And in a flash, my workshop has ended. So much has happened in these two weeks that I am grateful for, and they all started with the addition of this workshop in my life. Not only did I get that kick in the butt to finally go out and get new headshots, but also my resume has been revamped and rendered down into a clear, clean, classy, and professional format. Along with these technical yet absolutely necessary aspects of the business, I was re-introduced to those basic acting necessities that accompany a good, strong audition like salt and pepper partners scrambled eggs.
What more can I ask for?
Well, of course coming into this class, my big dream was that on the last day of our class, when we auditioned in front of Duncan Stewart (casting director), Jesse Vargas (musical director), and Jen Namoff (talent manager/producer), that one of them would see the spark of talent inside of me and offer me some sort of job. I mean, who doesn’t want that? “Oh, you would be so great as ______. Here’s your contract; you start next week.”
And that didn’t happen.
With performances that vocally felt great, a few spot on acting beats, and a lot of spastic, nervous energy coming out through my hands, I had a decent audition. Definitely not my best, but I took what I had learned and how I was directed through the class and just had fun, not worrying about having to impress or perform for everyone behind the table. And I had fun. I did. I was really happy with those acting aspects I honed in on and know that they can only get stronger with the continued work through the steps I revisited in this class:
- Find the scenario that works for you. It may not relate exactly with the actual story of the show, but that doesn’t matter. The scenario of the song must have super high stakes to allow the growth of the story to soar without the aid of all other theatrical devices (lights, costumes, book, other actors, etc.). Have the scenario and then find the truth of that situation through each lyric, rhythm, and pitch.
- Understand that you are only talking to your imaginary scene partner. One person. Pick that person and simply talk to them.
- Ask this: What am I saying? Don’t just tell what the song is doing, what the song goes through. Just do it.
- Create a journey: beginning, middle, and end. Create realizations. Create beats. There is an A to Z path that should be taken with hills and valleys, ups and downs, all ending with a positive “Z”.
What resonated with me was that my intended choices don’t need to be, and frankly shouldn’t be, heady or complicated. Simplicity is relatable, easy to grasp, possible to understand. What I was feeling, working through my songs with Jimmy and Benton was that when you just say it, you are able to “act on the line, not around it”. So, instead of using all of my intention in weird, useless motion and eye choreography that leave my words plain and boring, focus all of that acting foundation onto the actual words, which will in turn infuse my words with an amazing essence of beautiful emotion. With that, I fell into my scene, into my character, into myself and just was there, present in the moment of the story, of my journey through the song. Truly enchanting.
Now I’m at the edge of the diving board. Before, I was climbing the steps, then walking the gravely runway towards the crystal blue water. My toes are curled over the edge, ready for a few bounces and a final spring into the refreshing opportunities of new artistic endeavors. Will it be a splash-less entrance? Will I have to get out and climb those stairs again? Maybe. Probably. But at least I have the tools now to get back to the edge of the diving board again.
Am I all of a sudden the perfect auditioner? Will I book the next thing I go out for because all the tricks are in the bag?
Hell no.
BUT, I have come a long way through simple steps that may seem small, but are so important. When these are fully taken, only huge progress can come. Without this workshop, I don’t know if I would have been able to take that catwalk to the edge of my diving board and feel confident to jump in.
Thank you to Jimmy and Benton for getting me up on that board and grounded to know where to go next. I am so grateful for what you both have done for my confidence in this field, in turn aiding me in the continuous understanding of who I am, where I am going, and what I wish to become not only as performer, but as a person. I will always look back on this time as a hard - sometimes spiraling - but definitely positive time in my life that has only helped me in my further growth through this artistic career I have set out towards.
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