Archive for April, 2009

Non-Equity Jeff Nominations

Tuesday, April 28th, 2009

CONGRATS TO ALL MY INSANELY TALENTED FRIENDS!!!

 
Published: Today
 

The Jeff Awards committee today announced 114 nominations in 24 categories for the non-Equity Jeff Awards. The awards honor excellence in Chicago’s non-union theaters for productions that opened between April 1, 2008, and March 31, 2009.

The Jeff Awards judged the opening nights of 130 productions offered by 57 non-Equity producing organizations and recommended 54 of them as eligible for Non-Equity Jeff Award nominations in all categories.

Top-nominated productions include Theo Ubique’s “Evita,” Lifeline Theatre’s world premiere adaptation of “Mariette in Ecstasy” and the House Theatre of Chicago’s “Rose and the Rime.”

The awards will be presented June 9 at a ceremony at the Park West, 322 W. Armitage. Tickets, $35 in advance, $40 at the door, include a cash bar and light buffet. Purchase tickets online at www.jeffawards.org. For more information, e-mail: nonequitywing@jeffawards.org.

Here is the complete list of this season’s nominees:

PRODUCTION — PLAY

“Enchanted April,” Circle Theatre

“In Arabia We’d All Be Kings,” Steep Theatre Company

“Mariette in Ecstasy,” Lifeline Theatre

“The Mark of Zorro,” Lifeline Theatre

“Our Town,” the Hypocrites

“Rose and the Rime,” House Theatre of Chicago

PRODUCTION — MUSICAL OR REVUE

“The Christmas Schooner,” Bailiwick Repertory Theatre

“Evita,” Theo Ubique Theatre Company in association with Michael James

“Jacques Brel’s Lonesome Losers of the Night,” Theo Ubique Theatre Company in association with Michael James

“The Robber Bridegroom,” Griffin Theatre Company

“Woody Guthrie’s American Song,” Blindfaith Theatre

DIRECTOR — PLAY

Nathan Allen, “Rose and the Rime” (House Theatre of Chicago)

David Cromer, “Our Town” (the Hypocrites)

Elise Kauzlaric, “Mariette in Ecstasy” (Lifeline Theatre)

Joanie Schultz , “In Arabia We’d All Be Kings” (Steep Theatre Company)

Rick Snyder, “Men of Tortuga” (Profiles Theatre)

DIRECTOR — MUSICAL OR REVUE

Fred Anzevino, “Evita” (Theo Ubique Theatre Company in association with Michael James)

Fred Anzevino, “Jacques Brel’s Lonesome Losers of the Night” (Theo Ubique Theatre Company in association with Michael James)

Mary Beidler Gearen, “The Christmas Schooner” (Bailiwick Repertory Theatre)

Paul S. Holmquist, “The Robber Bridegroom” (Griffin Theatre Company)

Nicolas Minas, “Woody Guthrie’s American Song” (Blindfaith Theatre)

ENSEMBLE

“Evita,” Theo Ubique Theatre Company in association with Michael James)

“In Arabia We’d All Be Kings,” Steep Theatre Company

“Mariette in Ecstasy,” Lifeline Theatre

“Men of Tortuga,” Profiles Theatre

“Our Bad Magnet,” Mary-Arrchie Theatre Company

“Woody Guthrie’s American Song,” Blindfaith Theatre

ACTOR IN A PRINCIPAL ROLE — PLAY

Don Bender, “Old Times” (City Lit Theater Company)

Esteban Andres Cruz, “Jesus Hopped the ‘A’ Train” (Raven Theatre)

James Elly, “The Mark of Zorro” (Lifeline Theatre)

Ryan Jarosch, “Torch Song Trilogy” (Hubris Productions)

Brian Parry, “Shadowlands” (Redtwist Theatre)

Brian Plocharczyk, “After Ashley” (Stage Left Theatre)

Bradford Stevens, “Jesus Hopped the ‘A’ Train” (Raven Theatre)

ACTOR IN A PRINCIPAL ROLE — MUSICAL

Courtney Crouse, “Jekyll & Hyde: The Musical” (Bohemian Theatre Ensemble)

Chris Damiano, “Evita” (Theo Ubique Theatre Company in association with Michael James)

ACTRESS IN A PRINCIPAL ROLE — PLAY

Brenda Barrie, “Mariette in Ecstasy” (Lifeline Theatre)

Laura Coover, “Blue Surge” (Eclipse Theatre Company)

Cameron Feagin, “Private Lives” (City Lit Theater Company)

Nancy Freidrich, “The Dastardly Ficus and Other Comedic Tales of Woe and Misery” (The Strange Tree Group)

Betsy Zajko, “Beholder” (Trap Door Theatre)

ACTRESS IN A PRINCIPAL ROLE — MUSICAL

Laura McClain, “The Christmas Schooner” (Bailiwick Repertory Theatre)

Maggie Portman, “Evita” (Theo Ubique Theatre Company in association with Michael James)

Rachel Quinn, “Gentlemen Prefer Blondes” (Circle Theatre)

Bethany Thomas, “Belle Barth: If I Embarrass You Tell Your Friends” (Theo Ubique Theatre Company in association with Michael James)

SOLO PERFORMANCE

Janet Ulrich Brooks, “Golda’s Balcony” (Pegasus Players)

Alice Wedoff , “The Shape of a Girl” (Pegasus Players)

ACTOR IN A SUPPORTING ROLE — PLAY

Paul S. Holmquist, “The Picture of Dorian Gray” (Lifeline Theatre)

Matthew Sherbach, “The Further Adventures of Hedda Gabler” (Dog & Pony Theatre Company)

Kevin V. Smith, “Our Bad Magnet” (Mary-Arrchie Theatre Company)

Madrid St. Angelo, “A Passage to India” (Premiere Theatre & Performance in association withVitalist Theatre)

Jon Steinhagen, “Plaza Suite” (Eclipse Theatre Company)

Nathaniel Swift, “Blue Surge” (Eclipse Theatre Company)

ACTOR IN A SUPPORTING ROLE — MUSICAL

Chris Damiano, “Jacques Brel’s Lonesome Losers of the Night” (Theo Ubique Theatre Company in association with Michael James)

Chris Froseth, “Woody Guthrie’s American Song” (Blindfaith Theatre)

Jim Sherman, “The Christmas Schooner” (Bailiwick Repertory Theatre)

ACTRESS IN A SUPPORTING ROLE — PLAY

Susan Veronika Adler, “Torch Song Trilogy” (Hubris Productions)

Jeannette Blackwell, “The Further Adventures of Hedda Gabler” (Dog & Pony Theatre Company)

Nora Fiffer, “The Autumn Garden” (Eclipse Theatre Company)

Mary Hollis Inboden, “Torch Song Trilogy” (Hubris Productions)

Elise Kauzlaric, “On the Shore of the Wide World” (Griffin Theatre Company)

Lily Mojekwu, “Greensboro: A Requiem” (Steep Theatre Company)

Rinska Prestinary, “In Arabia We’d All Be Kings” (Steep Theatre Company)

Mary Redmon, “Enchanted April” (Circle Theatre)

ACTRESS IN A SUPPORTING ROLE — MUSICAL OR REVUE

Amanda Hartley, “The Robber Bridegroom” (Griffin Theatre Company)

NEW WORK

Tony Fiorentino, “All My Love” (Diamante Productions)

Robert Koon, “Odin’s Horse” (Infamous Commonwealth Theatre)

Frank Maugeri & Seth Bockley, “Boneyard Prayer” (Redmoon Theater)

Andrew Park, “The People’s History of the United States” (Quest Theatre Ensemble)

Ken Prestininzi, “Beholder” (Trap Door Theatre)

NEW ADAPTATION

Fred Anzevino, Arnold Johnston & Joshua Stephen Karte, “Jacques Brel’s Lonesome Losers of the Night” (Theo Ubique Theatre Company in association with Michael James)

Cristina Calvit, “Mariette in Ecstasy” (Lifeline Theatre)

Robert Kauzlaric, “The Picture of Dorian Gray” (Lifeline Theatre)

William Massolia, “Be More Chill” (Griffin Theatre Company)

Terry McCabe, “Scoundrel Time” — City Lit Theater Company

Katie McLean — “The Mark of Zorro” — Lifeline Theatre

CHOREOGRAPHY

Kevin Bellie — “Gentlemen Prefer Blondes” — Circle Theatre

Brenda Didier — “Evita” — Theo Ubique Theatre Company in association withMichael James

Tommy Rapley — “Rose and the Rime” — House Theatre of Chicago

ORIGINAL INCIDENTAL

MUSIC

Lara Golan, “Dr. Egg and the Man With No Ear” (Redmoon Theater)

Charles Kim & Seth Bockley, “Boneyard Prayer” (Redmoon Theater)

Kevin O’Donnell, “Rose and the Rime” (The House Theatre of Chicago)

MUSIC DIRECTION

Ryan Brewster, “Evita” (Theo Ubique Theatre Company in association with Michael James)

Mark Elliott, “The Robber Bridegroom” (Griffin Theatre Company)

Joshua Stephen Kartes, “Jacques Brel’s Lonesome Losers of the Night” (Theo Ubique Theatre Company in association with Michael James)

Jeremy Ramey, “The Christmas Schooner” (Bailiwick Repertory Theatre)

Shaun Whitley, “Woody Guthrie’s American Song” (Blindfaith Theatre)

SCENIC DESIGN

Alan Donahue, “Mariette in Ecstasy” (Lifeline Theatre)

Anders Jacobson, “Red Angel” (LiveWire Chicago Theatre)

Bob Knuth, “Enchanted April” (Circle Theatre)

Bob Knuth, “Hay Fever” (Circle Theatre)

Richard & Jacqueline Penrod, “The Shape of a Girl” (Pegasus Players)

Emily Schwartz & Kate Nawrocki, “The Dastardly Ficus and Other Comedic Tales of Woe and Misery” (The Strange Tree Group)

LIGHTING DESIGN

John Horan, “Dr. Egg and the Man With No Ear” (Redmoon Theater)

Denise Karczewski, “Golda’s Balcony” (Pegasus Players)

Lee Keenan, “Rose and the Rime” (House Theatre of Chicago)

Jared B. Moore, “Touch” (New Leaf Theatre)

COSTUME DESIGN

Debbie Baer, “Rose and the Rime” (House Theatre of Chicago)

Michelle Julazadeh, “Jekyll & Hyde: The Musical” (Bohemian Theatre Ensemble)

Suzanne Mann, “Hay Fever” (Circle Theatre)

Suzanne Mann, “Enchanted April” (Circle Theatre)

John Nasca, “Die! Mommie Die!” (Hell in a Handbag Productions)

Jesus Perez, “Gentlemen Prefer Blondes” (Circle Theatre)

SOUND DESIGN

Victoria DeIorio, “The Mark of Zorro” (Lifeline Theatre)

Mikhail Fiksel, “Winter Pageant Redux” (Redmoon Theater)

Tim Hill, “Mariette in Ecstasy” (Lifeline Theatre)

Joshua Horvath, “Rose and the Rime” (House Theatre of Chicago)

Nick Keenan, “Touch” (New Leaf Theatre)

Stephen Ptacek, “God’s Ear” (Dog & Pony Theatre Company)

ARTISTIC SPECIALIZATION

Mask Design — Amanda Church, “The People’s History of the United States” (Quest Theatre Ensemble)

Animation — Jamie Clennett, “Dr. Egg and the Man with No Ear” (Redmoon Theater)

Fight Choreography — Geoff Coates, “The Mark of Zorro” (Lifeline Theatre)

Puppets– Graeme Davis, “Dr. Egg and the Man with No Ear” (Redmoon Theater)

Puppets — Jesse Mooney Bullock, (”Boneyard Prayer”) Redmoon Theater

Veggie Chili and Video Games

Wednesday, April 22nd, 2009

Disappointment. It’s inevitable. It sucks. It gets better with time, but it still sucks. There is no way to avoid it in this business, so you have to learn some coping mechanisms. Some people meditate, take bubble baths, work out, etc. I like good food and distraction. A pot of my phenomenal veggie chili and a day playing my hidden in the picture games (don’t laugh they’re AWESOME) followed by some AmericasNextTopModel and LOST tonight should do the trick.

If you’re going to survive in this business without becoming the crazy bird lady on Lawrence and Broadway or jumping into Lake Michigan, I advise finding coping mechanisms of your own. You are welcome to borrow mine. I have a lovely little macbook and I download all of my games from http://www.bigfishgames.com . Right now I’m playing the Serpent of Isis and it’s doing the trick.

As far as the veggie chili goes I’ve tried many different recipes, and none of them have come even CLOSE to this one. I borrow it from Door Sixteen. It’s delicious, truly. 

Vegetarian Chili
serves 6-8

1 tbsp olive oil
1 medium onion, chopped
3 medium carrots, chopped
4 cloves garlic, diced
1 large yellow bell pepper, chopped
2 jalapeno peppers, seeds removed, diced
2 celery stalks, chopped
2 tbsp chili powder
28 oz can crushed tomatoes with basil*
14 oz can black beans*
14 oz can kidney beans*
1 cup corn kernels
1 tsp ground cumin
1 1/2 tsp dried oregano
1 1/2 tsp dried basil
2 tsp kosher salt
1/2 cup bulgar wheat
1/4 cup balsamic vinegar

Heat oil in a large pot. Add onions, carrots and garlic; sauté until onions are translucent, about 5 minutes. Add yellow pepper, jalapenos, celery and chili powder; cook another 10 minutes. Add tomatoes, beans (with liquid), corn, salt and spices. Bring to a boil. Cover, lower heat, and simmer for 20 minutes. Stir in bulgar wheat. Cover and simmer at least 30 minutes (I usually let everything simmer for a couple of hours to let the flavors really develop, but it’s okay to take it off when the veggies and bulgar are soft), stirring occasionally to prevent sticking. Just as you’re taking the chili off the heat, stir in the balsamic vinegar. I know it might seem weird to put it in, but trust me—it really does make the chili taste extra amazing.

*I take the easy route and use canned beans and tomatoes. You can soak dried beans and use fresh tomatoes if you prefer, of course, but you will want to add water to make up for the liquid in the cans.

So there you have it. I hope this helps with your disappointments and/or heartaches. Eat up!

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Miranda Sings/Is she for real?

Saturday, April 18th, 2009

Alright so this was a pretty viral video being passed around for some time. Each one of MirandaSings’ videos get thousands of comments. Nobody can tell if she is for real. In this video she gives us a free voice lesson! Check it out!

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If that wasn’t enough for you. Check this one out!

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Anyway, you could spend HOURS watching her YOUTUBE CHANNEL. There is Opera, Pop, Musical Theater you name it.

So….what do you think? Terribly clueless, or comic genius? If you read the comments on her videos they fall into two trains of thought. Half of the people think she’s serious and are completely horrified and the other half think she’s an amazing comedian. The comments are all similar to these:

-”You are a very sick and foolish young woman. If you had any talent at all it would be obvious! Who has encouraged you to believe you can sing and worse to teach what you can’t do?! You have no pedagogical skills, and absolutely no knowledge of the mechanism called the larynx. You are a menace and should have psychiatric help to get you through the rest of your life, if some singer doesn’t kill you first for passing on your absolute stupidity.”

-”You guys are all idiots. She is obviously joking, This girl is genius. She deserves a spot on SNL.”

Well I FOUND HER OUT.

Her real name is Colleen Ballinger and she can sing very well.

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And YES she’s a comic genius.

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This concludes this episode of Harmony France, “Performance Art Private Eye.” Stay tuned for next time and REMEMBER…I am for hire! I’ll solve your mystery too!

Ebb and Flow: Classic Actor Panic

Thursday, April 16th, 2009

We’re actors. We LOVE to complain. We complain about our rent, being poor, our significant others, our lack of significant others, etc. When we’re employed in a show we complain about the pay, the venue, the actors, stage manager, sometimes the director, etc. We beat ourselves up over reviews. We think it’s simply not fair that “so-and-so” got “whatever part.” Yup we LOVE to complain about our profession. It’s one of our favorite things to do. The only time we complain louder is…well…when we AREN’T employed.

You see actors have this universal fear of never working again. It’s irrational. It doesn’t make any sense, but even movie stars have this worry. If you don’t believe me..observe:

Newsweek interview from 2005 with likely Oscar contenders:

You’re all successful actors. Do you still have that fear, after each job, that you’ll never work again?
ANNETTE BENING: Yes.
KATE WINSLET: I feel like that all the time.
PAUL GIAMATTI: I do, too.
KATE WINSLET: Leo doesn’t. [Laughter]
HILLARY SWANK: I was just working with Clint Eastwood. He’s 74, and he says he never knows if each job is going to be his last.
ANNETTE BENING: When I was starting out, I thought there must be a point at which that goes away—that successful people didn’t have insecurities or demons. What you realize is that, if anything, it gets worse.
PAUL GIAMATTI: Every job feels like the first job. I’m always fumbling through it, trying to figure it out and going, “I’m going to get fired. I’m going to get fired.”

So what is this fear? This “I’m never going to work again” fear? This “I suck” fear. This “clearly the last director made a mistake…I don’t really have any talent” fear. Is it just good old-fashioned FEAR OF FAILURE dressed up in prettier clothes? Do actors suffer from this to a greater degree than NORMAL people, or are we just more dramatic about it? OR BOTH?!! 

I don’t know the answer to any of this. I suffer from all of these fears all the time. Of course there are times when you are on top of the world…when you get a great review…land an amazing part…have a transcendental experience on stage. They are the highest of highs, but they’re dangerous. They add pressure. They add expectations.

The thing to remember is the ebb and flow. You are not always going to be on top. Treasure the moments you are, but don’t get wrapped up in it. Treasure the moments that you’re NOT on top too. They ground you. You learn just as much if not more. You WILL work again. Don’t give up on yourself! You are good! I’ll let Kate Winslet…my favorite actress on the planet take it from here….

Does the fear of failure ever go away?
KATE WINSLET: Fear is a great thing for an actor, because you have to confront it, you know. There’s always the feeling of “I can’t do this. They’ve got the wrong person.” This job is so exciting, and most of it is terrifying, but the day I say “That’s it, I know how to act” is the day it ceases to be interesting.

P.S. This post is ABSOLUTELY for a couple of my friends that are down on themselves right now. I love you and you’re INSANELY talented so snap out of it!

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Talented Colleagues: Eric Martin

Saturday, April 4th, 2009

eric-martin

Alright let me preface this by saying I’m clearly biased on this one. Eric is my roommate, my best friend, and has been an artistic collaborator with me on many ventures. We went to the same college and we even ran a small theater company. We’ve done 10 shows together. He designed my website and this blog and when he’s feeling extra generous he brings me an apple juice back from his morning coffee run. Just in case you’re wondering, the key to my heart is apple juice…..or booze….the key to my heart is also booze. If you can order me a bloody mary and know exactly how I like it, I’ll probably marry you no questions asked or at the very LEAST have your babies. Anyway, my POINT is I’m biased…okay? So get over it.

Eric is a true man of all trades. I’ve seen him save the day by taking over for a lighting designer that didn’t show up to the show. He saved my show (Tell me on a Sunday) by running the sound on the night that some important critics came. I’ve watched him negotiate all the behind-the-scenes theater crap that you can imagine….all the stuff you have absolutely no idea about when you decide to start a theater company with your college friends. I’ve seen him produce gorgeous website after gorgeous website. He also designs posters, postcards, or any sort of print marketing materials. He’s completely self-taught for pete’s sake. It’s sort of ridiculous. If you’re interested in his web/graphic design go HERE.

Despite all of these talents, I think his true gift is as an actor. I’ve seen him play so many different kinds of roles (he’s actually fantastic at slapstick comedy) but his true strength and what Chicago knows him best for are the more understated, less flashy, Everyman roles. Eric excels in bringing to life parts that in a less skilled actor’s hands would become somewhat thankless. He serves as the emotional epicenter and grounds a piece instantly with his old soul. His performances are so subtle and effortless that sometimes he doesn’t stick out for that very reason. He has a power to move audiences that few possess. But don’t take my word for it!

Eric made Chicago Tribune theater critic, Chris Jones’ 2008 shortlist of Young Chicago Stars in the Making.
“This Columbia College graduate is a handsome, complex melancholy performer who is rising fast on Chicago’s non-Equity stages. Capable of beguiling an audience with merely a stare, Martin first made his mark in “Thrill Me: The Leopold and Loeb Story” in 2006 at the Bailiwick Repertory Theatre and currently stars in “Lonesome Losers of the Night” at Theo Ubique.”

There are tons of more reviews, resume, and contact information for Eric HERE.

n48607087_32529050_5368Eric Martin with Jenny Lamb and Chris Damiano in Jacques Brel: Lonesome Losers of the Night.

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Eric will be performing Jacques Brel: Lonesome Losers of the Night at Theater on the Lake along with the rest of this phenomenal cast (Jeremy Trager, Jenny Lamb, Christopher Damiano). If you missed it the first time DON’T miss it again! Wednesday July 8- Sunday July 12
http://blog.harmonyfrance.com/theater/wp-content/ThrillMe.f4v

Eric Martin With Scott Gryder in Thrill Me: The Leopold and Loeb Story. (Eric does not want to be held responsible for the book of this musical) ;)

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Eric Martin and cast in Jacques Brel: Lonesome Losers of the Night.

n635286240_536806_6166Eric Martin with Dana Tretta in Cabaret.

Is the curse broken?….Marriott: a study

Wednesday, April 1st, 2009

I’m kind of superstitious, but only when it comes to theater.  If I have a bad audition in an outfit I will NOT wear that outfit to an audition again. If I crash and burn on a song selection I will “punish it” by hiding it in the back of my closet or in the freezer or anywhere that will insure that I do not attempt to use it again. Note: I have not ACTUALLY ever put sheet music in the freezer. I’m a little nuts, but not THAT nuts.

Following this bizarre train of thinking I was afraid to audition for the Marriott this year due to my past experiences. I thought that my auditioning for the Marriott would be forever cursed. I actually didn’t audition for them for a year and a half because I was afraid that I would end up falling or peeing on myself or something awful. All of my most horrifying audition stories come from auditioning for THIS particular company. ****Warning! If you get queasy from reading about bodily fluids, please stop reading now!****

Alright I’ve been insanely intimidated by the dumb Marriott (It’s not dumb. It’s a lovely company. I’M dumb for being intimidated) since John Komasa (who I love and adore!) made such a big deal about me claiming to be his student to audition for them. What was that? Four or five years ago I think. He was right by the way. I wasn’t ready at ALL. I believe during that audition I sang “Johnny One Note.” UGH. Double double toil and trouble UGH. So that was the first one. I don’t remember what my legit piece was. LOL I’m sure I wasn’t asked to sing one.

The next time (I believe. There may have been one more. If so, it was unmemorable.) was when I was called in for You’re a Good Man Charlie Brown. I sang…hmmmm…what the heck did I sing? I think I sang Little Red’s song from Into the Woods, but tried to make it bratty. Well they gave me direction. How about you act like a real person and not the stereotype of a brat? (They didn’t actually say this. They were very nice. But, that is what I would’ve told myself if I had been casting.) I took the direction to be a human and they liked it. I’m actually very good at being a human when I remember to do it. AND then I didn’t apply it to my second song, which I think was “Maybe I like it this Way” from Wild Party. Completely inappropriate! I was intense and ridiculous and not ANYTHING like what they would want for You’re a Good Man Freaking Charlie Brown! Note: always apply notes or direction from one piece to the other when auditioning. If they want to see a natural portrayal of a song chances are they’ll still want a natural portrayal if you sing another one instead of acting like a raging lunatic. UGH

Okay the THIRD time I sang “I Will be Loved Tonight” from I Love You You’re Perfect Now Change which they seemed to love. They asked me to sing another song and I sang “Evil Clyde” from Witches of Eastwick. It was AWFUL. The tempo was wrong. I was weird. Just awful. It totally negated the initial impressive song.

The fourth time I can’t even remember what I sang. What I DO remember is that I forgot to put my contacts in. I didn’t want to wear my GLASSES, so I just took them off for the audition. So I went in, was greeted by someone who remembered me at the table. Couldn’t see who. So I just looked in their general direction. Sang my song. Couldn’t see them. Stood there for what seemed like an eternity after singing before they thanked me. I couldn’t see anything they did. I couldn’t see if they were motioning for me to go, trying to get me to sing my other song, flipping me off, jumping out the window. I COULDN’T SEE ANYTHING! NOTHING. Nightmare.

Now I thought that that was about as bad as it could get, but no. I went in a year and a half ago for their generals. They were doing Nunsense which I figured I could do, so I decided to sing “Adelaide’s Lament” for my “funny” piece. I got my period literally while standing there introducing my song and had one of those awful ones that bleed through everything instantly. I could feel my underwear soaking it up while I stood there singing. I could feel it dripping down my…HORROR. (I warned you!) Mortification. I got through it as fast as possible and then bawled in the bathroom for 10 minutes before I left.

That last experience was traumatizing enough to keep me away for a year and a half. Trepidatiously I decided to tempt fate and conquer my fear and audition for their generals a couple of weeks ago. Aaaaaaaaaaaaaaand….SUCCESS! I didn’t pee on myself or fall down or make an inappropriate joke. I just went in and sang my piece (”Bill” from Showboat) and it went fine and I didn’t completely humiliate myself. I went in, did my best, left, knew that I did my best, and felt good about it afterward. That’s the secret to a good audition, pleasing YOURSELF.  If you feel like you’re prepared and you did everything in your power to do your best, then you’ll never be disappointed in yourself. You cannot control what the casting director or director is looking for, but you CAN control your preparedness, appearance, and attitude. That’s the key to success my friends (provided of course that bodily fluids don’t get in your way).

THE CURSE IS BROKEN!

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