MATT CAVENAUGH

BY: Jim DeBlasi

CUE: How did you get involved with DEATH TAKES A HOLIDAY?

MC:  I was asked to do a reading back in 2008 – I did that and honestly forgot about it. It wasn’t something I had been thinking about or even on my radar and then in February, I got a call and they made me an offer to do the show. It was really a no-brainer for me.

CUE: Did you have a favorite moment in the show?

MC:  This probably will sound a little self-centered but I had a great moment when I entered. I came on an hour into the show, which was nice because it meant I had a later call. I came in and made quite an entrance where I showcased the flexibility of my costume and then I got to sing a great song that Maury wrote – so I loved my entrance.

CUE: Any aspect more difficult than expected?

MC:  I think adjusting to the change in cast.  Unfortunately the leading man, Julian Ovenden came down with vocal problems before opening night. Thankfully Kevin Earley was able to jump in at a moment’s notice and did a beautiful job. But there were those few weeks of not knowing the outcome of Julian and if he was coming back or if Kevin was staying – that unknown aspect was difficult and challenging. It was something really special for Kevin who opened the show and did the cast recording – but yet it was tough on Julian who did such great work and who couldn’t take the full journey with us.

CUE: Do you prefer a show like DEATH that has an opening and closing date set from the start?

MC: It’s nice to know what the show schedule is going to be — knowing upfront the opening and closing date. As an actor you rarely get that solid a schedule. Of course, it would be great if all shows were like BOOK OF MORMONS that open and look like they will run for 10 years but that rarely happens.

CUE: How do you define yourself as an actor  – what type of roles attract you?

MC:I like to think of myself as a bit of the every man. People often mistake me from being from the northeast when in fact, I am from Arkansas and often straddle the line between playing a high class, well-to-do, white collar and a blue-collar, simple guy. I am rarely attracted to the hot, sexy, playboy type – that doesn’t appeal to me at all and I actually try to shy away from those parts. I’d rather have the audience engaged by my heart or my wit.

CUE: How do you cope with auditions?

MC: Most times I get through them and let them roll off my back but sometimes there are those that stick around. You try to remind yourself that there is nothing you can do, you had your moment.  You also in time come to realize that those people are your colleagues and they want you to do well because then their job is done. You also come to recognize that it is not a reflection on your talent – at some point talent becomes the least important denominator because everyone will be talented – it then becomes a puzzle that they are trying to fit together with the right pieces.

CUE: How have you seen Broadway change over the years?

MC:  Well, it does feel like Broadway is becoming more of a blue-chip Hollywood marketplace.  One question that has been posed for many years is whether or not there are still “Broadway Stars?”  With all the film, TV and now reality show personalities coming to Broadway shows, it diminishes the idea of Broadway Stars.  Broadway has started using more and more people who don’t necessarily make their bread and butter on the stage. People are coming in and taking on roles where you might like to see someone who has sacrificed and persisted in theater get the part.  But of course, it is all part of the need to market and sell the show. Also it feels like Broadway is getting younger and younger, or maybe it’s just I’m getting older.

CUE: Tell me a little about your new recording, “GONNA MAKE YOU LOVE ME”?

MC:  Most of the tunes are drawn from classic rock and pop tunes along with some standards. We re-arranged all the songs so they have a theatricality to them. We were not looking to present ourselves as pop stars but rather merge some of the different music styles and give them a sense of theatrics because that is where theatre feels like it is heading.

CUE: Thoughts on reviewers and do they still influence the public?

MC: Yes they do, especially the TIMES. But I think overall the power of the critics has been diluted by the ‘everyday critic’ who reaches people through chat rooms and blogs as well as other social media platforms.  People actually find out a lot about a show well before the critics get their say. That said, critics still do carry a sense of authority. I only wish that critics would give time to productions that run out of town to get their feet on the ground. Productions need the freedom and the permission to initially fail so we can create something that succeeds.

CUE: Do you read reviews?

MC:  I do.  I don’t always check out reviews for other shows. For my own stuff, there was a time I stayed away because I was too fragile but now I feel that everyone else knows so it is good to be informed and aware of what people are saying about you – good or bad.

CUE: Is Broadway too much the measurement of success for actors?

MC: I think it is.  In many ways you work hard to get there and it can be gone in a flash. It doesn’t always pan out the way you expect. In so many ways it is just smoke and mirrors – you can do work at regional theatres or Off Broadway which might be so much more artistically rewarding and challenging than anything you might do on Broadway. It feels like New York is becoming the place where actors can work in all different mediums – more stuff is starting to happen locally in regard to TV film which provided actors many more opportunities. Hopefully that will help theatre actors since it is so tough to make a living when just doing theatre.

CUE: How do you know when it is time to leave a show?

MC:  Whenever you stop finding something new – when you are no longer challenged by the piece but instead operating on auto-pilot. Doing a show 8 times a week is hard and eventually you reach a point when you stop finding new things.  That is when it becomes a business and you need to weigh the business side with the artistic fulfillment side and make your decision.

CUE: What’s been the best career advice?

MC: It sounds cliché but if you can be happy doing anything else, then do that.  Life as an actor is tough and so challenging – more so than many people realize.

Finding a Showcase

BY: Rose Burke

For most actors with professional aspirations, appearing in a showcase is a valuable way to present your talents to industry professionals and can also be a way of gathering industry representation.  While an agent may respond to a photo received in the mail, inevitably it is after the agent has witnessed an actor’s work first-hand that he or she will speak and consider taking on the performer as a client.  So the showcase, for many actors, is the venue by which they can strut their stuff.

Many actors are never quite certain whether the showcase that they are in is any good while they are in it.  While they can naturally control their work, there is a lack of objectivity which enables them to judge and evaluate the piece as a whole.  That triggers the debate as to whether or not they feel comfortable inviting guests to their showcase.  Bold actors will invite agents to any work under the label that it is better and more beneficial to have any and all work seen than not. Cautious actors hold off sending flyers and announcements, sometimes missing their opportunity to have their talent exposed.  They might hem and haw during the rehearsal period only to find during the performance, that the show is good, yet it can be too late to promote the show and your performance.

Agents expect showcases to be professional in order to properly assess the actor.  They are not looking to spend two hours of their extended day trying to make an educated guess as to the actor’s true ability.  Actors need to know where to draw the line and not expect that all work and all showcases warrant an agent’s attendance.  You need to spare an agent a mediocre evening at the theatre in order to maintain your credibility.  Showcase etiquette says to be smart when advertising the product but to be selective when pushing for attendance.

When inviting an agent to a showcase, send a current headshot and resume with a flyer or postcard advertising the show.  In your cover letter, be clear about arranging tickets and transportation.  Make certain it is an invitation and not just an announcement.  Also remember that agents don’t expect to pay for tickets, cover charges or drink minimums.  Be direct as to why the agent should invest his or her valuable time in seeing your showcase – what perks can you offer to entice (send a limo or spring for a fancy dinner) and what makes your show different and more intriguing than all the other invites that he or she will be getting.

Although your mailing may be large in quantity, you must remember that it is an industry standard that a response rate is generally about one percent of a total mailing.  So for every one hundred invites that you mail out, you can realistically anticipate one acceptance.  While most people are shocked at the response rate, believing that agents are constantly on the prowl for new talent, agents have other responsibilities as well.  First and foremost, it is the agent’s job to take care of his or her current clients.

As an actor, it is your goal to involve yourself in a quality showcase that is being presented at a convenient location, at a time of the year when the industry players are not bogged down with other priorities like pilot season, student league presentations, industry events and holidays.  Landing a showcase that attracts a qualified agent is no small feat.  For the ideal scenario, the showcase should consist of an exciting new play with a fabulously talented cast and director in a professional theatre space that will provide an evening of unparalleled entertainment – but of course, very rarely will that happen.  So evaluate wisely and invite cautiously to make the event work to your benefit.

Nancy Opel

BY Jim DeBlasi

CUE: Any aspect of the show more difficult than you anticipated?

NO:  Not really and compared to the show I did before this which was vocally and physically challenging, this feels a whole lot tamer. This is a very well paced show and pretty easy to do each week.

CUE: How do you choose roles?

NO:  I’ve done a lot of David Ive’s plays – I love comedy because I know funny. When I read a comedy, it better be funny. I also know what I can make funny. I have gotten scripts for potential auditions and after reading the material I would end up passing on the audition because the material as it is presented I know I can’t make funny. I always trust that sense in me – when something just doesn’t feel right. If when you are reading a script and are able to imagine yourself saying the words, image the situation and imagine the other characters then you know if the show speaks to you or not.

CUE: Is there a particular show that stands out as something that really spoke to you?

NO:  Yes, actually when I did URINETOWN in 2001. I probably had received the show material a year or so before but I remember getting the script and the CD from the Fringe Festival – it was messengered to me and I remember thinking, ‘Oh my gosh.’ I have rarely gotten a script like that. I just knew it was amazing. I told them immediately it was one of the best things I ever read or heard. And yet other people hated it. There were actually agents that refused to let their client’s even audition for the show. You just have to know how to read a script.

CUE: How do you deal with auditions?

NO:  I can’t stand them. I don’t get the people who like them. Here is another example of how much things have changed over the years.  In the old days you got to audition in the theatre and on the stage. When you audition on a stage it just feels right – when you audition in a rehearsal room, it doesn’t.  To me auditioning in a rehearsal hall feels like someone looking up your skirt. There are many actors who have never had the experience of auditioning on a Broadway stage. You can’t act the show in a rehearsal room. That is part of the reason I think that performers don’t come across big enough in performance – working day in and day out in a rehearsal room you lose sight to what it takes to be big enough in a 1700 seat house.

CUE: What’s been the best career advice that you’ve been given?

NO:  I guess you would say it is more of an observation than actual advice but the work of theatre is the audition, the job is the fringe benefit. I have a great deal of gratitude just for the longevity of my career. I am happy to say that I am a woman over 50 working in theatre mostly non-stop.  And you never know what can happen because ultimately you just need to be right for the part. So I never take it lightly that people still want me, so I take care of myself and respect that if I take it for granted it just might not be there.

BY: Jim DeBlasi

Now appearing on the Westchester Broadway Theatre’s stage in the musical ALTAR BOYZ, Ralph takes on the role of Matthew. He is currently the vacation swing for Broadway’s ROCK OF AGES and recently completed the role of Sonny in New Jersey’s premiere of XANADU. Other credits include tours of WICKED, HAIRPSRAY and the full summer season at Merry Go Round Playhouse.

CUE: When did you first get interested in theatre?

RM:  It started in Junior High School in choir and additionally being involved in school shows. I also auditioned for community theatre in my town.  I was actually planning to go to med school but on a whim auditioned for some performing arts schools and got in and decided to ditch the doctor thing.

CUE: How did your family respond to your decision to pursue theatre?

RM:  They were shocked and didn’t really understand why I would want to go into something so up and down and without any guarantee. They have come around. My grandmother really raised me and she is the one who took me to auditions and rehearsals – she’s been my rock.

CUE: What hurdles have you had to overcome?

RM:  I think the extreme challenge of the business itself.  Even when you line up work you need to keep auditioning for the next job and somehow manage to pay the bills. I bartend sometimes till 4am and then head to an audition by 8am. It is a huge sacrifice – your successes are very short lived and then you are looking for the next one. So one hurdle can just be surviving and sustaining life.

CUE: Has there been anything that you consider a turning point?

RM: ROCK OF AGES – I am the vacation swing – I also did the tour of HAIRSPRAY and the theme park version of WICKED in Japan. But coming home and booking ROA was a great opportunity.

CUE: Can you explain a “vacation swing?”

RM: When people want to take time off from the show they put it in writing and the company finds someone to cover. I get calls asking me if I am available for certain weeks and I get paid for the weeks I fill in. For ROA they recently moved theatres so there is no rehearsal time – I had about six months of just learning from my note cards. You need to do your homework and stay on top of things.  You are allowed to go and see the show the night before your contract starts and figure out what has changed – it is a real adrenalin rush.

CUE: How do you define yourself as an actor?

RM: Right now I am in a transition. You get started in ensemble or as a “dancer boy” and you can be trapped in that mindset  – people start to see you in a particular way and you become trapped in your resume. I have also worked as a swing because that comes so easily to me – covering multiple tracks. When you audition if people see that on your resume their instinct is to place you there because that may be where your value is perceived. But every actor is auditioning for the role itself. This summer has been important to my career in transitioning from “dancer-boy-hood” to more “leading man” roles.  ROA was my first true singer call and I just completed Sonny in XANADU and booked ALTAR BOYZ immediately following.

CUE: How did you get started in ALTAR BOYZ?

RM: I knew Carlos Encinias, the director / choreographer through mutual friends. I got an agent appointment and went in and sang 4 songs. I was asked back to dance. They gave me materials for Luke as well so I had to review that and was going out for both roles at that time. It appeared that the guys auditioning for Matthew who could sing the role had trouble dancing the role. They had me sing the end of I BELIEVE – which is a challenge. They next asked me to sing SOMETHING ABOUT YOU and to try and capture the innocence of the song’s intention. They had me do it a second time. After a couple of lines they thanked me and that was it. Shortly after I was offered the contract.

CUE: Is there a favorite moment in the show for you?

RM:  Well, I love singing CHURCH RULEZ because it is just so much fun and light hearted but I would say my favorite part of the show is at the beginning when we make our entrance from under the stage in the fog and I am out in front of the guys and I start the show in the spotlight – it is just such a great moment for me.

CUE: Any aspect of the show more difficult than you expected?

RM: Yes, actually – Matthew pretty much started the dialogue in every scene and after the second song, RHYTHM IN ME, I have to say a couple of paragraphs and I truly just can’t breathe – I feel so out of shape. So I never realized all the dialogue that would be there on top of singing four-part harmony and all the dancing. It was more than I anticipated for a 90-minute show. But in truth, it is a 90-minute Zumba class with songs.

CUE: Is this your first time at the WBT? What has the experience been like?

RM:  I had auditioned for AIDA a while back but this is my first time actually working here. In the industry, there can be a mindset about dinner theatres but there are varying levels of dinner theatre and WBT is at the top – it has a great reputation.  We don’t have to serve or clear or clean up – there are no additional duties outside of performing. WBT has a great name for itself in the industry as evidenced by its long, successful history. It is a great place to work. People aren’t eating during the show and there are no interruptions. Of course, it does appear to cater to a specific audience but they are loving the shows.

CUE: Are you aware of the audience?

RM: It depends on the show. ALTAR BOYZ is different because while you are in a musical, the show itself is designed as a concert performance so you are speaking and interacting with the audience directly. We talk with them, bring them up on the stage – so with a show like this, you have to be aware of the audience sitting there.

CUE: Does their reaction affect your performance?

RM:  I know it is not supposed to – but you feel it.  You can’t show it on the outside, but inwardly you are aware. If the audience is more internal than external in there reactions, you sense it and you can slip into the mistake of taking it personally or trying to push a little harder to get a joke across. That is what you really need to resist.

CUE: What’s Next?

RM:  Well, I am still enjoying the ride of being part of this great show.  Afterwards, well I guess I go back to pounding the pavement to see what comes along. I have already been auditioning and I heard that ROA might be looking for additional coverage in the upcoming months. In the meantime I am working on new material and continuing to make my transition.

Getting involved in community theatre is more than just getting up the nerve to audition. It is about getting involved, being committed and dedicated to not only the show but also the group itself. With the collapse of so many theatre companies, it would appear that there are more actors seeking roles than groups mounting productions.  With fewer groups, has the criteria for casting changed?  For some groups, looking beyond how you perform at the audition is critical.  Boards and directors alike have started to examine and ask, “What have you done for me lately?” How committed are you to the group? Just how amenable are you to pitching in when not directly connected  (translation- cast) in a show? Are you willing to invest time and volunteer in other production areas?  How valuable an asset are you to the theatre?

It would be rare to locate a theatre that is not feeling the pinch of the economic climate that we are presently all experiencing. Less available funding and grants have led to many companies downsizing their seasons, if not cancelling them all together.  Some troupes have even been forced to abandon several salaried positions in hopes of filling these slots with individuals willing to volunteer their time and talents to help offset escalating production costs. Where do you fit in on the volunteerism scale?  Beyond stage time, do you get involved? Time is precious for everyone and while performers may adjust and manipulate their schedules or juggle commitments to perform, are they equally willing to make those sacrifices and inconveniences to work backstage?

Thanks to today’s technology, for those interested in lending a helping hand in various production areas, it can be far more convenient and less taxing and time consuming.  With the assistance of smart phones, laptops and IPADS, it is much easier to keep in touch, work remotely and maintain communications without necessarily being physically present and on site. Has the technological advancements helped generate greater interest and support among the theatre community?  Have greater numbers of people been willing to volunteer because it’s less demanding on their schedules?

Most will agree that for theatres to continue to operate effectively and productively, there needs to be a change in attitude from those participating.  Community theatre must be a two way street that allows for give and take from both sides.  But in order to maintain a healthy level of interest and participation from the acting community, groups also need to demonstrate their loyalty and support. If groups hope to have actors regularly help them out and donate time off stage, then shouldn’t they be willing to reciprocate? Shouldn’t groups reward the efforts of those working on the shows by casting these “volunteers” in their shows? Now this is not to imply that regardless of talent or appropriateness for a role individuals get parts simply because of their willingness to work; however, wouldn’t incentives help motivate individuals to want to lend support in hopes of added consideration when casting?

On the other side of that coin, performers who are unwilling or unable to offer their help and services in a non-performing capacity should not maintain an attitude of expectation when it comes to casting. While talent must always be a consideration, other factors can come into play when directors are looking to choose their cast. While it is unrealistic for groups to expect people to donate time show after show, a regular sign of interest will go a long way in boosting your appeal and helping the groups survive.

How is your participation in a production perceived by the producers? How does your interest and involvement influence the director? When performers won’t participate, who profits? Today actors need to prove that they are willing to do more than act and groups need to demonstrate their loyalty. Send your thoughts and views to THE CUE, 923 Saw Mill River Rd, Suite 160, Ardsley, NY 10502.  Or call 914/ 476-6508, fax to 914/ 476-3287 or email us at cuegram99@aol.com.

by: Jim DeBlasi

Dominic is an original member of the Broadway and La Jolla Playhouse productions of JERSEY BOYS in the role of Tommy DeVito.  Other theatre credits include Danny in GREASE, William Hogarth in THE ART OF SUCCESS, Cousin Kevin in TOMMY and Tim in SUBURBIA. Dominic has performed as a soloist for the Boston Pops and with his JERSEY BOY cast mates at the White House.

CUE: How did you get started in theatre?

DN:  Actually I grew up around theatre – my mom is a choreographer in San Francisco where I grew up.  She choreographed youth musicals when I was around 6 or 7 years old and my brother and I were with her during her rehearsals and just soaking it all in. Eventually they did a production of BYE BYE BIRDIE and needed kids so we did the show.  At that point I took a huge interest and my parents started by enrolling me in classes.

CUE: Was there a particular event that led to your decision to pursue this professionally?

DN: It wasn’t a complete realization or an ah ha moment that I knew that this is what I was meant to do. I made the choice later on when I was in high school – it was then that I decided to go to a performing arts school.

CUE: Was your family supportive?

DN:  Everyone in my family was very supportive in me and encouraged me.  Ironically my grandfather was actually from the East Coast and had sung at the Onyx on 52^nd street not far from the JERSEY BOYS theatre is.

CUE: What steps did you take to pursue this career path?

DN: Once I was certain that this is what I wanted to pursue, my mother and I started researching schools and we came across the usual suspects. We visited several schools and I decided on the Boston Conservatory.

CUE: What’s been the biggest obstacle to overcome in pursuing this?

DN:  I would say it is just getting used to the rejection. It is tough getting used to and accepting that you will be turned down for about 95% of the jobs you go after and put yourself out for.  It is tough to accept and to deal with. For so many actors the biggest hurdle is getting that first Broadway show. And then of course, comes the realization that even after you get a Broadway job it doesn’t get much easier.

CUE: Is it harder to get or stay on Broadway?

DN:  I think that it is harder to get to Broadway particularly if you are not a dancer. I think that actors /singers have it a bit tougher in landing that first job. The dancers often find more opportunities to get their foot in the door by getting a dancing spot in the ensemble.

CUE: Do you find that it is hard to maneuver between straight plays and musicals on Broadway?

DN:  It is extremely difficult. I think that without a Masters Degree it is next to impossible to get an audition or a straight play. If there happens to be a show you are absolutely right for and the casting director knows you and has confidence in you then you might be brought in, but if your resume is filled with musicals – good luck being considered.

CUE: How did you get involved with JERSEY BOYS?

DN:  It started while I was in LA.  I was there auditioning for film and television when JERSEY BOYS came along. I originally went in for the role of Frankie and made it to the final callbacks but didn’t get it. Some time afterwards, ironically they called me because they needed a swing and they knew I was in LA so they didn’t have to bring anyone in from New York. I actually got to go on for Frankie several times as well as several other roles.  The show was a big hit and continued to get extended so people were going out on vacations or headed back to NY for other auditions and I was there to step in.  When the show came to NY, I just came along with it and was given the role of Tommy.

CUE: Do you have a favorite moment in the show?

DN:  Now that I play Tommy, I love starting the show.  The opening monologue where Tommy brings the audience in and sets them off on the journey is great.  I think it is a big responsibility.  I also love when the guys all sing for the first time “Sherry.”  People really respond and it is a great moment.

CUE: Any aspect of the show more difficult than you anticipated?

DN:  There is a lot of dialogue and more than I think most people realize. The direct addresses you make to the audience as well as the lead ins to the scenes are more difficult than I suspected.  Making those transitions seamless can be challenging.

CUE: How do you define yourself as an actor – what type of roles attract you?

DN:  I am an Italian American guy so I am often cast in ethnic roles, which I affectionately refer to as the “wopsicle.” So by the nature of my ethnicity I am drawn to those types of roles but I also have a strong interest in straight theatre in addition to musicals.  And of course, like any actor, I would love to do new material to originate a role.

CUE: How do you deal with auditions?

DN:  I just let them go.  I look at auditions as an opportunity to make a good impression on the director whether or not I am right for a part or not.  That is out of my control so I concentrate on doing the best I can so they remember me. I honestly don’t give it too much thought afterwards.

CUE: How important is representation for actors?

DN: It’s very important – you should never downplay how important it is to have a good agent and a good relationship.  Agents get you in the door for stuff that you might otherwise never be seen for. Of course, that said, you also need to remember to be your own boss and pursue your own projects and not rest on what an agent will do for you.  People who cultivate their own work have the greatest chance for success.

CUE: Is it as difficult as perceived to get an agent?

DN:  I think it is more difficult now than when I graduated from school in 2000.  Then it seemed like there were many boutique agencies that were interested in new kids but now it feels like that changed and it is harder to get representation – I think the recession hasn’t helped and the limited amount of available work.

CUE: Do you think that Broadway is too much the measurement of success for actors?

DN:  I do.  I have a number of friends who haven’t been on Broadway but continue to do great work regionally and they live very happy and fulfilled theatrical lives.  Very often if you haven’t made it to Broadway you feel as though there is this weight hanging over your head and it distracts you and pulls your focus and is a waste of energy.

CUE: Has Broadway changed over the years?

DN: For me personally I haven’t seen too much of a change. When I was in college I would come to New York to see shows and I remember when I saw FOOTLOOSE, how I thought it was so wonderful and wanted to be in it. Now I am not saying that FOOTLOOSE wasn’t a good piece of theatre but I think back on that now and smile.  Today there are still shows like FOOTLOOSE that people go to and enjoy. I think today we place too much emphasis on what comes over from London – instead I would love to see new composers and playwrights get more opportunities and recognition here. I have also seen a change in the number of revivals that continue to surface on Broadway and the number of film and TV stars that are cast.

CUE: What are your thoughts on reviews and reviewers and do you think they still influence the public?

DN:  I would say definitely. JERSEY BOYS is a good example – we had a couple of mixed reviews and a couple of raves. The New York Times was sort of mixed but at the end it noted that this is a fun night at the theatre and should not be missed – I think that really helped propel the public’s interest and helped us establish ourselves.  So yes, I think people do follow the advice of the critics.

CUE: What about chat rooms and the Internet – do they have any influence?

DN:   I do believe that they have some level of influence on the buzz of a show but I wouldn’t say that it creates a make or break scenario.  It is another way to get word of mouth out there.

CUE:  How do you know when it is time to leave a show?

DN:  When it closes and not a moment before.  If you need to work and you have responsibilities and you are still enjoying yourself, then you should stay for as long as you can.  And if you don’t have a new show to go to, then what is the point in leaving?   I am a fan of the long run.  I am enjoying JERSEY BOYS, I am grateful for it, it is a rarity and I understand that.

CUE: What’s the best career advice you’ve been given?

DN:  I think that I can still be waiting for that.  But I have been fortunate in this show and there are a couple of actors I get to watch and see how they conduct themselves.  They have been in the business for over 25 years and they have an impeccable reputation and they conduct themselves with grace and are truly stand up performers.  Those are the kind of people I emulate and how I want to be seen. So while it wasn’t anything they said, it is what they do by their actions and behavior that has been helpful.

BY: Jim DeBlasi

CUE: How have you seen Broadway change over the years?

 ES:  When I came to New York back in the early 90s, shows ran with theatre stars – they did not feature TV & film stars in the leads, which is what seems to be the trend now. I understand that because it is so expensive to produce shows on Broadway that producers feel the need to have something that will attract the audiences and sell tickets.  To help meet that guaranteed audience, we now see shows based on movies, shows based on well-known books or stories, or starring semi-celebrities. It is much different now than how it used to be. I look at a show like SPIDERMAN and Lord knows, everyone wants it to succeed but I can’t help but wonder how that will affect the future of Broadway.  Are we now opening up a new genre – will people now expect to see this circus –style Broadway extravaganza?  People come to expect what we give them.

CUE: How do you deal with auditions? – do they haunt you?

ES:  Ah, the eternal question.  Truth is I really don’t know.  I still don’t know the answer to coping with auditions. I do find however, that the auditions I don’t really care all that much about are the ones that I seem to book.  The ones that I really want, those are the ones that more times than not, I don’t get.  I guess perhaps the trick is to go in not caring too much.

CUE: If you could replay any role you’ve done, what would it be?

ES: I would have to say it would be Mrs. Lovett in SWEENEY TODD.  I played that role for the first time a couple of years ago. It is an incredibly challenging role – I put Mrs. Lovett and Mama Rose on the same field. I am so glad that I got to do it and have it under my belt and in me, but I know I can do more with that role and fortunately it is a part that I can play for the next 20 years. I can’t wait to get the chance to tackle that again.

CUE: Who would you say has had the biggest influence on your career?

ES:  That would be my mom who always said that I can do this and encouraged me to go for it.

CUE: Do you think that Broadway is too much the measurement of success for actors?

ES:  Yes, I do.  There is so much great theatre all over the country and theatre outside of New York is able and willing to take greater risks in regard to the material that they produce. In addition to the classics they can mount new work, where in New York that option is so much slimmer.  So I think that the opportunities and level of work for actors is greater outside of NY but NY is what is considered the gold standard and it is what everyone strives for. You are looked at differently if people see that you performed on Broadway – it is like a seal of approval.

CUE: Do you think it is harder to get to Broadway or stay on Broadway?

ES: I think the answer is both.  The last time I was on Broadway prior to BILLY ELLIOT was in 2003 and it is nice to be back.  It is tough – there are no guarantees either way but if you get there, enjoy it for as long as you can.

CUE: How important is networking?

ES: I am not so good at that but as an actor it is important to know directors and casting agents and build relationships. There will always be directors that will like to work with you and casting agents that will want to send you out  – it is a people business.

CUE: What are your thoughts on reviews and reviewers and if they still influence the public?

ES:  They absolutely do. As an actor I stopped reading my reviews a couple of years ago – it was a “catch-22.”  If the review was good, I would want to freeze my performance and not continue to grow.  If it was bad, I just felt lousy. I find there is no winning for an actor reading his or her own reviews.

CUE: Do you think you can actually plan a career?

ES: That’s a good question and I wish I had the answer. Sometimes I think people can plan but as an actor it is tough. You are at the mercy of fate. A wise actor will foster producing his or her own work and create material that works.

CUE: How do you know when it is time to leave a show?

ES:  When you stop finding new things – then it is time to leave. For me with BILLY ELLIOT, it is so fresh and different and new that I could stay here indefinitely.

CUE: What’s been the best career advice that you’ve been given?

ES: When you go into an audition you control the energy in the room – make it your party and you can make it any type of party that you want, You need to remember that you run the room and not the people behind the table. Make the experience fun and people will want to work with you – people like to be around fun, exciting and positive people.

TRIVIA

BY: Rita Jewell

1.     Name the 6 time Emmy Award nominee who recently withdrew from the Broadway musical LA CAGE AUX FOLLES.

2.   Two-time Tony nominee Christopher Sieber will step into the role of Billy Flynn in CHICAGO from March 8 – 25 – name the actor who will be leaving this role.

3.   Larry Kramer’s THE NORMAL HEART will debut on Broadway this spring.  Name the Tony winner who will play Ned Weeks, the hero of the drama.

4.   The NY revival of CACTUS FLOWER opens March 10 – name the actor playing Julian and Toni.

5.  Tony Award nominee Nancy Opel will join the cast of MEMPHIS on Broadway. What role will Ms. Opel be playing?

6.  Outer Critics Circle, Drama League and Drama Desk Award nominee Ashley Brown will return to what role that she originated on Broadway?

7.  Tony Award winner John Gallagher Jr, of SPRING AWAKENING & AMERICAN IDIOT will be part of the cast for what new Broadway show?

8.  The actress who originated the title role in THE LITTLE MERMAID is currently playing Christine in London’s LOVE NEVER DIES. She will be starring in a new musical, REBECCA, on Broadway next year – name her.

9.  Jared Mason will succeed what Tony Award winning actor as rock pianist Jerry Lee Lewis?

10. The Broadway musical SISTER ACT will open on April 20.  Name the actress who originated the role of Delores Van Cartier in London, and who will be starring in the same role on Broadway.

TRIVIA ANSWERS

1.    JEFFREY TAMBOR   2.    BRENT BARRETT   3.    JOE MANTELLO   4.    MAXWELL CAULFIELD & LOIS ROBBINS   5.    MAMA   6.    MARY POPPINS   7.   JERUSALEM   8.    SIERRA BOGGESS   9.    LEVI KREIS   10.  PATINA MILLER

For many actors one of the most stressful moments can be the dance portion of the musical theatre audition. Speaking the dialogue, singing, stage combat and God forbid, even mime would pale in comparison to the stress an actor can have when asked to dance.  But don’t despair, there are some basic tips that can help you keep from embarrassing yourself and hopefully help you land the role.

Keep in mind that this article is designed for those actors that need to be able to demonstrate their ability to “move” at an audition, not for dancers preparing for an audition. In most instances, you will be asked to earn and present a somewhat simple dance routine developed by the choreographer.  This will be a test of your basic dance skills – try thinking of the opening scene from A CHORUS LINE. To prepare for this moment you should:

• Consider exploring a local dance class.  If you are truly interested in musical theatre – whether as a career or just a hobby – taking classes will help minimize your stress level and better prepare you to ace the dance segment of the audition – or at least to be more comfortable in the process. If you are not really interested in studying on a regular basis, at least consider taking a couple of classes before your audition – sort of like vocal coaching for your feet!

• Be honest when assessing your talent.  If you are an actor who moves, don’t try to insinuate that you are anything more than that – even if the part you are seeking is perceived as a bigger dance part.  There have been many occasions when a director has adjusted the degree of dancing for a role to accommodate a “non-dancer” for the part.

• Dress appropriately. So often you see on an audition notice to bring or wear comfortable clothing – make certain that you do! Have appropriate clothes and shoes to change into during that part of the audition. Don’t make it any more difficult on yourself by wearing clothes or shoes that will put you at a further handicap.

• Just do your best. Remember they are not looking for perfection.  All too often an actor will place additional stress on him/herself by trying to get the routine down flawlessly. Show them you can move, and keep the beat and at all times remember to smile – don’t let your intimidation show on your face.  At this point it could be less about the feet and more about the attitude.

• Avoid cold feet. When getting ready to dance make certain that you give yourself time to warm-up and stretch.  The last thing you need is to pull something

• No need to be front and center.  When lining up on stage this may be the only time when you don’t want to be front and center. Look to have another actor who is a better dancer within eyeshot so you can follow their lead.

• Dance with your feet and not with your mouth.  Don’t feel the need to excuse or explain yourself or comment on how tough the routine is. Don’t pull attention by making it obvious you are having a tough time.  There are a number of people for the director and choreographer to be watching  – don’t single yourself out and pull attention.

So there you have it – some basic and simple tips and practices to follow to help ensure that you survive the dreaded dance audition.  Ands the most important thing is to remember to keep smiling – you may not be the best dancer but looking like you are having a good time can make all the difference in the world.

When preparing for your audition it is helpful to know where it will take place in order to determine how the physical space may or may not affect your performance.  When rehearsing your audition it can be vital to have a true sense of the space so that  you can block and navigate accordingly.

You have been working on your monologue or song all week getting yourself ready and confident.  Each night you’ve moved back the furniture in the living room in order to create a comparable performance space – planned your entrance and confidently walked through the material that you would be presenting.  So when you arrive at the theatre you believe that you have covered your bases and that you are ready to proceed.  But as you step onto that enormous stage, you realize that you overlooked one essential detail – the size of the venue in which you are now performing.

Size does matter! This happens to actors all the time when rehearsing their material in the confines of their own living room – suddenly they are faced with the reality of the actual space and unprepared to fill the dimension of the actual room.  This highlights the concept of performance volume – the amount of acting energy that is required to fill a room or theatre. Obviously the performance volume needed to fill a 100-seat house is very different than what would be required in a 600-seat house.  If you are not prepared or even conscious of this potential obstacle, than one of two things can possibly occur: either you will be totally intimidated by the variance in size, making your presentation appear even smaller; or you might overcompensate, pushing too hard and coming across as forced.

Knowledge is power – with a little detective work, plus some creative rehearsals, you can avoid any potential disaster.  If you are already familiar with the space where you will be auditioning, great, problem solved.  If however you are not, call the information number generally posted on the audition announcement and ask.  A simple question like, “The room where we will be auditioning, how many seats does it hold?  It may seem a bit odd to the person on the other end, but it

should provide you the necessary information you are

seeking. Of course if the person is unaware or uncooperative in offering up this information, don’t despair.  Trying calling around to friends and fellow thespians who might have worked or auditioned for the company and who might be able to offer up some useful insight.

Armed with the right information you can now plan and rehearse your audition material accordingly. While you may not be able to replicate the actual space where you will be, you will at least have a sense of how to increase or decrease your presentation fro where you are practicing to be more in line with the actual space where you will be evaluated.  Consciously or not, the space in which you perform your audition does affect how the director sees and judges your work and how well you may or may not fit into the production.  Don’t allow you audition to get swallowed up in an oversized performance space.