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Saw Catch Me If You Can on Broadway. It was fun show with a really stylish set. The music was pretty but forgettable aside from the show-stopper "Don't Break the Rules." Right now I'm in acting conservatory working towards my BFA, so if anyone is an aspiring actor or is curious about going to college for acting I'm all ears 
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Aug 17, 2011 04:47
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T-Bone posted:Sup BFA buddy, I actually did a thread in ask/tell sort of about that last year that's in archives somewhere (OSheaman was in there too being awesome) that seemed to go pretty well. Sup buddy!!!  That's so cool! I agree! Unfortunately I don't have the upgrade that let's me view old threads  What year are you going into? Do you like the program?
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Aug 17, 2011 06:40
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Break a leg Burger Crime! I really like the sound of your program T-bone! But I think it is good you are taking different acting teacher styles, sometimes adhering to only one method can limit you ! A friend of mine goes to a school where they only focus on Sanford Meisner, Stanislavsky isn't even in their curriculum. They just start and end with Meisner!
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Aug 17, 2011 13:06
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I like the Meisner repetition exercises because the majority of my class (including myself) have yet to really give organic line deliveries. Everything is so posey and self-aware. But I really think that it's important to grasp the history of theatre by studying some of the older teachers. Uta Hagen's introductory chapters to A Challenge for the Actor really helped humble me as a performer.
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Aug 18, 2011 05:19
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Do any of you guys of horror stories of things gone horribly wrong? Technical or performance wise. For my senior these project in high school I teamed up with a friend to do a 1 hour adaptation of Amadeus. I played Salieri (hooray for gender-bending) and was the light designer. The thing is I had no grasp of what colors or angles look good on stage seeing as I had no prior experience. I had so many light cues that the light board operator was 17 behind when I got backstage, and the lights changed to often it looked more like a rave than a play. Performance wise during the same production I walked out on stage when it wasn't my scene and messed up the continuity completely. I just stood there alone on stage until they blacked out the lights. It was mortifying XD
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Aug 21, 2011 22:09
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When I was crewing Thoroughly Modern Millie the male lead forgot his mic was on, went backstage and started talking about himself to the crew. It was broadcast over one of the show stopping numbers. It was hilarious and heartbreaking at the same time.
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Aug 22, 2011 23:20
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Golden Bee posted:Careful with that joke, it's an antique. I spit out my tea laughing. XD I saw a production of Sweeney Todd where Sweeney and Mrs.L were singing to the chair that was descending from the first electric, and the clip slipped and the chair just plummeted down on to the stage. They just carried on like there wasn't a problem with projectile furniture.
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Aug 23, 2011 01:01
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In my experience and from what I have heard from people auditioning for grad school, GPA doesn't play as huge a role as the audition itself. When I auditioned for Julliard I talked with a lot of the students, and most of them had low GPA's when they auditioned for the school (but Julliard kicks your rear end into a 4.0 and no social life apparently, or you get kicked out). A lot of times your GPA doesn't really predict the intensity of the program, but that being said some schools have a lame program and will accept you with a low GPA, so your best bet is to do some digging around for schools with a good reputation and really prepare for your audition. The higher your GPA, the better you look (you can handle the pressure), but I have seen people with 2.0 get into Julliard. Some Good Grad Programs : Yale, Julliard, Emerson, Boston Conservatory, Ithaca... Check playbills for ideas as well. A lot of Broadway actors list where they got their MFAs/BFAs.
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Aug 24, 2011 14:22
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Hey Named Ashamed! I'm in make-up class right now and I whipped out my guide on how to do make-up for blindness. Here is the section on blindness: "The actor can usually suggest blindness by keeping the eyes nearly closed. For blindness involving disfigurement of the orbital area, you might cast a blind eye and make a molded latex, gelatin, or silicon piece from it." Then it goes on to say paint the cast of the eye and apply false eyelashes. Cut a hole in the cast of the eye for the actor to see through. But this will severely limit the peripheral vision of the actor. I'm playing someone blind right now and my cast mates lead me around, and I stare at the knees of the actors. People who are new-blind can usually still make eye contact because of years of muscle memory. My friends who are blind from birth often stare down and keep their head tilted slightly down. It is safer to suggest blindness unless you have a talented make-up crew.
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Sep 21, 2011 13:45
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I don't really find improv that funny either. I don't think I would pay to go see it, but I think it is a really good warm-up and cast bonding tool. I have been in a couple of improv camps, and I took an improv course in college. While there are always people over acting and killing the scenes because of nerves/adrenaline/narcissism, I have found that the watch-a-bility has really improved with more experienced actors. Learning that focusing on the other actor was probably the most important thing I have learned from improv, and it has made me a much better actor.
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Sep 21, 2011 20:20
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I have been doing some light monologue coaching, and one thing that really seems to help the actors I work with is if I stand there and have them deliver the monologue to me. The monologue delivered to an imaginary person changes when delivered to another actor who is responding. It also helps break them out of pattern/repetitive delivery. For me writing the subtext of the line helps me memorize Break a leg T-Bone!
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Nov 21, 2011 14:21
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Got cast in Metamorphosis (not Kafka's). It is a modern re-telling of Greek myths. I'm pretty nervous to start memorizing, but I have some time off so I might as well start. And Geekboy I would audition. Spend some time before the audition studying up on your character and his relationship to the other characters in the play and what his objective is and you should do swimmingly in the cold read. Even if there is only a small chance, getting your face out there is a good idea. You may never know if this group will have another audition for something you are more prepared for. And if they have your resume and headshot they can give you a call for stuff you are more suited for. Just go in and be natural and listen to your scene partners and pursue your objective honestly. They will remember you fondly. (Sorry my sentence structuring sucks)
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Dec 19, 2011 17:03
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Geekboy I'm happy you didn't do the accent even though you feel otherwise. I have sat on the other side of the table, and I prefer to see an actor natural before I ask them to try anything accent wise. =) Often times the accents are glaringly awful or inaccurate, or the actor is focusing to hard on making the accent authentic they forget to listen to their scene partner. I like to see natural talent first and then I am able to keep the actor in mind for other productions if they aren't as good at the accent I require for the production they auditioned for.
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Dec 21, 2011 04:51
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Hey Ksrugi I sent you a message trying to get some details on the program you did =) e: Read "Fool for Love" by Shepard. It was awesome. Loved the dynamics between the characters.
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Jan 6, 2012 17:40
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I just got some un-retouched headshots back from NYC photographer Robert Mannis. If you are in the tri-state area and an actor really consider going to him for professional headshots. Expensive but worth it
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Nov 11, 2012 20:53
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Sondheim loving rules. Anyone here ever do SETCs or NETCs or UPTAS or any theatre conference auditions?
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Mar 7, 2013 19:55
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I think Burger Crime is right. I just went up to talk to some people about getting my masters but they suggested that I waited a few years until after I had finished my BFA. If you are already getting some callbacks I would hold off on that opportunity until a bit later. I'm sure if you maintain contacts with the teachers from the program your future audition for admittance will be easy.
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Jul 19, 2013 13:32
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Hey theatre folks I need some advice. I'll be graduating in May and I have a non-theatre job lined up for the summer that I need to work because  , but after that I guess it is time to start trying to work as an actor time  .I know I need to work part-time jobs, but what do you do when a job conflicts with potential audition/acting opportunities? I can't imagine a job exists that would be cool letting someone call out frequently for auditions. Anyone have advice they could impart?
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Aug 15, 2013 15:36
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Some of my friends say they start lining up at like 6 am.  Any recommendations for affordable places to take acting classes in NYC? Any studios that have a variety of teachers?
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Sep 9, 2013 03:06
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I would suggest anyone shopping around for a technique that interests/resonates with them for acting, should purchase the book Training of the American Actor edited by Arthur Bartow. It is a compilation of essays on a variety of acting techniques written by people very close to the teacher/originator of the technique. It goes into The Six Viewpoints, Practical Aesthetics, Meisner, Chekov, Adler, Hagen, Neo-Classical Training, Straberg, Grotowski, and Fritz Earl. While it does not go as in depth into the techniques as you would from reading a book written by the creator themselves, it is incredibly informative (also many teachers did not put their ideas to paper). Every section has a recommended reading section which will help you find other great books pertaining to the technique you are interested in. You can grab it used for under so I would snatch that poo poo up.Also The Actor and the Target is a phenomenal book. It really blows that I didn't get much technique work in college since our whole faculty god flipped around with a change in department head halfway through. So I'm trying to learn about teachers in NYC that I can go to while I'm sweeping sidewalks or whatever.
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Oct 28, 2013 19:47
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