Hey their fabulous performers.

Welcome back to casting actor's cast,

the podcast that helps you navigate the

wild world of auditions with confidence

and skill.

I'm Jeffrey Dreisbach, your casting

director, your teacher, and I'm your

industry cheerleader

here to give you the inside scoop and

what really goes down in the audition room.

Now listen recently, I had the pleasure

and the challenge of sitting behind the

table at both equity chorus calls eccs

for both dancers, which was last week's

episode.

And to day we're going to be covering

singers.

And of course, the epa's equity

principal auditions, that's going to

be, next week,

solicit

Wow.

I did honestly see some fantastic

talent,

but I also noticed a few common habits

that could be holding performers back

from booking the job.

So let's break it down.

If you want to up your audition game,

stay tuned, because I'm about to share

some audition gold.

This is casting actor's

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00:01:12,5 --> 00:01:12,305

cast.

Well, hello, and welcome to today's

episode of cassing actors cast.

I'm casting partner Jeffrey Dreisbach

with the McCorkle group in New York, how

are you?

I hope you haven't.

A good day.

I'm looking forward to sharing this e c

c experience that I had with singers

auditioning for Camelot

at the Barrington stage company.

And so it was an amazing day.

It was a full day of seeing close to 120

singers in a very brief period of time.

And so I wanted to give you some inside

tips of things that I observe that

might be useful for you.

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Now, as I said in last week's episode,

you may say, well, I'm not a singer, so

this doesn't really apply to me.

Listen, I think that there is going to

be some audition gold, as I said in the

introduction, that might even help you.

Even though you might not think of

yourself as a singer,

some of these audition tips are really

important and useful, and I also think

universally helpful.

So stay tuned.

By the way, as I said, last week it's

saucer, this week, as I've had more

coffee than god ever intended.

So I'm going to talk really, really

fast.

So hopefully this won't be a very long

involved podcast.

It's going to be,

you know, entertainment in the

educational space.

That's the way I take a look at it.

So let's talk about some singing

audition tips.

But first, I just wanted to let you

know to check out the websitecasting

actor's cast.

All one word dot com.

Casting actor's cast dot com, you can

find all kinds of cool information.

There's the blog called jeff's jots.

There's the book called jeff's jots

there's a form that says, dive into the

talent pool.

Filling that form out, just gives me

your name and email address.

I don't do anything with that.

By the way, I'm not a spammer.

I might occasionally promote an

episode, but I rarely do that.

That's going to open up some freebies,

though.

It's a book I'm doing voice over work.

It's also a video casting secrets.

What they don't tell you, all kinds of

cool stuff.

Also, please check out the YouTube

channel.

Casting actors cast on YouTube.

Those potios, podcast videos are being

simulcast as I'm doing them.

So it's both audio and video.

So you can watch me do the podcast as

well.

Thank you for that.

And also, just to mention that I'm

looking to doing a live event in New

York City.

I'm going to give you the dates and the

times this is through the wonderful

folks at actor's connection, and

hopefully fingers cross

also contributing to the production of

that.

Would be the Broadway podcast network

that I hope is going to be involved as

well.

I'll give you more information as it

comes available, but stay tuned for

that.

I think it's going to be really, really

fun.

All right, let's jump into it.

We're going to talk about singing

audition tips.

Number one.

So

I have to say,

overacting

and over singing,

less is more.

Understand that big emotions and vocal

theatrics might seem very, very

impressive, but you know what?

They can quickly become overwhelming

if you consider just simply showing

authenticity

and connection to the material, rather

than pushing too hard or showing off

your vocal Acumen.

Ooh, good word.

I think that's a really, really good

idea.

It's not about impressing us if that's

your goal when you walk into the room.

It's not going to do that.

It's not going to have the effect that

you're hoping for.

Why?

Because your focus is on that, it's not

on being present in the room, and

that's what you need to be, especially

when you're going to be singing a song

because singing is poetry.

So you're going to be sharing a poem

with us.

So have that in mind.

Have the storytelling

part of the way in which you perform

your song

be the most important thing you bring

into the room.

Speaking of bringing into the room, I

can tell you that

actors' equity association allows you

to sign up for the various time slots

that are available.

You sign up for those, then when you

show up to the holding room is what

they call it,

and that's where all of the singers

gather and get put in sequential order.

So you can sign up online now listen.

If you haven't signed up online, you

can still go, but you might have to

wait until there's a slot that's

available for you to step into.

So it's not a terrible system at all.

In fact, I think it's very, very fair.

Actor's equity works really hard on

keeping things on the up and up.

Verne square,

our office is one of those offices that

really wants to see non equity as well.

So the three choices we get before the

auditions start as the equity monitor

it's an equity appointed person who

helps organize all of those performers

who are going to be coming into

audition.

One at a time.

They ask the following three questions.

do you mind people singing from the

show?

I'll answer that in just a minute.

Two, will you be seeing non equity

performers?

To which I always answer yes.

Well, first of all, because this was

for Barrington stage.

I know that there's some slots

available for non equity performers in

the productions for the season.

So therefore,

we do say yes to that.

Plus, I always really like,

it's just me, I really want to give

anybody an opportunity to be seen if I can.

The third thing that I get a question

on is, do you accept drop offs?

In other words, if an actor were to

show up, not be able to get a slot, m,

be non equity, but not have the time to

kind of participate in the orderly

process of the audition,

can they just drop off their resume for

me to take a look at?

I answer, no,

I just can't.

It's just about, that's too much for me

to be able to handle in a single day.

If I took all of those drop offs, and I

actually had the time to scrutinize

them, I'm still not getting any

information about you as a performer,

I get you.

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Picture.

I get your resume but I don't get a

sense of who you are, and therefore my

brain cannot hold that much information.

And I also, this is going to sound

really snobby, and I apologize in

advance if it does, but if you don't

have the time

to audition,

then that's on you, that's not on me.

So please don't consider just dropping

a picture in resume.

Oh, first of all, they're expensive,

right?

Second of all,

there's a good chance I'm not going to

have the time to take a look and give

you the time you deserve.

But if you're showing up to audition,

that's a different story.

We can start a relationship when that

happens.

I hope that makes sense.

All right, if I'm too snobby, please

let me know.

I mean, you get it.

I hope, yeah, you're a smart audience,

so I know you get it.

All right.

Let's move on from there.

Let's talk about clothing.

I think it's important to dress smart,

not distracting.

Here's the

filter.

I would suggest you consider wear

something that makes you feel comfortable

and confident and allows you to breathe

easily

period.

End of story.

Please do this.

Avoid overly formal outfits,

anything honestly that restricts your

movement,

super tight Jeans or

gosh.

I still see on occasion people dressing

in costume in a way.

Please make sure that it's comfortable.

I have a lot to say about this.

So, again, I always feel like I'm

taking the risk of sounding a little

bit snobby about some of these things.

But ladies, I have to say, if you're

wearing a short skirt, be very, very

aware that when you walk over to the

accompaniest,

and you lean over to show the music and

pick the tempo for the accompaniest to

play your song,

that is not always an attractive

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situation, to be it.

I hope you can see that I'm painting

that picture.

It's just a matter of being

conscientious.

You might look lovely in that dress,

but again, a too short of address where

you're moving, and then bending over to

get taught to the accompaniest it's

just not necessarily something that you

would feel comfortable if you knew that

that was something that we had no

choice but to see what was going on.

I guess that

hopefully makes the most sense.

So be careful about that.

I also see some stylized clothing,

which I I think is fine.

It's part of your brand, or whatever

but I also see people who don't give it

any thought whatsoever.

I don't want you to overly dress.

I don't want you to weirdly dress.

I think it's just comfortable and

confident and professional

that's the way to think of it.

We're clothing that makes you feel good

about yourself,

and then you're done.

That's all you need to do.

In terms of hairstyle.

We address this a little bit last week

for dancers.

But if you have a different hairstyle,

or you're growing facial hair, now,

make sure that you're eight by ten your

headshot reflects that

I need to see how you look now.

And I get an association between what's

in front of me, and then what's on the

photo paper.

You know what I'm saying?

So please make sure that that's

something you pay attention to as well.

It's not unusual.

And I know I said this last week, and I

thought, you know what I'm going to

hear from people about this.

But here it goes.

I sometimes see that the

singer is wearing the same clothing

that they have in their picture.

And I think that's smart.

I don't think that's weird.

You might think it's weird and that's

fine.

But I kind of go like, I get the

association of that person.

Plus, it's easy for me to remember that

person because of that.

And after you've left the room, and

after I've seen 120

singers that day,

wouldn't you want that impression,

that is a positive professional

impression to last?

That's why I suggest

that the way I do anyway, all right,

let's move out from there.

Number three, I got several of these,

but I have numbered these, and I don't

think that they're in any kind of level

of importance.

But listening to yourself instead of

investing in the character,

i'll repeat that.

Listening to yourself instead of

investing in the character that's

something I see quite frequently.

Singers who focus too much on their

technique

instead of the story

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end up feeling disconnected.

They look disconnected because they're

making sure that they are being

technically perfect.

So just make sure that you're

emotionally present in the performance.

Being emotionally present means that

you are singing to someone specific.

If it applies, if that song makes

sense, that you're speaking to somebody specific,

visualize that other person, connect to

that other person in the song.

That will help you emotionally,

that'll help you

project appropriately.

This is not about the technicality

aspects of your singing voice.

That's something that's worked out,

just like dancers who watch themselves

in the mirror,

watching or thinking or listening to

yourself in the audition is not helpful

for you.

Let's move on from there.

Choosing the right tempo.

I think

there's value in letting the song

breathe,

picking the right tempo is absolutely

crucial.

You see, if the tempo is too fast,

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then you have and run the risk of

losing phrasing

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00:13:57,70 --> 00:13:57,470

too slow.

And it can really drag.

Find a

natural flaw, one that compliments the

storytelling

of

the song.

That also relates to what I was just

talking about, in terms of making connection.

Tell me the story.

Another related

element that I want you to be aware of

is, please be careful and not show the

effort of your singing technique.

That's what I was talking about.

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See, I think great singers that I've

had experience with in the audition

room, think, just make it look easy.

See if I get the sense that your face

is tense,

or you seem strained, especially

vocally in the kneck.

I see that sometimes, boy really does

distract from the performance.

Keep your technique under control and

let the sound flow effortlessly,

you know what?

No two voices are alike.

And if you really believe that, like I

do, that means there's literally no

chance you're going to be making a

mistake.

Trust your technique

and now just tell the story

in a way I think it's much simpler.

I think singers who have a really

excellent technique are able just to

feel that they're expressing themselves

in a confident way.

That's exactly the connection I like to

see in the room.

Here's just kind of a logistical note.

Please don't look at the team during or

after the last note of the song

happens all the time.

See, looking directly at the casting

team, or the music director,

or the, you know, whoever sitting at

the table,

because there's the table and then

there's you.

It can really feel awkward for everyone.

I think if you keep your focus and stay

in the world of the song, maintain your

presence, without making eye contact,

is a really great tool.

Without fail.

When you're done with the song, there's

a tendency to look directly at

the casting team, at the table, as if

you're saying, ok, I'm done.

Or worse yet, looking at the casting

team with the expectant eyes of well

what did you think?

That's not really great.

That shows and demonstrates a level of

insecurity that I'm sure you're doing

without even being aware.

So when the song and the last note is

there,

I suggest that.

And you can rehearse this a couple of

times, so it feels comfortable.

I suggest you close your eyes, drop

your head,

look over at the accompany, us, and

thank them.

Now you can turn, see, now you've

switched the environment from the story

you're telling,

being back into yourself and thanking

the accompaniest.

That is such a practiced routine that

makes an impact.

Ok, Mick, I just made you a lot of

money, right there.

I just want you to know that

I also see this many, many times.

And again, I've alluded to points of

this earlier, but I need to hit this

point a little harder, I think.

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And that is watching yourself sing,

see overawareness.

Just like for dancers, checking

themselves out in the mirror, like I

said, singers who seem overly conscious

of themselves, they feel really disconnected.

So let go and perform, instead of

analyzing yourself in real time.

So I know it's I said, stop listening

to yourself.

So sometimes it's just about you

listening to making sure that you're

technically perfect.

But other times

I can see that you're evaluating how

you're doing as well, avoid

as much as you possibly can.

Again, I think it's about going back to

the story, who are you singing to, and why

answer those questions in your singing?

And I think it's going to be very, very

polished and much more accomplished.

Moving on from their tablets and

accompaniests,

I think paper is better.

While tablets are convenient, they can

be difficult for a companyists to navigate.

So you know what I'm talking about, the

person that brings their book in, and

they have the plastic covers on their

pages, and they can just simply turn

the pages that's very easily.

That's a practiced thing for most

accompanized.

Having to look at a smaller tablet and

swipe up, swipe down, swipe over

page, turning delays and screen glare

can really disrupt the flow when using

a tablet.

You don't want that music to have the

pause or have to scramble to get it

correctly.

Now I know everyone does this, and I

think a lot of accompanized are ok with

it.

But my suggestion is, why take the

chance?

Turning a page is much easier it's

bigger, it's easier to see, it's easy

to comprehend.

It's on a non glare plastic sheet.

So that all they have to do is turn it

very, very quickly.

See, I see, I think a well prepared

printed copy is absolutely best.

Now I have something a little difficult

to chat with you about in terms of

singing auditions.

And this was something that happened a

couple of times in this latest ecc for

Barrington stage.

And that is one dancer that comes to

mind in particular, who came in and

apologize for their not being in the

best voice.

I'm not feeling well today.

I'm not sure what my voice is going to

do, so I hope you'll bear with me.

I'm apologizing if it's not quite there

for you.

But I wanted to give it a shot because

I really like this project, and really

want to.

you'll be understanding of that.

Well, of course, everyone behind the

table is, oh, sure.

Well, I'm glad that you came in.

That was really nice of you to do that.

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00:20:37,771 --> 00:20:41,7

And I'm thinking, well, you know, I've

always heard that you shouldn't make

excuses or try to apologize for

something.

On the other hand, there was a

genuineness about that that I thought,

do you know what I would honor that?

So let's just hear.

Well, guess what?

That changed the way I was going to

hear this performer.

And the performer had a, really,

had a really

loud,

very present voice,

sort of knocked me off my seat.

I have to say, there were a few

near the top,

and I would say that this actor is of a

certain age.

So, I mean, that was something that I

was accommodating, but yet, the idea

was that I was still very impressed for

somebody who wasn't feeling well, to

still show up and be able to deliver

that kind of a tune, even though there

were a few couple of missteps in the

song itself.

And then the actor, I said, gosh, I

said, thank you, and I'm really

impressed that you made the effort to

come in for this despite you're not

feeling well.

I hope you feel better.

Thank you very much.

He was like, thank you.

And then he left.

Well, the music director at that point

turned to me and said,

he does that at every audition for the

past several years.

Let me just

let that sink in.

So

I felt, I didn't feel angry at all.

I felt sad.

I felt sad, because

this person was manipulating the

situation, hoping and thinking that it

was to their advantage

to talk about whatever shortcomings

they had and filter it through illness,

filter it through.

I'm not feeling well.

So I hope you'll be understanding of

that.

Now, imagine

if we

really thought that that actor was

right for our project.

By the way, he wasn't right for our

project.

So, I mean, let's just take that off

the table.

It wasn't that I dismissed him because

of that,

I didn't?

It was simply because it didn't fit

into the world of what we were looking

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00:22:44,30 --> 00:22:44,197

for.

So that's off the table.

But here's the thing,

if he was right,

and we had brought him in

and he started rehearsals,

and, because of his own physical issues,

was not able to

sound well

at 100 percent.

Can you imagine the difficulty of

saying to that performer?

We're going to have to let you go,

because

we assumed that you were sick then and

went with you now.

So I guess what I'm trying to say is,

there's something disingenuous

about coming into an audition like that.

So I think it's important to own your

performance.

And what I really want to say is that,

if you're feeling under the weather, I

want you to think about keeping it to

yourself.

I think announcing vocal issues

beforehand, it just simply draws

attention to weakness rather than

strengths.

And I would suggest, just do your best.

Let us make that decision or that

choice.

I think that that's a very clean

approach.

The manipulative side of things is not

necessarily going to serve you,

certainly not going to serve you over

time.

All right, let's move on from there.

I get this question quite a bit.

Should you use a song?

That's from the show?

So here's my answer.

Unless it's specifically requested, I

would suggest, avoid singing a song

from the show, finding material, or

having material that is in the style of

the writing of the show.

That can be a really good idea.

But singing from the show invariably

opens up an additional can of Worms.

It can invite direct comparisons to how

casting, or how the vision of the show,

is performed.

We may have a specific idea about that

character.

And if you are singing the song, and

it's not necessarily hitting the mark

with the vision, we have in mind,

you've now just automatically

kind of

defeated the purpose.

Even if you've played the role, this

has happened seven times you've played

that role.

You thought, I'm just going to sing

from the show because I played the

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00:25:02,836 --> 00:25:03,3

role.

Let them see how I did the role.

Consider that there may be a different

way in which people are going to be

doing this particular production.

And so just trying to fit into the

production actually is more limiting.

I think, again, picking material that

reflects the similarities

is much, much more valuable.

All right, let's move out from their.

Confidence creates a confident audition.

I'm going to say that, again,

confidence creates a confident audition.

See, your energy really affects how we

see you.

So even when walking in, knowing that

you're meant to be there,

you're confident.

A confident performer is much more

engaging than a tentative one.

So if you are approaching

the audition a little nervous, a little

scared, I get it.

We are all nervous.

We're all scared.

That's absolutely the truth.

But the one who comes in and sort of

fab faking it till you make it, like I

said in the last episode, I think

that's a good idea.

But I think it's also just that sense

that you belong, that can make a huge impact

on the casting team.

By the way,

you don't know necessarily what we're

looking for,

so you just have to be the best you you

can

listen.

I hope that this was helpful for you

today.

Please don't forget to leave me a

review.

Elika, thumbs up.

Check me out on the YouTube channel, if

you like.

I'll look forward to our next and final

installment of these three eccs

epas as we cover

actors

in our next episode of casting.

Actress Cass, thank you so much.

I'm Jeffrey