UPCOMING AUDITIONS

FILM AUDITIONS

Project: "The Farm" (short film)

Synopsis: A newlywed couple honeymoons at an Aunt's old farm house out in the country. What finds them is not friendly, or kind, and there is no way out.

Roles to be filled:

Stella: (Principle Role) Female, aged 20 - 26

Johnny: (Principle Role) Male, aged 20 - 26

Aunt Lynn: (Supporting Role) Female, 40 - 60

Bill: (Supporting Role) Male, 20 - 26

Sheriff Franklin: (Supporting Role) Male, 40 - 60

Extras: We will need some extras for background people in a parking lot. This scene to be shot locally to Cleveland.

This project is scheduled to be shot starting the middle of April and into May on weekends. Weekends are to be determined. Target is to complete shooting in 2 or 3 weekends. Supporting roles are expected to be shot in one day. Shooting is indoors and outdoors.

The location is just east of Columbus. Possible arrangements are in the works to arrange overnight accommodations (Sat/Sun). More on that as it develops. NO PAY. Food will be provided, film credit, your info posted on the Ghost Walk website, and DVD of the finished film with extra material.

Must have prior acting training or experience. Please see the "The Farm" Facebook page for more info.http://www.facebook.com/home.php#!/event.php?eid=176583662383661

Audition Location: TWINSBURG COMFORT SUITES - Board Room
2715 Creekside Drive
Twinsburg, OH 


NEW AUDITION DATES 
Friday, March 11, 2011, 6-8 p.m.
Saturday, March 12, 2011,  11 a.m.- 4 p.m.

CONTACT: Casting Director, Victoria Vardon
Email: vvardon@ghostwalklive.com
Phone: 330-553-8465

This is a Ghost Walk Productions, LLC. production.
www.ghostwalkproductions.com
www.ghostwalklive.com

THEATRE AUDITIONS

Gallery Players' Auditions

Auditions for The Action Against Sol Schumann by Jeffrey Sweet and directed by Matt Hermes, will be held Wednesday, March 23, at 7 p.m., with callbacks on Thursday, March 24, at 7 p.m., in the JCC's Roth-Resler Theater. Rehearsals will begin April 4.

The cast consists of five male roles and four female roles. Auditions are open to all and will consist of cold readings from the script. Please come prepared with headshot and resume. Copies of the script will be available to review at the JCC until the day of auditions.

The Action Against Sol Schumann centers around Sol Schumann, a devout American Jew and beloved father of two grown sons, who is accused of unspeakable crimes he allegedly committed many years earlier. The play concerns both the moral support and condemnation that surrounds him. The focus of the play, however, are Schumann's sons Aaron and Michael.

Those unable to make auditions on March 23 may be able to make arrangements with the director to audition during callbacks by e-mailing bevigitant@gmail.com. For more information, or to review a script, contact JCC Cultural Arts Director Jared Saltman at (614) 559-6248. The JCC is located at 1125 College Ave., Columbus.

To review a character breakdown, as well as a complete synopsis of the play,click here.

STUDENT UPDATES

Photographer James Drussi (http://dreussiphotography.com) will be shooting Actor Headshots in Columbus, Ohio March 25-27 at the Ohio Theatre with a introductory price of $150.


James Dreussi is a professional photographer working primarily in the Northeastern Ohio area.  He gained his interest in photography during his travels around the world as a Soldier and entertainer.  After spending eight years in the Army, James turned to higher education at the Art Institute of Pittsburgh where he is pursuing a Bachelors Degree in Photography. 


To schedule your session or for more information contact James Drussi at: james@dreussiphotography.com

UPCOMING WORKSHOPS

PHOTO: Acting in Columbus students Ryan Grant and Kristie Miyamoto.


MASTER ACTING CLASS: Audition, Monologues and Scene Study
  
Thursdays, beginning April 7, - May 26, 2011 7-9:30 $200

Whether you’re an acting enthusiast who is ready to jump into the action or a professional looking to liven up their next performance or audition, this is the right course for you!

 It’s a Scene Study class – with a difference. Everyone in class works on scenes from the same author. The plays (or screenplays) are chosen for their complexity, challenge, depth, and for containing the great roles that actors dream of playing. 

Another difference is that scenes are usually double-cast. At the root is my deeply held philosophy that each actor can bring something unique to each role. Seeing others bring the same role to life, with completely different choices, gives you confidence that you can trust your own ideas and follow your own instincts. It also helps you give up the notion of “doing it right.” There is no “right and wrong” to creativity. In addition, being able to watch each other work on difficult material that you yourself are grappling with intimately, affords invaluable inspiration.  Each scene study will start with cold reading techniques to improve your audition skills.

Each student will also have the chance to work on two monologues during this eight-week workshop.  We will help you choose the best material to showcase your talents or you may work on material already in your repertoire.

ACTING OPPORTUNITIES: Student Films by RYAN FROST

PHOTO: On the set of Ohio University student project 'LET IT BE WAR'

I was recently at a dinner party at which one of the guests, an actress, stated that she would never act in a student film. As a recent graduate of USC’s Film School, I was a bit surprised to hear her dismiss programs that have produced some of industry’s best filmmakers. But in all honesty, I could come up with a multitude of reasons myself as to why an actor in this town wouldn’t want to act in a student film. There’s no pay. The filmmaker’s don’t have a lot of experience and are still learning how to talk to and treat actors. And there’s little potential in the film amounting to instance success. Still, I was curious to hear about some nightmare experience she had doing a student film.

Turns out, this young actress didn’t have any specific bad experiences in the student films; she just thought there was nothing for her to gain in these projects. And with this, I wholeheartedly disagree. There is something extremely in valuable and rewarding in student films. They are a tremendous opportunity to form strong relationships with young, talented, and up and coming directors that could last a lifetime.

Nonetheless, I have a few thoughts on the how you can ensure you’re getting the most out of your student film acting experience.

Harvey Keitel first worked with Martin Scorsese on a student film at NYU. Mind you, you could very well be working with the next Martin Scorsese or Steven Spielberg, but they aren’t master directors yet. Their goals may very well be taking their film to Sundance, Cannes, or Tribecca and they (especially the younger ones) will profess these aspirations from the onset of production…and shorts film across the country achieve admittance into top notch festivals each year earning filmmakers studio deals and the actors recognition, but the chances of this happening are still slim. If it feels like the film is turning into something that may not get you into the hottest parties in Park City, just relax, enjoy the process, and remember to think about the long-term connection.

Furthermore, it’s great to want good material for your reel, but again, there’s no guarantee the work will be brilliant. Student filmmakers are learning. You may very well give a riveting lead performance that is tarnished by bad audio, poor focus, or a plethora of other things that won’t happen in the professional world. Hopefully, the end result is strong enough for your reel, but if it’s not, can you live with it? Still, there are a few things you as the actor can do to achieve the best results…

Investigate the Project

I directed 12 projects at USC ranging from 3-minute exercises shot on video that were produced, shot, and edited solely by me over the span of a week to my thesis film that was shot on 35mm film in Richmond, Virginia with a professional crew. Clearly there’s a big difference in quality. Before you audition, find out what class the project is for, what year they are in school, and whether the filmmakers are graduate or undergrad. All of this will make a difference in your student film experience. I’m by no means suggesting there isn’t merit to acting in films by directors with less experience – the actors I worked with during my first semester of film school, I’ve continued to work with and call upon even as I enter into the professional world. And in a way, I feel like we grew up together. Still, it’s a good idea to ask what type of project you are getting into. A student isn’t going to brag to you that it’s “just an MOS exercise” because to them, it’s the most important thing they have ever done.

Go with the Flow

If you choose to act in a student film, there are certain things that you should not negotiate. You should receive a copy of your work in a timely fashion, be fed every six hours, and shouldn’t be asked to work longer than a 12-hour day without proper turnaround. And if these students treat you so disrespectfully as to not abide by these courtesies, they aren’t really worth the connection.

Still, there are some things that might be out of the norm on professional sets that you should just go with. Student filmmakers, especially in their early stages, tend to prioritize their aesthetic vision over an actor’s performance. Don’t be surprised or frustrated if hours are spent on a cool circle type dolly shot rather than your nuanced performance in a close-up. Over time, we get better about this, but expect 7 takes of the cool shot because it isn’t quite perfect.

Also, it’s important to keep in mind that these young filmmakers are attempting to bring their visions to life without large crews and budgets…so cut them some slack if things take longer than they should. During my second semester at USC, I worked with an extremely talented actor who had a meltdown and chewed me out on set because there was no fresh coffee and didn’t think we were moving at a professional pace. As great as he was in the final cut, I wouldn’t dream of working with him again.

Do a student film for the right reasons

Chances are, if you are auditioning for a student film, you are still seeking to achieve some of your professional goals. That doesn’t mean that you aren’t a good actor if you are doing student films. Unfortunately, I’ve run into a few actors at auditions that seem to think our projects were beneath them. Just know that agents submit actors to USC films everyday. In 2007, I saw an extremely zany thesis film with a young and talented actor who blew me away with his comic performance. I sort of recognized from guess spots and what not, but he wasn’t big enough that I could possibly know his name. It was Aaron Paul. A year later he was starring in Breaking Bad. I’m not saying there was any correlation in his acting in a USC thesis film and his television success, but I do firmly believe student films are a great opportunity to work on your acting chops with talented directors in between those paying roles that could catapult a career.

I haven’t run into the young actress from the dinner party since that night. I’m sure she is still hustling, and from what I’ve heard she is a talented actress so I wish her all the best. She may or may not achieve success in this town. But I think her craft would be better-developed and her chances of success more likely if she chose to act in student films.

PHOTO: Acting in Columbus student Allison Leonard - Lead actress in "The Schartz-Metterklume Method"
PHOTO: On the set of "The Schartz-Metterklume Method"

TRAILER FROM "The Schartz-Metterklume Method"

Universities in Central Ohio with Film Departments:

WRIGHT STATE UNIVERSITY DEPARTMENT OF MOTION PICTURES: http://www.wright.edu/tdmp/motionpictures/

DENNISON UNIVERSITY CINEMA DEPARTMENT: http://www.denison.edu/academics/departments/cinema/index.html

OHIO UNIVERSITY SCHOOL OF FILM: http://www.finearts.ohio.edu/film/pages/acad/ma/index.htm

One week after graduating college from the University of Richmond in Virginia, Ryan Frost packed his bags and drove to Los Angeles to become a filmmaker.  After working at Paradigm Talent Agency and then in Development for two years, Ryan was accepted into USC’s School of Cinematic Arts to study directing. At USC, Ryan wrote and directed  short films, music videos, and commercials that have screened at various festivals. 

ACTING OPPORTUNITIES: Theatre Companies in Central Ohio

Here is a list of theatre companies in Central Ohio. To research each company, click on hte links provided below. Most companies post their audition notices on their websites. Better yet, go see a show and support our local theatres!

ABBY THEATRE OF DUBLIN http://www.dublin.oh.us/recreation/theater/

ACTORS' THEATRE OF COLUMBUS http://www.theactorstheatre.org/

AVAILABLE LIGHT THEATRE COMPANY http://www.avltheatre.com/

CENTER STAGE PLAYERS http://www.centerstageplayers.com/

CLOAK AND DAGGER http://www.cloakdagger.com/

COLUMBUS CIVIC THEATRE http://www.columbuscivic.org/ 

CONTEMPORARY AMERICAN THEATRE COMPANY http://www.catco.org/

COLUMBUS CHILDREN'S THEATRE http://www.colschildrenstheatre.org/

CREATIVE DRAMATICS http://www.creativedramatics.com/

CURTAIN PLAYERS http://www.curtainplayers.com/

EMERALD CITY PLAYERS http://www.emeraldcityplayers.com/

GALLERY PLAYERS http://www.jccgalleryplayers.org/

LITTLE THEATRE OFF BROADWAY http://www.ltob.org/

MADLAB http://www.madlab.net/

PICKERINGTON COMMUNITY THEATRE http://www.pickeringtoncommunitytheatre.org/

PHOENIX THEATRE http://www.thephoenixonline.org/

TAPA COLUMBUS www.tapacolumbus.wordpress.com 

SENIOR REPERTORY http://www.sro-theatre.org/

SHADOW BOX CABARET http://www.shadowboxcabaret.com/

THEATRE LAB http://www.thetheatrelab.com/

THEATRE COLUMBUS STATE http://www.cscc.edu/comm/theatre_columbus_state.htm

UJIMA THEATRE COMPANY http://www.ujimatheatre.com/

WEATHERVANE PLAYHOUSE http://www.weathervaneplayhouse.org/

CRAFT NOTES by Ed Hooks

"THE DREAM" 

There is no "right" time to dream, and there is no right time to be an artist. You would be surprised by the number of E-Mails I receive from people who confess to having had long time dreams about acting, but reality and the demands of making a living have caused them to follow a different path. They can't get rid of their dreams, though, and they often want to know if it is "too late."

It is never too late. Life is not a dress rehearsal. Van Gogh was twenty-seven before he painted his first picture. Henry Miller wrote Tropic of Cancer when he was forty-four. One of my favorites is Norman Maclean, who wrote the novella A River Runs Through It when he was seventy-six. The hit television show The Sopranos was brimming with late blooming actors. Vincent Curatola, who portrayed the New York underboss Johnny Sack, was a masonry contractor until the early '90s. Federico Castellucio, was a painter when he decided to pursue a sister art - acting. Tony Sirico, who played Paulie Walnuts, was an actual honest-to-God criminal before becoming an actor. No, it is never too late. Having said that, following a dream does not mean you have to toss common sense out the window. Unless you are a stash of money, you still have to make a living, pay the rent and maybe support a family. You can't just jump ship in life.

You have to balance your dream with reality. If you are a person who has the actor dream, I suggest that you start the process by asking yourself what your dream is really all about. (It is important to be very honest with yourself about this.) When you day-dream about acting, where do you see yourself performing? On a movie screen? In a soap opera? On the stage? As a guest on The David Letterman Show? If fulfilling your dream is dependent upon you becoming a movie star or a celebrity, you will be wise to think twice before pursuing it. There is a lot you can do to become a good actor, but there is almost nothing you can do to become a movie or television star. Sure, some small percentage of actors will likely become celebrities, but this requires a lot of luck, fortunate timing and persistence, in addition to acting skill. Dreaming of being a movie star is sort of like dreaming of being the Princess of Monaco. Yeah, maybe it is possible, but it is not a very realistic goal.

How much satisfaction and magic do you imagine acting will provide in your life? How important is it that you get paid to act? Are you thinking of making a living from acting? How much money is that? Could you scratch the itch by performing in non-or-low-paying community theater productions while making your living in a day job? If you intend to be paid to act, then it is a good idea to put on your business-person's hat for a minute and consider a few realities along with your dream.

The frustrating truth is that, especially in the United States, very few people make a living from their art, whether that be acting, music, dance or painting. Eighty-five percent of the members of Screen Actors Guild earn less than $5,000 per year from their craft. In acting, a middle-income group is practically non-existent. There are thousands of actors who are making zilch or close to zilch, and then there are Will Smith, Nicole Kidman and Julia Roberts - who earn in the tens of millions of dollars per movie. An acting career tends to be feast or famine, starving or being over-fed. For twenty-five years, I was fortunate to be in the middle-income group, but I did that by acting on episodic television shows and commercials. Those kinds of programs are an endangered species in an age of low-cost reality-shows like America's Next Top Model and Wife Swap. Advertisers are in the process of moving their clients' money away from television and onto the Internet. New actors today are going to have to be entrepreneurial, seeking out new venues that pay money.

My point is that, if you want to make a living from acting, you really ought to have a realistic game plan regardless of your age. As Antonin Artaud famously observed in his book The Theatre and Its Double, "The actor is an athlete of the heart." He was correct about that, but actors that get paid are also generally hard-nosed realists that are willing to go out there and play tackle football.

Do you have a feeling deep inside that you have a life-perspective that you want to share with others? If so, I think you have what might be called an "artistic impulse". In that case, it is mainly a matter of pursuing the art form that speaks to you most personally. Art of all kinds is about communicating feelings.

In one sense, deciding to become an artist is like finding religion. You wake up one morning and realize that you simply must do this. Even though becoming an artist may not make good logical sense, you will never feel satisfied until you at least try.

There is one more very important benefit to becoming an artist that I want to mention. You will find others like yourself. All of us have a need to communicate. That is, after all, why I wrote these craft notes, and it is why I send you an encouraging cyber-hug.

Until Next Month . . . Be Safe!

BOOK OF THE MONTH

A SENSE OF DIRECTION by William Ball


Mr. William Ball, the former artistic director and founder of The American Conservatory Theatre in San Fransisco, boils down almost forty years of teaching, acting and directing experience into possibly the most effective,educational and practical document about directing. I shudder to use the word text book as that term implies dry academia- an approach which leads to the the death of the theatre- but really this book is indespensable to any theatre director. Ball lays out in a logical, simple and jargon free manner the nuts and bolts of building a balanced right and left brained community which has complete and utter access to the creative impulse. Everything in Ball's book is transferable, practical (sorry about using that term again but it is true)and impeccably rendered. For any theatre director, I strongly suggest purchasing this book as the foundation of any library. Five out of five stars.


Editor's Note: I think all acting students should read this book!!