AUDITIONS:

MadLab will be holding auditions for The Killing Room by Mark Cornell on Saturday, June 6th from 3pm-5pm at MadLab. We are seeking men and women 18+. Auditions will be readings from the scripts. Headshots and resumes not required, but encouraged. Please call 614.221.5418 for more information.

Auditions for AIDAN 5 the web series will be held this Saturday, June 13th from 10am-4pm. Our good friends at Vital Film Works have offered to let us use their space for this final round of auditions. Vital Film Works is located at 1305 Holly Ave. Suite 8 Columbus Ohio 43212.

We would love to see some older folks at these auditions, and we do have some specific needs for a middle aged Hispanic male, So, regardless of age or ethnicity we would like to see you at the auditions. Please bring a headshot if available. A prepared monologue is NOT necessary, but if you happen to have one prepared…that’s great too.

'The Three Musketeers' take the stage in Schiller Park

Heroic declarations and the clash of steel on steel will echo throughout Schiller Park this weekend as Actors' Theatre kicks off its 28th season. Thursday, May 28 is opening day for the German Village-based troupe's production of The Three Musketeers. It runs through June 28. Performances begin at 8 p.m. and run Thursdays through Sundays in the park, 1069 Jaeger St. in German Village.The adaptation of Alexandre Dumas' classic novel was written by Ken Ludwig, author of Lend Me a Tenor. Admission is free but donations are accepted.

..."A top-notch cast, director and designers join forces as one with a superior stage adaptation to make an outdoor show appealing for all in The Three Musketeers." -Michael Grossberg, THE COLUMBUS DISPATCH

Photo: Rehearsing their fight scenes for the Actors' Theatre's production of The Three Musketeers (from left) are Jason Speicher of Columbus, Zach Hartley of Columbus, and Stephen Hanna of Gahanna.

LOCALLY PRODUCED FILM SCREENED AT CANNES FILM FESTIVAL

An all-Columbus team whose science-fiction short "Aidan 5" competed in the 48 Hour Film Project last year. Contestants have two days to create a film from scratch using a genre -- as well as one character, one prop, one line of dialogue -- assigned to them just before they start.
The competition is held in dozens of cities across the country annually with thousands of filmmakers participating.

The four-minute film tells a futuristic story set in Columbus in which the cloning of detectives, launched to enhance crime solving, backfires when criminals clone themselves, too. After winning first place in the 48 Hour competition held in Columbus, the film was second runner-up in March at Filmapalooza, part of the Miami International Film Festival. That recognition paved the way for it being shown at the Short Film Corner at Cannes, France, on May 19, 2009.

Columbus team leader John Jackson got thrown out of art school. Intimidated by finding locations for all the different genres he drew on his love of illustration to find a creative solution. He worked with illustrator Ben Brown who drew black and white backgrounds for their winning sci-fi film, Aidan 5. Jacks storyboarded the script at 6am on Saturday, and Ben Brown was on set, in fact he was actually drawing the set, as they shot the footage. Brown drew the background separately on multiple layers so that elements such as the furniture could be moved around. Using all green screen shooting there were able to incorporate the illustrated backgrounds for a very unique look.

They have been overwhelmed by the feedback about the short, and have launched a web series project expanding the world of Aidan 5 with several shoot days sceheduled this summer. For more information check out their website: http://www.aidan5.com/

Here's the film AIDAN 5:

UPCOMING CLASSES AND WORKSHOPS

ACTING FOR FILM - Acting Fundamentals for beginners

Wednesdays, beginning June 10 - July 29, 2009 7:00pm-9:30pm $200

This class offers a focused introduction to the acting process. Beginning actors work, stage, and shoot several film scenes during the eight-week session. We work in depth on concepts central to the actor's role development for film. We use Shurtleff's 12 Guideposts as our basic text to help students make strong choices with a wide variety of scenes and monologues. Your ability to make active, personal choices is essential for dynamic auditions and performances for stage and film.

This class is limited to 12 students. As of June 2, 2009 there are four (4) slots available. Call 614-455-0881 or EMAIL us to register.

Advanced Acting for Film - Tuesdays beginning June 9 - July 28, 2009 7:00pm-9:30pm $200

Here is your opportunity to take on more challenging scenes. To work with people who are serious about the work. This is an on-going class designed to stretch your skills. Actors work, stage, and shoot several film scenes during the eight-week session. Scripts from soaps, sitcoms, dramatic TV and film are used. This is an on-going on-camera scene class. Actors receive a new scene each week to be prepared but not rehearsed in order to most closely reproduce the working situation in TV and Film. Intermediate and Advanced level actors.

Your final scenes will be screened for area Agents and Casting Directors.

This class is limited to 12 students. As of June 2, 2009 there are five (5) slots available.

Acting for TV Commercials - Introduction to Acting for the Camera - Sunday June 28, 2009 1:00pm -8:00pm $200

Learn how to audition for and break into the local commercial and industrial industry. You will learn how to make the first contact with the agents. By taking this class you have the opportunity to show the agents that you are serious about pursuing this type of work. This workshop will give you experience with the actual audition process:
You'll work on-camera all day doing both prepared and cold readings, and receive plenty of feedback from instructor Richard Mason.

VISIT OUR WEBSITE FOR DETAILS: ACTING IN COLUMBUS.NET

Marketing yourself as an Actor

Often when I speak to actors I wonder if they really WANT to be successful working actors or if they just want to keep doing the same old, same old. What is it that keeps good talented actors from achieving success?? Not lack of talent or training. There’s plenty of that out there. Is it fear, poverty mentality or just the disbelief that a specific opportunity would really make a difference? I don’t believe its fear. If somebody really wants something they overcome the fear whether it’s asking someone out on a date or cutting off their long hair. And it’s not lack of funds. If someone really wants something, they’ll find the money. I’ve even had actors tell me that they couldn’t afford good headshots because they had booked a vacation to the Caribbean. Somehow they found the money for the trip but not for necessary marketing tools. Gee! Priorities were off there!

?

I think the reason that good actors are not successful is a perception that they have a lot of time and that opportunities are plentiful. PROCRASTINATION. “I’ll get a demo reel in six months when I save some money.” “I’ll get around to taking that class next year”. There’s an assumption that everything is on hold for them, that nothing ever changes. This is an incorrect assumption. It’s also the assumption of people who never get what they want out of life. Somehow they just miss the boat or the swan because they don’t make a COMMITMENT. Winners are able to make decisions FAST. They can see the “possibilities” in every opportunity so they get to that audition - they find a way! They COMMIT. And they have their lives set up so they can go forward. In short, they have their ducks in a row. How do you set up your life so that you can be a winner? What “DUCKS” did you need to get in a row?

1.

Create an office, a place where you can have a computer, database and marketing tools. You are your own one-person business. Keep consistent communication with the Industry. That means that every week you DO something to further your career: a class, a professional meeting, a self-submission, updating your tools, shooting a new demo reel. WORK daily at building a career.

If you’re broke and desperate when you go to an audition, you’ve already lost the job. Stay physically and mentally healthy-be happy and optimistic: daily exercise, eating properly, getting enough sleep. You may have the audition of a lifetime! Looking great for that audition and having energy to spare may make the difference between a major career break and unemployment. You can’t afford to blow it. You need to COMMIT to yourself to always be in top form.

2.

GET A MENTOR - someone to advise, encourage and inspire. Absolutely no successful person got there ALONE. Everyone needs encouragement and advice. Set goals for the short term and long term and a schedule to carry them out. This includes further training, networking with industry contacts, auditioning for everything you can, developing as an actor by getting into as many shows and performance groups as possible whether you’re paid or not. Revise your plan monthly. If a market or goal isn’t working change it or change your location, tools, approach. Get advice!OK!

3.

STOP All Unnecessary Activity And Expenses So You Can Focus On What You Want Now. As an actor, a major part of your job isn’t just to act, but to market yourself. This is how you get the auditions that get you work and how you convince casting directors that whatever level you’re currently at that as an actor you’re ready to move to the next one.

4.

Actors should get their headshots reproduced on collateral other than the standard 8x10 headshots. Having business cards with your headshot on them is extraordinarily convenient to an actor. So is having a postcard featuring one or more looks to send through the mail to refreshing casting directors as to who you are and your availability. Actors should be sure to send out regular mailings especially if you're appearing in a show or film project. Send Thank You Cards after an audition, when you book work or see a casting director/director for the first time.

5.

As an actor, it is important that you have a professional looking website. This means buying a domain name (so that you are http://www.YourName.com and not somerandomsite.com/yourname.html) and having a page that is easy to look at (this means no bells and whistles that may slow down older computers and no horrible things like blinking texts or sound files that play without the viewer specifically requesting them). An actor’s website should contain your headshot, resume, sizes, union status and some sort of contact information. Obviously, an actor should consider their personal safety and do not post an address or home phone number. Additionally actors should have the good sense to separate their web presence as a performer from other activities they engage in online. Do seriously consider putting photos from productions are in as well as the text of reviews on your website. If you do voiceover work or have a reel, these are also valuable things to include on your website.

6.

Finally, never forget that marketing yourself as an actor means always responding promptly and politely to any queries about your availability, skills and interest in a project. Additionally, actors should remember when leaving messages for casting folks who have asked them to call in, to be concise, specific and leave their phone number twice. Good luck!

How to Compile an Actor Demo Reel

So you've done some regional film and television work. You've may have even stared in your own commercial or have been featured on a sitcom. And now, your various production reels are starting grow and grow. So, what do you do with all of this work you've compiled throughout your budding career?

An actor's demo reel is video or audio presentation that's used to show off your acting skills to an individual or company you'd like to work with. It's full of clips of your past work. Demo reels are sometimes called demo tapes or show reels. They're a crucial marketing tool for actors, so it's important to learn how to create an effective actor's demo reel.

This demo reel is all about YOU, and not about the other actors. Sometimes you can't help but have a few other actors on your reel, and this is okay - but only in extreme moderation. This may take some editing to do so, however, only choose the works that YOU are featured in. You can include footage from ACTUAL television shows, film or commercials. If you have done an industrial video, you may include a short clip from that if you feel that your performance is beneficial to showing your range as an actor. If you don't have any professional production footage, start working harder. Because not only do you want to build up your resume, but you also want to build up your demo reel.

Include your best material in the beginning. More than likely whoever is watching your demo reel has about a hundred other demo reels to view, thus the outcome that they will watch the entire video is extremely slim. This is why you MUST put your strongest pieces of footage first. Pick the scenes that showcase your raw talent as an actor in the beginning. After these scenes, then put the secondary scenes in. But this is the most important step, because if you put a "so-so" scene first, the likelihood of having the agent or casting director view any further is very slim. Most agents, producers or casting directors know about an actor's talent within the first few moments of viewing a demo reel. So ensure that that the first thing they see of you is perfect and professional.

Don't use any stage performances, unless you're making the demo reel for a theatrical agent. This is very important. The video quality of most theatrical performances is extremely poor. This will make your demo reel look amateurish and is both an annoyance and an inconvenience for the agent/casting director that is viewing your reel. Keep all of your material of the same style. If you are sending your demo reel to a theatrical agent or casting director, than it is appropriate to only include your stage performances, but if not, steer clear from them.

Contact the directors of the various projects you've worked on. Get them to send you clips of the sections where your work appeared. Sort through the clips you get from directors. Select only the absolute best. Be brutally hard as you eliminate some clips. You need to make the best impression possible on your demo tape, and one lousy shot could ruin your chances of getting the job. Make your demo reel the length of an average television commercial. An actor's demo reel should only be 30 seconds long. When you make the reel, see yourself as the producer of a TV commercial that promotes you. If you must make your demo reel longer, never exceed 4 or 5 minutes. Hire someone to compile the best clips onto a professional DVD. Get a digital file of it so that you have the option to post online on your website. Here is a sample Demo Reel by Sean Velie:

CRAFT NOTES by Ed Hooks

Monologue Nervousness

The prospect of presenting an audition monologue can terrify even the most experienced actor. Very few actors look forward to giving their best shot in front of a bunch of critical strangers sitting behind a table. It is simply not natural human activity. But, as we all know, the ability to present a competitive monologue has a direct relationship to the number of times you get cast, especially in stage plays.

The correction to actor nervousness is to commit fully to playing an action in pursuit of an objective. Commit to the given circumstances of the play from which the monologue is taken. However, that is not as easy as it sounds. It is difficult to focus your mind when you are having a panic attack.

One trick that has served me well over the years is to select a monologue in which I am trying to get somebody to do something. I call this a "you-oriented" piece. An "I-oriented" piece, on the other hand, is maybe a poetic memory thing. Tom's lovely final speech in The Glass Menagerie is like that. My experience is that, when nervous, it is very calming to have a clear, almost tangible acting objective. The more obvious the objective is, the better. A monologue is really a duologue, right? And a duologue is a scene. A monologue, in other words, is a scene in which the other person is pretend. Further, a scene is a negotiation. And in any negotiation, there must be a way you can win and a way you can lose. A "you-oriented" monologue sets up a negotiation quickly and easily.

A nervous actor in an audition situation can have a lot of difficulty committing to the given circumstances of the monologue. Instead, his objective becomes: "I want to get through this audition." To understate the case, that is not a good objective. Standing up there and saying the words in the script becomes the action in pursuit of that objective. And the obstacle is fear. Acting is doing. And if what you are doing is trying to get through an audition, then you will not be doing whatever the character you are playing is supposed to be doing.

It is impossible to relax by telling yourself to relax. As soon as you tell yourself to relax, you are going to get more nervous. In order to think about relaxing, you necessarily must first think about how nervous you are. And when you think about being nervous, your brain tends to develop the actor's equivalent of white noise. Many actors go all the way through their monologue listening to white noise. This is why a "you-oriented" monologue selection might help. We all learn as children what is involved in trying to get our own way. A "you-oriented" selection, regardless of the context, feels as comfortable as a well-worn glove.

Now, I am not suggesting that you never try an "I-oriented" monologue. They can be majestic and poetic if done well. They, too, require a provable objective. It just may be a little more difficult to get in touch with that. If you are the enviable kind of actor that does not get nervous with monologues, then by all means take a look at Mary's morphine-induced Act III reverie in Long Day's Journey Into Night, or Edmund's Act IV memories of his time at sea from the same play. This is world-class material, no question about it, and I applaud you for attempting it. But if you grapple with monologue nerves, keep what I am saying here in mind. Look at Starbuck's Act I attempt in The Rainmaker to hustle a group of skeptical farmers. Or Maggie's Act II monologue from Shadow Box in which she tries to get her cancer-ridden husband to come home with her. Those are both "you-oriented".

BOOK OF THE MONTH

“HOW THEY CAST IT” by Rob Kendt

Former Editor-in-Chief of "Back Stage West" magazine and Los Angeles Times theatre critic Rob Kendt is the author How They Cast It: An Insider's Look At Film And Television Casting, a keen examination of the film and television casting process for popular modern-day shows including "Will and Grace", "The Lord of the Rings", "Alias" and many more. The "presenting partner" of How They Cast It is Breakdown Services, a successful casting notice firm that contributes insights, anecdotes, sample documents from the casting process, and valuable suggestions for casting directors and auditioning actors alike. How They Cast It is not written in a "how-to" or textbook style; it is entirely about the close analysis of its chosen cases, each of which forms a different chapter, giving it an episodic structure that is as enjoyable for lay people wondering how the "Friends" cast was selected as it is useful for professionals who have already studied "how-to" manuals and want to learn from real-life examples.