@ WESTENDPRODUCER'S 'THE TWELVE DAYS OF CHRISTMAS - FOR ACTORS'

www.westendproducer.co.uk

@WESTENDPRODUCER'S 'THE 12 DAYS OF CHRISTMAS – FOR ACTORS'

On the first day of Christmas,              

My agent gave to me,                            

A ROLE AT THE RSC.                          
                                                               

On the second day of Christmas,

My agent gave to me,
TWO PROFIT SHARE,
And a role at the RSC.

On the third day of Christmas,               

My agent gave to me,                           

THREE SCHOOLS TOURS,                 

Two profit shares                                   

And a role at the RSC.                           
                                                               

On the fourth day of Christmas,
My agent gave to me,
FOUR TINY PARTS,
Three schools tours,
Two profit shares,
And a role at the RSC.

On the fifth day of Christmas,                

My agent gave to me,                            

FIVE OLD QUEENS,                             

Four tiny parts,                                       

Three schools tours,                              

Two profit shares,                                  

And a role at the RSC.                           
                                                             
On the sixth day of Christmas,
My agent gave to me,
SIX PAIRS OF JAZZ HANDS,
Five old queens,
Four tiny parts,
Two profit shares,
And a role at the RSC.

On the seventh day of Christmas,          

My agent gave to me,                             

SEVEN MOVEMENT SESSIONS,         

Six pairs of jazz hands,                          

Five old queens,                                     

Four tiny parts,                                       

Three schools tours,                               

Two profit shares,                                  

And a role at the RSC.                           
                                                             
On the eighth day of Christmas,
My agent gave to me,
EIGHT AWKWARD PHONE CALLS,
Seven movement sessions,

Six pairs of jazz hands,                          

Five old queens,                                     

Four tiny parts,                                       

Three schools tours,                               

Two profit shares,                                  

And a role at the RSC. 

On the ninth day of Christmas,               

My agent gave to me,                             

NINE BALL CHANGES,                         

Eight awkward phone calls,                    

Seven movement sessions,                    

Six pairs of jazz hands,                           

Five old queens,                                      

Four tiny parts,                                        

Three schools tours,                               

Two profit shares,                                  

And a role at the RSC.                           
                                                             
On the tenth day of Christmas,
My agent gave to me,
TEN POINTLESS RECALLS,
Nine ball changes,

Eight awkward phone calls,                    

Seven movement sessions,                    

Six pairs of jazz hands,                           

Five old queens,                                      

Four tiny parts,                                        

Three schools tours,                               

Two profit shares,                                  

And a role at the RSC.  

On the eleventh day of Christmas,         

My agent gave to me,                             

ELEVEN HEAVY PENCILS,                   

Ten pointless recalls,                              

Nine ball changes,                                  

Eight awkward phone calls,                  

Seven movement sessions,                    

Six pairs of jazz hands,                           

Five old queens,                                    

Four tiny parts,                                      

Three schools tours,                               

Two profit shares,                                 

And a role at the RSC.                            
                                                             
On the twelfth day of Christmas,
My agent gave to me,
TWELVE ACTORS HUMMING,
Eleven heavy pencils,

Ten pointless recalls,                              

Nine ball changes,                                  

Eight awkward phone calls,                  

Seven movement sessions,                    

Six pairs of jazz hands,                           

Five old queens,                                    

Four tiny parts,                                      

Three schools tours,                               

Two profit shares,                                 

And a role at the RSC.   

MERRY XMAS ONE AND ALL!

21 THINGS THAT MAKE CASTING DIRECTORS HAPPY IN THE AUDITION ROOM

http://www.backstage.com/advice-for-actors/backstage-experts/21-things-make-casting-directors-happy-audition-room/

21 THINGS THAT MAKE CASTING DIRECTORS HAPPY IN THE AUDITION ROOM

Casting directors are your advocates and heroes. Your work reflects on them. Which is why it is marvellous if you have been on a reality TV show. Or at least done a bit of singing on the X Factor. If you have a little bit of profile it will help you get the job - and make it far easier to convince me, the producer, and the other investors that you are right for the role. Casting directors need you to be great – with as little dribbling and shouting as possible.

They are there to host your experience and shepherd you out as quickly as possible if you look wrong, or smell bad. 

Casting directors wait on the other side of that door – the door that is locked firmly shut until they have finished drinking gin, watching YouTube, and licking things. I know, as I am usually in there licking with them. Avoid turning your audition into a horror movie – in actual fact it would be far wiser to turn it into a soft porn movie. In reality many of you do this anyway by the tight crop-tops and revealing hot pants that you wear. And indeed this can become a highlight of the audition room – and aid your quest in getting a recall. Your audition is your opportunity to do exceptional work. Enter the space and do the work yourself, for the gratification of the panel, and let us see if you are the right actor to collaborate with and help the director come up with some ideas. Because, quite literally – most directors haven’t read the script enough times to do it without you.

Here are some choices (and they are facts) to make any casting director dribble with excitement and offer you the job there and then.

1 - Accept the invitation with excitement and wonder. You were requested to be here because Rylan couldn’t make it.

2 - Come to work and not to please. Of course if you are doing it wrong then we won’t approve.

3 - Enter with certainty. But don’t look arrogant. And also don’t look like a gibbering mess. Find the happy medium.

4 - Face the right way.

5 - Play on a level field. We’re all figuring it out – none of us know why the hell the director wants to make a musical using ‘Girls Aloud’ songs, but that might be what you’re auditioning for.

6 - Make the room your own. You are more than welcome to bring a kettle, chair and bed in with you if this helps.

7 - Don’t fall over.

8 - Make no excuses whatsoever. Unless your nan has just died. Then tell us. As this will guarantee that you will get the job.

9 - Ask questions when you truly need answers. ‘Do you have any questions?’ is usually our way of  saying ‘sorry but it didn’t go your way this time’.

10 - Know you words. In the correct order. And try and understand what you are talking about (although this is only recommended for experienced actors).

11 - Please apologise if you are really bad. It will help break the tense atmosphere.

12 - Make choices, and take responsibility for your own hairstyle. Your hairstyle is a choice. Make it represent the character.

13 - Know what you want to do and do it. Unless this involves touching the panel in naughty places. In which case don’t.

14 - Don’t mime – keep it simple. Unless you are not very good at acting. In which case do as much as you can to try and cover this up.

15 - Don’t blame the reader. The readers are always chosen to be purposely bad, and have usually only just passed their GCSE drama. Treat them with respect. They tend to be the casting director’s children or partner.

16 - Make bold choices. We want your unique voice to bring the script to life. If you feel it is not going well then change the pitch of your voice, or use an Australian accent.

17 - Stand away from the panel if you are smelly.

18 - Don’t expect to be directed. But if you are, nod approvingly and do whatever you are told. Even if this involves procreation.

19 - No stroking or cuddling. Unless you are really attractive. In which case feel free to touch all of us.

20 - Stillness is powerful. But for god’s sake don’t stand still all the time. Unless you are one of those Covent Garden performers. In which case we will watch you for a few minutes and then throw some loose change at you.

21 - Above all else - share your artistry, and as much flesh as possible.

Remember that we’re all human in those rooms, and you can affect us on an emotional level – particularly if you are good at crying. Actors who can cry tend to be very good indeed. Especially if you have a little bit of snot coming out of your nose at the same time. That really impresses. It’s what we really want. Your being fully present, truthful, personal, and good is going to give us the ammunition to allow you to leave the room unharmed. We’re rooting for you to be good. You do your fullest, deepest work, and let my casting director take you for some drinks that evening – and we’ll slay little puppies for you. And we’ll be happy doing it. You have the power. So cry, show flesh, be available for late night auditions, and try not to spit too much. For you. For us. For the work, dear!

WEP

(@westendproducer)

My response to a recent article about musical theatre being 'embarrassing and stupid'

http://www.standard.co.uk/comment/comment/david-sexton-how-can-anyone-who-loves-music-enjoy-musicals-8445520.html

Dear David Sexton –

In response to your recent article in the Evening Standard entitled ‘How can anyone who loves music enjoy musicals?’ – in which you so fairly and diplomatically call musicals ‘embarrassing and stupid’ I would like to raise a few points. If you don’t mind, dear.

Firstly - thank you so much for such a wonderful and well-rounded argument…

In your opinion musicals have bad music, melodramatic plots - and nobody over the age of five who has any taste at all could possibly like them. Well, I hate to say it, but I disagree.

You imply that people, like yourself, who loathe musicals are far superior – both in their artistic tastes and general intelligence. It takes skill, understanding, and huge talent to even consider writing a musical. And I need not mention the talent, stamina and years of training it takes to become a competent musical theatre performer. While I realise your article is not a direct stab at performers – it does rather imply that their efforts and training should have been spent elsewhere. Forgive me, but I disagree. Musicals are such a hard craft to perfect – and many of our performers are the best in the world. To suggest that people are actually ‘repelled’ by watching people at the top of their game seems extreme and ignorant.

Your narrow-minded view suggests a general lack of understanding of the art-form – and implies that anything you do not like is simply ‘unworthy’. I am not a fan of football – but appreciate the skill, dedication and joy it brings to millions. I am aware of my own ignorance of the sport but would never class myself above anybody who finds football an important part of their life. Does that make me weak and soft-centred by not looking down on people who adore something that I do not? No – it just makes me someone who understands that everybody has a different passion and desire, and whether this be sport, art, food, literature or simply ‘Angry Birds’ I do not feel compelled to judge and mock.

A musical, like any other art form, is something to be celebrated and encouraged. Anything that provides relief, distraction and comfort in today’s depressing climate surely should be admired and not despised. Art is after all a response to human nature and surely if that response is captured by any means at all it should be embraced and respected – not ridiculed and bullied.

 And just for you, dear David – here are a few little facts about musicals:

Great British and Broadway Musicals were one of the biggest forms of entertainment during WW1 – providing an important role in keeping people’s spirits up. A good melody written by Richard Rogers, Irving berlin or Cole Porter provided the perfect accompaniment in aiding people’s escapism – and was indeed not looked on as being ‘banal’.

There is a reason why musicals have been, and always will be successful – indeed even after the Great Depression when the talking movie was supposed to bury the musical, the 1930s in fact turned out to be it’s golden age – turning the Great Depression into an epic theme, and producing some wonderful, brave and fresh work. These musicals came as a direct reflection and reaction to what was happening in the world - just as musicals do today. Take London Road at the National last year – which documents the events of 2006 during the Ipswich serial murders, and how the residents on London Road coped with the events. The piece pushed boundaries, raised dark questions about society and togetherness, and succeeded in being utterly compelling, innovative and thoroughly explorative.

As for your point about enjoying Opera – because the singers don’t really attempt to act - I disagree. I have seen many operas where the acting has been first-class. And in truth the line between musical theatre and opera is a fine one anyway – surely Sweeney Todd is a truly great opera? Did you go and see the recent revival with the marvellous Michael Ball and Imelda Staunton? No, I bet you didn’t. I imagine however you found the time to skulk past the theatre in a pair of loafers and sneer at members of the public as they walked in to enjoy themselves for two hours. How dare anyone go and enjoy some first rate escapism if it is in a genre you consider ‘idiotic’?

My dear David - you may find it interesting to know that in 2012 West End theatre revenues were higher by 3.1% than the year before – to £528,375,874. And there has been year-on-year growth for the past eight years. Not bad for a business that is ‘embarrassing and stupid’.

You criticise Lloyd Webber about the world of ‘inflated tastelessness’ that he has created. Well this ‘world’ has been admired and embraced the world over – and Lloyd Webber’s musicals have helped establish London’s Theatre-land as the best in the world. You also sneer that ’nobody over the age of 5 who has any taste at all could possibly like’ Lloyd Webber’s shows.  But isn’t that a marvellous thing? To be entertained to such an extent that you feel like a 5 year old again – I would buy a season ticket for that, dear.

And just for your information - ‘embarrassing and stupid’ musical theatre has played a hugely important role to in the development of entertainment since it’s birth. Looking back in it’s history there have been numerous occasions where the musical has challenged social stigmas, raised controversial issues, and indeed changed the way entertainment as a whole now exists. Take the musical ‘HAIR’ for example – the production effectively marked the end of stage censorship in the UK.

You moan about valuing music and drama so highly that you are loath to having them travestied. Well I put to you that even our greatest dramatist Shakespeare knew the value of music in drama – and included the text of well over 100 songs in his works. The point of these songs – to aid in telling the story. And when I have seen these songs performed in versions of his plays I have never sat back and thought ‘ Shakespeare – why would you want banal, idiotic and silly little songs in your works?’. He knew the value of song and music in theatre and entertainment. And do you think that music on it’s own is not dramatic – of course it is. The best songs in history tell a story and express an emotion - exactly like songs do in a musical. And what about music videos – where artists have been acting through their songs for years? In your article you suggest you hate anything that involves both singing AND acting.  I think the problem may be that your head cannot deal with these two things happening at once. And as you are fully aware many artists and musicians these days embrace the idea and concept of having their music turned into a musical.

Last week saw the UK opening of the Les Mis movie. I read your review with interest, but of course knew you would not be impressed. I am pleased to say you are in the minority. And it is wonderful that Les Mis is reaching it’s heart out to a brand new audience. So I’m sorry to report David that while you sit at your desk and get red-faced and impotent in your anti-musical rages the fan-base for musical theatre is increasing.

Personally David I think ‘the lady doth protest too much’. It’s time for you to embrace a growing genre, get your hands out of your pockets, and start practising your jazz hands, dear.

#SearchForABroadwayTwitterStar

#SearchForABROADWAYTwitterStar

History:

My dears -

Earlier this year i started an online competition called #searchforatwitterstar - to find my Twitter 'westendleadingman and westendleadinglady'. The idea of the contest was to allow people from anywhere to submit videos of themselves singing a musical theatre song via youtube. They then posted me the link on twitter, which me and my judges (@AnneVosser, @PolyWallyDoodle & @GemmaLowyHamil) watched and commented on. It was a marvellous way of finding and allowing new talent to shine.

The idea behind the contest was to allow absolutely anyone with a passion for musical theatre to send in examples of themselves singing in a way which gave them total control. They could decide what to sing, what to wear, where to sing, how to sing - they had total creative control. While i think television talent contests are marvellous and have their place i don't like the way that the contestants are shaped, changed, and moulded into a different product. The thing that makes artists truly brilliant is their individuality. Also on television the editors, directors and producers decide how everyone is portrayed - and my contest allowed the contestants to decide this. They have total control.

Fast forward a couple of months and we had over 650 entries from all over the world - and i was approached by the lovely Tony Green (@MrTonyGreen) to do a live final on July 9th at the Lyric Theatre, Shaftesbury Avenue - it was very exciting indeed.

My judges and i watched and commented on every single entry - and between us decided who should go through to the quarter finals. After the 40 quarter finalists were chosen we then opened the online voting and let the public decide who got through to the semi final, and final. It was a very thrilling time.

The #searchforatwitterstarLIVE (@sfatsLIVE)  final at the Lyric was marvellous - hosted by @realaled; judged by @mikedixonmusic, @davidkingshows, @GemmaLowyHamil and @LouiseDearman; and special guests @kerryjaneellis1, @JonLee321 and @TimDriesen. It was a hugely successful show and celebration of musical theatre talent - and the first ever entire 'live tweeting event'. From it we found our winners: @FelipeBejarano and @KaraBayer.

Website for #searchforatwitterstar -
http://www.searchforatwitterstarlive.com/index.php

And to view entries for this competition and messages of support:

#sfats messages of support
#sfats entries 1
#sfats entries 2
#sfats entries 3
#sfats entries 4

Winners:
Felipe Bejarano
Kara Bayer

International winner:
Billy Flood (@bflood28)

The show and contest was so successful we are hoping to make it a yearly event - and has been nominated for 'Theatrical Event Of The Year' at the Broadwayworld.com awards.

#searchforaBROADWAYtwitterstar

So, now i am searching for my 'Broadway twitter star'. I have been talking with a Broadway producer, and we both want to find, and support new talent.

To enter, you need to be based in USA, and send me a link to a video of you singing a musical theatre song. Please title your video with '@westendproducer #sfabts' followed by your name and song title. I will then watch, and over the weeks my judges and i will comment on the entries, and discover our new online 'Broadway Star' - my @broadwayleadingman and @broadwayleadinglady.

Remember - you have total control. You can sing any musical theatre song, any way you like. Try and make sure the sound quality is good so we can properly judge your voice.

Send your video link on twitter to my twitter name - @westendproducer. And in your tweet to me please make sure you use the hashtag #searchforaBROADWAYtwitterstar.

A contest born on twitter, a contest judged on twitter, a contest won on twitter, dear.

Kindest
WEP
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