against you.
“This may sound like a no-brainer, but I cannot emphasize it enough: Always, always bring several headshots and resumes with you to every audition, not just the ones for stage. Even if you think that electronic submissions have you covered, you never know when someone in the room is going to say, ‘Wow – I have another project you might be right for. Can I have your pic and res for that one?’ Besides which, what does it hurt to always have them with you?”

We asked Michael for some information about the mysterious world (to many of you) of musical theater, knowing that he casts quite a bit of it.

“I suppose it can seem slightly scary. Just because someone has a great singing voice does not mean she knows how to prep for a musical audition, so this should help:

“Most, but not all, musical auditions request that the singer bring in two pieces: 16 bars each of an up-tempo number and of a ballad. You should find out what the tone of the show is (‘The King And I’ vs ‘Rent’, for example), so you can bring something that would demonstrate you can sing the appropriate type of music. You can even ask if it’s okay to sing something from the show itself. Sometimes it is and sometimes it isn’t, but it can’t hurt to ask.

“Bring your own sheet music, in your key. Do not ask or expect the accompanist to transpose the music for you. That isn’t his or her job.

“Know your vocal range. If we ask you what your high or low note is, know the answer. If it’s a mystery to you, we know instantly that you aren’t a pro.

“If you really want to work in musicals, spend the money on a singing coach who can help you find the answers to those issues. A coach can determine your key, your range and help you choose appropriate sheet music that will serve you well in various auditions.

“OK. So, if we need a double- or triple-threat, the audition process will start with the area that’s most important to us. If it’s the singing, that will be your first audition. If we need strong dancers, we start there. If you pass the first phase, whatever it may be, then we call you back for the second phase. Usually, the acting audition comes last, after you’ve shown that you can handle the singing and/or dancing.

“Speaking of dancing…for heaven’s sake, bring your dance shoes with you. Again – a no-brainer, right? Well, guess how many so-called dancers show up with either no dance shoes at all or the wrong type for what we plan to do. You can’t tap dance in jazz shoes, folks! And no – we do not want to see you dance barefooted! (Yes – that has really happened. Unbelievable!)

“A note about how to dress for a musical audition: Guys should wear an appropriate shirt – usually a dress shirt – and clean, pressed slacks. If you must wear jeans, make them a stylish-looking pair, not something you’d use to change the oil in your car. Women should always wear high heels and a skirt or dress – we need to be able to see your legs. Hopefully, you’ll already know how to walk in heels,” Michael smiled, “because we really don’t want you toppling over as you cross the stage!” And for both men and women…for heaven’s sake, never, never, never wear flip-flops to an audition. We do not want to hear you literally “flip-flopping” across the floor. Guys – we really don’t want your ugly, naked toes staring us in the face! And ladies (this should really make my point), flip-flops make your feet look fat!”

We asked Michael if he agreed with us that for an audition, makeup should be kept to a minimum. “Absolutely,” he said. “I realize that an actress may feel a bit “naked” for a stage audition, knowing the lighting is different and there are no ‘close-ups’, but try to keep it as natural as you can. For on-camera auditions, we want to see the real you, not the you that comes out of a cosmetics bag. If you’re hired, you’ll have a pro applying the appropriate makeup. Before that, think of yourself as an empty canvas, waiting for the casting director to paint you as he or she needs you to look.”

Michael summed up his advice with this little gem: “No matter what type of project you’re auditioning for, behind the table in front of you there might be 4 or more people – the casting director, the director, a couple of producers, writers, etc. – all of whom, throughout their own lifetimes, will be going on to do many, many jobs. Now, doing some quick math: Let’s say there are only 4 people there that day. If each one goes on to do 25 more projects –and that’s being conservative – you have just auditioned for 100 possible jobs!

“You may not have booked that particular job, because it simply wasn’t your turn. But…if you gave a solid, professional audition, you left an excellent impression and believe me, you will be remembered and those 4 people are going to want to see you again and again. I hope that gives the actors reading this insight into the bigger picture – that it isn’t just about this one, particular audition of the moment.

“Here’s a little secret: I do not always agree with the final casting decision on every project. I may have preferred the 2nd choice, but of course, the producers have the final say. However, the next time I need to cast someone in that category, I’m going to remember my preference, Actor #2, and will be sure to bring him in.

“The point is, it is the actor’s job to give the best possible performance at any given time. That’s what all of us on this side of the table are hoping for and that’s what we will remember the next time your headshot or name come across our casting desks.”

Michael will be casting, along with Margery Simkin, Neil Patrick Harris’ production of “Rent” at the Hollywood Bowl this summer (2010) and he’s really looking forward to that new project.

Michael Donovan teaches acting at UCLA and offers occasional seminars elsewhere throughout the year. Find out more about this very popular casting director at www.michaeldonovancasting.com.

THE FINALE! THE ENTIRE JOURNAL IS AVAILABLE, BELOW.

When we found out that an actress we know from the mid-west was planning a trip to Hollywood in preparation for a move here, we asked if she’d be open to keeping a journal and sharing it with our readers. She was and she did – and it’s entertaining AND informative. Here is the first installment; more will follow every few days, so stay tuned!

Saturday, August 15, 2009-

It is 7:10am and I’m sitting at Gate C9 at Cleveland/Hopkins Airport, anxiously awaiting my turn to board the plane, which they will start doing in about an hour. They tell you to check in two hours before your flight and I’m glad I came early…the line at the security point check-in was long and even though he confiscated my (2) water bottles, the security guard did so in a very charming way, and was extremely “hot”, so we flirted with each other and that more than made up for the whole getting up at 4:30am to be here at 6:30am thing. I’m wide awake now! LOL! I did get my ticket cheap, since I purchased it early thru AAA more than 2 months ago, so I can’t complain too much. I’m all about shopping around and getting the best deal, whenever possible. My roundtrip ticket from Cleveland to LA was approx. $350 plus the $15 for each bag you check in, each way. Yes, most airlines now charge $15 per bag for anything you check in. So, squish all your stuff into (1) bag and don’t make it too heavy or they will charge you extra.

I’m now on the “cattle car”….I mean, plane. I swear they’ve crammed in a couple extra rows of seats to pack as many people in this plane as possible. What’s the maximum capacity, again? So, we wait patiently, with our knees up to our chins, for our turn to go. But, I’m getting way ahead of myself here. You’re probably wondering who I am and why I’m even on a plane heading for LA, right? So, let me start at the beginning….

My name is Patricia Valestin and I am a working Film/TV actor from Ohio. I’ve been pursuing my dream professionally for nearly four years now, (though I haven’t left my day job, yet.) I still like AND need that steady paycheck, along with my benefits, if ya know what I mean? My first paid acting gig was as an extra on the set of “Spider-man 3”. Since then, I’ve been training with my acting coach, Maureen Dempsey (on-camera scene study), aggressively auditioning/working and building up my resume. I knew I wanted eventually to make the move to LA, but after hearing all the horror stories about people (other actors) moving down there on a whim with no money, no job, no training (yes, they do look at your training), no demo reel, no business cards, no decent CURRENT professional headshots to speak of and no resume (that has been put in the correct format). In other words, they basically had nothing to offer but their “good” looks and the “stars in their eyes”. Thus getting no agent, no auditions, no jobs, no money and having to return home with their tails between their legs, so to speak. Wow! I didn’t want to be one of those people. I wanted to do this the right way.

About a year and a half ago I came across a web-site called Hollywoodpassport.com. It is a web-site devoted to actors looking to make the move to LA. It’s an unbelievable site, loaded with all the info. you can possibly need to help your transition be an “easy” one. Now, don’t get me wrong. It does not “sugar coat” anything. It tells you how it really is and what to expect. It is definitely not for the squeamish or the faint of heart. It’s geared towards the serious actor. After all, acting is an industry, like any other, that should be taken seriously. It was just what I was looking for. Yes! So, it was then that I started…. getting organized, that is. I got a new passport, (yes, people, you need a passport). You have to be ready, at a moment’s notice, to leave the United States if you are required to film in another country. You don’t want to be left behind or even worse…replaced! I also up-dated my headshot to a colored one with natural light. B&W is definitely OUT! And it had better LOOK LIKE YOU! NO glam shots here! I had a demo reel created and my own web-site up and running with the help of a good friend and a damn fine filmmaker, Steve Pallotta. Thanks, Steve!

Hollywoodpassport.com suggests taking a couple of weeks to go and explore LA and any and all opportunities to get acclimated to the area. So, I started saving my money for the trip out West. My boss at work would only give me two weeks off, so I knew my time out in LA would have to be planned very carefully, down to the last detail, so that I would get the most out of my time spent there. Hollywoodpassport.com suggests doing as much at home as possible before leaving, (demo reel, headshots) mainly because it’s less expensive. They also suggest making appointments/meetings, and registering for classes before leaving the comforts of home. So, I ordered the latest copy of Samuel French’s “The Agencies” to get current addresses and phone numbers of all the LA/Hollywood agencies. I then started sending out promo packages (headshot/resume, with demo reel and a personalized cover letter) to those agencies that were accepting new talent in my age range. Some of the agencies wanted you to e-mail the before mentioned packages, so that saved me a few dollars. “The Agencies” book lets you know what info they want, how they want it sent and to whom it should be directed. Get all this work done at least six weeks out from your trip to give people plenty of time to get back with you. After all, you can’t go to LA expecting to knock on doors and just walk in. The reception would not be a friendly one, most likely. In my case, there were about 60 agencies listed that were looking for new submissions in my age range. Some of those 60 agencies only had phone numbers and no address. So, I started cold calling the ones that had no other information and to my surprise, I was treated graciously and given either an e-mail address or a mailing address for me to use to send my information. Just remember to BE POLITE and don’t keep them on the phone too long. They are extremely busy and really don’t have time to chat on the phone, so don’t take it personally. You need to get a thick skin anyway before going out there, people, so start now.

I ended up sending out 48 promo packages and e-mailing a dozen or so to the ones wanting e-mail submissions only. To my surprise, I had eight agencies contact me, five of whom were definitely interested and wanted me to contact them when I arrived in LA to set up a meeting. So, with the hardest and most time consuming part done, I then began calling the acting teachers, classes and workshops suggested by Hollywoodpassport.com. One agency, who had contacted me after viewing my resume told me that I really needed some commercial training. She gave me the name of one such class: Mike Pointer’s “Hey, I Saw Your Commercial”! I researched it on the internet and it was actually rated as the #1 commercial training class in LA right now. So, I called and signed up. Yeah! My first class would begin on the day I arrive in LA. After all my phone calls were done and the dust had settled, I had enrolled in a commercial workshop, an on-camera workshop and set up an audition for a showcase through One On One Productions. All of this was done BEFORE leaving Ohio.

With my money set aside and everything coming together, I had nothing left to do but wait for my upcoming trip. I still kept working on acting projects, locally, right up to the week before I was to leave, to keep my skills sharp and to add more credits to my resume. If anyone knows me, they know that I like to stay busy (acting) and “stay in the loop” so to speak, even though I have a full-time job, as well.

That brings us back to my flight, which went smoothly without a hitch. I arrived just in time to pick up my rental car, which I had reserved when I bought my plane ticket. YOU DEFINITELY NEED A CAR IN LA! Do NOT rely on the bus system, taxi cabs or friends. They are all unreliable. You need to be independent and get where you need to go and be there ON TIME! Hint: Being on time really means, BE EARLY!

I had a workshop scheduled at 1:00pm with Mike Pointer’s “Hey, I Saw Your Commercial”. No problem. I picked up my rental car at 11:30am and headed straight to the class from the airport and with the help of my GPS, (a “must have” to get around) I made it to class on time. Coach Mike is an awesome commercial acting coach and my first class with him was unbelievable! I had so much fun and learned a lot at the same time. Can’t wait to go back for my next class with him, which is on Thursday evening. The class ended at approx. 4:30pm. So, I had just enough time to get going and check into the place I would be staying called, The Oakwood. It’s referred to as temporary housing (apartments) and is centrally located (very important) in LA. It was mentioned on Hollywoodpassport.com and I liked the idea of it only being 5-10 minutes from basically everything. It will help me save on gas, during my stay. Looks like gas prices are averaging $3.05-$3.15 out here. Yikes! Anyway, I rented a furnished studio apartment which is plenty of room for me and I really like having a kitchen, so I can prepare my own meals and save more money. It is comfortable, clean and secured 24/7 (gated community). This is a nice feature, especially for a woman traveling on her own.

Sunday, August 16, 2009-

This is my “free day”. I had nothing scheduled, so I used today to do my grocery shopping and explored the area to familiarize myself with my surroundings. I also picked up a copy of the LA times to check out the ads on permanent housing available in the area.

Monday, August 17, 2009-

I got up bright and early. This is the morning I was to make all my phone calls to the agents/casting directors that were interested in seeing me after reviewing my promo packages I had sent out BEFORE leaving Ohio. I’m sorry, but I can’t stress how important it is to do your “leg work” BEFORE leaving home. I left messages with receptionists and left voice-mails on others. Remember to talk slow, clear and concise. About an hour or so later, I began to get returned calls and also some e-mails. The first casting director, Dean Fronk, called and was still very interested in meeting with me on Tuesday. Yeah! It wasn’t even lunch-time and I had set up my first meeting! The next call I received was from TCN (The Casting Network). My contact was Marsha and she told me to register on TCN’s web-site ASAP and to come to the showcase she was having tonight at 7:30pm with guest Casting Director, Matt Lessall. Hint: A legitimate showcase will have you audition before being invited. Anyway, Marsha said that the showcase would be considered my audition for TCN and that I could participate in the actual showcase in front of a working LA casting director. The fee was $30. I know you are probably saying right about now, “You should never pay for an audition!” People, don’t whine about the fee. I’ve known actors who have paid upwards of $1000 to work and/or audition in front of so-called casting directors and/or coaches and there are plenty of them out there that will gladly take your hard-earned money and give you nothing in return.

When I arrived at the showcase EARLY (around 7:15pm), the place was packed. Remember, the traffic is crazy in LA, so always give yourself plenty of time. It is frowned upon to walk in late. DON’T DO IT!! This is where having a GPS comes in handy. NOTE: If you are running late, and this does happen to everyone from time to time, all the workshops/showcases have what’s called a “Late Line”. This is a separate phone number to call and leave a message to let them know you will be late and your approx. arrival time.)

Matt Lessall, the guest CD, actually ran the showcase tonight and he worked with each one of us on sides that he had supplied for us. We had 10 minutes to go over the sides he’d chosen for each of us. After a brief Q&A session before beginning, we then started going up one by one to deliver our lines. He worked patiently with each of us, giving us direction to see if we could change up the scene with his adjustments. My thought on this: He was seeing how well we could follow directions. Even though it was my first showcase ever and I was a little nervous, I thoroughly enjoyed the workshop and learned a lot. It was well worth the $30 I spent. At the end of the evening, about 4 hours later, I was told by Marsha that I did very well but that I needed to work on a couple of things, which I noted without offense. She also told me that I had passed my audition and welcomed me to TCN. I was thrilled! If you’re contemplating attending showcases, please remember, as an actor, you need to put yourself out there in front of actual working casting directors that really don’t know you or your work. These showcases give you the opportunity to be seen by casting directors that normally would not give you the time of day. So, check your ego at the door and have some fun!

Tuesday, August 18, 2009-

Woke up early (once again) so, that I wasn’t rushed. I had my meeting with Casting Director, Dean Fronk, at 11:30am and I did not want to be late. I arrived there about a half an hour early, so; I decided to go ahead and at least check-in for my appointment. Again, being early is not frowned upon…it is expected. I entered the building and headed for the elevators when a gentleman at the desk asked, “May I help you”? I responded, “I have a meeting with Dean Fronk”. He replied, “Oh, that would be the Penthouse”. He opened the elevator and pressed the PH button. I thanked him and he told me to have a nice day. Even though I was calm, cool and collected on the outside, as soon as the elevator doors shut, I was screaming to myself on the inside, “The Penthouse? Oh my God”!!

My meeting with Mr. Fronk went very well. He’s from Ohio! Very cool! We talked for a while and I gave him my current photos, resume and demo reel, as he had requested the day before. He thanked me for coming in and told me that he would definitely watch my reel and get back with me at the beginning of next week to set up another meeting. So far so good….and it’s only Tuesday! Wow!

In the evening, I had another class….an on-camera workshop that I was invited to by an industry professional that I had been networking with. Network, network, network BEFORE leaving home. Get in touch with other actors and industry professionals that have either been to LA or happen to live in LA. This is so very important. Again, I had signed up for this class BEFORE leaving Ohio. Even though there was no fee for this class, I was forewarned that this would be a 3-4 hour intensive session and I was somewhat apprehensive but looking forward to it, as well. When I got there, I signed in with the registrar, Johni Hurst, giving her a blank VHS tape with my name on it, as requested and was given my sides, which were pre-selected for me, in return. We were given about 10-15 minutes to go over them. The acting teacher, Tim Lampros, was refreshingly honest and did not hold back one bit. When it was time to go up to perform our sides, he would immediately let us know what mistakes we were making, if any, and what to do to correct them. He taped each one of us so that we could see our performance and rate ourselves. What better way to learn about your individual acting skills. I loved it! He then gave us a lot of great information on the business aspect of acting because that’s what it is….a business. He also stated that Hollywood is getting tired of training actors on the set. As an actor, you need to know your job, i.e. knowing where you’re supposed to direct your lines to. It’s called your “eye-line”. If you don’t know it….ASK! Also, know your lines. The director doesn’t want to have 50 takes of you performing your one line. No one wants to pay their production crew OT (over-time), especially in this economy. Besides being costly, they don’t have time. He may have offended a few actors in the room by being so brutally honest, but no one stormed out or anything like that, even though he did mention that some actors had done so before. It was an awesome class and I will most likely sign up for the 16 week workshop. I highly recommend this class, Actors Certified Training or (A.C.T.) to everyone. But, remember, once again, to check your ego and your “attitude” at the front door. He will notice and will point it out to you and the rest of the class. Tim Lampros takes his job seriously and so should you. If you’re not serious, do NOT WASTE HIS TIME!

Wednesday, August 19, 2009-

I woke up early again. This isn’t a vacation. Sleeping in would be disastrous, to say the least. I had a few more phone calls to make to agents who had contacted me before I had left Ohio. They had instructed me to contact them when I had arrived in LA to set up a meeting with them. Immediately after my phone calls, I had an appointment for an audition for another cold reading workshop, One On One Productions. Again, I had made this appointment BEFORE leaving Ohio. There was no fee for this audition, but once again the audition process is necessary to weed out the actors who don’t have the confidence and the ability to execute a cold read. Hint: Brush up on your cold reading skills before you sign-up for a cold reading workshop.

I signed in and was given my sides and assigned another actor to read with me. We had about 10 minutes to go over our sides and then we were called in. I was lucky enough to have an actor who was experienced and comfortable with cold reads. We not only made the right choices with the characters, but we were both pretty much off page so that we could concentrate on the acting and not the words so much. Next, we were told to wait outside while they made their decision. A few minutes later, they called us back in the room individually to give us their feedback on our performances and if we were eligible to become members. We both ended up making the cut and we were officially welcomed to the workshop! Very cool! So, now I am a member of (2) workshops in under a week! These workshops that I auditioned for are extremely important because they give you the opportunity to attend showcases that are run by actual working LA casting directors.

Later in the evening, I received a phone call from TCN (The Casting Network), for whom I auditioned on Monday night, inviting me to attend another workshop/showcase tomorrow night. They said the guest CD is looking to cast character actors for some feature films (horror) coming up and they thought I’d be perfect. So, of course, I said “yes”. Horror is one of my favorite genres and I’m really looking forward to meeting this particular CD for this showcase.

Audition for and attend as many workshops and showcases as you can. It’s so important to get yourself out there in front of actual LA casting directors. Don’t make the mistake, like so many others have done, and shrug workshops off. Agents, as well as casting directors do attend workshops often. You never know who may be watching you.

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Thursday, August 20, 2009-

Got up early, once again. I’m talking 8:00am. I keep mentioning this because I am on a working vacation and I’m not here to lay by the pool or go to the beach. I haven’t done either one. Not only because I don’t have time, but I think it would not go over very well at my auditions and/or meetings if I showed up with a deep dark tan or burnt to a crisp. In other words, I WOULDN’T LOOK LIKE MY HEADSHOT! HELLO! Keep that white, pasty mid-western skin, (if that’s where you’re from). It’s a refreshing change from all the hundreds of actors they see everyday with a savage tan. Keep your hair the same style as it was done for your headshot and your make-up to a minimum. They (the agents and casting directors) will recognize you almost immediately because you would have already sent your promo packages to them BEFORE leaving home, (hint, hint). Most of them have excellent memories. So, stay the “real you” and don’t get all dolled up.

Wardrobe: Know what colors look best on you and bring them. Stay away from red or prints of any kind. They rarely look good on camera. Don’t wear any flashy jewelry that is going to distract them from concentrating on your acting. I, myself, wear only a watch, a simple (very small) pair of hoops or silver or gold studs, or no accessories at all. DON’T wear bracelet, bangles, necklaces, toe rings, thumb rings, etc. or anything that makes any noise when you move. Again, it’s TOO DISTRACTING! When you go to an audition or meeting, it’s usually casual, so don’t overdress for the occasion, unless otherwise specified or reading for a particular role. Business casual or a t-shirt and clean jeans is fine. DON’T wear flashy fingernail/toenail polish (clear polish is O.K.). Again, it’s VERY DISTRACTING! When going to meet with a casting director or an agent at their office, wear a pair of dress slacks and a dress shirt. If you want them to take you seriously….dress seriously.

Also, always have at least (2) headshots with resumes attached (no paper clips) and ready to go. Coming in unprepared or asking for a stapler makes you look like an amateur. Always be nice, polite and receptive. Say hello to at least three other people before going in to your audition/meeting/workshop, etc. DON’T be a diva! Remember, people are ALWAYS watching you….you just don’t know it. Check your ego and your personal problems at the front door. They don’t care that your cat just died or you just broke up with your boyfriend. If you consider yourself to be an actor….ACT!! Paste that smile on your face and go in there and BLOW THEM AWAY!!! But, most of all, be yourself, act normal and have fun! Believe me, I’ve seen quite a bit while I’ve been here and I’ve only been here for five days. O.K., I’ll get off my soapbox now. But, I do hope the information has helped you in some small way.

I attended another TCN (The Casting Network) showcase tonight. The CD was Marisa Rodrigues. She helps to cast “The Young And The Restless” (Day-time Soap) and is also involved with some feature films in the horror genre. We handed our headshots in before class began, as usual; that’s why it’s important to be early. It gives the CD a chance to pair you with a partner or have you read a specific scene on your own. There was a brief Q&A session and then the CD assigned our sides and we had 10-15 minutes to go over them and to get off page as much as possible. We went up one by one and the CD would critique our performances and let us know if there were any adjustments we needed to make, and then after a few minutes, we’d perform the scene again. She gave me a scene from Y&R and I went up and messed up on one of my lines but kept going without a pause and was off page for the rest of the scene. Hint: If you make a mistake, don’t stop and apologize and ask to start over. Just keep going as if nothing happened or as Coach Mike from “Hey, I saw Your Commercial” would say, “make it a beautiful mistake”. Anyway, Ms. Rodriques told me that my read was very good, but that I needed to make a few adjustments. So, I went out for a few minutes, while someone else read, and then came back in and performed the scene again, totally off page with her suggestions. She then told me “excellent job” and I was done. After everyone had finished, she asked us for demo reels or a web-site to view our demo. I approached her, gave her my link to my web-site, said “thank you” and that it was a pleasure meeting her. Don’t just bolt for the exit afterwards. It looks like you don’t really care. If you have to leave early, make sure you get with a staff member or the CD beforehand. It’s considered extremely rude to just get up and walk out.

Friday, August 21, 2009-

This was a free day for me, so I did my grocery shopping, laundry, filled my gas tank and “chilled,” basically. I checked my e-mail first thing, as usual, and good thing I did. The showcase I signed up for on Sunday with Casting Director, Nan Dutton (Miami C.S.I) wanted hard copies of our headshots and resumes beforehand. She wanted us to drop them by her office in Encino ASAP. So, with the help of my GPS, I made sure and did as she instructed. Then, I had the rest of the day to myself. I heard back from all the agents that had contacted me, except for two…even after doing a couple of follow-up calls. But, that’s O.K. I know it’s nothing personal. So, it’s all good.

Saturday, August 22, 2009-

Got up early, had to be at my commercial class by 9:00am. I made sure to pack a lunch…I was warned it would be a long day, since I’m actually taking two of the commercial classes today. I have a Level II class in the morning and a Level I class in the afternoon. Mike Pointer is awesome…not only a great coach, but a great person. He’s doing all he can to make sure I get his full 4-week workshop completed during my short stay here. He’s an actor, as well, so he understands my drive and ambition. Anyways, the Level II class was fun. There was more improv and I love improv. He also had a great guest speaker at the end of class. His name was Adam Collis, a successful LA Director. Coach Mike said that it was a good idea to get to know him because he knows a lot of people in the industry and besides that, he’s one of the “good ones”. He had a quick Q&A first, then gave us some information about on-camera film classes that he was going to be having for actors. He was in the middle of a workshop right now and his new one started in the Fall. But, I didn’t let that stop me from inquiring. At the end of class, Mr. Collis was hanging out in the lobby, talking to some students. So, when I saw my chance, I introduced myself, handed him my headshot and resume and asked if there was any way he would be able to squeeze me in a class before I leave on August 28^th. He had me write down my name and contact # on a piece of paper and I figured he was just being polite and stuff. I really don’t think I’m going to hear from him, again. Hey, but you never know, unless you ask, right?

The potential merger with the smaller AFTRA is a key issue in the balloting.

By Richard Verrier | August 31, 2009

When members of the Screen Actors Guild cast their ballots for president in the coming weeks, they will be voting for a leader who can best repair the damage inflicted on Hollywood’s largest talent union over the last two years.

With 125,000 members, the 76-year-old SAG is still the mightiest union in Hollywood. But its clout has been diminished by internal bickering, a divided boardroom and a disastrous power struggle with a smaller union that represents actors as well as broadcast journalists, disc jockeys and recording artists.

SAG has become so weakened, in fact, that the union once led by Ronald Reagan and James Cagney may have to merge with the American Federation of Television and Radio Artists to maintain its leverage. The potential merger is a central issue in an election that will be decided by Sept. 24, when results from a mail-in vote now underway are announced.

The SAG election is one of two contests this fall that could set the course of industry labor relations over the next two years. The other is at the Writers Guild of America, West. Both elections pit candidates who advocate a hard line in negotiations with the studios against so-called moderates who favor a less confrontational approach with their employers and sister guilds. Although moderates are favored to win at SAG, the WGA race is much tighter.

Both unions’ contracts expire in summer 2011, potentially giving the guilds power at the bargaining table if they can coordinate a strategy with the Directors Guild of America, which has set the pattern in bargaining in the past.

Relations between the major studios and the labor unions could not be more tense, after a 100-day strike by the WGA and a nasty contract dispute with SAG that dragged on for months and ultimately forced out Executive Director Doug Allen.

Among the most startling signs of SAG’s weakened state is its grip over prime-time television. SAG’s contracts cover only 16% of the new scripted prime-time TV shows on the major broadcast networks, down from 86% a year ago. When it appeared SAG might strike last year, the broadcast networks took their business to AFTRA, which now controls 84% of new prime-time shows. AFTRA suspended its longtime bargaining partnership with SAG last year after a dispute over turf, freeing the union to negotiate directly with the studios for prime-time TV contracts.

Although SAG continues to dominate prime-time TV, the shift of work to AFTRA is taking a toll, reducing contributions to the actors’ health and pension plans and eroding union dues, which were already depressed because of last year’s production slowdown.

The guild had a nearly $6-million deficit in fiscal 2009, which ended April 30, thanks to investment losses, a drop in member dues and excessive expenses. That included funds spent on a fruitless campaign to oppose AFTRA’s contract because SAG’s former negotiators felt it contained too many concessions and undercut their own negotiations.

The guild laid off 35 workers this year to balance its $60-million budget. Although it has more than $20 million in reserve, SAG has projected a $4-million deficit for fiscal 2010, people familiar with the guild’s finances said.

SAG’s decline comes as actors are having a tougher time finding work. Studios cut back production because of the sagging economics of the business, and networks have replaced more scripted programs with less expensive reality fare, game shows and talk shows. Actors have seen a steady slide in their income from residuals, the extra fees they get from reruns, as fewer shows repeat on the networks or are sold in syndication. Networks increasingly repeat shows on the Internet, where residuals are a fraction of those on network television, or on cable TV, where pay rates are lower.

AFTRA and SAG have tried to merge before. Attempts in 1999 and 2003 sputtered over issues of control. Whether they can heal the bad blood between them is an open question.

AFTRA President Roberta Reardon has reacted cautiously to the idea, saying SAG needs to sort out its internal disputes first. A first step would be to revive the “phase one” bargaining partnership, in which the unions jointly negotiate contracts terms, that was suspended last year.

The two unions have about 44,000 members in common, but they have very different cultures that could make a marriage difficult. SAG represents actors who also work in feature films, while AFTRA does not. Many of AFTRA’s actors work in daytime television.

Nonetheless, merging the two unions is a central goal of a coalition of SAG moderates, backed by Tom Hanks, George Clooney and other celebrities, that won control of the board in election’s last fall. The group, called Unite for Strength, led the ouster of Allen and installed a new negotiating team and Allen’s replacement, David White, who has worked to improve relations with AFTRA.

Their candidate for president, Ken Howard, a veteran character actor whose credits include the HBO drama “Grey Gardens” and the TV series “Crossing Jordan,” said combining with AFTRA is necessary to prevent studios from playing one union off the other.

“Part of the reason we want to merge is to be in a situation where we don’t get undercut,” Howard said. “We’re in a situation where the threat of a strike plays right into the hands of producers who have this whole other side, which is AFTRA. It weakens us totally. We’re helping management with a notion of divide and conquer.”

In addition to pushing for a merger with AFTRA, Howard is campaigning to unify the guild internally, rejecting a “go-it-alone approach” by improving ties with other guilds and adopting a less combative stance with the studios. “The last two years we’ve been in attack mode, fraught with emotion and posturing. I can reason things through and be businesslike, which is something we sorely need.”

Running against Howard is Anne-Marie Johnson, SAG’s first vice president, who is backed by Membership First, the group that swept President Alan Rosenberg into office four years ago.

Johnson said she favors merging only the actors who are members of both unions. Only three-quarters of AFTRA’s roughly 70,000 members are actors, compared with all of SAG’s.

She contends that combining the unions is a bad idea because they each have so many types of members.

“I don’t believe larger is better,” said Johnson, star of “In the Heat of the Night” and “That’s So Raven.” “We as actors have completely different needs and concerns than broadcasters, recording artists and disc jockeys.”

In fact, Johnson, who was recently elected to the AFTRA board, has been among the most vociferous critics of AFTRA for being a compliant union that shortchanges actors in contracts. She advocates reviving the bargaining partnership and combining administrative services between unions to reduce overlap.

Johnson, however, faces an uphill battle given her close association with Rosenberg, who waged an unsuccessful campaign to defeat AFTRA’s contract, fiercely opposed a SAG contract that was overwhelmingly approved by members, and lost a battle to keep Allen in his job. The two sought a court order to overturn Allen’s firing. A judge denied their request, which they have appealed.

Johnson said that although she shares Rosenberg’s goals, she has a different style. “I’m a little more pragmatic than Alan,” she said. “I don’t take this as personally.”

Two other candidates running as independents are actor Asmar Muhammad, a relative unknown, and Seymour Cassel, the veteran character actor who recently received a lifetime achievement award from the Downtown Film Festival and who nearly defeated Rosenberg two years ago.

“I’m running for actors, because nobody cares about actors,” Cassel said. “I’m campaigning to get actors fair wages and to stop spending money frivolously, which the
guild does.”

Cassel’s candidacy, however, took a hit recently when a union trial board found him guilty of conduct unbecoming of a member for allegedly sexually harassing three female staff members. He was given a two-year suspension. Cassel appealed to SAG’s national executive committee, which postponed a ruling on the matter until the national board could consider the appeal.

Cassel said the allegations are without basis. “They don’t like me because they know I don’t like David White,” he said, referring to the interim executive director.

Copyright © 2009, The Los Angeles Times

Cynthia believes that improv is an imperative training tool that you need to carry in your actor’s toolbox. It is looked for more and more on a consistent basis at auditions. When casting directors see hundreds and hundreds of actors auditioning for the same commercial, you can only imagine how boring this can become. You would be surprised to see how many people come in and do it the same way as everyone else. The casting director is looking for someone who sticks out – who makes them wake up, and shows, “Hey look at me! I am good and I am different! I am what you are looking for!” They want someone (and something) new and unique. If you come in with something special, something just a little different, that makes you stand out from the rest, especially by making them laugh, then your chances are a lot higher of getting booked for that job. Cynthia confirms that she always uses improv at her auditions. “It’s not just about the words, it’s about the moments, and, as an improviser, you are always open to letting those unplanned miracles happen. I love the mistakes, ‘cause in my world, we consider them opportunities!”

There are many lessons from the world of improvisation that can help you find focus and inspiration in your auditions. Cynthia always encourages her students to, “Amuse yourself! This way, at least one person is guaranteed to have a good time!” She says it is simple. Cynthia encourages you to use a process, called AIM:

A – Agree to agree. Denial can come in many forms: not agreeing with what someone says; not noticing a physical or verbal offer; and contradicting an idea. These are all forms of denial and will STOP the forward movement of the scene. Start by practicing to saying, “YES!” If your partner starts the scene by stating that you are in a home improvement store looking at a stove, don’t contradict by saying it’s a refrigerator. Example: “YES, it’s a stove, AND??????” (Here is the fun part, where you can add information such as the brand, the color, the price, etc.)

I – Imagine. What do you SEE? Where are you? Visualize the details of the location of the scene: – What is right in front of you? – What is in the distance? – What are you wearing? – What is your partner wearing? – What do you have in your pockets? Now that you have agreed to agree, feel free to make assumptions about the details of the scene. Focus on answering the following questions: 1- Who are you? 2- Who are you in relation to the other person? 3- Where are you? 4- What are you doing?

M – Make it happen. It is always important to LISTEN to your scene partners, to listen to any instructions you are given before the audition, and, most importantly, listen to yourself. If you can’t repeat verbatim the last sentence said, you are not listening. Listen and respond…the best place to go is where it is going. But you are always responsible for making things happen. Everything you say is “the best thing anyone has ever said!” Trust your vision, your voice, your talent, your instincts, and your imagination. That is why you are in the room in the first place.

– So, open your eyes, open your heart, and take AIM—It’s fun!! – Cynthia Szigeti

Now, for the inside scoop on this quick-thinking, funny lady:

Cynthia got her first real dose of improv after graduating from UCLA with her MFA in acting. She had to find a job to pay the bills (as so many of us do while pursuing our careers) and was hired as a waitress at a club called, “The Pitchell Players.” Cynthia tells us that “ the Pitchells were a fabulous improv troupe directed by the incredible Ann Bowen. Other sketch and improv greats from Second City (Severn Darden and John Brent), as well as from The Credibilty Gap (Harry Scherer, Michael McKean and David Lander), and Franken & Davis also performed there.” She says that Ann, the director, wanted her (still a waitress) to “go up.” She was terrified at that point, even though she was a highly trained actress. She still “…wondered in awe night after night, standing in the darkened room with her beer-soaked drink tray.” That’s when she learned of L.A.’s now-famous comedy troupe, The Groundlings, through a friend, Stan Roth.

Back then, they had improv classes for just $45 a month! Wow, what a deal…! Cynthia said she had the most fun she ever had at the theatre, when she attended one of their scene nights. That is when they would, “show material and try new stuff out.” She was hooked!! So she began immersing herself in improv. After auditioning and getting accepted into The Groundlings, she trained four nights a week at the school. On the nights she didn’t have class, she would sit on the balcony and watch the others train. She was fortunate to have worked with many, “…brilliant and creative instructors, Gary Austin, Phyliss Katz, Tracy Newman, and Tom Maxwell”. “The talent there in the 70’s – WOW! – you knew you had arrived when you could get a laugh out of that room.”

She continued her improv journey, later, when she left to work at The Comedy Store with Robin Williams, Taylor Negron and Marty Short as part of The Comedy Store Players. She had quite a different experience, working there: “At the Groundlings it was all about wigs, rehearsals, and costumes. At The Store, it was immediate, topical, and edgy.”

In the 80’s, she did get to return to The Groundlings, but this time she came back to run the school. She directed and trained the teachers there. Afterwards, she started the school at The Acme Comedy Theatre in L.A.. She confesses, “ I know this might sound silly in today’s world, but back then, the world of improv was the one place where they didn’t run from the scary, smart girls!”

Cynthia is currently teaching improv classes at Talent to Go and she occasionally teaches students from around the world in Master Classes for Bernard Hiller. She had the chance to teach many well known actors including, Lisa Kudrow (friends), Conan O’ Brien (The Tonight Show), Adam Carolla, Joel McHale (The Soup), Will Forte, Cheri Oteri, Julia Sweeney (SNL), Alex Borstein (MadTV), Leslie Grossman (What I Like About You), Mike Hitchhock (Waiting for Guffmann, Best in Show) and many well known writers and producers on Friends, The Simpsons, MAdtv and other television shows and features. Cynthia’s students were also on many ads this year for the Super Bowl, which she exclaims, “was a lot of fun to see!”

She also has some warnings for future improv stars: “I am opposed to teachers who just throw people up without concentrating on the basics first. It’s like giving someone who doesn’t know how to drive the car keys and telling them to go to San Diego! So beware of the scams and make sure you do your research, before signing up for an improv class.

“Good luck with your search, and enjoy your journey on your road to success, my fellow actors!”

For information about Cynthia Szigeti’s improv classes, email bigsinD@hotmail or www.talenttogo.net

What, exactly, does that phrase conjure up for you?  Someone you see every week on television?  A name above the title on a couple of feature films each year?  Or perhaps an actor, teacher and author such as Adilah Barnes, who is a whirlwind of activity, year in and year out.

Adilah may not be a native Angelena, but she is a native Californian, having grown up in a tiny town called Oroville, in the Sacramento Valley.  “Oroville is the closest thing to a southern town you can imagine, both in terms of its redneck faction and its gentility.  It was a very interesting place in which to grow up and I experienced “the South” without ever leaving California!  In my particular neighborhood, it truly was like the proverbial village, where everyone helped raise everyone else’s children.

“In my own family, for example, you had first generation southerners from Mississippi, Texas, Arkansas, etc., who had come to the Golden State, looking for a better way of life.  But they also brought the best that they could with them from the South, too.”

We wanted to know if Adilah was encouraged in her artistic pursuits as she was growing up, not only by her immediate family, but by her friends and neighbors, as well.  After all, acting probably was not the first thing on anyone’s mind in those days.

“The answer to that is ‘No’, Adilah tells us.  “I didn’t even know myself that I was going to be an actress until I left home and went away to college.  However…when I was 16, I wound up in a summer program at Chico State (College), called Upward Bound.  It was for kids who were considered financially ‘disadvantaged’; a 3-summer program, designed to prepare them for college.  During my first summer there, I performed in my very first play – I was The Queen in ‘The Ugly Duckling’.  Interestingly, it was cast multi-racially, so I began my career with non-traditional casting.  My husband was Caucasian with brown hair and eyes; our daughter was a blue-eyed blonde; and her suitor was African-American.  As I mention in my book, I referred to us as ‘mix-n-match majesty’!

“You see, my first play exposed me to the idea that anything is possible.  We were cast by the director according to who he thought best fit the part and it had nothing whatsoever to do with race.  It was truly a wonderful beginning.”

Back at her high school in Oroville, it never occurred to Adilah to become involved in the drama department – and to this day, she isn’t quite sure why.  Instead, she became one of the class valedictorians, senior class secretary, Girl of the Month, editor of the school paper, and she joined several service clubs.  But she preferred to pursue her acting interests elsewhere.

Perhaps Adilah’s thankfully short bout with petit mal epilepsy affected her self-confidence and belief that she could shine on a public stage.  It struck when she was in 5th Grade and lasted through 8th Grade or thereabouts.  Very few people have much knowledge of this form of epilepsy, but in Adilah’s case, it manifested itself in sudden trance-like states, which left her not knowing where she had just been.  Imagine how frightening that would be for a child.  It certainly wouldn’t lend itself to a feeling of security that one could handle a part in a play; this may well have been the root cause of Adilah’s reluctance to participate in school plays.

“By the time I arrived at Upward Bound, my self-esteem was pretty low.  But they apparently saw me as a diamond in the rough and they really nurtured me, and cared for me, and encouraged me.  I ultimately became a real leader there and transferred what I learned in that wonderful environment to my life in high school.”

Adilah took more acting classes at Chico State the following two summers.  After graduating from high school, she went to the University of California Santa Cruz, where she concentrated on acting.  As a child, she had always thought she would wind up being an English teacher, but her acting experiences at UCSC, where she also co-founded the Black Magic Theatre Company, became her ‘aha!’ moment, when she decided that acting was the field for her.

Back at home, Adilah’s mother was somewhat surprised by her choice of careers.  “She wondered why I would choose a life where the divorce rate is so high and the success rate is so…iffy.  Plus, no one in my family had ever even thought about pursuing a career like this.  But once I began to be a successful working actor, my mother became my biggest cheerleader.  She was incredibly proud of me.”

One of Adilah’s most notable achievements is her highly successful one-woman show, “I Am That I Am, Woman Black”, which has toured throughout the country and to several foreign ones, as well.  She explained how it evolved:

“Back in the mid-80s, I was touring the country with the African-American Drama Company, out of San Francisco.  We were doing two separate shows in repertory:  I was in the version about historical women and the company director was in the one about historical men.  He and I would perform these shows at various venues together.  There came an occasion when I was sent on the road by myself, for some reason.  Well, when they handed me the envelope with the check for that performance, it happened to be unsealed.  I opened it up and when I saw the amount of the check, all I could think was ‘Oh, my god.  That’s what he gets for me?!’  Comparing it to what he was paying me, I realized I’d better create my own show.  So, I did!

“Shortly after moving to L.A. in the early 90s, I happened to notice an ad calling for applications for something called the Window Grant (sorry, but it no longer exists).  It was being offered by the Cultural Affairs office of the city.  One of the items that was required to be submitted was a letter from some organization stating that, should you receive the grant, they would allow you to perform at their venue.  I decided to go after senior citizen centers for two reasons:  One, they were being underserved; and two, they would be my least critical audience, which it turned out they were, because they just loved my show.

“Well, after that first grant, I obtained another, so that I could take the show to children’s venues.  From that point, it took on a life of its own.  My niece joined me and we formed Adilah Barnes Productions, which allowed us to sign on with booking organizations, and they started booking my show anywhere and everywhere.  We concentrate on the college circuit.  To date, I’ve performed in 41 states and on three continents.  I’m trying to maintain enough juice to make it to all 50 states and I only have 9 more to go!”

Financially, touring with her own production has been a tremendous boon to Adilah.  “I once participated in a showcase, through the National Association of Campus Activities, that resulted in 38 bookings for my show!  Thirty-eight!  From one regional showcase!  At that point, I thought, ‘Oh, my.  If I’m ever going to buy a home, now is the time to do it.’  And so I did.  The down payment on my house – the one I still live in – came from my one-woman show.  Whenever work might seem a little slow, all I have to do is look around at the four walls that surround me and remind myself (and anyone else within earshot) that it is, indeed, possible to make a living as a performer.

“I point that out (and there’s an entire chapter in my book about touring), because I want other artists to know that it is possible to create your own vehicle and to get that vehicle to serve you, so that you become autonomous.  This show has not only empowered me; it has supported me for many years.”

In addition to the financial benefits associated with touring a show such as this, Adilah rejoices in the caliber of students and audience members she has been fortunate enough to meet.  “These young people represent our future and I am so impressed, especially during the Q & A sessions that follow the play, by their inquisitiveness and lively interest in the subject matter.  Additionally, I have had the wonderful experience of portraying seven African-American women who have contributed greatly to the fabric of our society.”  The tour has also, as would be expected, provided Adilah  with the opportunity to travel and see parts of the country – and the world! – she might otherwise have missed.  In fact, as we write this, she’s making plans to return to Holland for another run of the show, and to conduct workshops and acting classes.

An interesting benefit of portraying these historical figures was revealed when Adilah was cast in “Iron Jawed Angels” on HBO.  “When I auditioned for this, I was so prepared for the role of someone like Ida B. Wells, that she was just a natural fit for me.  When the booking came through, I really wasn’t surprised, since I had so much experience playing historical African-American figures.”

Adilah is very proud of the Los Angeles Women’s Theater Festival, which she co-founded in 1993.  She no longer performs there herself, preferring to leave space for others, since she has the international tours to keep her busy when she isn’t performing on-camera.  “We have now produced over 400 solo artists from around the globe.  We also have an arm of the festival that sends teaching artists into schools, both during and after school hours, and we’ve served over 3,000 kids thus far.”

Many actors have had the benefit of Adilah Barnes’ teaching.  Her classes consist of students at all levels.  “For one thing, I have very little time for teaching nowadays, so I can’t spread the work out to too many students.  But more importantly, I realized long ago that actors learn from each other.  The beginners learn early on that they must strive to keep up with the more advanced students in the room, which can accelerate their learning curve.  The ones at “the head of the class”, so to speak, are role models who have to accept the responsibility that goes along with that distinction.  I know that some other acting teachers might disagree with that concept, but I have found that this dynamic works for us.”

When asked to share some insights into dos and don’ts that she encounters with various students, Adilah said, “One of the things that I see – perhaps not frequently, but often enough to notice – is people who claim that they want to be working professional actors, yet they do not commit to the responsibility that goes with that.  I mean by that studying; keeping their acting chops in shape by using the classroom like a gym for acting;  doing their homework, so that their characters are well-shaped; etc.  There are those who think that because they have a natural talent, they don’t have to work at it.  They apparently don’t understand that they might be limiting themselves to certain kinds of roles because they don’t challenge themselves by doing some hard work.

“I encourage all actors to support each other and attend each others’ performances, be it on stage or on camera, because I believe you can learn a lot by observation.  Some actors just don’t get the value in that – they’re of the “it’s all about me” mind-set, not about the craft, not about learning, stretching, growing.  Sometimes, actors become comfortable where they are and that’s where they stay.”

Coincidentally, Adilah teaches a class called “So You Want To Come To Hollywood” when she’s on the road.  Just as we at HollywoodPassport.net do, Adilah strongly suggests that actors from outside of Hollywood prepare as much as possible before coming here.  “Do the research”, she says, “Get a copy of the ‘Working Actor’s Guide’, which is like the bible for actors, and ‘The Agencies’, which lists all of the L.A. agents and their specialties.  Also be sure, before coming, that your instrument is well-oiled and that you’ve gone as far as you can go in your particular home town.  You may be living in a place that doesn’t offer anything in the way of on-camera work or even training, but your stage work counts for a lot.  Make sure your resume reflects all of that hard work.  If you’re lucky enough to know someone who is already pursuing an acting career here, ask them for their advice and opinions, at least if you trust them.”

If you’re interested in applying to join one of Adilah’s classes, you have a couple of choices:  You can go to her website, www.AdilahBarnes.com, where you’ll find more information about the classes; or you can call (818) 679-2086.

You can purchase Adilah Barnes’ lively book, “On My Own Terms” (http://www.onmyownterms.net/),  at Amazon.com: http://www.amazon.com/My-Own-Terms-Adilah-Barnes/dp/1425790089

Finally, if you’re a writer yourself and a woman (sorry, fellas), Adilah has created a literary retreat in Atlanta, called The Writer’s Well.  “We provide a very serene and inspirational environment for women writers.  There is information about that on my website, too.”

Adilah Barnes.  Working actor.

EDITOR’S NOTE:  This week, 4/27/09, Adilah will be in Washington, D.C., as an invited guest, as the White House unveils a tribute to Sojourner Truth, one of the historical women Adilah portrays in “I Am That I Am, Woman Black”.  For more on this, click here: http://www.latimes.com/news/local/la-me-artislane28-2009apr28,0,4818660.story

The following article from the Los Angeles Times of April 5, 2009, offers an interesting perspective on the pros and cons of attempting to do extra (background) work, espcially for anyone who thinks it provides a “quick fix” for financial woes.  The article speaks for itself:

MOVIES: EXTRA EXTRAS

Background players are coming out of the woodwork, swelling the ranks of Hollywood hopefuls as tough times put on the squeeze.

By JODIE BURKE

Nathan Johnson has landed in one of the longest unemployment lines in Los Angeles. Just another face in the crowd, Johnson is here because he’s hoping to get a job as, yes, just another face in the crowd. But the crowd keeps getting bigger every day.

The lobby at Central Casting is so packed it seems impossible that one more person could squeeze through the door. Johnson, 30, handsome and elegant in a crisp, white shirt, has been waiting to sign up for an hour. “It feels like two hours,” he says, eyeing the registration desk. It’s only a few feet away, but it will take a lot of patience to reach it. “I’m an EMT,” he says, gazing around the congested room with the sort of dignity that Will Smith might envy. Utter cool in a crisis. “If someone goes into cardiac arrest, I’m there.”

Johnson has been out of work for two years. He injured his shoulder, which made it impossible for him to do the heavy lifting required in his medical tech job, and he’s seen the toll of the recession all around him. “All my friends who owned houses are out of them now,” he says. He grew up in Venice, but when the housing boom hit, his old beachside neighborhood became gentrified almost overnight. “The past five years was kind of a greed session, and now everybody’s got a hangover.”

Background artists, also known as “atmosphere” or extras, are the folks whose mere presence on the set makes the land of make-believe seem real. They are the entertainment industry’s most reliable temporary workers and, since 1926, Central Casting has been supplying the creators of feature films, TV shows and commercials with most of them. Three days a week, for one hour, Central registers anyone 18 or over with a spare 25 bucks (cash only) and the documentation to prove they’re legal to work in the United States to be a nonunion extra with the company.

There’s no interview to sweat. No psychological tests to take. No experience required. Nonunion extras make a humble $64 a day and must follow strict orders: Never look at the camera. Never speak to principal actors or the director. Stay out of the way. Basically, keep your head down and your mouth shut.

Clutching their identification cards as tightly as their dreams, people have always flooded into Central Casting looking for work, taking that first step to become a star. Brad Pitt was discovered here. So were Eva Longoria Parker, Kelly Clarkson, Ronald Reagan and Ava Gardner. But more people are signing up to be extras than ever before — and becoming famous, or even an actor, isn’t the reason why.

“Whenever there’s a downturn in the economy, we see an increase in the number of people applying for background work,” says Allen Kennamer, vice president of Central Casting. “The line started getting longer right after the first of the year,” he says. “It started to double in size.” Lately Central’s been registering more and more people, about 300 a week, a total of 50,000, for noticeably fewer jobs.

This warehouse building on an industrial, dead-end street in Burbank is an interesting window into the recession in Southern California: It’s where anxious folks from all walks of life, not only the entertainment industry, come seeking a big break.

Brian Estwick, 42, is a chess teacher. Until last December, he taught at an after-school program in Pacific Palisades but lost his job when the funding was cut. Estwick has never done professional acting, but his family’s been encouraging him to try. “My brother’s been pushing me to come in because I’ve got a different look,” he says. When asked to describe it, he laughs, an earthquake rumbling through 320 pounds of muscle. “The guy from ‘The Green Mile’: an athletic, big black guy.”

If he does land background work, it seems unlikely that he’ll stay there long. Estwick hasn’t even registered and already his overall shorts, black clogs and smart-as-an-owl glasses are attracting a lot of attention. “I got lucky today,” he says. “As soon as I walked in, a casting director came out from the back, told me I had a good look and took my name.”

“Casting extras is like painting with people,” notes David Feige, co-creator and supervising producer of TNT’s legal show “Raising the Bar.” The show, which is shot in Los Angeles, is based on Feige’s real-life experience as a public defender in the Bronx, N.Y. Feige didn’t know much about Hollywood when he arrived and was fascinated by the process. “The extras casting really made an impression on me,” Feige says.

For the pilot, he helped select people to fill in the jury and crowd the hallways and courtroom. “I remember vividly sitting down and they pulled out an ocean of pictures. It was crazy,” he says. “The possibilities are so vast. You really are creating this universe, and you can populate it with almost anyone. ‘What we need is an old guy with a walker.’ ‘OK, here’s 50.’ Of course the process of choosing is oddly dehumanizing, precisely because you’ve never spoken a word to any of these people and ultimately you’re evaluating them as textures rather than individuals. Like pointillism, it’s only when you step back and your eye scans over the whole group that you get the effect of the individual choices.”

Christina Tucker, 45, is hoping to get temporary work as an extra after being laid off from a 27-year career as a postproduction audio technician. She’s worked on big hits: “Law & Order,” “Ghost Whisperer” and “House.” “Scooby Doo,” her most recent employer, dogged her with a pink slip last April. “Warner Bros. cut the whole animation department in January 2008. They cut it [by a] third,” she says, emphasizing that fraction. “Now I’m just trying to find a chair.” That’s what the sound techies call it when you’re looking for your next big job.

The Central Casting line moves forward and the blond, suburban soccer mom inches along. “My son did this seven years ago,” she says. “He got bumped up on two commercials and wound up making $50,000.” The number causes a few nearby heads to turn. The money helped the family get through a difficult economic time before. Tucker’s hoping she’ll have similar luck now. “At least it’s worth a try,” she says. “I’ve had ups and downs in the industry before, but I didn’t really think it was going to last this long.”

–

Opportunity wanes

As the recession deepens across California, Hollywood’s extra casting reflects a Catch-22: The labor pool is growing at a time when film studios are shedding staff and dropping projects, independent filmmakers are finding it harder to raise financing, and television studios are making more reality TV shows that don’t require atmosphere and far fewer dramas and comedies that do.

“There’s a lot less work to go around,” says Kevin Goldson, a casting associate with Idell James Castingin Pacific Palisades, a company that competes with Central Casting but focuses strictly on advertising. That industry experienced sharp declines in 2008 when advertisers, particularly the automotive industry, which favored Los Angeles as a location for many of its car commercials, cut back on spending.

According to FilmL.A., the nonprofit organization that hands out permits for the city and keeps track of local filming, on-location commercial production days was down 17.4% in the fourth quarter of 2008, compared with the same quarter of 2007. It suffered a loss of 10.9% for the year. “It’s very slow and a lot of people are worried, because a lot of people did extra work for a living,” Goldson says. “When the budgets are cut, where they cut is the background because it’s cheaper to shoot with less people.”

The picture doesn’t get any sunnier for feature films: 2008 was the worst year for local feature production since FilmL.A. began tracking it in 1993. The major studios are making fewer movies, and they’re not shooting many of them in California anymore. Feature production in Los Angeles has been down 10 of the last 12 years. The number of production days FilmL.A. logged for 2008 is half of what it was during its most recent peak in 1996 and is a record low.

Television production, often called the bread and butter of the industry, remains the one bright spot on the local production landscape, but that is mostly because of reality programming. Production days in reality TV rose 19% in 2008. Sometimes talk shows and game shows will hire extras to fill out their audiences, but scripted television provides most of the background jobs, and those numbers tell a much different story.

Sitcom production days fell 25.3% from 2007. Dramas fared better, taking on a modest gain of 6.9%. But pilot production dropped 40.8%, partly because of the WGA strike. And this year, of the 39 hourlong pilots ordered by the major networks, at least 20 are scheduled to shoot out of town, according to Variety. That leaves only about 20 pilots to be shot locally. “Normally, it’s three times that,” Kennamer says.

While the unemployment rate for Los Angeles County rose to 10.9% in February, trying to pinpoint an unemployment rate for the entertainment industry makes even the economists’ heads spin. It turns out there is no number. But there have been job cuts at studios across town as parent companies try to control costs.

Show runners and producers are feeling the pinch, and many anticipate further cutbacks. With more and more laid-off people turning to background work to make ends meet, will there actually be much call for them?

CBS’ “Without a Trace” had its budget sealed in May 2008, before the economy fell apart, and the show is not cutting back on extras. “We tend to hold onto the bigger scenes because they add more production value,” says executive producer Greg Walker. “The bigger the scope, it has a wider cinematic feel, so the show doesn’t feel closed in.”

“Right now we’re down on the back lot of Warner Bros. and have dressed it as Chinatown and I didn’t cut back one extra,” says Scott White, “Without a Trace’s” co-executive producer. “That’s what gives the scene life. Right now we’re not forced to make those decisions.” But if the show gets picked up for its eighth season, Walker and White might be forced to make a different decision.

“The studio and network are going to be downsizing their budget, cutting back 10%,” says White. “Creatively, taking extras out of a show is a bad move, but in expectation of budget cuts we will cut back on our general allowance for atmosphere.” With regard to the unemployed people lined up at Central Casting eager to land background work, White adds, “I feel for those folks over there.”

–

Making a success of it

Jian Najac, 36, is one of the lucky ones. He’s built a career others dream about, turning random, unstable background work into a steady, well-paying job.

His advice? “Buy a couple of good suits and figure out what type of person you are. I know this well: I went from a homeless guy to a G-man overnight.”

With long hair that fell past his butt, Najac started as a nonunion extra with Central in 2003. He booked a few jobs as a prison inmate or street thug, but crime wasn’t paying. “One day I cut my hair and almost overnight I was allowed to join the union,” Najac says, speaking from the set of “Without a Trace” where, with a clean-shaven jaw and close-cropped hair, he plays one of the show’s regular FBI agents. He also carries a badge on “The Mentalist,” all three “CSIs” and “Terminator: The Sarah Connor Chronicles.”

It takes three Screen Actors Guild vouchers to move from nonunion to the higher-paying, health insurance-providing union jobs. But acquiring those vouchers is tricky, a matter of hustle and luck. Najac says that befriending the first assistant director can be a good strategy, but sometimes it just comes down to a union extra failing to show up. “By contract, the productions are required to hire a certain number of SAG extras,” he explains, “So say you have one arm, and they need a one-armed guy — you get the voucher that day.”

Najac won his first SAG voucher when he booked an extra gig on “The West Wing.” “Me and another guy were dressed up as SWAT officers. We were in Griffith Park on one side of a ravine and they wanted us to run through the woods, over a lot of fallen trees and sharp brush. So the first A.D. says, ‘Is that OK?’ And I looked at him and said, ‘I might be a little underpaid for this.’

“I went for it and got it,” Najac says.

Kevin Jessup, 54, wanted to get into acting in the 1980s but then he got married, had four kids and decided it would be a better idea to install water heaters for Sears. He did that for 13 years, then owned a couple of pizza places in San Jacinto — until Wal-Mart opened a store nearby and drove him out of business. When his wife died, Jessup, who sports a gray mustache and rides a 6-foot-tall unicycle, decided it was time to give his old dream a shot again. The kids were grown. He had his wife’s Social Security to count on.

“I’ve got a good work ethic. I’m well-mannered. That goes a long way in this particular job,” he says, sinking into a folding chair by the window, waiting for his son to register with Central Casting. Jessup signed up last June and inspired all four of his kids and his 82-year-old mother to become extras. He works a couple of times a week and is now SAG eligible but hasn’t paid the $2,335 initiation fee to join the union.

“It’s kind of tough in this economy,” Jessup says. “We live in Hemet, which is quite a drive. Over the summer when gas prices shot way up, I was spending $45 to make $65.” Still, his eyes twinkle at the thought of it. “You can’t look back on your life and say you didn’t try.”

Los Angeles Times – Los Angeles, Calif.
Subjects:     Recessions
Author:     Jodie Burke
Date:     Apr 5, 2009
Start Page:     D.1
Section:     Sunday Calendar; Part D; Calendar Desk

“Show biz was in my blood”, Francene tells us.  “I went to the High School for the Performing Arts; joined the New York City Theatre Workshop, where I was able to study both traditional and avant garde theatre; studied and performed with an African dance troupe, as well as other avant garde dance groups.  I attended Pace University, in New York, and then…traveled around the world!

“Like my dad, I play the ukulele, but unlike him, I knit (very soothing, by the way) in my down time.  I’ve also raised two terrific children.

“Professionally, I’ve cast a gazillion commercials over the past 17 years, as well as a number of television shows, including “Significant Others” (a semi-improv show for Bravo); “Free Ride” (another semi-improv show, this one for Fox); “The Naked Trucker and T-Bone” (Comedy Central); and currently “The Spike Feresten Show” (Fox); as well as pilots for Oxygen, Comedy Central, etc.

“Before I began casting, I was a freelance commercial producer.  I got into casting with the help of a director, David Wild, who believed that I could “talk ” to actors. I love him for that. He was very generous. He gave me my first 2 jobs and I never looked back.  Mick Dowd, an old friend and amazing casting director, gave me non-union or real people jobs that he was too busy to do. He’s the bomb.”

We asked Francene to describe some of the common mistakes she observes in her casting office.  “This may surprise you, but I find that many actors sabotage themselves in the waiting room, before the casting director ever sees them. They see someone who looks like the storyboard, they’re already nervous, and they get into a negative frame of mind. Then they don’t do their best work. I think actors should come into the waiting room, assess the situation, see where to go, be prepared (if the script was available beforehand, know your lines – if not, arrive early and learn them there), see if there is any paperwork to do…then go in and rock the audition!  Work on the script – know where you are, whom you are talking to, and what you can add to the scene!  Not clear?  Ask a question…!

“In a commercial audition, we don’t have time to edit the tape that we present to our producers very much.  That’s why we want the best actors…the most skilled actors…coming in making us look good.  An actor will get a callback IF:

1. They have a good look for the part
2. They have done a great audition.

“It is usually the Director and the Advertising Agency who decide who comes to a callback.  If I think they have forgotten someone, I will ask if I can add that person back in. I take a lot of chances in commercials to see new people and present those great new faces to my producers and directors.”

When it comes to theatrical projects, Francene knows from experience that the stakes are much higher.  She cannot send anyone to producers unless they are, as she says, “pretty darn good”.

“I know there are actors moving to Los Angeles and Hollywood every day, just as I did. Why can’t it be them that get booked and have a career here? I suggest studying, taking lots of classes, understanding the business, marketing themselves, getting an agent, getting in the unions, being pro-active…!”

We asked Francene to share her thoughts on improv.  She didn’t hesitate:  “I think every actor in Los Angeles should take Improv classes. Most commercials that I cast, even if improv is not specifically asked for, the actor knows that by ‘being improvisational’, meaning loose and not afraid to take chances, they can show their stuff, their talent, to producers and directors. I am fortunate to be able to cast commercials and TV, so the actors that I bring in want to do more than commercials, I presume, and I do a lot of comedy.  Needless to say, the more comfortable they are with improv, the happier we all are with their performances.”

Francene was also quite adamant about the importance of having the right headshots and shared her insight about how selections are made from among the hundreds of submissions that are made on-line.

“Headshots are as big as a thumbnail on a computer screen. If the casting director is interested, he will want to look at the resume and other pictures. The Main Shot is the most important, because that may be what we run across when we’re searching for a ‘type’ (meaning when no actual submission was made). Look at lots of photographers’ websites before you decide who you want to shoot your headshot.  Color is in; black and white is out. Let your agent (if you have one) help you pick your pictures. New actors always think they have chosen the right photo, but most of the time it’s a picture for the family. Never look away from the camera.  Work the camera.  Have a secret or a joke going behind your eyes.  And this is very important: Know your type.”

All of this information and much more is shared by Francene in a class she teaches with Judy Kain, a working professional actress who books both commercially and theatrically. They are about to begin offering intermediate and advanced classes for all ages.

(Judy Kain also runs Talent To Go, in which talent takes scenes right into a casting director’s offices, to help actors be seen by offices that might not otherwise call them in.  Francene has used the service herself and is very much in favor of it.)

If you’re interested in finding out more about Francene and Judy’s classes and/or Talent To Go, you can contact their coordinator, Pat, at (818) 704-1817.  Here is a link you could check out, too: www.talenttogo.net

We never cease to be amazed by young (and not-so-young) actors who arrive in Hollywood with resumes replete with film and television credits, yet minus the video clips to back them up.  “Why?”, we ask them, “don’t you have any tape?”.  The answers invariably fall into one of two categories:  1.  “I never asked the producers for it”, or 2. “I couldn’t track it down after the shoot was finished”.

If your answer is #1, above, we’re inclined to say “shame on you”, but then we have to remind ourselves that novice actors may never have been told that acquiring tape for a demo is a necessity in the Big City.  Apparently, acquiring it for posterity doesn’t compute, either.

If you’re in the #2 category, though, you have lots of company.  The most common reason for losing track of your on-camera work is that it was a student film and the student graduated (or washed out) without ever completing it and/or without giving you your much-deserved copy.  It doesn’t seem to matter which university was involved; student filmmakers everywhere suffer from the same lack of focus on the people who made their masterpiece possible in the first place:  The actors!

While there is no sure-fire way to safeguard your access to a copy of your work, we do have a suggestion:  Before agreeing to appear in any student film, have the producer/director/writer (often the same person) fill out a form giving you not only his current contact information, but also a phone number (possibly of his parents) where someone will always know how to reach him.  BETTER YET, make him give you the name and number of the professor in charge of his project.  The implied threat is that if he disappears on you, you will go directly to his professor to complain and track him down.  (We don’t suggest that you say this overtly.  It’s really not a good idea to intimidate the person who is “hiring” you, even if you aren’t receiving a dime for your work…!)

But let’s face it:  Aside from a learning experience, the main part of your “pay” is the demo you receive from a student or independent film.  Why would you not make every effort to obtain that footage?!

WHAT GOES ON THE DEMO?

Your best work, that’s what.

Most professional demos begin with the actor’s name on a title card, often accompanied by a still photo (so that the person viewing it knows instantly which actor in the first scene is the actor in question).  There was a trend some years ago of actors opening their demos with a montage of stills or short film clips, sometimes accompanied by some pretty wild music, in order to “get the ball rolling”.  The only thing this did was annoy the people who had to sit through it, waiting to get to the meat of the demo – the acting!  Save your time and money (and the possibility of irritating the wrong person), and go right into your scenes after you’ve “slated” your name.

On a demo, it’s quality that counts, not quantity.  If you only have a couple of pieces that show your work off to its best advantage, that’s perfectly fine.  Don’t worry about “filler”.  The more you work on-camera, the more footage you’ll have to edit in, but in the meantime, just show off your existing good scenes.  If you’re unsure of their demo-worthiness, ask someone you trust (no, not your mom or best friend!) to give you an honest opinion.  We’re more interested in your acting ability than the production values, so try to keep that in perspective.

Some people label the scenes with the name of the project.  Unless it’s a feature film that was actually released or a TV show, don’t bother.  Nobody cares.  If you really think it’s important, you can always list the scenes on the packaging, in the jewel case.

Speaking of the packaging, it’s a really smart idea to show your current headshot on the front of the jewel case and your resume on the back.  That’s easier to do than you might think.

HOW LONG SHOULD A DEMO BE?

There is no hard and fast rule, but we wouldn’t go longer than 5 minutes.  Have your most recent and strongest work at the beginning of the demo.  That way, if the viewer gets bored or has seen enough in the first couple of minutes, it won’t matter that the remainder of the demo isn’t being watched.  We’ve seen plenty of really strong demos that were less than 2 minutes long.

WHAT MEDIUM SHOULD A DEMO BE ON?

DVDs are the medium du jour.  Most agencies and casting offices do still have access to VCRs, but you’re going to look rather dated if you present a VHS tape nowadays.

You should also try to provide an on-line link to your demo on a website somewhere.  If you don’t know how to do that yourself, ask a friend or pay someone to do it for you.  It’s definitely worth it if you’re serious actor.

As new media is evolving, who knows what’s next?  Keep your eye on the industry and try to evolve with it…eventually.

INCLUDE YOUR CONTACT INFO

Most demos end with a repeat of the actor’s name and his contact info.  If you have an agent or manager, now’s the time to list them.  Ditto listing your own website, if you have one.

Remember:  Your DVD may become separated from its case.  Both of them should show your contact info.

WHERE CAN YOU HAVE A DEMO EDITED?

Well, that depends on where you are, of course.  Editing is editing, but producing a great looking demo usually requires that the editor have a good eye for cutting together various disjointed scenes and making them look interesting.  If you can wait until you’re actually in L.A. or New York, you’ll probably have to pay a little more, but it may well be worth it to work with a professional demo editor.  Once you’ve settled here (or there), you’ll find loads of them.

WHAT IF YOU DON’T HAVE ANY MATERIAL FOR A DEMO?

Don’t worry.  You will sooner or later.  It is rarely a good idea to “create” demo footage and taped stage plays generally look awful.  That’s another reason why we highly recommend trying to book student films.  They may not turn out to be “glorious Technicolor”, but their entire raison d’etre is to try to look professional.  Hopefully, you will, too.

As with most aspects of show biz, there are companies in existence who continually come up with clever ways to separate actors from their money.  Among them are companies that will shoot footage of the actor “just being him or herself”.  We’ve seen dozens of these so-called “actor slates” and they scream “amateur” to us, as in “I don’t have any other kind of tape to show you, so ta-dah, here I am, folks, just hoping you’ll think I’m cute!”.  We generally don’t.