UPCOMING AUDITIONS

168 HOUR FILM PROJECT

ACTING AUDITIONS - ADULTS AND KIDS 8 & UP.

When: Saturday, January 23rd 1:00-4:00p.m.

Where: Upper Arlington Lutheran Church: 2300 Lytham Rd. Columbus OH, 43220

Why: Get a chance to be in a film that is guaranteed to be screened in Hollywood.

How: Just show up anytime from 1-4. No preparation needed. Resumes and monologues are encouraged but not required. Please bring schedule with conflicts between February 2nd and February 18th.

What is the 168-Film Project?

Producer teams have just one week to create a short inspirational film based on a randomly selected Bible verse related to a theme. All films are then screened in Hollywood and top films are judged by a panel of renown Hollywood producers and directors.

Dates of 2010 competition for Actors:

Tuesday, February 1st: Verse Assignment: 7-9p.m.

Sunday, February 7th: Casting will be announced

Monday, February 8th: Read through. Between 6-9p.m.

Wednesday, February 10th: Blocking on location 6-9p.m.

Thursday, February 11: Filming 1:00PM-9:00PM*

Friday, February 12th: Filming 11:00AM-9:00PM*

Saturday, February 13th: Filming 9:00AM-9:00PM*

*Must be available for all days of filming to be considered for leading roll.

MadLab Theatre is seeking male and female actors for THE ELEVENTH ANNUAL THEATRE ROULETTE shorts festival, the longest running annual shorts festival in central Ohio. Auditions will be held on January 23rd, 2010 from 3-6pm with callbacks being held on January 24th at varying times from 10am-4pm. Auditions will be readings from the scripts. Monologues & head shots are not required, but encouraged. No appointment necessary, but for more information contact andy@madlab.net or call 614.221.5418. THEATRE ROULETTE will be produced May 6th-29th, 2010.

2010 Unified Auditions

SATURDAY FEBRUARY 27, 2010

10AM - Mid AFTERNOON

The Roy Bowen Theatre inside the Drake Performance and Event Centeron the OSU Campus

An opportunity to showcase your talent to many producers at one audition


For Adult Actors

The Theatre Roundtable of Central Ohio is now accepting registrations (and 30 copies of resumes, with 30 copies of headshots attached to the back) for its 13th Annual Unified Auditions, to be held Saturday, February 27th . Those auditioning will come before a panel of Artistic Directors and Producers representing 20-25 theaters. These auditions are for adult performers (H.S. Seniors applicable), both Equity and Non-Equity. If you are unable to be present for the actual audition process that day, you may still submit your resumes and photos for the producer packets to be distributed that day. Click on this link for more details: unified auditions

Why should I audition?

This is your chance to “Strut your stuff” in front of casting directors representing theaters from Central Ohio. With this one audition, you will make an impression on many theaters at once, as opposed to taking the time to schedule individual auditions with every participating theater.

If you have worked with one or more of the organizations, this will be your chance to remind the casting directors who you are and what you are capable of and perhaps how you’ve grown in your craft (and just maybe what they will miss out on if they don’t include you in an upcoming production)!

This is a chance to have your name, resume, and headshot put in the hands of casting directors throughout Ohio (even if you are unable to attend the auditions on the 27th, remember that getting your name and information in front of people can be just as important as an audition).

The Unified Auditions event is FREE for all Individual Members of the Theatre Roundtable that have paid their 2010 dues in full. If you are not an Individual Member of the Theatre Roundtable, but would like to audition, there is a registration fee of $20. This fee, in addition to participating in the auditions, will also entitle you to a membership in the Theatre Roundtable as an Individual Member (benefits listed on the application form).

The DEADLINE (to guarantee an audition slot) for receipt of the registration forms, resumes/headshots is Friday, February 19th, 2010.Late registration of auditionees (including day of the auditions)WILL BE ACCEPTED (based on time slot availability).

Aspiring Young Actors (Students and Children) are encouraged to submit 30 copies of their resume (complete with attached photo) for inclusion in each producer theatre packet, but will not be participating in the actual day of adult auditions. Theaters who need to cast young actors will contact you individually when a need arises. Registration is free for those who might already be paid 2010 RT Individual Members. Otherwise the registration fee of $20 must be included. This will entitle you to an Individual Membership (and applicable benefits noted on membership form).

STUDENT UPDATES

Derrick Collins (photo) - Columbus Dispatch Commercial to air During the Rosebowl,  Film – “Round 2” (short film) - Supporting role - Aaron Kunkel Dir., Film - “Killer” - (short film) - Supporting role - Swell Productions/ Arginate Studios Webisodes – “Aidan 5” (3 episodes one as an extra, 2 w/ a Supporting role) and playing Martin Luther King in the City of Columbus' MLK Celebration.

Christina King - appearing in the City of Columbus' MLK Celebration.

Andy Kramer - appearing in a VALUE CITY FURNITURE commercial.

Brooke Singleton - appearing in a SAFE AUTO commercial.

Jessica Cameron - appearing in a KT's BBQ commercial in cincinnati.

Elizabeth Hansen -  Frich's Big Boy,  Kentucky Lotto and  Hooser Lotto commercials.

Ron Burrage - industrials for Kroger, US Bank, Video Features and First Group America.

CANDACE BULLOCK - shot a supporting role in the John Whitney Film ERODED.  This film also featured Andrew A., Richard N., and Kristina K.  Check out the trailer on the video player posted below:


Eroded Trailer 2 from Arbor Avenue Films on Vimeo.

UPCOMING CLASSES

ACTING FOR FILM EIGHT-WEEK SCENE STUDYActing Fundamentals for beginners

Wednesdays, beginning January 20, 2010 7:00pm-9:30pm $200

As of January 15, 2010 there are five (5) slots available.

This class offers a focused introduction to the acting process. Beginning actors work, stage, and shoot several film scenes during the eight-week session. We work in depth on concepts central to the actor's role development for film. We use Shurtleff's 12 Guideposts as our basic text to help students make strong choices with a wide variety of scenes and monologues. Your ability to make active, personal choices is essential for dynamic auditions and performances for stage and film.

Advanced Acting for Film

Tuesdays beginning January 19, 2010 7:00pm-9:30pm $200

As of January 15, 2010 there are six (6) slots available.

Here is your opportunity to take on more challenging scenes. To work with people who are serious about the work. This is an on-going, eight-week course designed to stretch your skills. Actors work, stage, and shoot several film scenes during the eight-week session. Scripts from soaps, sitcoms, dramatic TV and film are used. This is an on-going on-camera scene class. Actors receive a new scene each week to be prepared but not rehearsed in order to most closely reproduce the working situation in TV and Film. Intermediate and Advanced level actors - Audition May be Required.

Your final scenes will be screened for area Agents and Casting Directors.

Monologue Workshop - Monday, February 8 & 15, 2010 6:00pm - 10:00pm $150

This class is limited to eight (8) students. As of January 15, 2010 there are six (6) slots available.

During this two-day intensive workshop, we assist each actor in finding, selecting, and preparing the best audition pieces, rehearsing alone, and connecting the craft of acting with the business of casting for theater, television, and film. Working in-depth on contemporary and classical material, we link monologue presentation with marketing strategy (including headshots), and examine the actor's choices in the context of the whole audition event. Students will be taped during their auditions so the can see what they need to work on and how much their work has improved during the class.

There is a week between each session to allow each student to utilize the tools taught in the first class.

BFA/MFA TRAINING PROGRAMS: AUDITIONING TIPS

Photo: MFA program at A.C.T. www.act-sf.org/

Eight Steps to a Solid Audition for a BFA/MFA Program


From researching schools and preparing monologues to filling out applications and making travel arrangements, getting accepted into a school’s MFA or BFA program can be complicated. But all that research and paperwork can pay off: Actors who apply to graduate school have decided to postpone an immediate career to pursue training that will, hopefully, expand them as artists and make them more-versatile actors.

1. Find a Coach

There are over 100 MFA acting programs in the United States, and their websites are the place to start in finding the one that’s right for you. If one of them is nearby and looks interesting, go see a show or ask if you can sit in on a class. American Theatre magazine is another good source of information. See other resouces and links posted below.

2. Select Your Monologues.

Rarely performed monologues are often recommended, though a familiar one is fine as long as you can do it better than anyone else.

3. Find a Coach

An experienced hand to guide you is vital in preparing your monologues. Some actors choose teachers they’ve studied with or older actors with whom they’ve worked, while others prefer an experienced director.

4. Treat your audition as a performance.

Give your audition the same time you would if you were rehearsing a show. Make an appointment to meet with your coach about three months before your first audition, and discuss the monologues you might want to do and ask for alternatives.

5. Schedule Your Auditions!

There are two ways to be seen: You can sign up for group auditions through U/RTA, or you can set up a private audition. See U/RTA’s website, http://www.urta.com/ for further details and a list of schools attending.

6. Keep Studying.

Schools like to see students who are committed to their craft and who won’t quit under the rigors of grad school training. Some of them — such as American Conservatory Theater in San Francisco — offer summer programs with the same instructors who teach in the MFA program. It’s a good way for them to get to know you better, it gives you a taste of the grad school experience, and it could help you stand out when auditioning for the school in the future.

7. Get Some Experience.

Schools also appreciate professional experience some even prefer it. It's okay to take time off and try and work professionally.

8. Be Yourself.

Most important when auditioning for graduate school is to be yourself. I think the key with these auditions is being comfortable in your own skin. The most important part about auditioning is not who you know, what show you’ve been in, or what reviews you’ve gotten, but rather that you are yourself. That you’re a person interested in not only furthering your own abilities but also sharing the arts with others. People that are themselves are always the most interesting and honest, and the most fascinating on stage.

Here are some links to online resources:

http://www.urta.com/ : Your guide to group auditions for graduate schools. It is a good place to get a list of some graduate schools. Know that there are many schools that have MFA programs that are not apart of U/RTA.

http://www.actorslife.com/MFA.html : Are you not sure if you want an MFA? Read this article to see if helps you make your decision.

http://actinglikeakid.blogspot.com/2005/11/college-foractors.html : An unofficial ranking of some of the top graduate programs.

http://theatre.uoregon.edu/MFA.html : A list of MFA programs (some schools not listed).

ACTING OPPORTUNITIES: Theatre Companies in Central Ohio

Here is a list of theatre companies in Central Ohio. To research each company, click on hte links provided below. Most companies post their audition notices on their websites. Better yet, go see a show and support our local theatres!


ABBY THEATRE OF DUBLIN
http://www.dublin.oh.us/recreation/theater/

ACTORS' THEATRE OF COLUMBUS (Shakespeare in Schiller Park)
http://www.theactorstheatre.org/

AVAILABLE LIGHT THEATRE COMPANY
http://www.avltheatre.com/

CENTER STAGE PLAYERS
http://www.centerstageplayers.com/

CLOAK AND DAGGER
http://www.cloakdagger.com/

CLUB THEATRE CO.
http://www.clubdiversity.com/theatre.html

CONTEMPORARY AMERICAN THEATRE COMPANY
http://www.catco.org/

COLUMBUS CHILDREN'S THEATRE
http://www.colschildrenstheatre.org/

CREATIVE DRAMATICS
http://www.creativedramatics.com/

CURTAIN PLAYERS
http://www.curtainplayers.com/

EMERALD CITY PLAYERS
http://www.emeraldcityplayers.com/

EVOLUTION THEATRE CO.
http://evolutiontheatre.org/

GALLERY PLAYERS
http://www.jccgalleryplayers.org/

LITTLE THEATRE OFF BROADWAY
http://www.ltob.org/

MADLAB
http://www.madlab.net/

PICKERINGTON COMMUNITY THEATRE
http://www.pickeringtoncommunitytheatre.org/

PHOENIX THEATRE
http://www.thephoenixonline.org/

RACONTEUR THEATRE CO. 
http://raconteurtheatre.com/

RED HERRING ENSEMBLE
http://www.redherring.org/

ROSEBRIAR SHAKESPEARE
http://www.rosebriarshakespeare.org/

SENIOR REPERTORY
http://www.sro-theatre.org/

SHADOW BOX CABARET
http://www.shadowboxcabaret.com/

THEATRE LAB
http://www.thetheatrelab.com/

THEATRE COLUMBUS STATE
http://www.cscc.edu/comm/theatre_columbus_state.htm

UJIMA THEATRE COMPANY
http://www.ujimatheatre.com/

WEATHERVANE PLAYHOUSE
http://www.weathervaneplayhouse.org/

CRAFT NOTES by ED HOOKS

“Advanced Pretend”

Jeff Bridges was recently being interviewed on The Charlie Rose Show in connection with his latest film Crazy Heart when the conversation turned to his opinion about the art and craft of acting. “Basically,” he explained with a grin, “acting is advanced pretend.” I really like that description because it is so uncomplicated and is correct. There is a library full of books and DVDs that will tell you how tough it is to be an actor. A newcomer takes a look at the list of techniques to be mastered, including sense memory, emotional recall, substitution, staying in the moment, voice projection, diction, repetition exercises, active listening, how not to indicate, and on and on. First thing you know, acting is not so much fun any more. It is not at all like it was in the high school production where everybody just had a good time. Now you have to “do the work” and “prepare the instrument." When you didn’t know much about it, you simply jumped into the pool and splashed around. Now you dare not get wet until you are absolutely certain that you can do five laps with alternating strokes.

When my daughter, Dagny, was five or six years old, she would occasionally see me on television. If my role called for violence or tears, the performance was disturbing to her. I remember explaining to her that I was pretending, that nobody really hit me, and that I was actually having a good time when I cried. She thought about that for a very long moment. In her 5-year-old mind, pretending was what she and her friends did when trying on clothes and shoes from her mom’s closet. Pretending was what she did when she played tea-time and served her doll a cookie. She therefore concluded that there must be a distinction between her kind of pretend and the kind of pretend I was doing on television. “So that is not pretend-pretend? It is for-real pretend?” Exactly, it is for-real pretend. Or, as Jeff Bridges put it, “advanced pretend.”

Fade Out/Fade In, Present-day Ed Hooks acting class: A new student enrolls, an attractive woman in her early thirties who has been chasing an acting career for twelve years. I can tell when she walks into the studio that she is gut-level unhappy and frustrated but that, by God, she is ready to work. She is determined to lick this career monster yet! I sit her down and ask when was the last time she had fun acting, and she doesn’t have an answer. She wants to tell me about her Meisner training or whatever. I ask her why she came into acting in the first place, and she has to reach far back into her memory before replying. “I don’t know. I was maybe nineteen when I started….” “Was it fun back then?” She smiles, “Yes, it was.” I tell her that she must recapture that feeling of pretend, of playing. She has enough technique already. What she is lacking is perspective, confidence and optimism. I tell her that, for the first couple of months in my workshop, I want her to simply get up on stage and make mistakes and learn how to laugh at her silly self. “Acting is not neat and pretty,” I explain. “You are never ever going to get it ‘right’. It is all pure process. And part of that process is the audience recognizing that you are having fun being on stage.”

BOOK OF THE MONTH

Getting the part - Thirty-Three Professional Casting Directors Tell You How to Get Work in Theater, Films, and TV By Judith Searle

"At last, an in-depth book about the casting process that tells actors what it is like to be on the other side of the desk, and a must read for the aspiring casting director!" -Marilyn Henry, coauthor, How to Be a Working Actor