Directing

Where does the time go? It has been nearly three months since my last post. My recent production "Wind in the Willows" was a challenging show to direct and stage, but we did it. It turned out to be a delightful show with a great cast.

Every show I direct I learn something. Directing brings forth numerous skills, not the least of which is letting go and letting the actors bring their skills and creativity to the art. The most important thing in directing takes place before scripts are handed out or a line is read. That is in the casting of the show with the right actors for the right parts and not being in a state of panic thinking, "I will never find the 'right' actor so I might as well take from what I have." Wait, search, and find the actors that you need and don't settle for less.

This philosophy has paid dividends for me in shows and failing to follow it has cost me a production that is less than it could be.

To do this effectively you need to audition well in advance of the first rehearsals. Actually, auditions are the poorest way to "see" what an actor can do. Go to as many shows as you can and take note of actors who impress you. Connect with other directors and producers about actors who have worked for them. Keep a headshot/resume file with notes. Finding talent for a show is an ongoing process and as a director or producer, you should be looking for talent constantly.

Another way is to select shows with certain actors in mind. This is called precasting. But this also has traps. You might know an actor because they did a part in a show and did it very well. This does not mean that they are right for the show you are considering. Also, if you precast most of your shows, you might miss seeing new talent through the audition process.

So if you are a director, just keep in mind that casting can make or break a show. If you are an actor, get as much exposure through auditions and contacts with people in the industry.

See you at the theatre!
Allen Schmeltz

Don't Blame the Audience

Every actor has been in a show where the audience does not seem to be responding. The usual talk backstage is that it was a "bad" audience and that is often given as an excuse for low energy in a performance. Audiences are not "bad." People do not pay money for tickets to a show with the intent of having an awful time. Audiences are supportive of the actors and the play. They want it to be a success.

If an audience is not responding to jokes or songs or drama in the way the actor feels they should, then the actor should give that much more to the performance. A low-key performance is caused by actors and not a result of the audience's reaction or lack of reaction. Some audiences will love a show but will show it in a quieter way than other audiences will.

If an actor is "real" on stage then he or she is not concerned with the audience. The total attention is in the scene and nothing outside of the circumstances of that scene exists for the actor. The best possible performance is given regardless of who is in the audience, how many people are there, or what their reaction is to the performance. The performance is the entire life of the actor during the play.

So in this New Year if you are an actor, then give your very best to every performance. Become real! If you are an audience member, react in your own way, whatever that might be, to the performance given. Without you, we actors would have a very boring existence.

Do you agree? Perhaps you disagree. Post your comments.

See you at the theatre!
Allen Schmeltz

2008

As we enter a new year, keep in mind the wonderful theatre that the Sacramento Area has to offer. There are over 100 theatre groups and production companies throughout the area including several Equity theatres. This provides a wide range of theatre genres for theatre going audiences and actors alike.

For you actors, now is the time to fine tune your craft. The use-it-or-lose-it philosophy is very true. Practice cold reading daily. Work on your diction, enunciation, projection. Practice tongue twisters and do theatre exercises. Record yourself and be a critic of how you sound and move. Memorize monologues and scenes--memorization is a wonderful exercise for the brain. Get with a good acting coach and commit to learning new techniques and fine tune those you know. And audition, audition, audition...

AUDITIONING

I have found that the majority of actors do not know how to audition. Here are three tips that will help you get the edge.

1. Make a STRONG COMMITMENT to the character.
2. Have ENERGY & PROJECT--look like you really want the part and convince the director that you are the best person for it. (You are the best person aren't you, or what are you doing at the audition?)
3. REVIEW THE PLAY before the audition so that you are familiar with the characters and situations.

Get the edge in auditions by working with a good acting coach to identify your strengths and weaknesses and find the things you need to do to get the director's attention. Do you know that most directors make at least a preliminary decision within the first 15-20 seconds of seeing you on stage?

Make 2008 your year to devote time and energy to your acting goals.

See you at the theatre!

Allen Schmeltz