GOOD PEOPLE

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Dress to suggest: What you wear for an audition for a Golden Age musical should be drastically different than what you wear to an audition for a pop/rock show. Don't show up in costume but wear clothes that are flattering on your body type that suggest the style, era, and essence of the project you're being seen for.

2. Don't come on too strong. Enter the room with confidence, but please don't beat us over the head with your confidence. There's a fine line between 'confidence' and 'crazy' if you're not careful! Don't enter the room with 3 bags, a huge binder, a bottle of water, and a jacket. Leave things outside the room, enter the room ready to work, and be prepared to read the energy of the room for how much you should chat, joke, etc.

3. If you need to talk to the pianist for anything over about 20 seconds, there is something inherently wrong with your cut. Don't make us wait while you discuss things forever! Your cuts should be clean, well-marked, and easy to follow. NYC has the best audition pianists in the world – if they can't decipher your material, the problem isn't THEM. Part of your audition is how you prepare and how well thought out and clean your book is!

TOP 3 TIPS FOR A GREAT AUDITION:
1. Prepare. I know it sucks when we don't hear ALL the material... truly I do. But it is impressive and telling when you are PREPARED to do all the material. The actor that comes in and says "Well, I just prepared the first side and cut because I was super busy etc etc etc" doesn't impress me the way someone does who shows up and says "What would you like to hear?" and is open and ready to work. THOSE are the kind of people I want to work with... people I know will do their homework, and are willing to work hard.

2. Although you are prepared (see above!) please hold your sides. It makes it less "performance" and more "audition" for us all... and there is nothing worse than you forgetting lines or lyrics during an audition. Just hold it! We expect that, and frankly prefer it.

3. When you are preparing material... please actually prepare it using your OWN toolbox, and applying it to your OWN type, personality, humor, etc. I can tell when you come in and have just YouTube'd 15 different people singing Elphaba... versus someone who has prepared the material, coached it, and worked it into their OWN instrument. Same with sides... we know when you're doing Megan Hilty's "Popular" scene... the jokes don't work for YOU the same way they did for HER. When I see an actor who has internalized material in a personal way and brings something of themselves to it... THOSE are great auditions. Not just regurgitating material you've seen done before.

WHAT DO YOU LOOK FOR IN A MUSICIAN/ACTOR?:
I love people who read music. I do a lot of new works- which ultimately have readings, labs, etc before they ever actually get onstage. I always cast people who are QUICK with music and can read, so that I can make changes on the spot and know they will be able to roll with it. Ultimately, those people are often then cast in the show because they've developed a relationship with the project. Learn to read music! It's not "music theatre" without music, dammit!

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Say yes to (almost) everything. So much of this business is meeting people, networking, and having people get to know who you are and what you do. Just do every crappy show for no money, cabaret, etc. My first show was in the basement of an adult daycare center in Brooklyn. It wasn't glamorous. But 3 years later I was on the First National of WICKED and it can all be traced back to those initial contacts I made while first in NYC. Be polite, fun, prepared, and good to work with... and then the business will find where you belong!

CREDITS:
"Wicked" (Associate Music Supervisor for 8+ years; Music Director of Broadway, First National, and LA Companies); "First Date" (Broadway; Music Supervisor/Arranger); "Prince Of Egypt" (Worldwide Music Supervisor/Arranger); "Heathers" (Off Broadway; Music Director); "Gigantic" (The Vineyard; Music Supervisor/Arranger/Orchestrator); "The Blue Flower" (SecondStage; Music Director); "The Kid" (The New Group, Music Supervisor/Arranger/Orchestrator); "Secondhand Lions" (Seattle 5th Ave Theatre; Music Supervisor/Arranger); "Moonshine" (Dallas Theater Center; Music Director/Additional Arrangements); "LMNOP" (Houston TUTS; Music Supervisor); "Elf" (Paper Mill Playhouse; Music Director); "Born To Dance" (Princess Cruise Line; Orchestrator/Music Producer)

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Get your energy right before you come in the room, so you can walk in with confidence and start your work.

2. Dress appropriately for the audition – Carousel requires a different outfit than American Idiot.

3. Have your music ready to go so you can get the pianist set without confusion and get to work..

TOP 3 TIPS FOR A GREAT AUDITION:
1. Be prepared. This doesn't necessarily mean you have to be memorized, but you have to know the show, the character and have a strong grasp on the material.

2. LISTEN WELL to any adjustments you are given. It's hard to process in an audition when nerves are a factor, but being able to take an adjustment in the room gives the team more confidence in you as a performer and as a professional.

3. Have back up options ready that you can knock out of the park if asked. You need to have a comprehensive book with songs in a variety of styles that shows all the different sides of your voice.

ADVICE FOR ACTORS JUST MOVING TO NYC:
Read everything. There are tons of theatre and film/tv websites out there that let you know not just about auditions but about whats coming up, who's working with who, etc. The more you know about the industry, the better prepared you'll be.
Take classes at the studios around the city that offer a chance to meet a casting director or agent. Many casting directors use these as a way to find readers for auditions and there is no better masterclass than being an audition reader.
Build a community, both in and out of the theatre. This business is hard. Cultivate friendships and support systems to help you through the hard times.

BIOGRAPHY:
NY Philharmonic’s all star concert version of Stephen Sondheim’s COMPANY. Broadway: Man and Boy, The Importance of Being Earnest, Bye Bye Birdie, Waiting for Godot. National Tour: 12 Angry Men, Sweet Charity. Kate also worked as Casting Associate at Roundabout Theatre/Jim Carnahan Casting. Credits there include: Bway: The Mountaintop, Arcadia, A Behanding in Spokane, Everyday Rapture, The Norman Conquests, Pal Joey, Boeing-Boeing, Curtains, 110 in the Shade, The Woman in White, Chitty Chitty Bang Bang, Fiddler on the Roof. West End: La Bête, Deathtrap. Off-Broadway: Language Archive, Spring Awakening, Pig Farm, Entertaining Mr. Sloane, The Paris Letter, Mr. Marmalade. TV/Film: Glee (Fox), Brotherhood (Showtime), Flicka (20th Century Fox). In 2012, Kate was named one of Tomorrow’s Power Casting Directors by Backstage Magazine.

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Be personable, but yourself, when you enter the room!

2. Dress for success - look your best so you feel your best. Add a hint of the character you are coming in for to your wardrobe - but don't come in costume.

3. Have all of your material in order and ready to go in the room. Keep your sides/book of music organized, so if the team asks for something else - or an additional side - you have everything ready to go.

TOP 3 TIPS FOR A GREAT AUDITION:
1. PREPARATION!!! If you are bringing in your own material OR project sides/songs that were sent to you – the more prepared you are, the easier it will be to settle in and execute all of your choices and work for the team. You may think you are really good at "winging it" and you may really have great instincts in the moment, but we can usually tell when you haven't really put the work in!

2. BE OPEN! When a team member gives you direction - be open and amenable to change and implementing that direction. Being fluid and ready to play in the room will let the team know that you are easy to work with and ready to work hard and discover things! (#1 Preparation will help you with this. The more prepared you are with the material - the easier it will be for you to take adjustments).

3. OWN THE ROOM! This is your time. Come in confidently and really inhabit the room and the work you have prepared for us. There will always be distractions inside and outside of the room. Take control, stay focused and own your time.

ADVICE FOR ACTORS JUST MOVING TO NYC:
Audition for everything that you think you are right for! Get yourself out there – the more you are seen, the more people become familiar with your work and the more practice you have auditioning! Also, don't dismiss a contract because you think it's not good enough or that you can do better....If the better contract comes your way, you can always work it out, but the relationships you make with creatives now will lead to more jobs for you in the future.

ANY OTHER PEARLS OF WISDOM?
Everyone in this industry has differing opinions. Take what you like and leave the rest behind. You have to be true to yourself... always. Jobs come and go, but you are ultimately responsible for your own happiness and self fulfillment. Don't forget self-care/self-love is essential to being a thriving and fulfilled artist!

BIOGRAPHY:
Wojcik|Seay Casting : Is the partnership of Scott Wojcik & Gayle Seay and with Holly Buczek they cast all mediums. National & International Tours: “ Rent”, "Kinky Boots”, “Motown”, “Vocalosity”, “Flashdance”, “Dreamgirls”, “Nice Work If You Can Get It”, “Jekyll & Hyde”, “Joseph….Dreamcoat”, “A Chorus Line” and “Odd Squad, Live” with Mills Entertainment. Off Broadway current /past: “Othello: The Remix”, ”Church & State”, “The Portal”, Tennessee Williams’ “The Two Character Play”,“Handle With Care”, “Triassic Parq” and more! Regional: Multiple seasons/ shows for Riverside Theatre-FL, The Engeman Theatre - NY, Theatre Raleigh-NC, Stages St Louis-MO, Theatre Aspen-CO, Gretna Theatre-PA, The Arvada Center-CO and Tuacahn PAC-UT. For More - www.WSCasting.com

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Be prepared.

2. Be present.

3. Play the long game.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Arrive early but not TOO early. Similarly, be prepared to stay well past your appointment time - though we are always aiming for things to run on time, many variables can impact the schedule - leave yourself enough time.

2. Always bring a picture/resume - even if it's not specifically asked for. Bring a few.

3. Have a table of contents for your book. Know what's in there, and be ready to do it if and when you're asked.

ADVICE FOR ACTORS JUST MOVING TO NYC:
Expand your community - invest in relationships and meet new people whenever and wherever you can. Remember that today's interns are tomorrow's studio execs – treat people the way you want to be treated. Figure out what you want to do, and who you want your peers to be.

BIOGRAPHY:
Michael Cassara, CSA (Casting Director) recent credits include A Night With Janis Joplin (National Tour), 9 Circles (off-Broadway premiere/Sheen Center), Spamilton (dir. Gerard Alessandrini - NYC and Chicago companies, cast recording), Gigantic (dir. Scott Schwartz/Vineyard Theatre), Forbidden Broadway (last two editions/cast albums), The 12 (Denver Center/world premiere), Caroline, or Change (Tantrum Theater), My Fair Lady (Gulfshore Playhouse). Frequent work with most of the nation's top regional theatre including Gulfshore Playhouse, The Denver Center, Actors Theatre of Louisville, San Jose Rep, Asolo Rep, Hangar Theatre and many more. Film: The Hyperglot (dir. Michael Urie, Artios nomination for excellence in casting), Grantham & Rose (dir. Kristin Hanggi). Resident Casting Director for the New York Musical Festival (NYMF) since 2007 and the National Alliance for Musical Theatre (NAMT) since 2013. Michael is a native Clevelander and a member of the Casting Society of America. BFA, Otterbein University. www.MichaelCassara.net, @MichaelCassara

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Be friendly but professional – greet the auditioners but do not invade "their space" (behind the table, usually) unless invited.

2.Be respectful of the audition pianist. Trust his or her skills, but make sure you get the accompaniment you need through clearly printed sheet music and succinct directions on how the music should be played.

3. Dress appropriately. Don't try to costume yourself in the role you're auditioning for..

TOP 3 TIPS FOR A GREAT AUDITION:
1. Most important: remember that those auditioning you want you to be perfect for the part. They're not judging you, they're trying to determine your rightness.

2. Be ready to adapt your audition on the spot according to what the auditioners ask of you.

3. Be prepared! If you're not ready, don't audition. Don't sing a song you don't know well or whose accompaniment has not been properly arranged.

WHAT DO YOU LOOK FOR IN A MUSICAN/ACTOR?
1. Above all, believability in a part and rightness for a part.

2. Good musicianship--pitch, rhythm, phrasing, understanding of the material.

3. Someone that the creative team wants to work with; that is, someone who will both follow direction and bring new ideas and creativity to the production.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
1.Be patient. It only takes one good part to get your career started.

2. See everything that's playing to remain current.

3. Know your music and musical theatre history.

BIOGRAPHY:
www.ChurchMuse.com

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Be friendly, personable but humble. Simple is best. Be an open vessel who is low-maintenance and positive.

2. Really listen to what’s being said and asked of you. Be aware of the temperature of the room.

3. Don’t come on too strong or too weak. It’s about balance. You’re casual but also focused.

TOP 3 TIPS FOR A GREAT AUDITION:
1. For your own material: only sing an amazing song. If it’s not an amazing song, don’t sing it. It’s not just about how well you perform. The song needs to move people in some way.

2. For prepared material: be accurate and very prepared. If there are a lot of pages and you aren’t off book, make a lyric sheet.

3. Sing within your vocal range. Don’t show notes that aren’t 100% successful for you. Also, don’t mix something that is belted in the show.

WHAT DO YOU LOOK FOR IN A MUSICAN/ACTOR?
Self-awareness as a performer and as a collaborator. Someone kind and humble and great to work with.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
See everything, learn all the scores, know who’s in what and who’s working on what. Reach out to working actors/musicians/directors on social media, but in a respectful and humble way. Take classes and hone your skills.

ANY OTHER PEARLS OF WISDOM?
You need to be able to see your own personality and skill set in a very realistic and objective way. If you come on too strong with new people, work on that. If you lack in a certain area, take class. If you’re standoffish or timid, work on that. Humility and kindness go a long way.

BIOGRAPHY:
Dear Evan Hansen (MD), Wicked (Key 1/asst Cond). As a sub: Spelling Bee, Wonderful Town, Woman In White, In My Life. Workshops/rehearsals/readings: Book Of Mormon, Next To Normal, 9 To 5, Anastasia, Finding Neverland. MD for Stephanie J Block, Clay Aiken, Jenny diNoia, others.

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Dress however you think you look best.

2. Be warm and sincere.

3. Don't overchat.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Be on time.

2. Be prepared.

3. Be good.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Move to NYC with A LOT of money to get you started.

Make sure you are comfortable and happy with your living situation.

ANY OTHER PEARLS OF WISDOM?
There are no rules. If there were rules everyone would follow them and everyone would be a star. This is a business of flukes, fortunate timing and mistakes. The Casting Director is NOT your enemy.

BIOGRAPHY:
Broadway and Off-Broadway: 33 VARIATIONS, GREY GARDENS, MARIE CHRISTINE, MASTER CLASS, ONCE ON THIS ISLAND, FIORELLO, INNER VOICES, LANGSTON IN HARLEM, BOYS IN THE BAND (2010), DESSA ROSE, HERE LIES JENNY, A NEW BRAIN, A BEAUTIFUL THING, THREE TALL WOMEN, FROM THE MISSISSIPPI DELTA, SONG OF SINGAPORE, THE SUM OF US. Twenty-plus years each with The Berkshire Theatre Group, The Eugene O’Neill Theatre Center, Theatre Works Silicon Valley and The Weston Playhouse.

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Be yourself. You don't know what they want. They might not know what they want. Be the best you possible.

2. Be prepared. As an audition accompanist, I shouldn't know your music better than you do, but know there's a good chance that I know your music really well before you walk in the door.

3. Be available. You don't know what's going to happen in the room. Don't assume you're going to walk in, sing the song and jet. Be willing to sit in that room to find out what the team wants before you make your exit. They might actually love you. Give them that chance.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Minimize page turns.

2. Anything in pencil or written into the music is good. Don't tell me to ignore it. That means that if you have different endings for different cuts, put those cuts in your book separately. Telling me, "Don't stop where this says STOP here, stop where it says STOP here." There's a good chance that's not going to go well. Telling me not to read the new chords that are written in pen will probably lead to disaster. My brain is wired to honor everything that is written on the page.

3. Have real intros and real endings written into your music. Leaving it up to me will probably work out 75% of the time, but why leave anything to chance when you have total control of your book?

HOW DO I TELL YOU HOW TO PLAY MY SONG?
First off, talk to me like I'm human. I am (I think). Second, there's a good chance that I know your song already, so we're just looking to line up. Is the tempo in my head the same as yours? If we establish that it is, then we don't need to talk much. If your music is copied and marked well, then you don't need to explain to me, "This is a fermata, so hold here," because I know what a fermata is, but if there are a couple of strange things that tend to go wrong for you, feel free to point them out. If we're dealing with pop/rock/country songs, it's very useful for you to give me the feel of the song rather than just the tempo. Often, if you can sing the intro to me that's on the page, that's great information. Otherwise, you can tap your body and sing the hook, something that makes me understand what the drums would be doing if we were lucky enough to have a drummer. (At *Kinky Boots*, we get a drummer!)

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Sometimes Peggy Sawyer walks off the bus and ends up starring in a Broadway show, but the chances are that won't happen to you. Keep taking class. Know that auditioning is only one way to get your foot in the door. Meet casting directors. Do showcases. Go to agent auditions. Write letters and e-mails. Ask for what you want. Demand it if need be. Probably no one is going to discover you. You need to market yourself. Have a wonderful website that shows you at your best. Have lots of video and send it everywhere. Keep learning. If you don't like the life of being a professional actor, quit. It's hard. There are plenty of other things you could do and feel successful, but if you have to do it, then do it, know that it's hard and keep at it. If you're not good, practice more and take more class and get better. Wanting it is not enough: You have to actually be able to deliver.

ANY OTHER PEARLS OF WISDOM?
No one is just one thing. If you think that all you are is an actor, then you are wrong. It's okay to be many things. Don't judge your value on whether or not you got cast today. Oh… and be an expert at at least one thing. Make sure there is something you do better than anyone else, then market the living s*!t out of that thing.

BIOGRAPHY:
Michael is an audition accompanist who also plays classes around the city, most recently for Craig Carnelia, Jen Waldman and David Brunetti. He works as a vocal coach privately and at CAP21. He wrote the songs for and performs in Plan B which has popped up in NYC, Ithaca, Sarasota and Albany. His other score, Dear Prospective Student, is kicking around and hopefully will see the light of day soon. He studied to be an actor at NYU and loves actors and loves being an audition accompanist so that he can work with actors. He works with many casting agents and agencies, most recently Michael Cassara, Geoff Josselson, Jason Styres, Andrea Zee, Cindi Rush, Paul Davis and Eisenberg/Beans. In NYC, he has been glimpsed on-stage in recent memory at Spamilton, What Just Happened? and Cathy Dresden: An Old Fashioned Girl and regionally in Camelot (Capital Rep) and Ring of Fire (People’s Light).

Photo Credit: Ted Ely

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Preparation

2. Preparation

3. Preparation

I'm only half kidding. Being prepared is the best way to make me want to have you back in the room again and again. If you've come in and made specific choices on sides and songs, learned those song(s) correctly (lyrics, notes, rhythms, etc), take any direction or adjustments – you're winning. Even if you don't get a callback or get the job. I'll have learned that you come in PREPARED and give a great audition, and I'll want you back.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Preparation (I know I sound like broken record...it's THAT important!)

2. Remember the people behind the table are on your side. We want you to be great. We want you to book the job. We all realize auditioning is a crazy, strange, stressful, but necessary step in the process of putting together a show. Keep in mind that EVERYONE who sees you is hoping that you're the right person for the job.

3. Trust yourself. After so much preparation, walking in a room and feeling those nerves and/or adrenaline kick in, I think it's sometimes difficult for an actor to just TRUST the work that they've done.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
AUDITION FOR EVERYTHING. Go to the open calls and EPAs and ECCs and put yourself out there. There's no better way to learn what it feels like to walk in the room and do what you've trained to do (and what you LOVE to do!). And when you're just starting out, the more people you put yourself in front of, the better.

ANY OTHER PEARLS OF WISDOM?
Don't say anything about anyone that you wouldn't say to them directly. It's a small world – and in this business, it's smaller. Elevators, bars, theatres, holding rooms, a crowded subway... all places to avoid saying something you might regret.

BIOGRAPHY:
Rachel Hoffman, CSA, has worked in casting since 1999. She is currently a Casting Director at Telsey + Company. Current and upcoming Broadway, Tours include Charlie and the Chocolate Factory, Come From Away, Escape to Margaritaville, Frozen, An American In Paris, The Sound of Music. Past Broadway productions: Memphis, Bring It On, Hands On A Hardbody (for which she won an Artios Award), First Date, Rock of Ages, Spider-Man, How The Grinch Stole Christmas. Regional/Off-Broadway productions include: Found (Atlantic Theater Company), Brigadoon (Goodman Theatre), A Little More Alive (KC Rep), Guys & Dolls (Carnegie Hall), and The Great American Mousical (directed by Julie Andrews at the Goodspeed Opera House). Regionally, she casts productions for La Jolla Playhouse, The Goodman Theatre, Pittsburgh Civic Light Opera, and the Paper Mill Playhouse. Prior to joining Telsey, Rachel was involved in the casting of The Boy from Oz, Bat Boy: the Musical (Off Broadway production), Altar Boyz, and Godspell (2000 Off-Broadway Revival).

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Don't wear a ton of perfume or cologne. It's a lot to handle as you're bent over me explaining your audition cut.

2. Be friendly and warm. Say hello.

3. Be a human being. This is a weird world you are entering. Try to be you, that's who we want to see in the room. We don't want to see who you think we should see. We want to see you.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Be diligent in your audition preparation. Make sure your music looks amazing and there are no hidden secrets or lengthy explainations needed to make it happen. Your audition cut should start at the beginning and end at the ending.

2. Mistakes happen. Acknowlede them. If you mess up right at the top, fix it. If you need to stop your audition to laugh at yourself or clear something up with the pianist, do it. This is your time.

3. Say "Thank You" when you are finished. Even if the pianist played the wrong song. It goes a long way. Everyone in the room knows that the pianist blew it if they did a poor job. So don't worry that it reflects on you.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Have a ton of money when you move here. Expect that every time you walk out your door you spend $20. Even if you are just taking a walk around the block. Somehow $20 will disappear. It adds up quickly. So have a good size cushion to work with. It's an expensive city, it's hard to live here. Also, audition for everything you can. Everything that you are remotely right for. Like all things in life, you get better at stuff as you do it more. Auditioning is no different. Audition. Auditoin. Audition. Meet people. Make friends. This is a surprisingly small community. You never know who is going to give you your big break. It could be the person in line in front of you.

ANY OTHER PEARLS OF WISDOM?
Just be a human. Too many people walk into the audition room and put on this weird persona of someone that they think the people in the room want to see. We really just want to see you. You'd be surprised how many times casting comes down to the person that we'd most like to get a beer with at the end of a very long day of rehearsal.

BIOGRAPHY:
www.AaronJodoin.com

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Come in looking put together. Wear an outfit that flatters, take the extra time to iron your shirt and pants. You don't have to dress up for auditions, but at least look "first-date-ready."

2. Be a normal human being when you walk in the room. Say hello, acknowledge the other people in the room (casting, director, accompanist) - we're people too!

3. Be organized and do your research. Have your audition book neatly organized, have your sides together and in an order that is easy for you to go through. Know who is in the room you're walking into, know who is attached to the project. Don't look taken aback or like a "deer in headlights" if we start mentioning the names of creative team members and you have no idea who we are talking about.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Be yourself. Be a human being. Don't be a musical theatre robot. We want to see you, who you are as a person, and what you're going to bring to the role.

2. Choose material you LOVE. We can tell when you are singing a song or doing a monologue you don't really like. Don't sing something just because you think you should or somebody told you to.

3. Be prepared! Be overly prepared. Learn the sides, learn the music. You DO NOT have to be memorized, but set yourself up for success by doing your homework. Know the show, know the style and practice!

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Audition, audition, audition. The more you audition, the more comfortable you will be in the audition room. Auditioning is a skill, just like singing, dancing, and acting. Learn what works and what doesn't work - keep a journal so you can track what you did right when you get the callback, or where you went wrong when you feel like you've had a "crash-and-burn" audition. Learn the names of directors, choreographers, musical directors, casting directors, etc. Get in front of people so they can start to know you. And find a survival job that won't wear you out or suck your soul, and still gives you the time and energy (and financial resources) to take class, go to auditions, and be an actor.

ANY OTHER PEARLS OF WISDOM?
When you walk into an audition room, EVERYONE in that room wants you to be good, to give a good audition, to solve our casting problems. Nobody is rooting against you. Do the work ahead of time so you can come in feeling prepared and solid about the work you are about to present. There is so much that is out of your control in the casting process....take control of the few things you can! And once you're done with an audition, go out, have a cocktail, and let the audition go.

BIOGRAPHY:
Currently Casting Associate at Wojcik/Seay Casting.
With Wojcik/Seay Casting:
National Tours: Kinky Boots, Rent, Motown.
Regional Theatres: Tuacahn Center for the Arts, The Engeman Theater, Riverside Theatre, Arvada Center for the Arts, Stages St. Louis.
Various Commercials and Print.

Resident Casting Director for Theatre Now New York.

Past Casting Assistant and Casting Associate for Joy Dewing Casting. With JDC:
Off-Broadway: A Taste of Things To Come (dir. Lorin Latarro).
National Tours: Cinderella, Rent, Mamma Mia, 42nd Street, Kinky Boots, Annie, The Wizard of Oz
Las Vegas: Magic Mike Live (dir. Channing Tatum and Alison Faulk)

Industry Liaison and Social Media Manager for The Actor's Green Room.

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Don't feel you have to fill the silence in the room. You'd be shocked at how your small talk or over explaining can sometimes derail an audition.

2. Don't be afraid to ask questions. That may sound like a direct contradiction to #1. I'm certainly not condoning asking, "Anything I need to know?!" before every scene and song, but if you actually have a specific question, feel free to ask it. If you have two song options, feel free to ask the team for their preference. If you don't know how to pronounce something in a scene, ask.

3. Be nice to the accompanist/reader/intern/assistant/associate.

TOP 3 TIPS FOR A GREAT AUDITION:
1. There are thousands of songs out there. I promise there is an appropriate one for every audition. Don't assume that the people behind the table will ask for something else if they're interested. Many will, but some will glean from your baffling song choice a lack of preparation/awareness/interest.

2. Don't be a character. I really want to see you. Especially at a general audition. But even if you're performing material from the show that you think needs to be an over the top, shtick-y character, it needs to be grounded in truth. No one wants to watch something disingenuious for 2 and half hours.

3. If you're reading a scene/monologue, I usually don't care if you're off book. I always support holding pages as a security blanket and to allow you to keep the scene moving should your mind go blank. However, for a monologue, you cannot be in the page the whole time. For a scene, you must make some kind of a connection with the reader and be actively listening.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Try to be seen at every EPA/ECC when you are right for the role/show. That being said, don't perform the same song over and over for the same show. If it didn't get you a callback the first time, try something new.
Take note of who's in the room. Keep a journal of who you sang/read for, what you sang, what you wore, how you felt, etc. etc.
Be in control of the things you have control over and know that there are just as many factors that you have zero control over in an audition process. There HAVE to be stakes in the room because every audition should matter, but when you walk out the door, mentally leave it all behind. Even if they loved you, maybe you were an inch too tall for the last track they need to fill. Maybe you were AEA and they don't have enough contracts. Maybe you can only cover 3 of the 4 principals they want that track to cover. You'll never know, and there are way too many other things to stress about.

ANY OTHER PEARLS OF WISDOM?
When you do interviews for podcasts and you talk about the audition process and they ask you who you initially auditioned for, have enough respect for the profession to know who helped make your dream come true :) From the casting team to the associate director and music director to your agent/manager. Yes it's our job to champion you. No we're not in this business for fortune or fame. But if you're given an opportunity to talk through the CASTING process, be the actor who recognizes and appreciates that there were other people working hard for you along the way.
And just be a good company member. Your work in a rehearsal room and during the run of a show will follow you. We do call for background checks. It's too small of a business to be an ungrateful, lazy or entitled actor.

BIOGRAPHY:
I worked for Carrie Gardner, CSA from 2012-2016 on shows such as The Book of Mormon and Rocky. I have been at Telsey since 2016 and have been a part of the casting teams for Hamilton, The Color Purple tour and numerous regional productions.

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Be Put Together – not just physically, or appearance wise, but music/sides, your performance, your demeanor.

2. Be Personable - Yes, it's work and a job and take it seriously, but nobody wants to spend long theatrical hours with a Debbie-downer.

3. Don't spend too long at the piano. A good audition cut doesn't need much explaination.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Know your Material - Don't come in apologetic. Don't bring in stuff you've never done. Have a connection to the stuff you're using and then commit to it.

2. Be yourself – I don't want to hire another stock MT actor. Show your personality, how you infuse it into the roles/characters you play, and what makes you unique. Why are you different and stand out from the 40 other guys who look like you I saw today.

3. Have an Opinion - About everything you sing, say, dance. Nothing in the theatre is done without purpose. No movement, no word, no lyric, no rhythm. If you don't believe in the material, don't do it.

WHAT DO YOU LOOK FOR IN A MUSICAN/ACTOR?
1. Someone who takes risks and can make choices and adapt and react to the situations they find themselves in. Honesty and commitment. Understanding the WHY behind the lyrics and the songs.

2. I want someone, obviously, who can sing and screlt and riff and sound like a million bucks, but if it's just surface level, it means nothing. If the voice isn't committed to the intention, never mind.

3. Know yourself. If you can't belt that high Bb above the staff, thats fine! Use the voice and tools you have, make a choice and show me why that note doesn't need to be belted. Is a note too low? Does that moment deserve a speech-ish quality? Is there a breath, or a comma in the text you can use to make a dramatic point? Is there a turn in the song lyric or intention in your 16 bar cut that you're blowing through? You don't have to be the best – just the most interesting.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Take Class. Meet People. Say Yes To Everything – act in your friend's improv show. Do that reading in the church basement. Wear a costume and work a kid's party. Whatever it takes to create experiences and network and hone your craft. MORE IMPORTANTLY –– Plan ahead before you move to NYC: Think about what kind of survival job you want. Save money. Look up teachers and dance studios. Research neighborhoods you want to live in. Take full advantage of the mentors and teachers you have before you arrive –trust me, you'll miss them.

ANY OTHER PEARLS OF WISDOM?
Make friends and support each other. This business is hard, and you don't need to make the environment any more competitive and bitchy than it already is. Go to each other's cabarets. Invite each other to sing backup. Dance in each other's choreography projects. Be supportive and genuinely excited for someone booking work, even if you wanted it. Karma is a bitch and it will help/hurt. It's a small world in this community and that energy gets around and so does your name. It's like politics. Name recognition!

BIOGRAPHY:
Broadway: Big Fish, Bullets Over Broadway, Violet, It Shoulda Been You, Kinky Boots. National Tours: Hamilton, Kinky Boots, Elf, Cinderella. Selected Other: Red Eye of Love (AMAS), Joseph...Dreamcoat (Arvada Center). Roberto serves as Music Director for the Broadway Dreams Foundation, a non-profit national performing arts education program. Graduate of Penn State (M.F.A. Music Directing) and Florida State (B.M. Piano Performance). Proud member of AFM 802.

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. Get the nerves outta the way. Do yoga beforehand, breathing techniques, whatever it is you do to center yourself... do that.

2. Do all the prep work you can... that way you can show up and trust that you have the basics already down, and can adjust your approach as needed.

3. Don't overstay your welcome. When you are done, you are done. (And that can be a good thing!)

TOP 3 TIPS FOR A GREAT AUDITION:
1. Same as above, but preparation is so important. "Making choices" gets thrown around a lot, but you should be making well-educated choices based on the material and the team who is creating the world of the show.

2. Be willing to adjust your audition. You don't live inside the brain of the team. How can you possibly know the "right" answer before even stepping foot into the audition room?

3. Be the person you would want to work with 8 shows a week. We can't hire people who are destructive to a working environment, no matter how talented they are.

ADVICE FOR ACTORS JUST MOVING TO NYC:
Save up a bunch of money. Finances are the most stressful part of being new to NYC, so eliminate that aspect. Better yet, spend a summer in NYC before you graduate college... make connections then, so when you return you can find a job to help you actually enjoy living in NYC. Being unhappy in this city doesn't do you any favors..

ANY OTHER PEARLS OF WISDOM?
Treat your auditions like you do your dating life. You probably spend a lot of time and effort and thought preparing for those. And many of the same approaches can be used. You don't show up on a first date wearing a tux talking about marriage, do you? Good. You shouldn't. Booking a show is great and all, but you can't skip ahead past the first stages of getting to know a team, the material, the world of the show. And make sure you have something planned for after major auditions... give yourself something to do afterward so you aren't just sitting around wondering.

BIOGRAPHY:
Broadway: A Gentleman’s Guide…, Dames at Sea, The Lion King, Nice Work… Off-Broadway: Puffs, Or: Seven Increasingly Eventful Years…, The War Boys, Money Talks, Trip of Love, iLLA: A Hip Hop Musical (NYMF), Missed Connections: A Craigslist Musical. Encores: 15 different productions including Gentlemen Prefer Blondes, Merrily We Roll Along, and On Your Toes. National Tours: A Gentleman’s Guide…, The Lion King, Irving Berlin’s White Christmas. Film/TV: How You Look At It, Carousel (PBS), Six by Sondheim (HBO), So You Think You Can Dance, 50 Shades of F*****d Up. Regional/Commercial/Other: Josh Prince’s Broadway Dance Lab, Magic Mike Live (Las Vegas), Hartford Stage, NY Philharmonic, Shakespeare Theatre Company (DC), SF Symphony, TUTS, TUTS Underground, North Shore, Infinity Theatre Company, The Prancing Elites Project, Alexander McQueen/Document Journal. Seven-time Artios award nominee. Upcoming: Looking for Christmas (by Clint Black), Waiting for the Ball to Drop (starring Mario Cantone).

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. BE PREPARED – know your material!

2. GET TO THE WORK – keep the chit-chat to a minimum.

3. MAKE STRONG, SPECIFIC CHOICES

TOP 3 TIPS FOR A GREAT AUDITION:
1. WHENEVER POSSIBLE – REHEARSE YOUR MATERIAL FULL-OUT BEFORE YOU GO IN – the second time's always better.

2&3. See 1, 2 and 3 in '1st impressions' thoughts above :)

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
Get into at least 1 class that helps you work on some part of your craft. This not only makes you better, but immediately immerses you in a community of like-minded people sharing valuable information.
Try to create your own work to invite industry people to see.
SHOW UP. Go to as many auditions as you can. When you are not working as an actor, then your JOB IS TO AUDITION.

ANY OTHER PEARLS OF WISDOM?
Try not to sacrifice the things that feed your soul. Find your church, your gym. See your friends and family - the things that give you the energy and the comfort to continue on. You won't be able to do this without support and love.

BIOGRAPHY:
2006- Present: Tara Rubin Casting, NY – Office responsible for the casting of the Broadway, Off-Broadway, Touring, Las Vegas, Chicago, London, Australian & S. African companies of: LES MISERABLES, PHANTOM OF THE OPERA, JERSEY BOYS, ALADDIN, SCHOOL OF ROCK, CATS, FALSETTOS, A BRONX TALE, DEAR EVAN HANSEN, SUNSET BOULEVARD, PRINCE OF BROADWAY, MISS SAIGON & upcoming for Broadway: KING KONG & DREAMGIRLS among others.

Ongoing Regional Credits include: Dallas Theater Center, The Center Theatre Group, LA, The Kennedy Center, Yale Rep, The LaJolla Playhouse & The Old Globe, Bucks County Playhouse and Chicago Lyric Opera to name just a few.

2011 – 2014: Web Series – “SUBMISSIONS ONLY” – Exec. Prod.: Kevin McCollum, Created and written by Kate Wetherhead and Andrew Keenan-Bolger

2005: Casting Director – World Premier “Four Violins”: Cherry Lane Theatre, NYC

2004 – ABC Television, N.Y in Vancouver w/Henson Prods.: Acting Coach to ASHANTI - ‘Dorothy’ in “The Muppets Wizard of Oz”: Responsibilities included script work before shooting began, on-set advisor to Director in blocking, acting and editing of ASHANTI; Scene work/private coaching for duration of shoot

2001 – 2003 ABC Television, L.A.: Director of Casting – Dramas and Movies: Responsibilities included approving and negotiating deals on casting directors and actors, overseeing sessions, making lists, advising producers.
Series: ‘Alias’(Touchstone), ‘NYPD Blue’(Bochco), ‘The Practice’(20th), ‘Thieves’(Warner Bros.), ‘Once & Again’(Touchstone), ‘The Court’(Warner Bros.), ‘Philly’(Bochco), ‘Dinotopia’(Touchstone), ‘Dragnet’(Studios USA), ‘MDs’(Touchstone), ‘Veritas’(Touchstone), ‘That Was Then’(Touchstone)
Movies: ‘Gilda Radner – It’s Always Something’(Jaffe/Braunstein), ‘Dreamkeepers’(Hallmark), ‘Music Man’(Zadan & Meron), ‘Eloise’(DiNovi Pictures &
Handmade Films), ‘Home Alone 4’(Fox), ‘The Pennsylvania Miner’s Story’(Larry Sanitsky), ‘Mr. St. Nick’(Hallmark), ‘Looking For Natalie Wood’(Von Zerneck-Sertner Films), ‘The Diary of Ellen Rimbauer’(Mark Carliner Prods.), ‘Columbo Likes the Nightlife’(Studios USA), ‘Sounder’(Jaffe/Braunstein)
Pilots: ‘Veritas’(Touchstone), ‘Phenomenon’(Touchstone), ‘Nancy Drew’(Touchstone), ‘DC’(Touchstone/DW), ‘Meds’(Touchstone), ‘Astronauts’(20th), ‘Homeward Bound’(Studios USA), ‘Push, Nevada’(Touchstone), ‘That Was Then’(Touchstone), ‘Miracles’(Touchstone), ‘EIS’(Touchstone), ‘Paranormal Girl’(Touchstone), ‘The Chang Family Saves the World’(Touchstone), ‘Untitled Larry Gelbart Project’(Touchstone), ‘In the Line of Duty’(Touchstone/DW/Rod Lurie), ‘Romy & Michele: Behind the Velvet Rope’(Touchstone), ‘Then Came Jones’(Touchstone)

2000 – 2001 DREAMWORKS STUDIOS, L.A.: Director of Casting – Responsibilities included overseeing lists for network approval, studio sessions and actor deals on pilots and series, selected animated features and reality programs, talent searches in all major cities and attending Comedy festivals in Aspen, Montreal and Chicago
‘Undeclared’(Pilot & Series - FOX), ‘The Job’(Pilot & Series - ABC), ‘North Hollywood’(Pilot & Series – ABC), ‘Spin City’(Series – ABC)

1999 – 2000 LIBERMAN/PATTON CASTING, L.A.: Casting Director
‘it’s like, you know...’(Season 2 – ABC/DreamWorks), ‘Dilbert’(Season 2 – UPN/Sony), ‘Grapevine’(Pilot Re-Cast + 6 Mid Season – CBS/David Frankel, Barry Jossen)

1998 Casting Director ‘Kidnap Madonna’s Baby’ – Independent Short Film(CafeGoGo, Inc.)

1998 Casting Director ‘It’s All About You’ – Independent Feature(TrailRunner Prods./Storyteller Films)

1997 Casting Director ‘Andrea’s Fault’ – Independent Feature(Stonesoup Prods.)

1997 Terry Berland Commercial Casting, L.A.: Casting Director – Nortel Communications: Responsibilities included camera blocking auditions, directing actors, running sessions, keeping tape logs and packaging all materials for client viewing; running and advising at call-back sessions with client

1996 – 1999 LIBERMAN/HIRSCHFELD CASTING, L.A.: Associate - Responsibilities included list-making, pre-reading actors, attending producer and network sessions, acting as production/agent liason, negotiating and closing actors’ deals
‘Playing By Heart’(Feature : Miramax/Hyperion), ‘Style & Substance’(Pilot + Season 1 – CBS/Disney), ‘it’s like, you know...’(Pilot + Season 1 – ABC/DreamWorks), ‘Dilbert’(Season 1- UPN/Sony), ‘Absolution’(Play: Willard Carroll – Dir., Meg Liberman/Tom Wilhite – Prods.), ‘The Duplex’(Pilot – NBC/DreamWorks), ‘Mad- TV’(Series Regular Search 1999 – FOX/Girl Group Co.)

1995 LIBERMAN/HIRSHCFELD CASTING, L.A.: Assistant – Responsibilities included setting up and attending sessions, reading with actors, performing all administrative services
‘NewsRadio’(Series - NBC), ‘The Larry Sanders Show’(Series - HBO), ‘The Adventures of A.R.K.’(Pilot + Season 1 – Discovery/Hyperion), ‘Vinyl Justice’(Pilot - M-TV)

1995 Los Angeles Theatre Center, L.A. : Cast, produced and played lead in ‘The Fall of Ceausescu’ – Responsibilities included casting all principle and chorus roles, hiring and overseeing Public Relations, negotiating orchestra contracts, organizing rehearsal and photography schedules, balancing budget and insurance inquiries, Union Liason

TEACHING EXPERIENCE
1988 -White River Camp – Drama Counselor, Head Counselor Girls Camp

1995- Present: Private Coaching and Classes
Audition Workshops, Seminars, Guest Lecturer: “The Business of the
Business” – Burt Reynolds Institute for Theatre Training – Fl., Act Now - L.A., Actorsite – L.A., Action in Acting - L.A., Emerson College –Boston & Semester in L.A., The Casting Break – L.A., The Casting Network – L.A., David Goldyn – L.A., Dvorak Studio – L.A., Gordon Penn Mngmnt. – L.A., The Culbertson Group – L.A., In the Act – L.A., Liason – L.A., One on One – L.A., Reel Pros – L.A., SeenWorks – L.A., The ShowCase – L.A., Talent Ventures, Inc. – L.A. & NY, Take One – L.A., Terry Terry Studios – Seattle, The Florida Project – L.A., John Robert Powers – Minneapolis, Wash., DC, San Francisco Academy for the Performing Arts – San Francisco, Actors Connection – N.Y., The Audition Experience – N.Y., Broadway Artists Alliance,NY, Wright Way Workshops, The Network,NY, Step It Up, NY, Marc Tuminelli, NY, The Actors Loft, NY, The Growing Studio, NY

Colleges/Universities: Boston Conservatory, Emerson College, Belmont University, Texas Christian University, Baldwin Wallace, Elon, NYU, University of Vermont, Ithaca College, Roosevelt, North Carolina School for the Arts

MISCELLANEOUS
Acting Background – Selected Info.:
“LES MISERABLES” Nat’l. Tour Cameron Mackintosh
“ASPECTS OF LOVE” Nat’l. Tour Andrew Lloyd Webber

TONY VOTER 2012-Present

1999 – Present: Big Brothers/Big Sisters, L.A.

2005 - 2007 – Creative Board Member/Member of Collective/Teacher: MOVEABLE ARTS: Not-For-Profit Educational Collective; moveablearts.org

EDUCATION
Emerson College, Boston: BFA Musical Theatre, Member/Officer Professional Sorority Kappa Gamma Chi, Who’s Who in American Colleges and Universities

2006- Present: Tara Rubin Casting, NY – Office responsible for the casting of the Broadway, Off-Broadway, Touring, Las Vegas, Chicago, London, Australian & S. African companies of: LES MISERABLES, PHANTOM OF THE OPERA, JERSEY BOYS, ALADDIN, SCHOOL OF ROCK, CATS, FALSETTOS, A BRONX TALE, DEAR EVAN HANSEN, SUNSET BOULEVARD, PRINCE OF BROADWAY, MISS SAIGON & upcoming for Broadway: KING KONG & DREAMGIRLS among others.

Ongoing Regional Credits include: Dallas Theater Center, The Center Theatre Group, LA, The Kennedy Center, Yale Rep, The LaJolla Playhouse & The Old Globe, Bucks County Playhouse and Chicago Lyric Opera to name just a few.

2011 – 2014: Web Series – “SUBMISSIONS ONLY” – Exec. Prod.: Kevin McCollum, Created and written by Kate Wetherhead and Andrew Keenan-Bolger

2005: Casting Director – World Premier “Four Violins”: Cherry Lane Theatre, NYC

2004 – ABC Television, N.Y in Vancouver w/Henson Prods.: Acting Coach to ASHANTI - ‘Dorothy’ in “The Muppets Wizard of Oz”: Responsibilities included script work before shooting began, on-set advisor to Director in blocking, acting and editing of ASHANTI; Scene work/private coaching for duration of shoot

2001 – 2003 ABC Television, L.A.: Director of Casting – Dramas and Movies: Responsibilities included approving and negotiating deals on casting directors and actors, overseeing sessions, making lists, advising producers.
Series: ‘Alias’(Touchstone), ‘NYPD Blue’(Bochco), ‘The Practice’(20th), ‘Thieves’(Warner Bros.), ‘Once & Again’(Touchstone), ‘The Court’(Warner Bros.), ‘Philly’(Bochco), ‘Dinotopia’(Touchstone), ‘Dragnet’(Studios USA), ‘MDs’(Touchstone), ‘Veritas’(Touchstone), ‘That Was Then’(Touchstone)
Movies: ‘Gilda Radner – It’s Always Something’(Jaffe/Braunstein), ‘Dreamkeepers’(Hallmark), ‘Music Man’(Zadan & Meron), ‘Eloise’(DiNovi Pictures &
Handmade Films), ‘Home Alone 4’(Fox), ‘The Pennsylvania Miner’s Story’(Larry Sanitsky), ‘Mr. St. Nick’(Hallmark), ‘Looking For Natalie Wood’(Von Zerneck-Sertner Films), ‘The Diary of Ellen Rimbauer’(Mark Carliner Prods.), ‘Columbo Likes the Nightlife’(Studios USA), ‘Sounder’(Jaffe/Braunstein)
Pilots: ‘Veritas’(Touchstone), ‘Phenomenon’(Touchstone), ‘Nancy Drew’(Touchstone), ‘DC’(Touchstone/DW), ‘Meds’(Touchstone), ‘Astronauts’(20th), ‘Homeward Bound’(Studios USA), ‘Push, Nevada’(Touchstone), ‘That Was Then’(Touchstone), ‘Miracles’(Touchstone), ‘EIS’(Touchstone), ‘Paranormal Girl’(Touchstone), ‘The Chang Family Saves the World’(Touchstone), ‘Untitled Larry Gelbart Project’(Touchstone), ‘In the Line of Duty’(Touchstone/DW/Rod Lurie), ‘Romy & Michele: Behind the Velvet Rope’(Touchstone), ‘Then Came Jones’(Touchstone)

2000 – 2001 DREAMWORKS STUDIOS, L.A.: Director of Casting – Responsibilities included overseeing lists for network approval, studio sessions and actor deals on pilots and series, selected animated features and reality programs, talent searches in all major cities and attending Comedy festivals in Aspen, Montreal and Chicago
‘Undeclared’(Pilot & Series - FOX), ‘The Job’(Pilot & Series - ABC), ‘North Hollywood’(Pilot & Series – ABC), ‘Spin City’(Series – ABC)

1999 – 2000 LIBERMAN/PATTON CASTING, L.A.: Casting Director
‘it’s like, you know...’(Season 2 – ABC/DreamWorks), ‘Dilbert’(Season 2 – UPN/Sony), ‘Grapevine’(Pilot Re-Cast + 6 Mid Season – CBS/David Frankel, Barry Jossen)

1998 Casting Director ‘Kidnap Madonna’s Baby’ – Independent Short Film(CafeGoGo, Inc.)

1998 Casting Director ‘It’s All About You’ – Independent Feature(TrailRunner Prods./Storyteller Films)

1997 Casting Director ‘Andrea’s Fault’ – Independent Feature(Stonesoup Prods.)

1997 Terry Berland Commercial Casting, L.A.: Casting Director – Nortel Communications: Responsibilities included camera blocking auditions, directing actors, running sessions, keeping tape logs and packaging all materials for client viewing; running and advising at call-back sessions with client

1996 – 1999 LIBERMAN/HIRSCHFELD CASTING, L.A.: Associate - Responsibilities included list-making, pre-reading actors, attending producer and network sessions, acting as production/agent liason, negotiating and closing actors’ deals
‘Playing By Heart’(Feature : Miramax/Hyperion), ‘Style & Substance’(Pilot + Season 1 – CBS/Disney), ‘it’s like, you know...’(Pilot + Season 1 – ABC/DreamWorks), ‘Dilbert’(Season 1- UPN/Sony), ‘Absolution’(Play: Willard Carroll – Dir., Meg Liberman/Tom Wilhite – Prods.), ‘The Duplex’(Pilot – NBC/DreamWorks), ‘Mad- TV’(Series Regular Search 1999 – FOX/Girl Group Co.)

1995 LIBERMAN/HIRSHCFELD CASTING, L.A.: Assistant – Responsibilities included setting up and attending sessions, reading with actors, performing all administrative services
‘NewsRadio’(Series - NBC), ‘The Larry Sanders Show’(Series - HBO), ‘The Adventures of A.R.K.’(Pilot + Season 1 – Discovery/Hyperion), ‘Vinyl Justice’(Pilot - M-TV)

1995 Los Angeles Theatre Center, L.A. : Cast, produced and played lead in ‘The Fall of Ceausescu’ – Responsibilities included casting all principle and chorus roles, hiring and overseeing Public Relations, negotiating orchestra contracts, organizing rehearsal and photography schedules, balancing budget and insurance inquiries, Union Liason

TEACHING EXPERIENCE
1988 -White River Camp – Drama Counselor, Head Counselor Girls Camp

1995- Present: Private Coaching and Classes
Audition Workshops, Seminars, Guest Lecturer: “The Business of the
Business” – Burt Reynolds Institute for Theatre Training – Fl., Act Now - L.A., Actorsite – L.A., Action in Acting - L.A., Emerson College –Boston & Semester in L.A., The Casting Break – L.A., The Casting Network – L.A., David Goldyn – L.A., Dvorak Studio – L.A., Gordon Penn Mngmnt. – L.A., The Culbertson Group – L.A., In the Act – L.A., Liason – L.A., One on One – L.A., Reel Pros – L.A., SeenWorks – L.A., The ShowCase – L.A., Talent Ventures, Inc. – L.A. & NY, Take One – L.A., Terry Terry Studios – Seattle, The Florida Project – L.A., John Robert Powers – Minneapolis, Wash., DC, San Francisco Academy for the Performing Arts – San Francisco, Actors Connection – N.Y., The Audition Experience – N.Y., Broadway Artists Alliance,NY, Wright Way Workshops, The Network,NY, Step It Up, NY, Marc Tuminelli, NY, The Actors Loft, NY, The Growing Studio, NY

Colleges/Universities: Boston Conservatory, Emerson College, Belmont University, Texas Christian University, Baldwin Wallace, Elon, NYU, University of Vermont, Ithaca College, Roosevelt, North Carolina School for the Arts

MISCELLANEOUS
Acting Background – Selected Info.:
“LES MISERABLES” Nat’l. Tour Cameron Mackintosh
“ASPECTS OF LOVE” Nat’l. Tour Andrew Lloyd Webber

TONY VOTER 2012-Present

1999 – Present: Big Brothers/Big Sisters, L.A.

2005 - 2007 – Creative Board Member/Member of Collective/Teacher: MOVEABLE ARTS: Not-For-Profit Educational Collective; moveablearts.org

EDUCATION
Emerson College, Boston: BFA Musical Theatre, Member/Officer Professional Sorority Kappa Gamma Chi, Who’s Who in American Colleges and Universities

TOP 3 TIPS FOR A GREAT FIRST IMPRESSION:
1. I think it's always nice when someone walks in and feels calm, positive and confident. I know this is incredibly difficult, especially if it's an important audition, but take the time to get yourself in a good place to do good work. It makes a huge difference not only in your performance but also in our sense of "ok, this seems like a solid professional person who we can hire and work with."

2. I can not give fashion advice but I will say that more often than not what you wear can make a big difference in not only your first impression but also your entire audition. Just look nice and like you are at (our funny theatre version of) a job interview. Don't try to dress like the character, and don't NOT think about what you are wearing and appear too casual. Many creatives don't care so much about that but many do.

3. I can't speak for everyone but while I like and appreciate a good handshake it feels weird in an audition about 100% of the time. I don't know why, but I know that it is always an awkward moment.

TOP 3 TIPS FOR A GREAT AUDITION:
1. Know your material! If you are singing a song of your own choice you should know every single lyric, note, rhythm, who wrote it, who arranged it, what year, what show, etc. Your "book" should be full of songs like this that you have not only a deep knowledge of on a technical side but also that you've worked with a coach on dramatically and musically. (I mention coaching specifically because as a performer you need honest and knowledgeable feedback about your performance. You just will not get there on your own no matter how great you are. Find someone who knows what they are doing and consider it money well spent.)

2. Be yourself and know what sounds best in your voice. If you are trying to sing a certain way because of the show or who is behind the table make sure that is a good fit for you. A lot of my projects include pop music and I need people to manage their vibrato differently than in traditional musical theatre. If that's not your strong suit find a way to make it work that sounds good in your voice or just say "this show might not be for me." Either way, show your strengths not your weaknesses, and if you don't know what those are refer back to #1.

3. Take the time to learn callback material. We know you just got it, and we know it's hard to sing, but have a mechanism in place that allows you to learn material fast. Know who to call as soon as you get that email and set up a coaching. Or...go to www.savemyaudition.com! It's also a good idea to just sort of know what roles you might be good for and work on the material even before you have an audition. You don't have to go crazy with it, but know the shows that are currently running and know if/where you fit into them. And for regional theatre learn the classic roles that suit your type.

WHAT DO YOU LOOK FOR IN A MUSICIAN/ACTOR?
1. First the basics; pitch, rhythm, diction, range. I need to know your musical abilities as well as how high/low you can sing so I know which track you fit into or if you are capable of singing the role. In a very basic sense there are three categories with these: a. not strong enough, b. strong enough if acting/dance needs them, and c. great voice.

2. Style. An often overlooked aspect in theatre but very important to me. If the show is traditional musical theatre I expect a strong sense of that style and a strong ability to sing it. This is what you probably spend most of your time singing in college so I also expect anyone with a degree in Musical Theatre to be able to do it. For the pop shows I look for differentiation of style based on what they are singing. In KINKY BOOTS there is a big difference between what Charlie needs to sing "Soul of a Man" verses what Lola needs to sing "Land of Lola." Yes, both "pop" but very different versions of pop. I expect the actor to have this figured out before the audition.

3. Great singers. Not everyone falls into this category and that's ok. Theatre involves dancing, singing and acting and sometimes a certain role requires more of one than the other. But in a perfect world I'd like to have a great singer in every role. So when someone walks in and has "it" I am much more likely to be in their corner and fight for them to get the job.

ADVICE FOR ACTORS JUST MOVING TO THE CITY:
I am going to say this because nobody said it to me; manage your expectations. Nobody lands at JFK and gets handed a Tony Award. Some people get cast in a Broadway show right out of college (and sometimes even before that.) But if that's where you set the bar for yourself you will likely be discouraged and frustrated. A career in theatre is not a one way street. It takes work, study and focus but it also takes time and relationship building. Begin that career by giving 100% in everything that you do and people will notice.

ANY OTHER PEARLS OF WISDOM?
Go see shows! I know it costs money but it is an essential piece of the puzzle you must have if you want to work in theatre. Watch the ensemble, pay attention to how people sing, know who the director, choreographer, music director and authors are. Take an active role in the industry by knowing who people are and how they work. But more importantly to how it relates to an audition, see the show! Many, many people come in to audition for The Book of Mormon who haven't seen it. I certainly don't hold that against anyone but imagine how much better you'd understand the material if you've seen the show?

BIOGRAPHY:
Brian Usifer is currently the Music Director for the upcoming Broadway production of Disney’s Frozen. For the last 4 years he has been the Music Director of Kinky Boots on Broadway, which won 6 Tony Awards including Best Musical and Best Score. The cast recording won the 2013 Grammy Award for Best Musical Theatre Album. He is also currently the Associate Music Supervisor of The Book of Mormon on Broadway and on tour as well as Kinky Boots on Tour, London and in Toronto. Brian has played in the Broadway and off-Broadway orchestras of Spelling Bee, Avenue Q, Altar Boyz and The Book of Mormon. Concerts include Bobby and Kristen Lopez: American Songbook at Lincoln Centre and Clay Aiken “Tried and True DVD,” for PBS. As an orchestrator, Brian's projects have included Mr. Chickee’s Funny Money with music by Motown legend Lamont Dozier, Into the Wild by Niko Tsakalakos and Janet Allard, A View From The River by Will Van Dyke and Jeff Talbott, Fantasy Football: the Musical?, by David Ingber, Pool Boy by Niko Tsakalakos and Janet Allard, The UnCivil War by Rick Kunzi. He wrote additional orchestrations for NBC’s The Wiz Live. Shows in development include The Heart of Rock and Roll featuring the catalog of Huey Lewis.
He holds a Bachelor of Music in Piano Performance from SUNY Fredonia and a Masters degree in Collaborative Piano from NYU. BrianUsifer.com