The Play's the Thing

I had some performances of my own plays recently, and also sang in a benefit performance with my lovely wife, Judy Rossignuolo-Rice. See my blog entry on VVRITERS.

Blogging Hiatus

Please read today's post on my Meta blog, which explains my recent absence from these pages.

If the Shoe Fits

My favorite audition story comes from opera. The call was early, and I decided on a whim (I was young and full of whimsy) not to do any vocal warm-up. I sang a full-throated aria and my voice cracked repeatedly (it was years before my high notes were secure). I was embarrassed, but still young—the humiliation lasted no more than a few minutes before I was on to the next adventure.

I got a call later that day for a costume fitting for the role. The costume fit. The gentleman they had chosen based on the audition did not fit the costume.

I got the part. It was not a major role, but it was most certainly a major respected opera company.

I love this story. I believe it captures the essence of the audition process, the sheer fate of it. You get a role because you’re lucky, regardless how talented you are, and regardless to the degree your talent is appreciated.

Most of the artists with whom I’ve shared this story, particularly my take on it, hate it.
I don’t mean to imply talent and study mean nothing—quite the opposite. I mean only that talent and study ensure nothing with respect to winning recognition.

Talent and study, art itself, is its own reward.

What an Audition Is

An audition is not a horserace. There’s no photo-finish.

An audition is a beauty contest. And beauty, we know, is in the eye of the beholder.

Audition Futility

It’s hard to audition and then not get chosen—it happens!

Seems to me one has to believe that auditioning is part of an actor’s work, as much as is performing. The audience is limited and the performance brief, but it counts for something. You learn something. You’re seen and may be remembered. The call may come far later than you expect.

Questions You May Be Asked in an Audition – # 1

Q: What interested you in our season?

A: (select one)

a) Everything. Except “High School Musical,” of course, because there’s no part for me.

b) In what roles might you cast me?

c) Theater is my life. I can’t help but be interested.

An Inveterate Actor

If I were many persons, one of them could devote his entire life, all his energies and love, all his creative powers, all his aspirations, and put all his values in the service of acting in theatre.

What lost, sorry soul he would be.

Crazy?

I am reading a good book (from 17 years ago, so you may know of it), entitled "Staying Sane in the Arts," by Eric Maisel, Pd.D.

See if it doesn't describe you well, with advice as to what you should do about it.

You Never Know What to Expect

You never know what to expect at a commercial audition. I brought a prop to an audition a while back, which was clever of me. But they had a prop for me, so I didn’t actually feel very clever.

After I said my last line, the director said, “You don’t say that line yet.” I knew this, but didn’t say so, so as not to appear defensive. Not saying that I knew, I fear I appeared inept. I spoke that last line early because, although there were actors representing various characters in the scene, there were lines for an announcer as well. Because we didn’t have an announcer, I simply skipped to my next spoken line, my last line.

Maybe I think too much.

My Dad, on Acting

My dad told me the best comment he ever heard on the topic of an actor’s relationship to his audience advice was from some grand dame of the theater who, when asked what she thought of when she looked out at her audience, replied “cabbage heads!”

My First Role

My appearance on stage was in a non-speaking role, but it was a starring role. I was Joseph in a Nativity tableau when I was in kindergarten. I was thrilled to portray the man, and was in character the moment I stepped on stage with our upstairs agnostic neighbor’s cane, as surely Joseph would have been tired and deliberate as he walked to the manger where Mary had laid the baby Jesus.

The most memorable, mind-bending aspect of my experience was extra-theatrical. I was very much in love—for want of an adequate alternate way of expressing my feelings—with the girl playing Mary, and fully expected that she would be my wife one day—one day very, very far in the future.

So, for me, it was a transformational moment.

What's It All About?

It's not about talent. It's not about great performances.

It’s not about getting paid. It’s not about taking classes.

It’s not about what the actor is feeling or thinking.

It’s certainly not about audience. Performing artists have no control over their audiences. Audiences are an utterly random component of theatre. Some may be on the edge of their seats, earnestly attempting to have the experience the performers intend them to have. But there are always others who are hardly in attendance at all, grateful for darkness, for a distraction that doesn’t dwell long in their awareness.

So what’s it all about? It’s about doing it, the process of art. You do the art, you’re done. No one should presume to insist to you what art is and is not, they must presume you know. This is because your art is one thing that’s utterly yours.

If you believe this, it’s easier to let the rest of it go: all the times you’re not cast, poor production values, rude people—as well as rave reviews, lucrative contracts with per diem, and the feeling you nailed it, were the consummate Hamlet (or all-beef hotdog). Yes, besides the pain, you can let the kudos and the glamour go, too, if you’ve ever known them.

Just do it, your art. Chances are someone will appreciate it.

For Starters

I’m happy to share a YouTube video (in which I appear) that will hopefully be insanely viral—over a quarter-million have already seen it.

Enjoy: America in Crisis: Chicken Wing Shortage for Super Bowl Game!