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Stephanie and I met at Carnegie Mellon Pre-College in 1997.  She was from Oklahoma, and I was from Ohio.  I don’t remember how we met,  I just remember becoming fast and easy friends.  She introduced me to one of my favorite movies of all time, The English Patient by bussing me to downtown Pittsburgh to attend some cinema’s art house series.  Kristen Scott Thomas’ Katherine would influence the type of woman I wanted to be; my role models would be a combination of her, Emma Thompson’s Beatrice and a little bit of Fraulein Maria.  Stephanie, on the other hand, was like Kristen Scott Thomas already, but with a touch of Carrie Bradshaw and just a little bit of Ado Annie.  (It’s possible her being from Oklahoma influences my thinking on the latter.) Stephanie was thin with blonde, curly hair.  And fun.  And funny.   She had, and still has, the most fantastic taste in everything, but it’s layered with an approachable friendliness. If you meet her, you’re going to want to be her friend.  And she will drink you under the table.

I ended up attending Carnegie Mellon, while Stephanie went to Cincinnati Conservatory of Music.  Her CCM class and my CMU class worked together at a lot of the same summer theatres, so we managed for to stay in touch throughout most of college.  We both moved to New York after graduation.  And once there, she and I and our friendship entered an unprecedented period of growth.

“The Meatpacking District,” I remember her telling me.  “That’s where everyone goes.”  It was 2002.  This was Meatpacking before it got overrun with hot mess celebrities,  but after the SATC episode where Samantha threw water on transvestite hookers.  Stephanie and I and a gaggle of other ladies– Annie, Christine, Missy, whoever– would pour into cabs and head to Son Cubano first (usually first), then on to APT or Hotel Gansevoort or Lotus. We were all musical theatre nerds who had been surrounded in our formative years by gay men, and we couldn’t get over the smorgasbord of straight men.  We didn’t know what the rules were.  We didn’t realize we had any power, strength or, most notably, privilege, by virtue of being young and attractive.  Notably, that power was given to us because the patriarchy deemed us “worthy.” We did nothing to earn it.  (Privilege.) However, that blessing was also a curse.  That same privilege kept us from being taken seriously, objectified us to the point of trophyism, assumed we hadn’t struggled, experienced loss, or, frankly, had anything to say.   But we didn’t realize that yet, either.  In short, we assumed everyone we met had good intentions.

We got wise fast.  And there were wild times, to be sure.  When we went out, Things Would Happen.  Maybe it was a certain Midwestern openness.  Maybe it was our Resting Nice Faces.  We still talk about the time the cabbie, just short of 14th and 9th pulled over and turned off the meter.  We all froze, half assuming he was going to kill us.  Instead he turned around and told us about the intimate details of an unusual sexual encounter.  We maintained our resting nice faces and made polite, appropriate responses.  We were actresses, after all.    I could be wrong, but I think he drove us the rest of the way for free.  When I told my husband that story, he assumed he was hitting on us, but if so, it was possibly the worst pick-up line ever.  Then there was the time we lost one of our group two minutes after we walked in, only to look back and find her already making out with a stranger.

But it got old.  Very old.  I wish I could say we found solace in theatre, the one thing we had been passionate about our whole lives.  But if theatre was our first love, it was abusing us more than any dance floor groper or objectifying ex. We were getting chewed up and spit out by the industry: no callbacks, or overwhelmingly close callbacks.  No auditions or really crappy auditions.  The occasional summer gig that shrunk our pockets by the end of the contract.  Bad sublets.  Bad subletters.  Heinous restaurant managers.  Terrible break-ups.

Eventually we found our footing.  Eventually those close calls turned into real jobs. I remember exactly where I was when she told me she booked her first Broadway show: walking past the library on 5th Avenue between 40th and 41st. I felt no jealousy; in fact, I was ecstatic.  We were doing it!  We were making it!

Steph was brilliant in the show.  The dancing was harder than anything she had ever done, so we started going back to ballet class together.  Six months later Stephanie got me an audition for the same show and taught me the audition choreography to boot.  “You think I want some random bitchy dancer in my dressing room?” she said.  “I want to share it with you.”  I didn’t book the gig, but I drilled that ‘ography so hard I remember it to this day. Meanwhile, I was getting my life together.  I had quit the restaurant industry and was working at a dance studio on the Upper East Side.  I was living with my sister.  We had a cat.  I had joined a book club.  I was getting back to my authentic self, and so was Stephanie.  She lived by herself in her own apartment in Queens now.  We were getting serious– or at least more strategic– about the guys we dated.

Then Stephanie, one of the pioneers of online dating, met Michael.  She gave up her place, and they moved into an awesome rental off Gramercy Park.  (I still can’t believe I know somebody who had that address.)  Suddenly, my 2 BR railroad with the slanted floor started to feel shabby.  And my sister wanted to move in with her boyfriend anyway.  “You should live on your own at least once,” Stephanie advised.  I found a cheap studio in a not-particularly-safe section of Harlem.  It was the haven I never realized I always wanted.  I painted the bathroom a girly shade of pink and the rest of it navy blue, while trying to ignore Stanley and Stella fighting upstairs.  Stephanie visited frequently. We were both on Weight Watchers– just about everyone I knew was on WW at that point, even one of my agents.  “If you want to lose weight, Weight Watchers is the only thing that works,” Stephanie told me.  I took her advice, even though I’m not sure she’s ever strayed above a six.  Besides, I hadn’t been booking, and one of the bartenders at my (final) restaurant job told me I was “too fat to be on Broadway,” a comment so mean it still bothers me, but anyway, I lost 20 pounds and booked my first national tour.  Stephanie couldn’t have been more thrilled.

Except she was moving to Chicago.

At every stepping stone in my life, from Pittsburgh to NY, Stephanie had been there for me, usually just a step ahead.  I turned to her for advice.  For her gentle and non-judgmental ear.  To see what was possible.  She has always listened to me blather on, then helped me formulate a concrete, practical plan.  As I write this, I’m not entirely sure what my friendship gave to her.  In my twenties, I wasn’t much good for anyone.

I wasn’t sure what I was going to do without her.

IMG_3860Time moved on.  She and Michael got married.  When I got engaged, she attended my Atlantic City bachelorette party six months pregnant.  When the hotel fire alarm went off  at 6:00 Sunday morning, she swore loudly and trudged down 17 flights of stairs, only to turn around and walk back up.  We laugh about it now– actually, we laughed about it almost immediately.  Steph’s like that.  She’s ride or die.

Stephanie have been friends for 23 years come this summer.  We are both married with kids and moved back to the Midwest.  She’s still the one I turn to for advice about everything. When I go to Chicago, I almost always stay with her, and the one time I didn’t, she gave us a permit to park in front of her Old Town house and a bottle of Bordeaux to boot.  I still wonder what she gets out of my friendship.  But she is always there for me. There’s something about old friends…. months will go by when we will be too busy to talk, then we get on the phone and chat as if no time passed.  I can’t even say I miss her.  It feels like she’s always there.

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Too many of my friends have died young.  Some have exited my life with barely a word and even less of a thought.  I want to take the time to honor the friends who are still here.  This month is a milestone birthday for Stephanie, so I am attempting to tell the story of our friendship. I’m trying to put into words (clumsily) what she and it have meant to me.  These words just scratch the surface.  I hope we have 23 more years of parties and laugher and wine.  Meeting Steph was one of the best things that ever happened to me.

 

Dear Readers and Subscribers:

By pure coincidence, I happen to be listening to an ultra-sad piano version of “Little Fall of Rain” as I write this.

The time has come for me to put The City Audition to bed. Some of you may have noticed that my posts have fallen off in 2018, and as I look towards 2019, I no longer have the capacity to keep it going.
I started this blog as an artistic outlet, as a place to write down the wisdom I’ve accumulated over a lifetime of auditioning in New York City. However, I’m no longer auditioning in New York City. A little over a year ago, after the birth of our second child, my husband and I moved to Muncie, Indiana, to teach at Ball State. I do still audition and perform professionally. But these days my time is divided between teaching, performing, and spending quality time with my family. I find that I no longer need the creative outlet, nor do I have the time to maintain it. In fact, I wish I had time to take in more quality theatre, film and television. (And naps. I wish I had time for those, too.)

I am proud of every blog post I’ve put out on this site. Happy auditioning to all. Break legs, everybody.

Best,

Molly Garner

*not all titles available on Netflix

**you may or may not have someone to “chill” with, but I hope you do!

As the weather turns cooler, why fight the urge to snuggle under a blanket with a bottle of wine and some quality screen time? Problem is, what to watch? Here are my top five original Broadway productions to stream when you’re looking for inspiration or entertainment… hopefully a little of both. This list is by no means exhaustive. Include your favorites in the comments!

  1. Into the Woods: Bernadette Peters, Joanna Gleason, Tom Aldredge

The penultimate OBC viewing. No matter how you feel about Sondheim, Bernadette, or the Meryl Streep film version of this (which is also very good), everyone who’s serious about musical theatre in the City ought to see this to see How It Should Be Done. It’s just so good.

2. Cats

I’m fully aware that in some (most) circles, Cats is a musical theatre punch line. But to get the joke, you have to have seen the musical. You’re not allowed to hate it until you’ve seen it. Frankly, I’m not sure how you could be a musical theatre professional and miss it, since it’s been touring and on Broadway for years. I personally love Cats, but I was raised on it, and plus, I love actual cats. But everyone has an opinion on it, so get on YouTube and come up with yours today.

3. Pippin

If you’re this far on the list, you’ve formed an opinion about Sondheim and Lloyd Webber. It’s time to learn something about Fosse. If you aren’t familiar with his style— and once again, I’m not sure I know a musical theatre performer who isn’t— but if you aren’t, or even if you are, treat yourself to the original 1972 Broadway production that still somehow looks timeless. It’s a feat of showmanship, style and storytelling, and the ending still packs a punch.

4. Passing Strange

Based on the artist Stew’s experiences in Europe in the 1980s, this gem of a piece— “the best musical not to win a Tony,” according to Michael Riedel— was certainly one of the best musicals I saw in 2009. But I didn’t see it at the Belasco. I saw it in a movie theatre in the Village. None other than Spike Lee himself saw this live and decided he must immortalize it on screen. This trepidatious musical showcases the work of Colman Domingo, Rebecca Naomi Jones, and Daniel Breaker, among others. My husband and I became instant, lifelong fans. Riedel reported last year that a revival is in the works, starting at the Wilma Theatre in Philadelphia. Hallelujah.

5. Sweeney Todd

If the only version of Sweeney Todd you’ve seen is the appalling Johnny Depp version, you’re in for a treat. Having studiously attended to this list, you can see that Sondheim is already on here once, but my freshman year at Carnegie Mellon, this Sweeney Todd, starring George Hearn and Angela Lansbury, was required viewing. Everyone should see it. It’s dark, it’s comic, it’s brilliant, it’s moving. This and Passing Strange might be one of the few musicals you can watch with your Muggle friends, if you have any. Plus it’s perfect Halloween-y viewing. Have fun!

  A handshake is nice, but always get it in writing.

A handshake is nice, but always get it in writing.

This fall I was offered the lead in a musical outside New York City, and for the first time I found myself negotiating a contract without an agent.  It occurred to me that many of my young and fierce readers might be also be fielding contracts without an agent’s help, and without the experience, or maybe just the presence of mind, to know what to ask for and how to ask for it.  And as you embark on your careers, many of you might also be operating without the protection of a union. 

By the time I got to this point in my life, where I’m negotiating my own contracts, I have the advantage of years os seeing what’s possible.  I also have a family and a commute, as well as a teaching load, to consider, so I don’t actually have the luxury of going with the flow.  If I accept a job now, I have to balance my other commitments.  

What I’ve found when it comes to negotiating is that things that are a huge deal to me may not be that big of a deal to the powers that be.  I’ve found that money can be moved from budgets outside of salary to accommodate an actor.  And I’ve found it empowering to ask for what I want, instead of meekly saying yes to what’s offered.  

So here’s what to say and how to say it.  

1.  More money.  

Obviously if you’re playing a principal role, you will have more leverage in this category than if you’re ensemble.  However, if you’re ensemble and you have a specialty (like you ride the unicycle or something), or if you understudy a lead, use that to your advantage. 

What you say: “Is there any wiggle room in the budget?”  Since I play the lead/understudy this principal/ride the unicycle, I was wondering if it might be possible to get an increase of X.”

It helps to go in with a specific number that management can bring to the producers.  Depending on the particulars of the contract, a 20% increase is reasonable.  Don’t be crazy and ask for double; you won’t get it.  But if you ask for 20%, and they come back with 10%, congrats!  you’ve earned your own agent’s fee.  

2.  Fees

Assuming you’re working with an agent, you can always ask the producers to cover the agent’s fee.  This may be a bit awkward because your agent will have to ask for you…

What you say:  “Is there any way they could cover your 10%?”

You may get told that a theatre simply “won’t do that,” and that’s no lie.  Since this is such a common ask, a lot of theatres develop a policy towards it.  Sometimes that will work in your favor, and sometimes it won’t.  But it never hurts to ask, even if you’re ensemble. 

3. Days Off

If you want the job, but don’t want to miss your best friend’s wedding, yes, you can ask for days off.  I’ve worked at summer theatres where I’ve missed rehearsals for, say, my sister’s wedding, and I’ve even known people to miss shows because of scheduling constraints, even at theatres that don’t regularly employ understudies.  If the theatre doesn’t know of your conflict ahead of time, or if it arises before rehearsals begin, ask for the time off!  Don’t assume you can’t have a family or social life because of your dedication to this craft.  Just anticipate that your attendance at this event might be brief, and that you might be spending more time in transit than at the actual party, depending.  And of course you should always tell them about conflicts up front.  But if something arises, they can work around you.

4.  Transport

Sometimes when a theatre is setting up a contract, they will have a set budget for salary, a certain number of AEA cards and contracts, and a yes/no policy on agent fees.  But there could be some grey area in other spending categories, and travel is a big one.  Showcase codes in NYC have to provide a travel stipend, for example, to Equity actors.  Not in the union?  Ask anyway.  It can’t hurt.  Depending on the specifics of the contract and your role in the show, you could ask for your own car, cab fare to/from the airport, mileage for commuting in your own car, and so on and so forth.  I know a Mary Poppins who got the company to pay for her hotel on weekends, despite the fact that the cast was being bussed from the City to the theatre every night.  (Disclaimer:  I had turned down an audition for that same contract because I was living in Jersey and DIDN’T EVEN THINK OF THAT!)  

What to say:  “How is transportation handled?”  Then, in response:  “It would be helpful if I could get X, Y, Z.”  

Then be sure to GET IT IN WRITING.  Either as a rider or in email form.  

5.  Comps

Complementary tickets are a relatively simple way to keep actors happy.  Most theatres gives out a fair number of comps anyway to press or attractive donors, so comps are an easy ask.  Additionally, if you have industry people coming to see you:  agents, casting directors, etc, reach out to the theatre and see if they will comp them.  Most of the time they will comp industry, so you can use your precious comps on your bestie or your beau.  The stingiest producers when it comes to comps, however, are Broadway and national tours.  You might get two for opening, and that’s it.  Tell your mother now!

So the next time you get offered a fabulous part, don’t be so overwhelmed that you forget to ask for what you want.  You’ve earned it!  

Happy New Year!  Wait… it’s July.  Yet this is the first post of 2018.  What happened?  

First, Quincy Jewell Garner happened a year ago, July 11th.  My loyal readers may recall that I announced I’d be taking some time off.  In the meantime my husband and I also moved from New York City to a college town in Indiana, where, as of this year, I began teaching.  This admittedly removes me from the “city” part of thecityaudition, a dozen years of auditioning notwithstanding, but it puts me closer to the young and fierce who are embarking on their careers, and for whom this blog is intended.  (In New York City, the young and fierce quickly become the old and jaded.  Ha ha!  #kiddingnotkidding)  This blog will continue to grow as I see firsthand the types of dilemmas the #youngandfierce are facing and what sort of solutions they find.  I also plan on blogging more about the work/life/artist balance as I carve out my own roles as an artist, teacher and mother. 

Thanks for supporting the City Audition!  Keep an eye out for new and original content!

You’ve finally gotten your big break.  It’s a production contact of a major show filled with important people… but you’ve been offered the swing. 

Before we delve into the “should-I-or-shouldn’t I” of swinging, let’s define exactly what a swing does.  

A swing covers the ensemble, so if anyone in the ensemble is out, you will be “swung” on.  Usually a swing covers a certain number of tracks within the ensemble.  (Only the dance captain knows all of them.)  Depending on the needs of the show, there may be a singer swing or a dancer swing, or more than one of both.  Typically, the swings also have to cover any character parts and features within the company.  

A swing is different from an understudy in that an understudy covers principal tracks.  However, a swing may also understudy principals.  (I did– more than one.)  A swing is different from a standby.  The standby covers one or more principal tracks off-stage.  He or she will never do ensemble, they simply show up at the theatre just in case.  Most big Broadway shows (Hamilton, King and I, Wicked) will have standbys for the leading roles as well as understudies within the ensemble.  After all, the show must go on!  If you’re offered an ensemble track covering a principal, you may want to find out if there’s a standby, how many covers there are, and if they designate first cover from second cover and so forth.  (You may not be able to find out the latter in any official capacity.  After all, if you’re a first cover, they would have to pay you more, wouldn’t they?  What you can do is open up a program and see how many people cover a track or stand by.)

But I digress.  I used to think that every person pursuing a musical theatre career should be required to swing.  Like a theatrical version of compulsory military duty.  

But, having done it, I no longer think that.  It’s too hard.  Not everyone can swing.  Some people would be terrible at it, and the show would be a disaster.  

If you’re hired as a swing, you have the toughest job in the show.  You’re being hired because you can fit into more than one track.  You’re versatile.  And somebody thinks you’re smart, not to mention organized and talented.  If the cast is seasoned enough, they will know to treat you with respect bordering on adulation.  And they should!  On more than one occasion, you’re going to be called upon to save the show. It’s a heck of a job. 

As a swing, it’s easy to feel like a second-class citizen, especially at the start of the process.  You’ll be on the sidelines in rehearsals and tech.  Your costumes will probably get done last.  You won’t get to participate in any promos or awards shows unless they shove you on at the last second as a courtesy.  You won’t get to take a bow on opening night.  And since you’re not on stage every night, it’s easy to feel left out.  

However, there are perks.  In addition to being the aforementioned hero of the show, you are making yourself indispensable.  If you do it well, you’re establishing a reputation among stage managers, directors, and dance captains– people who may very well have casting power in the future.  For dancers, it’s an excellent avenue to pursue if you’d eventually like to choreograph.  (Swinging is also easier on the body for dancers, due to less repetitive strain.)  

It can be thrilling!  Your first few nights swung on will be filled with adrenaline.  You may make a few mistakes, but your cast members will rally around you, and “shove with love.”  After a while, the feeling of otherness goes away.  You’re very well paid because you most likely cover a lot of features and specialties in addition to your swing duties.  In a long-running show, you won’t get bored doing the same show every night, and you frequently won’t have to do the show at all.  On those nights, you can go home early, usually after a pre-determined musical number in the second act.  

So if you’re a smart, adventurous, versatile performer who loves the adrenaline rush that comes with saving the day, do it!  But if it’s going to eat away at your soul not to be on stage every night, you may want to pass.  It’s also very easy to get caught in the swing “trap.”  If people know you do it and you’re good at it, the industry might start to look at you as a swing before anything else.  (Remember, this is because good swings are incredibly valuable.)  However, maybe you just want to do it this once, for this show in particular.  That’s fine.   If future swing auditions come your way, feel free to tell your agent you’d prefer an ensemble track. 

The only aspect of swinging I found truly irritating was when ensemble members would come to me for some sort of absolution.  It usually started with a heads up.  “I’m not feeling too well, so I may call out tomorrow if I’m not better.”  That’s fine.  But the people who started to give me a lot of reasons why they couldn’t go on, or frequently called out and felt the need to apologize to me before, during, or after, bugged. I actually don’t care why someone can’t go on.  If you’re out, you’re out, and it’s my job to go on, not to judge you for it.  But it is not my job to smooth over your guilty conscience.  I’m not going to be mad at you for missing, but I am going to be annoyed if I keep having to reassure you that your work ethic isn’t shitty.  Take that issue somewhere else!

My final piece of swing advice?  Due to the large amount of sweets backstage, and the relative amount of free time you’ll have on your hands, tell yourself to stop eating at curtain.  Even birthday cake!  (Especially birthday cake, unless it’s yours.)  Otherwise when it’s time to put on those costumes, you may find they don’t fit!  #beentheredonethat

Happy swinging!  

  The put-in point of view.

The put-in point of view.

You’ve finally made it.  You’ve booked a big job, understudying the lead or maybe covering several tracks as a swing.  You’ve been in rehearsals for weeks, and there’s only one thing separating you from the thrilling applause of a live audience:  the put-in rehearsal. 

For those of you who don’t know, a put-in is the final dress rehearsal for a replacement member of a company.  Prior to this, that company member (“you”) will have been rehearsing with the dance captain, musical director, the director or assistant director, the stage management team and possibly a few understudies.  (If you’re replacing a lead, you probably rehearsed with the other actual leads, depending on who those leads are.)  But now it’s the day before, or possibly the day of, your first scheduled performance, and everyone’s called for your put-in rehearsal.  What to expect?  I’ve listed a few things for newbies to know, and a few things the established folk could stand to remember. 

1.  You will be in full costume and make up.  No one else will.  

Don’t feel weird about it.  This is as much a rehearsal for your costumes and quick changes as it is for your choreography and staging.  For that reason, the stage management will run those changes in real time.  (Otherwise, they will very likely skip the parts when you aren’t on stage.)  This also means that your dresser will be there, as well as the costume and makeup supervisors.  Keep in mind that a lot of people on the tech side are called in for this rehearsal, not just the other members of the company.  That being said…

2.  The full company won’t be there.  

The most frustrating thing about an ensemble put-in is that the full company probably won’t be there.  Usually stage management uses this time to rehearse the understudies, and the principals don’t have to come in.  So while you may have learned your track expecting to see certain people to your left and right, either the swings will be there, or (gulp) no one will be there at all.  (Stage management should try to avoid the latter, but there are no guarantees.)  This makes it hard to find your spot.  Review your track the night before.  Be very sure of your place on the number or color line, check your spot relative to the wings, etc without going off of the faces beside you.  

3.  Don’t be afraid to speak up.

This is YOUR rehearsal, and it is your LAST rehearsal.  Take the opportunity to get every last bit of work out of it.  Need to do it again?   Just ask.  Don’t feel dumb about it.  Everyone ought to be very understanding about this, and if they’re not, they’re out of line.  In fact, stage management should ask if you’re okay moving on before actually moving on.  If they don’t, speak up.  Tell anyone who will listen:  your dresser, an ensemble member, anyone on headset.  

4.  The people around you should not be marking.  I repeat, they SHOULD NOT BE MARKING.

I had to put it twice because it’s so common.  At every single put-in I’ve attended, stage management has had to remind people not to mark.  If someone is across the stage from you and their execution has no bearing on your performance, that’s one thing.  But the people around you absolutely need to be giving full-out choreography so you get a sense of what’s going on.     

5.  Bring snacks for the company.

I brought this up on my Facebook feed, and it’s a bit controversial.  Likewise, my husband, who has done numerous Broadway shows, insists that this is a recent phenomenon.  However, the tradition for production contract put-ins is that the person being put in will bring snacks or even lunch for the cast and crew.  I know, I know.  You’re pulling your hair out trying to remember lines and blocking and choreo and makeup plots, you’re nervous as hell, you don’t know anybody, you may even be in a strange city with no means of transportation and no idea where the closest doughnut shop is.  

Figure it out. 

The idea is that everybody is coming in on their time off.  So you want to make things as pleasant as possible for everybody else.  It’s also a thank you for the time and effort of everyone who has helped you on your journey to your opening.  It’s considered good manners.  

A lot of people don’t know about this tradition, and some have been (rudely) informed by the more jaded members of the cast.  Rudeness is not okay.  Some companies are the exception:  when my husband did the Color Purple tour, he insisted that no one brought goodies to put-ins.  However, he noted that there was so much to eat backstage that they didn’t really miss it.  It was one of those companies where people were always bringing in baked goods.  So ask around. Likewise, I had a friend replace a Broadway lead, and he had so much to worry about during his put-in that he didn’t bother with bagels, either.  However, he buys them for the company every Sunday, a tradition he borrowed from Sutton Foster.  So if you drop the ball at your put-in, bring something at the next opportunity.  Nobody (should) hold it against you, and it’s a nice thing to do. 

6.  You don’t have to go on if you don’t have a put-in.

It’s an Equity rule that if you haven’t had a put-in, you can inform stage management that you don’t feel safe going on.  Use this one sparingly.  Real sparingly.  Like, I’ve literally never known anyone to play this card, including friends of mine who were in Spiderman.  Most of us are desperate to perform, right?  And most professional stage managers are good at making sure put-ins happen, so it’s not typically an issue.  

However, you might be asked to go on if the company is a.) short staffed, or b.) going through a big changeover.  Sometimes for various reasons, coverage on Broadway and tours can be thin.  Maybe one person got sick, somebody else got hurt, and another person had a family tragedy, all in the same week.  If they ask you to go on without a put-in, it’s a vote of confidence from the creatives.  They will not ask you to go on if they don’t think you can handle it.  They also could ask you to perform a part of your track.  I did a show that involved stilts, and one of the replacements was put on for all the scenes that didn’t involve stilts for a week or two until they could find time for a proper put-in.  Which brings me to the second scenario:  there’s been a big cast changeover, and they haven’t been able to schedule a put-in for you, but everything’s gone wrong, and they really need you.  This is your opportunity to be a hero!  But if you aren’t comfortable, that’s okay too.  If you find yourself in this position, be really honest and communicate with the management team.  They are brilliant at coming up with split tracks and substitutes to make it easier on you– but they also may really need your ass on stage. 

7.  Make it fun!

This is more for the established cast than the replacements.  When I went into Billy Elliot, the cast had gone through three put-ins in one week.  Since there are rules as to how much rehearsal time a performing cast can have, I want to say people were getting overtime.  Even so, three put-ins and eight shows a week is exhausting.  But the company did what they could to make it fun.  For one rehearsal we all wore pink (it was Wednesday), for another they did an ’80s theme, for the last, they did a cowboy/girl theme.  Even the stage management got involved.  At Aladdin, they used to rehearse in outfits inspired by the last show of the person being put in.  Remember that even though put-ins can be a bitch (especially three in one week), the rehearsal really is for the good of the entire company.  Somebody’s worked their ass off to get to that point.  What’s more, we’ve all been there:  scared shitless, but exhilarated at the same time.  So everyone on stage can afford a little empathy.   They don’t have to be grinning, but they do need to check their feelings about being called in at the door.  Additionally, the person being put in has earned their spot on the line.  They don’t have to prove anything to the other members of the cast, or earn their respect in some way.  They should be treated with respect because they are a fellow member of the company, period.  

But to the person being put in?  In the immortal words of RuPaul:  “Have fun, and don’t fuck it up.”  

 

 

 

We’re approaching cold and flu season, which can be particularly devastating to both working and auditioning actors.  Of course we all know that we should be getting lots of rest and fluids and blah, blah, blah.   But auditioning in New York City– or any city, for that matter– frequently requires a drink to keep your sanity intact.  Or to network with friends.  Or to cry into at the end of the week.   Or to… well, you get my drift.  

I am a big proponent of the medicinal qualities of alcohol.  Certain drinks, like whiskey hot toddies, can help alleviate the symptoms of cold and flu. Additionally, doctors confirm that when alcohol dilates your blood vessels a bit, your mucus membranes are better equipped to deal with infections.  So belly up to the bar, my friends!  Or stay indoors, throw on some comfy jammies, and mix yourself one of the following:

Sparkling Turmeric Tonic:  

Turmeric fights inflammation– and wins!

Add 3 ounces vodka, I tablespoon ground turmeric, 1 tablespoon minced ginger, 1 peeled orange, 2 tablespoons honey, and 1 cup water to your trusty blender.  Blend on high speed till smooth.  Fill 3 glasses with ice (for you and your other sick friends) and divide evenly among them.  Top each glass with sparkling water, stir gently, and stir. 

Source:  Sunset Magazine

Casting Aspersions

This is the honest-to-God name of this cocktail, invented by Stephen Cole and Greg Buttera.  It’s best to use clear, unaged white whiskey.

Combine 2 ounces white whiskey, 3/4 ounce fresh lemon juice, 3/4 ounce grapefruit juice, 1/2 ounce of honey syrup (2 teaspoons honey mixed with 1 teaspoon warm water), and a dash of angostura bitters into a cocktail shaker.  Fill the shaker with ice and shake well.  Strain into an ice-filled rocks glass and garnish with a mint sprig, if you’re fancy.  

Source:  Food and Wine Magazine

Bran’s Dram

“If rum won’t give you that warming glow of wellness, the hot tea will,” Benjamin Schiller, beverage director of Chicago’s The Berkshire Room, and presumed Game of Thrones fan, assures us.  

Seep 1 berry herbal tea bag in a mug with 6 ounces of hot water.  Wait two or three minutes, basically making a cup of tea (duh), then discard the tea bag.  Like you do.  Stir in 1 1/2 ounces white rum, 1/4 ounce of fresh lemon juice, and 1 teaspoon of honey.  

Source:  Bon Appetit Magazine

Whiskey Hot Toddy

I can personally attest to the benefits of this tried-and-true cold-fighting cocktail.  If you’re going out, you can ask for this at the bar.  The bartender may tell you they have no cloves, and that’s fine.  The lemon by itself Will Do.  But if you’re making it at home, definitely indulge in the cloves.  Aah, just thinking of this cocktail gets me excited for the first tickle of a scratchy throat! 

Pour 8 ounces hot water into a mug, along with 1 ounce bourbon.  Add 1 tablespoon honey, stirring to dissolve.  Stick a half a dozen whole cloves into a slice of lemon, squeeze the lemon just slightly to release some juice without losing the cloves, then plop the entire slice into your drink.  It’s heaven.  

Source:  Me

  Me, pregnant the first time.  I have no cute pictures of me pregnant this second time, which is not to say I have no pictures at all...

Me, pregnant the first time.  I have no cute pictures of me pregnant this second time, which is not to say I have no pictures at all…

Dear Readers, 

I hope you’re enjoying your summer!  I can’t believe it’s June already, especially since I’m due to have a baby– my second!– in early July.  This means that I have to take a break from The City Audition for the foreseeable future.  Hopefully I’ll be back again in the fall!  In the meantime, feel free to send me your questions and #AuditionInspiration requests.  Best of luck through these lazy summer months!  We’ll all hit it hard again come September. 

Best, 

Molly Garner

The City Audition

Every year around this time, hundreds of college graduates move to the City to pursue their dream of “making it” as an actor.  This is the culmination of a lifetime of dreaming, studying, and (hopefully) saving.  These debt-ridden grads should be applauded for their grit and determination.  They are our next generation of theatre artists.  

That being said…

Dear graduates,

You haven’t experienced it yet, but this business is awful. 

You may have all the training and talent you  need to carve out a career in the arts, but statistically, most of you won’t.  And even if you do, here’s the thing:  you will spend even the most enviable moments of your career frustrated and plagued with doubt.  And none of it will have anything to do with you.  

I tell you this not to persuade you from pursuing your dreams, but to give you the warning that most of us, especially those who graduated from top conservatories, never had.  

What follows is a sampling of the reasons the entertainment industry is batshit crazy.  None of these are subjective, all are facts.  

1.  Supply vs. demand.

There simply aren’t enough acting jobs to go around, relative to the number of people who want to be actors.  This means that even your hottest, most talented friends– and you!– will be unemployed for various amounts of time.  And yes, there are a lot of untalented people clogging the system, making it harder for the truly good ones (you) to be seen.  Unfortunately, the numbers are what they are, and you’re going to have a time of it, especially at first.  

2.  The industry is non-linear.

Did everyone see Chuck Cooper giving “oohs” and “aahs” under Justin Guarini during the In Memoriam section of the Tonys?  Chuck Cooper is a Tony winner.  I don’t blame Cooper for singing backup– it was a beautiful segment, and I like to think he was happy to be a part of it.  But it just goes to show the capricious nature of this business.  In other industries, you work your way up, gaining promotions, respect, and pay raises along the way.  This industry, due in part to the scarcity of work (see #1), does not progress in a linear fashion.  Each level not only has mountains and plateaus, it has setbacks.  Don’t get discouraged, but don’t expect it to be something it’s not.  And yes, you will always be auditioning. 

3.  It’s not a meritocracy.

As Americans we are taught that if we are willing to work very hard, we can do anything we want.  I honestly believe that to be true in every other industry except this one.  You can work your ass off in class, network like a motherfucker, earn stellar reviews and the respect of your peers… and still be told you’re “not right” for the job.  But in order to even be competitive, you have to do all of that anyway.  There may never be a payoff, or it may be very meager.  Consider it the price of your passion. 

4.  You probably won’t know why you aren’t working.

Believe it or not, but in other fields, once you get past a certain point in the interview process, you are told whether you got the job or not.  (It’s considered “polite.”)  Often, you’re even told why!  Every talent-based reality show offers feedback from the judges as to what each competitor can do to improve his or her chances.   You simply won’t get that in the real entertainment industry.  And, since you’re constantly auditioning, even when you’re working, the self-doubt and frustration inevitably creep in.  

My agents have told me things like, “You’re on a very short list for replacements,” “it was between you and somebody else, and they just chose the other person,” “it wasn’t your turn,” and the aforementioned, “they just don’t think you’re right for it.”  Sometimes the specifics casting coughs up turn out to be even more confusing:  “They need a stronger pop singer.”  (But they didn’t ask me for a pop song!)  “Everyone has to be a strong tapper.”  (But there’s no tap for this track!)  And so on and so forth.  Learn to let go of things, such as, for example, your childhood dream roles, and you’ll be fine. 

5.  The pay scale is bats.

The strangest aspect of this industry is that the pay scale is beyond comprehension.  Sometimes it will be despairingly low (“I can’t quit my day job for $345/week!”), sometimes it will be mind-bogglingly high (“They’re offering me $20,000 per episode, and I haven’t even read for the producers yet?!!”).  The financial extremes that actors endure would blow the minds of economists, Vegas high rollers, your parents, and, most frequently, the IRS.  Don’t forget to take taxes or your agent/manager’s commission into account when negotiating a contract.  And for God’s sake, save your money. 

6.  This industry is filled with bonafide crazy people.

Trust me.  Learn to love ’em.

7.  Nobody really knows how to get a job.

There’s no magic formula.  If there were, everyone would use it.  In the wise words of Michael Kostroff, “Every audition is like they’re tossing you a ticking time bomb and saying, ‘Defuse it.'”  No one really knows how to do it, but somebody always lucks out. 

My advice to the bright-eyed and bushy-tailed who are subletting their first apartments this summer is to: 

1.  Remind yourself that you love to do what you do.

2.  Know who your friends are, and keep them close by.

3.  Do your best at every opportunity… and then learn how to let go. 

 

 

 

 

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