Thursday, October 20, 2011

As much as you might complain … it’s only you that’s really bothered

(from the world of New Jersey Community theater)

Have been seeing and hearing a lot of “why are there so many productions of XXX this year?” For example, this year there are several community theaters producing Sweeney Todd. Last year saw a plethora of Hairspray productions. And this isn’t just a musical phenomenon … awhile ago there seemed to be several productions of One Flew Over the Cuckoo’s Nest or Steel Magnolias.

And I keep hearing people ask – or read their rants – why these theaters don’t all work together? Why can’t they understand that so many repeat or duplicate productions is unnecessary (perhaps counterproductive)? Why why why why why? … blah blah blah.

My question is: why do you even care? … Frankly the only people who are in fact complaining are “theater people” – us folks who participate in theater as performers, staff, directors, etc.

I’ve not heard one single audience member say, “Oh dear. There are just too many Sweeney Todd’s being done this year.”

Here’s the kicker … it doesn’t matter how many different productions of the same material there are. Each theater is going to sell tickets and there is little to no overlap in the audience base for these theaters.

Let me say that again … there is little to no overlap in the audience base for all these different theaters. The only traveling audience is we who are the theater people … I mean I’ll go to different theaters throughout the area because friends are doing a show or a family member is in a show. But I’m not the norm … and nor are those theater people complaining so much … when it comes to an audience base for any community theater.

Perhaps … and this is only a small issue to my mind … there can be an effect in a “talent pool” of actors when there are multiple versions of a show being produced. Some actors may choose not to audition for a show because they’ve already just finished the same show at a different theater and they want to move on to something new or different. Yet there may be others who will audition precisely because it is something they want to do again. Yet, that’s their decision … whether to audition or not. And no amount of complaining by other theater people is going to change that.

“I can’t imagine that all these theaters can find an audience for all these different productions of Sweeney Todd (or whatever musical or play that’s being done many times in a year).” … Well, then you don’t have much insight as to how community theater organizations really and truly work. It’s not all about the theater people as the actors and such … it’s about the audience whom the theater serves. And they aren’t complaining.

Tuesday, October 18, 2011

Be kind to your accompanist

Last night I was asked to play for some auditions. The actors were asked to bring in an uptempo song (as well as have a prepared monologue). For the most part it went well … but there were some definite mis-steps made by the actors when it came to preparing their music. And these are so common – I encounter them at nearly every single audition I’ve played for.

So from the point of view of your accompanist who is asked to play for auditions, here are some of my own observations … and believe me! these will be helpful to any actor auditioning for a show.

First of all – BE NICE TO ME! I am here to help you. I’m not here to screw you up or to make you look bad. If you come in with a bad attitude, don’t expect me to take kindly to it.

Realize that I don’t know every single song from every musical ever written. Don’t assume that I just know it. After all you’ve been working on this song and preparing for the audition for some time. I’ve only just seen this music seconds before you are going to sing it.

If I ask you how fast or slow you want the song to be played, don’t look at me like I have two heads. I’ll try to remember that you may not know what the word “tempo” means … so I’ll ask, “How fast do you want this?” or something like that. Please tell me clearly and succinctly. Perhaps you can sing one or two measures as an example of the tempo you want. But don’t look at me like I’m some kind of alien. Heck! If you want to sing well at the audition, then by all means help me understand what you want. I can’t read your mind.

I’m sight reading your music … this means that I have to play the damned thing without having practiced it or even looked at it before. If it doesn’t sound EXACTLY like the way your aunt or voice teacher has played it for you, then forgive me … cut me some slack. I’m doing the best I can. (Remember my first point that I want you to look and sound good? I’m not here to make your life difficult or to make you look/sound bad.)

And as for sight reading and not knowing every single song ever written … please don’t bring in something that is horribly and terribly challenging for a pianist. Oh yeah – let’s bring in a song that has six flats, changes time signature several times, and changes keys three or four times … yeah! that’ll be a good idea (NOT)! Just because you like the song and can sing it with the CD, or because your Aunt Sue or voice teacher can bang it out flawlessly doesn’t mean I’m going to be able to play that bastard within seconds of seeing it for the first time. Pick something simpler.

Please have your music clearly marked! If you’re starting at the chorus of a song, then let me know. If you’re not taking the first ending but are going to screech through the second ending, then let me know.

Mount your music in some way. If you bring in a book, fine … but when you bring in seven separate, unattached sheets of music you are just asking for trouble! Funny thing about having separate sheets of music … they get mixed up; they can fall off the piano onto the floor; they cause all kinds of difficulties.

So if you have separate sheets, either put them into a binder of some kind or tape them together so that they can ALL stay on the piano while I’m playing for you.

And finally, it would be good form to thank me. A simple “thank you” will go a long way … perhaps I have a say on whether or not to call you back or to cast you. If you show disdain or an attitude, I bet you won’t get either recommendation from me. I’m nice to you … I’ve played my best for your audition … at least smile and say thanks.