The Right and Wrong Way to Enter and Stay in “The Biz”: There is No Answer.

How did you do it? What do you want from me? These questions are the single most asked in Q and A sessions with every leading industry professional. So, I decided to figure out for myself what the answer to these questions are. Based on books and in-person engagements from my undergrad career ranging in discussions with Director/Choreographers, to Filmmakers to Conductors/Music Directors, to the beloved actors who grace the stage, I have found similar themes across the board. Hint: there really is no right answer.

1) How did you do it?

Here are the most common responses…

1) I happened to be in the right place at the right time.

Laura Osnes has a story that fits well here. She happened to do Grease: You’re the One That I Want with Kathleen Marshall, and then a few years down the road, she was called in to replace the actress whose contract did not work for Hope in Anything Goes and Kathleen was the choreographer. Growing that relationship in Grease was important for her down the road and she didn’t even know it.

Jefrey Saver (Broadway music director, composer and arranger) was stopped while walking past the Martin Beck Theatre, where Into the Woods was playing at that time, and was asked to conduct that show the following week. He was legitimately stopped on the street and asked to do an intensely hard show the next week. He said yes and continued with it from there.

Christopher Gattelli (choreographer of Newsies, Godspell, Sunday in the Park with George, and many more) auditioned for Radio City Music Hall Christmas Spectacular when he was 17 years old. He was the shortest dancer in the room amongst dancer that were 5’10” and above. A woman tapped him on his shoulder and he went to dance for Scott Salmon. Scott immediately hired him because he was different and that opened him up to him being cast in Cats as well as Guys and Dolls. That one audition opened him to his entire career. He had no idea he was going to have an opportunity like that at 17. The secondary lesson to be learned here is to go to every audition; you never know what can happen.

2) I grew from what I knew and never let myself stop.

Although many greats have said a similar line as this, one important career comes to mind where this is particularly prevalent: Anthony Van Laast (London West End choreographer). Anthony Van Last’s career began in pop videos and then quickly turned to commercials finally ending with West End and Broadway musical choreography. His prolific career has made him susceptible to not to quite understanding what he is exactly doing at all times, but learning as he goes and pulling from other experiences leads him through.

His theory is that if you do so many things at once, no one can catch up to you. But there has to be a backbone, right? Yes! While he worked through musicals and operas and every facet in between he always went back to his roots. His roots are in contemporary dance. He says that he “knew nothing about musical theatre, and [he] suddenly found [himself] there” (Cramer). Trusting your roots when you are working on a new project is the way to go. He says “even if it’s unfamiliar media, if you are bright and quick, you can learn fast” (Cramer).

As his career progressed, he began working on Vegas material and did Joseph and the Amazing Technicolor Dreamcoat and Hair for EFX. Unbeknown to him then, but that work would lend itself to his exploration of the theatricality of Batman Live that came after Vegas. Because of the theatrical nature of Batman he needed to be a bit versed in it and this is where his Vegas work came into play. Although he did not necessarily have this kind of theatricality experience before, his past experiences lent themselves well to his present opportunities.

His career shows that past experiences are what fuel your future endeavors, and starting with your roots in what you know and developing ideas off of those is how you grow and create a portfolio. Being fearful of the unknown is what holds you back; stepping into a new position with grace and a willingness to learn is what pushes you forward.

2) What do you want from me?

1) Preparation.

The single, most said response is preparation. Major NYC Casting Director, Tara Rubin, said during an interview with San Diego State University’s MFA Musical Theatre Department Head, Robert Meffe, that she wants to see you prepared otherwise she doesn't' know you. Countless hours of work have been put in on her side to get to the point where you and her are in the same room together, out of respect for the process and for yourself, be as prepared as possible.

She reiterates that “preparation is [the actors] spine” at an audition. Know how to sing that song or say that monologue when you are crying, when it is raining, when you are sick and under any other distraction a day might give to you. It is the single most important aspect of an actors career before they get hired, during the rehearsal process and beyond.

2) Nothing.

Tara Rubin, Kathleen Marshall, Anthony Van Laast, Jerfrey Saver, Laura Osnes, and countless more professionals state that the only thing that is in your best interest is to be your authentic, true self. There is nothing expected. As Broadway Director Susan H. Schulman says, “there is an emotional quality to everyone.” If that emotional quality is stifled by an actor’s need to give a product of what the creative team wants, then there will be no place for them to see the true essence and how it fits into the puzzle of the show. The essence of a person is much more important than how how an actor can belt or the color of their outfit.

Nothing is needed beyond who you are. Broadway Music Director, Mary Mitchell Campbell says that she wants actors to remember that “things aren’t fully done as much as [the actor] may think they are.” It is important for the auditioning actor to remember that while this is a new experience for him/her, it is also a new experience for the creative team, especially with new works. Patience and understand as well as a willingness to play and reveal themselves is an important part of the process.

What Does This Mean for the Actor?

There really is no right way to do anything in the business. Yes, you should probably know how to sing, act and dance (and well) as this is what the industry calls for, but in no way shape or form is there a formula to the madness. If you present yourself authentically, are a prepared actor, and approach an audition room or interview knowing your true self is enough, then you have crafted yourself to be a force to be reckoned with in the professional world.

They want you, nothing else. It comes down to knowing who you are as a person, not an actor or a robot dishing out what you think they want. There is no three step process to booking that role on Broadway, but starting the journey to discovering your true authenticity and knowing who you are is a great place to begin and continue to develop while in your professional career. Every story is different and perfectly valid in this crazy world we call “the biz.”

Sources:

“Creating Musical Theatre” by Lynn Cramer. Click here to buy this book for yourself!

San Diego State University’s Studio Series. Click here for more info on their programming.