In the past, open auditions at Stage Door have been a zoo. Not because of bad management, but because of overwhelming response to open auditions. This time Robert Egizio assigned time slots. I don’t know what the actual design was, but it looked as if there were 5 or so people added to the mix every 15 minutes. And out of those people arriving every 15 minutes, there were people for each main character.

So when I went over the lines for our reading, there was a LARRY (who I read for), his wife TRACI, his mother ANGELA and a psychiatrist DR KRAPINSKY. It was actually a very fun read.

I have auditioned for Robert Egizio about a-half-dozen times, with no landed roles, and he knows me by name. When I arrived, his assistant (darn it – not sure of her name) knew my name. I was impressed with that.

And I walked out without a resume or headshot. I was so focused on dress the part that I forget to get the essentials. Luckily, I stopped by my wife’s office and printed out a resume. The first thing Robert said to me was “You need a new headshot”. This is true. Earlier in the year I was bald and it has grown back in. I do have an older headshot, about 4 years old, and a headshot taken earlier this year with no hair. But now I have even begun styling my hair differently from before. Robert has seen both headshots and probably has several on file.

I was very pleased with my reading. The best I have done for Robert. But I am pretty sure I will not get the role. The person who read KRAPINSKY was called in specifically to read LARRY. So no role.

Great networking though. I ran into two people I have done plays with, three people from acting class and a one off connection (someone in my currently play was in a play with this person).

I would love to be in a play at Stage Door, but alas, I don’t think it will be this one.

US Premiere of Spreading It Around, a new comedy by Londos D’Arrigo on Sunday, October 5 from 6:30 til 9:00 PM.

This light-hearted comedy finds Angela Drayton, a wealthy widow living in a retirement community in Florida. When she grows tired of footing the bills and handing out money to her inappreciative children, she and some of the other residents start the “S.I.N. (Spending It Now) Foundation,” an organization which gives to those really in need. Fearing they will lose their inheritance, her greedy son, and his shopaholic wife show up to try to have her committed for incompetence. Turning the tables, Angela shows them just how competent she is, and then shows them the door.

Casting:

Angela Drayton: an active attractive woman in her 60′s

Martin Wheeler: a fit, well preserved man in his 60′s

Larry Drayton: Angela’s son, arrogant, self important man in his 30′s

Traci Drayton: his self absorbed, fashionista wife in her 30′s

Dr. Krapinsky: psychiatrist in his late 40′s to early 50′s

Auditions will consist of cold readings from the script. Rehearsals to begin late December, opening January 23, 2009 for a four week run. Performances are Thursday through Saturday evenings and Sunday afternoons. Show is directed by Robert Egizio.

For an audition appointment, please call 770-396-1726; ext 7.

Last night, after blowing my monologue, I read the part of the Father. Robert said there are 4 characters similar in nature and so a reading of one would do for all of those 4 parts. The Father, HARRY LAMBERT, was described as a “politically correct Archie Bunker” and “blustery”. The side was read with HARRY’s wife, EDITH. So instead of reading it like a “blustery Archie Bunker” like Robert described, I read it like a morose husband, somewhat sympathetic to EDITH but appalled that he may be the butt of a joke.

Another audition I did for Cat on a Hot Tin Roof, after reading a side with one actress and was to read again with another actress, I was told that the character was a lawyer. I did not think about it right then, but did after I left. I read the side like I heard other people doing, as an angry person. It should have been read in an analytical way. The lawyer is logically stepping thought what he will do to achieve his goal and not angry.

Last night again, I did not really think about it and just read. I did not have much time to prepare and think about the side, but I did not read it like the director described the character.

What I need to do is to keep that information in my head like a mantra
“a blustery Archie Bunker”
“a blustery Archie Bunker”
“a blustery Archie Bunker”
“a blustery Archie Bunker”
“a blustery Archie Bunker”
“a blustery Archie Bunker”
even when I am reading the side. I need to force myself to spend 30 seconds and analyze what was told to me. This is critical in following the director’s instructions. I will never get anywhere if I do not.

This is one theatre I really want to do a play in. There are 4 levels of theatre in my opinion:
Professional/Community – Non-Equity only – open casting calls
Professional/Community – Non-Equity and Equity – open casting calls
Professional/Community ? Invitational only
Professional ? Equity only

Even though Stage Door Players states that it is a “metro-Atlanta non-professional theater that provides a venue to showcase the talents of up-and-coming local actors, directors and designers”, but will cast Equity actors, I still consider it a step above and would consider it an achievement if I were cast in one of it’s plays. This is just my opinion and impression of the theatre.

Still, not even a DQ Hot Fudge Sunday could console me on the way home last night.

The third audition was for Deathtrap at Stage Door Players. This was also my third audition for Robert Egizio. I thought the first role I read for I did very well on. The problem with the last statement is that I never have received feedback from the person handling the auditions, be that the director or somebody else. So I think I did well. Even if I did, I might not have been right for the part.

It’s easy to get discouraged, having been to 8 or so auditions, not being picked for any, and the one play I was in was given to me by a friend. Well I am. We will see how the next auditions go. Tonight is Beau Jest.

“One of the great popular successes of recent Broadway history, this ingeniously constructed play offers a rare and skillful blending of two priceless theatrical ingredients: gasp-inducing thrills and spontaneous laughter. Dealing with the devious machinations of a writer of thrillers whose recent offerings have been flops, and who is prepared to go to any lengths to improve his fortunes, DEATHTRAP provides twists and turns and sudden shocks in such abundance that audiences will be spellbound until the very last moment.”

Auditions will be held November 21st and 22nd at the theater from 6:00 PM until 9:00 PM. Casting 3 men and 2 women aged 30 -50. Cold readings from the script. No appointment necessary.

Show is directed by Robert Egizio, opens January 28, and runs through the 20th of February. Performances are Friday and Saturday evenings, with Sunday Matinee. Stipend paid. For more information call 770-396-1726, or visit our new website at www.stagedoorplayers.net

See you at the Stage Door!

A lot can happen to a voice in 20 years. The old cliche “If you don’t use it you’ll lose it” does apply. I did OK, but being nervous and my voice not being in shape, I could feel and hear that I did poorly. My voice was shaking.

This was the second audition I have done for Robert Egizio. The first was for Over the River and Through the Woods. And the second time I did the same monologue for him (Lesbian Spanking Inferno).

How to NOT land a role:
1. Do the same monologue for the same director
2. Stumble so badly on the monologue that you have to start over
3. If you are going to tryout for musicals, get your voice in shape.

If I am going to have directors/artistic directors, etc. take me seriously, I need to be serious. I need to get off my lazy ass and memorize and have prepared half-a-dozen monologues. And if I want to do musicals, I will need to get a voice coach and practice. Needless to say, I am very disappointed in myself. Chris thinks I have lots of talent, but I will not land anything if I don’t practice, practice, practice.

Thanks, and we’ll see you at the Stage Door!