21 Actor

ACTOR

Navigating the Profession as a Disabled Theatre Artist
by Debbie Patterson

The transition from theatre student to theatre artist is a tricky one but it’s especially tricky for those of us with disabilities. While I was privileged to be nondisabled for the first few decades of my career, my transition into disability has given me a little bit of insight that I would like to share.

My focus is mainly on the experience of being a performer, but I hope some of what I have to share is useful to other artists: directors, playwrights, designers, stage management and technicians.

If you are a person with an invisible disability you will need to decide if you want to disclose. This is a really personal choice and you should do what feels right for you. For some, it’s a political issue: there is a sense of solidarity in aligning yourself with those who are obviously disabled and perhaps a sense of betrayal to not disclose. But like any aspect of identity, it is deeply personal and we should each feel free to define ourselves as we wish to be perceived.

There are pros and cons for disclosing and not disclosing a disability.

Choosing not to disclose will mean you will have to hide that aspect of your lived experience when you are working. If there are things you’ve learned through that lived experience that inform the story you’re telling or the character you’re portraying, you won’t be able to discuss these in the rehearsal hall. If your interpretation of a character is challenged by the director, you won’t be able to cite your lived experience in supporting your interpretation. In short, it means you will have to withhold a part of yourself from the work you’re doing. You will not bring your full self to the work.

But on the plus side, not disclosing means that you won’t be subject to able-ism within the casting process. There are directors who are afraid of working with disabled actors or who think disabled actors will be unreliable. You can avoid that particular red flag on your resume by not disclosing.

Disclosing your disability gives you the freedom to bring the truth of your lived experience into the rehearsal hall. You can access those experiences that inform the story you’re telling. You can make space for the quirks or nonnormative aspects of your characters when you make space for the quirks or nonnormative aspects of yourself. You can request access supports if you need them and by requesting access supports, you can create a safe space for your colleagues to request the supports they need as well. This will allow them to bring their full selves to the work.

And on the other hand, of course disclosing means that you will be subject to ableism within the casting process. You might not get the gig because of your disability.

If you are “out” as a disabled person, you’ll want to develop an access rider that outlines all the things you need to do your job. Often you will need to tailor an access rider to the particular job. For example, if you have mobility issues you will want to negotiate for an accessible accommodation when working out of town. If a company lacks the resources to support all your access needs, you can decide how many of your access needs are non-negotiable and what you can manage without. But it’s wise to list any access supports you are taking care of yourself on an access rider so that there is a clear understanding of what your access needs actually are. It’s important to ensure the access rider is agreed to before you sign the contract.

In these negotiations, remember that what you bring is incredibly valuable: your lived experience of disability. The stories we tell in our culture about disability have been primarily created by people without disabilities for people without disabilities. These stories are flawed and inaccurate and limit our understanding of what it means to be human. You will have the opportunity to challenge the harmful stereotypes and tiresome tropes that misrepresent the experience of disability. This is important not only because public perceptions of disability need to be challenged but also because people who are not disabled now may well become disabled later. Almost all of us will have the experience of diminishment of our abilities through age, illness or injury. Our experience of disability allows people in our audiences to understand their own bodies in a more compassionate and integrated way.

You will often find yourself as the only disabled person in the room. This is a tricky position to be and you should avoid it if you can. As a performer, it’s incredibly difficult to represent disability, advocate for the accurate depiction of disability and to do your job as a performer all at the same time. If you can advocate for the inclusion of another disabled person in the room, as a director, stage manager, assistant director or dramaturge your job will be much easier.

It’s important to remember that many people have invisible disabilities that they are unwilling to declare. You may face barriers in your day-to-day work as an artist, but you must remember that the people around you are also fighting a hard battle. So even though you may feel like you’re the only disabled person in the room, you never know if someone else is struggling silently beside you. It’s important to remain compassionate and patient with your collaborators. Assuming you’re the only one struggling against barriers will get in the way of rich, productive, playful collaboration.

Finally, something you really need as a disabled theatre artist is the support and alliance of other disabled theatre artists. The best way to get that is to give it. You must advocate for other disabled artists, you must lift each other up. Educate yourself on the access needs of people with disabilities that are different from your own. Seek collaborations with other disabled artists, support their projects, promote their shows, celebrate their successes, recognize their achievements, be generous with your praise. I promise you it will make you a better artist.

– Debbie Patterson – Navigating the Profession as a Disabled Theatre Artist

In a profession where employment depends so much on other people’s tastes and biases, it is easy to feel that we have no control over our own affairs. We do have control – not much, but some – and the sooner we start using it, the better.

Acting is not only an art; it is also a business. Even today, there are too many drama students and their teachers who feel that actors are artists and shouldn’t have to deal with hardcore realities. Not so. Andy Warhol as quoted in the New Yorker: “Making money is art and working is art and good business is the best art.” There is no point in being an artist if you cannot practice your art. No matter how good you are, who cares if you aren’t working.

– The Actors’ Survival Kit by Miriam Newhouse and Peter Messaline (p. 11)

Pathways

There is no one way to become an actor. Here are a few of the varied paths described by those interviewed:

I started performing, I went to theatre school at Humber and I graduated in 2015 and in 2016 I was cast in The Crackwalker at Factory Theatre. And that was directed by Judith Thompson and I was the first Indigenous Actor to play the Indigenous role, which was wild. That was technically my first professional, quote unquote professional role, so I have been performing professionally since 2016 and similarly with creation, I guess it was the same time, because bug also happened in 2016. I started writing it while I was in school, but really, I have been creating since I was a kid and it’s always been something that I’ve been drawn to – storytelling and creation – and I’ve always sort of been excited about it. But I didn’t know when I went to theatre school that I was a playwright, I didn’t know that was an option. Coming from where I came from, plays weren’t… I didn’t just go to the library and read a play. I didn’t know that was a thing. The only thing I read was Shakespeare in high school. But then when I started doing community theatre that’s where I was like oh, oh, oh, of course. But even then, in north western Ontario, in my time, there wasn’t access to theatre in a big spectrum. It was very isolated and dedicated to Norm Foster plays and so I didn’t know the breath of work and didn’t even know that I could do something like that until we had to write our own solo shows in school and then I realized what I was able to do after that and then it kind of just snowballed from there. – Yolanda Bonnell, Actor/Director/Playwright, Toronto, ON 
I fell into it by accident. I got my undergrad degree in engineering. I graduated University of Toronto in engineering in 1988. I worked in the professional corporate world for four and a half years, right after graduation. When I was studying engineering, I used to do this musical comedy revue in the engineering faculty. And then when I started in the corporate world, I started doing community theatre, amateur theatre, mostly musicals. And back then in 1992, I decided I wanted to act for a living. So, I just decided to do that with very little due diligence in the sense that I didn’t really research how hard of a life it was. And to be perfectly frank, I just got really fortunate. Like, I did study a lot on an ad hoc basis, you know, a lot of professional development courses. So, I feel like I’ve done my time working on all the fundamentals of acting. But I worked on the boards, I learned on the boards. I really worked steady in mostly stage, but a bit of film in TV, for the first five years, I could earn a living doing all that in Toronto, and that’s why I said it’s really unlikely today that anybody would hire someone with no professional training like I did, and it was just a different time. I don’t think, I wouldn’t even advise anybody to do what I did. – Jovanni Sy, Actor/Director/Playwright, Montreal, QC
I was at U of M (University of Manitoba) and I was in rec management and the intention was to work in sport, in a managerial position. And I felt that my public speaking skills needed some work. So, I decided to take theatre rather than Toastmasters or something. And, I just fell in love with the process at the Black Hole at the U of M of collaborating with people, so that’s how I got hooked. My training is all at the U of M, and then I, fortunately was hooked up with an internship at MTC with Steven Schipper, and that just opened the doors for me. When you get to work with an artistic director that’s been around for so long and has worked across the country, it really does open the doors for you and kind of demystifies the whole professional theatre world. – Ray Strachan, Actor, Winnipeg, MB

Getting Work

Having the skills, craft, and knowledge is the first step of course. You will only get work if you demonstrate the necessary abilities of an actor and in a way that makes you stand out in comparison to the many others vying for the same part. Sometimes, even before trying to work professionally, this may mean gaining more experience after any training. Community theatre, the Fringe, producing with peers are ways to gain experience and build up your resume. They can also serve as ways to showcase your work to those who might cast you. From there, the main way to get acting work continues to be auditioning. At least until you are established enough that you may get offers without the need to audition.

First step is doing what is necessary in order to just hear about any upcoming auditions. Getting work then requires that you submit, hopefully get an audition slot, deliver a strong audition, and start to build up a reputation.

Here’s the thing, securing work, honestly, I got to be honest, is kind of a crapshoot sometimes. Like, I think you can be as prepared as possible. Have all your monologues ready, have a monologue pulled out at the drop of a hat. I think those are important things. Brush up on your training, always make sure you’re sort of ready to go. Because sometimes these auditions happen really quickly. These are things I’ve lost track of – I am warming up my voice every day and stretching my body every day –  those are things I do when I’m working but forget to do when I’m not working. (laugh) And I say that, to be in a state of readiness, because you don’t actually know when your next job is going to be. So, always, I think, be in state and constantly try to be learning because the more you learn, the more you practise or read plays out loud or do workshops, workshops are… workshops, developments, get in those rooms, get in workshop rooms, because those are one of the best ways to get roles, because people see you working and developing a role and then you get to see how that process works as well. So, I think, looking at development festivals and submitting to those and reaching out to institutions. Don’t be scared to send an email to an artistic director or an artistic associate. Just say hi, my name is this, and I am just graduating and here is my headshot, this is my resume, this is what I’m interested in. I think more or less, this is what I’m interested in. What are you wanting to say with your work, what is your perspective as an actor, what do you want to gain as an actor, as a performer from working with this company. I think there is this big us, like as a student or as an emerging artist there’s an us versus them type of thing, but we’re all artists. We all want to help each other, so don’t be scared to reach out to people, because that will get you into rooms. – Yolanda Bonnell, Actor/Director/Playwright, Toronto, ON
Yeah, I mean, it’s still the same basic two streams. You come out, you did your generals and for the, you know I’m not going to say the top 5%, but for the lucky 2 to 5%, they get picked up by the local regional theatre. So it’s going to be RMTC or here you’ll get noticed and work as an emerging actor from the Arts Club or Bard on the Beach or in Ontario, you know, Stratford, Shaw, Soulpepper, the usual big ones will take 2%. And it’s not necessarily the top 2%, it’s just the 2% they take a fancy to. And if you’re not among the lucky group, that kind of gets your entry point into regular work and mentorship that way through a large company, you kind of have to do the indie route or make your own work. So, the way you secure work is make it for yourself and choose your peer group wisely. Because, the people who are running larger institutions now were the people who started their own projects with their friends ten, 15 years ago and worked hard at it and learned how to write grants and learned how to self-produce. So, I think if that’s really how you see your work, you either get the jackpot out of school or you find your own cohort and you lift yourselves together as a cohort. – Jovanni Sy, Actor/Director/ Playwright, Montreal, QC

Skill Set

Many acting classes focus on required skills from vocal range, to physical work, text analysis and character development. The reality of the lifestyle also requires determination, stamina, passion, and commitment. When asked what they look for in actors, our interviewees identified both elements they value but also what they find is currently lacking from the training.

I would just notice that there was a lack of… chops. You know, in favour of, like the opening up our repertory system or what we used to call conservatory programs. And moving more into the school of everything where it’s this generalized stuff, which, that’s my jam. So I do dig that. But, I have lots of chops. And so, I would be like, that is not good enough if you want to do a physical theatre piece. That’s not a good enough movement piece to include.  It has to be excellent if it’s going to be included in your stage presentation for an audience. Or I began to see: language skills decreasing. I’d noticed that they didn’t feel it was necessary to learn words. And so, constantly correcting pronunciation, you know, never meanly; I said, guys, this is my thing. I’m an autodidact. So had people not corrected me, I literally would not have known half of my language. I was lucky enough that people around me just quickly corrected me. So that’s what I’m going to do. I’m just going to always pronounce it correctly for you. And don’t take offense, but you have to know how to say words and they’d be like, okay.

So those kinds of chops, you know, like absolute skills; do you understand what you’re saying? I’m goin’ta the store. And the line is I’m going to the store. It’s a formal text piece. Do all your math on how, who’s saying it and how would they speak and how did they form all their words? That’s a thing? Can’t say ta, I’m going to ta. So those were interesting things for me; even though certainly when I was younger, I was like, oh brother, all this fuss on the way… how to speak. And also another little thing I would like to see back: exact physical practice, exact. Learning what it means when I say I want you to be able to walk beautifully on a stage. What is the formal beautiful gait or what is, what is neutral, clear, beautiful posture in constant application?  It’s not, not just sometimes. If this character is an erect character, that’s work you have to do, to make sure. If this character is a sluffy kind of character. Cool. Excellent. What, how does it look all the time? – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB

What do I look for in artist I want to collaborate with. I want there to be a sense of honesty, to be themselves. I want someone who is a good communicator. Someone I can talk to and who can talk to me. For the show I just directed we just didn’t do any dialogue, it was all movement creation of the two actors, so I was really able to see the openness to each other and their willingness to try things. So, I’m always looking for someone in the audition room, through direction I guess also, to try different things. And if it doesn’t work, it doesn’t work. Whatever, it is all good. It can be the direction. Yes, I’m always looking for someone with a chill disposition because that’s kind of how I am. I like the room to have a nice vibe to it. And what I mean by chill is someone who’s prepared, who doesn’t come in too stressed because they’ve done the work that needs to be done.  – Ray Strachan, Actor, Winnipeg, MB

Willingness to understand that you can learn from others. And that if you are saying, please let me in, which you are when you’re young. You are. That’s how, that’s what we did. That’s what we’ve all gone through, throughout time. Always. You’re basically going, can I come in? Can I play? So, what’s the sandbox? You know, where am I playing? And. You know, how do I, what do I do. Not what are you going to do for me, because I’d like to play with you, but will I be comfortable? Will it be okay? Are you dangerous? Will you make me feel uncomfortable? Because it’s like, you’re going to try some theatre. You always feel uncomfortable, because people are going can you be better? And, let’s do that again. Well, if you don’t got the stuff, then you’re going to be, why do I have to do it again? If that sensitivity can’t be put into its place. You know, get a different job. So, this is what we look for. We’re looking for willingness to understand. – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB
I think as an actor, you know, something to figure out is… you’re going to hear no a lot more times than you’re going to hear yes. And so how to stay positive in that. And how to also keep yourself, your skills sharp. What can you do? Dancers take classes. What can an actor do, or a designer do? How can you keep your skills sharp? Self-employed also, you know. Like I said, think out of the box to get the jobs. Be creative and, or make your jobs. So then look at the grants and you know, the grants that we have in Canada are pretty amazing. There’s always a municipal level, a provincial level and a federal level. Those are three levels of government funding that, you know, not many people have. Especially south of the border, they got nothing. So how to maximize that? To support your work, support your ideas, go research, get online and research those things. They all have a website. It’s not hard to do. It takes time. And that’s money that you can access to be able to do your art. – Ravi Jain, Artistic Director, Why Not Theatre, Toronto, ON
What we are interested in is spirit, curiosity and the talent to back it up. – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB

We often find that a lot of people really don’t know how to project in the theatre and don’t know how to make their feelings come out there. Because that’s not the world they’re living in a lot of anymore. – Donna Butt, Artistic Director, Rising Tide Theatre, Trinity, NL

I’m always looking for someone who, or folks who can look past just the surface of text and really find rhythm… And then, how are you in relationality – do we vibe, do we click, are your values the same, are they similar in terms of how you want to work in the world and in the industry, whose voices are you uplifting, what work are you doing politically? – Yolanda Bonnell, Actor/Director/Playwright, Toronto, ON

I don’t know if actors coming out of programs today are, have the vocal technique that I’d say people had before. Like, I noticed when I’m directing, I really need to prompt people more to actually like, I don’t know if they know how to play a big space. So, so because you know, they’re used to playing to small rooms. And so, I would note, I would say that theatre training today probably leaves actors less prepared to play big rooms. The other thing I would say is script analysis. Like, I think that, I find that I have to walk people through how to break down a text to know the basics of what is happening, what is the essential action, what are the beats of the moment, what do I want? Like I find people, young artists are probably less savvy about how to break down a text then when I first started, and I’m hoping I’m not sounding like a grumpy old man, but I’ve really noticed that those are the two areas where, where I’d say people are more lacking. On the other hand, I’d say people are much more confident and like, there’s that sense, like people aren’t as broken coming out of schools, which I’m a big fan of. Like, I think, I think schools used to have the philosophy to break you down. And I don’t see that as much. I see people who are, you know, better suited to function as human beings and they’re confident and are more aware of their bodies and more forgiving of themselves. So that’s a good thing. – Jovanni Sy, Actor/Director/ Playwright, Montreal, QC

Auditions

Make choices. Don’t be a general wash of ok, this character’s happy for most of it. I’ll just be happy. Like, why are they happy? You know, do the detail work that you would in a full production, get to know this character forwards and backwards and make those choices, and also be aware that the director in the room might ask you to do a different thing. Be flexible. Don’t be disappointed, doesn’t mean that you didn’t make the right choice. They just want to see if you can take direction in a room. This is important. I’d say, this is more from the psychology world of it, run through the audition in your head, like from walking into the building, sitting in the waiting area, because when you get there, it just helps you focus more. It’s not a woah, I’m here. I’m in this lobby. La, la la. No, okay, I’m here. This is what I do. I’ve been through this in my head. Picture yourself going into the room. You know, if you’ve been in the theatre, picture yourself being in that board room or the audition room, wherever it is, so that you can see it in your head. The first time, it really does help ease the nerves because the nerves are always going to be there. There’s a lot on the line. You’re putting yourself out there, there’s a job. So, the more that you can just familiarize yourself with what’s going to happen, the easier it’s going to be. – Ray Strachan, Actor, Winnipeg, MB

Auditioning is like constantly going to job interviews. They are necessary, can be difficult, and take a lot of time. But, they can also be seen as a way of flexing your muscles as an actor. If you love performing it is a chance to perform. Yes, once you are in demand you may not need to audition as much since folks may just offer you roles or you might start working with an ensemble/company regularly. Until then, learn to master and relish the audition!

Types of auditions:

  • Generals
    • Usually done annually by regional theatres so the Artistic Director can see who is available. They are not show specific, but will often help the AD decide who to call in for the specific shows in their season.
    • Usually actors are asked to prepare one or two monologues, and if the theatre company does musicals, a song. The monologue should match the theatre’s mandate and what type of shows they are offering in their season. If you are auditioning for a classical theatre they will want to see your ability to handle classical text for example. This is why it is advisable to have a repertoire of monologues to draw on. Having a classical and contemporary piece, and ideally a comic and dramatic. If you have them in your back pocket, then if there is little notice you can simply brush them up versus starting from scratch in a tight timeframe. You’ll want to refresh your repertoire if you are doing generals annually so you aren’t doing the same piece for the same person over and over again, but also to reflect your own growth.
    • This is often a chance for the AD to get to know actors in their region so there may be an interview component. Be sure you have familiarized yourself with this particular theatre company. Look at the website. Know their mission. Go see their shows.
  • Show Specific auditions
    • Some companies now forego generals for show specific auditions, others will do both.
    • Here you are auditioning for a specific play and generally would also decide what character in the play you are the best fit for or that you are most passionate about. You will therefore need to read the play. Then select the monologue that will demonstrate your ability to take on this particular play and/or character.
    • Always follow the guidelines. If they ask for one 2-minute contemporary monologue, then stick with that.
    • Sometimes, since it is show specific, they will simply ask actors to read from sides (excerpts from the actual play). These will be sent in advance, sometimes with lots of notice and other times with a short turnaround. You may be reading opposite a ‘reader’ who has been brought in to simply read opposite everyone who auditions or you will be paired with other auditionees to read together. In both cases, you likely won’t have time to rehearse with that person and may not get the responsiveness needed to fuel your reading. Regardless, you have to be prepared to still deliver.
    • More experimental works may also ask you to do improvisation, movement, or other demonstration of skills.
    • Again read the play! They may ask you questions about it. You want to be able to speak to why you want to do this show and why you are a good fit.
    • Directors will also want to get to know you so there may be time to chat. They want to gauge if you are good to work with, can communicate well, and are knowledgeable (having done your research).
    • For songs be sure again that it suits what you are auditioning for, is within your range, and showcases your ability.
  • Callbacks
    • Sometimes there will be an additional step of a callback. If the show specific audition was a monologue then the callback will likely be sides from the play.
    • The director may be wanting to try combinations in casting and have folks read opposite each other.
    • They may also give direction and be looking for how you take this direction.

Tips

  • Be prepared
  • Do your research
  • Bring a headshot/resume
  • Be early
  • Relax and breathe
  • Introduce yourself
  • Introduce your piece, briefly
  • If you are reading sides use them as written (although you do not necessarily need to have memorized them, be really familiar with them so you aren’t buried in the page)
  • Give the panel space
  • Be ready to take direction
  • Say thank you
  • Be professional in behaviour and dress

Do Not

  • Waste time
  • Read your monologue (as opposed to having it memorized)
  • Use the panel to address your monologue to
  • Let it show if you feel you did poorly (no one wants to watch the actor leave an audition room clearly dejected, especially if the director might actually have thought you did well)
  • Run away
  • Bring a bunch of props or costume pieces
  • Get in the panels’ faces (distance also allows you to demonstrate that you can fill a space)
  • Perform a monologue you wrote yourself (unless you were asked to do so)
  • Perform a monologue from anything except a stage play
  • Wander either physically or in terms of focus
  • Ask for feedback
  • Be high maintenance

When you enter the audition room, remember this is your time slot and your space for the next few minutes. The introduction is the first part of the audition. It is a chance for the auditioners to meet you as a person before you get into character for your monologue.

  • Be yourself
  • Be warm
  • Be someone they want to work with

For monologues:

  • Where to find them? Read plays.
  • Stay within your age range/type
  • Fit the theatre you are auditioning for
  • Build a repertoire
  • Repertoire should include contemporary/classic as well as comedy/drama
  • Know it inside and out
  • Embodiment is important
  • Best to play against emotion rather than pushing emotion
  • Choose a piece you can do well

Reading Sides

  • Prepare by doing scene analysis work on the sides
  • Practice cold reading even between auditions (some colleagues have suggested reading poetry out loud to keep your reading muscles honed)
  • Make a choice
  • Figure out what the character wants, who they are talking to and why (if it is realism, it it’s not then be sure you understand the style and how to work within it)
  • Make sure there is variety
  • Pay attention to punctuation
  • Read the whole play

For Cold or Somewhat Cold Reads – where you only get the script excerpt at the last minute

  • Read it a few times to get general sense
  • Try to define what you think the intent is
  • Are there shifts in the text?
  • Use the punctuation
  • Check meaning of all words and pronunciation
  • Read it out loud over and over
  • Try to find a connection to the text
  • Decide who you are speaking to, what is the relationship, and what do you want from them

Audition Tips

  • Calm your nerves and breathe. It is hard to watch someone who is painfully nervous and not breathing.
  • Be confident or at least prepared enough to fake confidence.
  • Start with small auditions to build up experience, but go to as many as you can so you can keep improving.
  • This is your time so take ownership of the space.
  • Be prepared by doing your research, rehearsing a lot, even rehearsing the introduction.
  • Be early, be positive, be relaxed.
  • Have fun – don’t make it painful or unpleasant for yourself or it will be for the panel.

 

On-line Auditions

Sending a tape in has been allowed at times for out of town actors. During the pandemic on-line auditions were done regularly. Now some theatres have kept doing them for convenience.

  • Set-up your space so there are no distractions for you or the viewer
  • Frame yourself well so it is easy for the viewer to focus on you
  • Play to the camera. Some find it helpful to make sure they have turned off self view
  • Keep the size appropriate so that you aren’t lost in the space or too close to be able to allow for embodiment

 

Should you follow-up? I get asked this a lot by actors.

  • Accept that you won’t always hear back
  • Do not call
  • You can send updates though if your availability changes or you want to share news about another show you’ve booked
  • Network by saying hi to those you have auditioned for in the past when you meet up at shows or other events. Do not ask them about your audition though
  • Keep submitting
  • You will get better the more you do
  • Rejection is just part of the process so don’t take it personally, but do continue to explore ways to improve

 

Hearing about auditions is the first challenge. Be sure to:

  • Sign-up to audition networks in your region
  • Submit to theatres you want to work with
  • Sign-up for any CAEA audition lists, regionally or nationally
  • If you want to get film experience or income, submit to background casting agents
  • Follow theatres you want to work with by signing up to their newsletters and regularly looking at their social media and websites

Audition Coaches are also an option if you have the funds. The reality is that an actor usually works with a director, but you don’t have a director when preparing your audition. You can find a coach, mentor, instructor or peer that you will work well with; likewise, a singing coach if needed. Rates vary but you can expect to pay by the session upwards of $50 to $100. Do your research, get recommendations and you can also make sure they have been vetted by the National Association of Acting Coaches and Educators.

Oh, the number one advice I give to anyone is at some point be a reader or somehow get to be able to sit on the other side of auditions. So, you watch what an audition session looks like because I think nobody really gets how it works until they see how a session is run. And then they see exactly, you know, they actually begin to believe the things that they’re told, which is your auditors desperately want you to do well. Nobody is out to play mind games with you or to hope you fail. So, the people who kind of go in already spiraling thinking, oh, they’re out to get me. Nothing could be further from the truth. Everybody wants you to do your best and to put you at ease. But you don’t really get that until you’ve sat in the session on the other side. So that’s the number one advice I get is sit on the other side.

The other one is just learn. Learn to love the little, think of it, I think when I think of it as a mini performance, where it’s my 2-3 minutes to do what I prepared because I’m in charge of how it goes. Because they’re hoping I do well. And as long as I do what I set out to do, I use that as my barometer for success, not whether I booked it or not. So, if you can kind of separate success in your audition from actually booking the gig, like I have booked gigs where I didn’t think I had a particularly good audition, I’ve had great auditions where I didn’t book the gig. And again, when you sit on the other side, you know all the reasons, that people don’t book doesn’t necessarily have to do with how you did. You know, I’d remind people about the myriad reasons you don’t book a gig. It could be because it’s a co-production between Winnipeg and Vancouver and people are horse trading and everybody must have, might have liked you the best. But, you know, the, the actor has to come from Vancouver because they horse traded, because you’re too tall or too short to play opposite somebody too old, too young to play opposite someone, because they’ve already used you or they want to save you for something later. And like there’s so many reasons you can’t possibly begin to understand about why you didn’t book a gig. So, just go with your own metric of did I do what I wanted to do? – Jovanni Sy, Actor/Director/ Playwright, Montreal, QC

 

Submissions/Photo/Resume 

Submissions

  • Cold Submissions are just sending your photo and resume out to all theatres you are interested in. In this scenario it is best to write a strong cover letter and be clear that you would like to be kept on file for general auditions or future show auditions for which you might be a fit. This can be an annual activity so you can send an updated photo and resume, and if you do so once the seasons are announced your letter should reference particular shows you are excited about and for which you want to be considered or invited to audition.
  • Responding to a call for auditions is the best way to go.
    • There will be a call if a theatre is doing general auditions, be sure to follow the instructions outlined for what to submit and how, as well as for what to prepare.
    • There may also be, or alternatively be, show specific calls. Here you should only submit if you fit the parametres outlined for casting. Again a cover letter is always useful, even in e-mail format to outline what you are submitting for and why you are a good fit.
  • The other form of contact should be updates when information changes. As noted above, you don’t want to be harassing after an audition with queries about whether you were cast. Unfortunately, in most cases you will only hear if you get a part or are called back for a specific part. However, do send a note if you have an update such as a show you are in that you want to invite artistic directors/directors to attend, change in contact information, change in availability if you booked something else, or an updated photo.
What else? Invite people to come out to your shows. And it goes beyond just posting on social media, you know, specific people. You want them to come check out the shows, feel free to email them. No matter who they are, don’t feel that… like we were mentioning in Winnipeg with my mentors, it is the access to people who’ve been in the business and their willingness to help people out is more than you can imagine. Just, don’t be shy with people’s emails. If it’s an imposition, they won’t answer you, who cares? But it’s worth the risk of them answering and them showing up and them watching you do your best work. So yeah, invite people to watch your shows. People who you want to see watch a show. Oh, also read the play. Read the play or watch the play. I’m not a very good person to read. I don’t like reading because I just have a hard time pitching in all the voices and keeping them right in my head. So, if I can watch it, I watch it. – Ray Strachan, Actor, Winnipeg, MB

Headshots

Headshots are so subjective. Get a head shot that you’re comfortable with. You don’t have to pay hundreds of dollars for a headshot. I’ve not paid for a headshot in a long time. I just had really kind friends who’ve had cameras and have a good eye, so don’t feel you have to break the bank on that. Don’t be scared to leave credits out on your résumé. If you didn’t like the show, if you felt personally, it wasn’t a good show, don’t feel you have to put it on there to stack your, you know. – Ray Strachan, Actor, Winnipeg, MB

You used to have to provide hardcopies, so for printing the tradition was a black and white shot. Now, most just want a digital submission and colour is the way to go. The most important thing is that your photo should look like you. I’ve seen actors get their hair and make-up done, then when they come in to audition they look nothing like their headshot. I want to use the photo to remember who they are.

The standard is head and shoulders, but some will now do fuller shots. Again you want to show you are professional so follow the protocol. In theatre there is more flexibility than for film or modeling.

Sometimes your submission will decide if you get an audition slot so the photo has to stand out and convince them that you fit the part in terms of look, age…etc. However, when you are starting out don’t feel you need to spend hundreds of dollars to get a high end photo. Ask around for recommendations of photographers and price range. Get a couple of looks if you feel you have very different aspects to show then you can select which photo to send based on the role you are wanting.

Be careful of photographers who will charge you extra for the studio, for edits, for releasing different shots, and who won’t allow you some choice.

Activity: Take a look at headshots on actors’ websites to see what the standard is. Which ones stand out to you and why? Do you get a sense of who might be cast for what just based on their photos?

Some advice I’ve heard is to think about what type you are. Try to narrow in on what roles that you are likely be cast in based on your look. Then get shots that work to that type. Although I’m sure typecasting still exists, and obviously things like age are specific to characters, we are moving to a time on stage at least when look is less important than ability to bring the character to life.

Resume

Again abiding by the standard layout demonstrates that you know what that is and are therefore industry ready. A Sample Acting Resume is included.

A few tips:

  • Make sure the layout is clean, easy to read, and there is white space so it isn’t crowded.
  • It should always be just one single page.
  • You want your contact information to be at the top and easy to decipher.
  • Be aware of overly fancy fonts. Legibility is more important than aesthetic.
  • You always put your most recent credits first and then move backwards chronologically.
  • If you are auditioning for theatre, list your theatre experience first before film, TV or other mediums.
  • When you first graduate listing shows you did in university and other non-professional shows is fine. Then as you get more credits you can remove these.
  • Likewise, with details on education, classes, who you studied with, and workshops; just keep removing older information as you have more recent things to add.
  • For special skills, list anything that could be valuable but don’t list things you can’t actually do really well.

Activity: What makes you unique as an actor? What are your special skills?

“Directors, producers, casting people, and agents are bombarded with photographs and resumes from hopeful actors… In this business, the form is as important as the content.”

– The Actors’ Survival Kit by Miriam Newhouse and Peter Messaline (p. 49)

 

From Hiring to Closing Overview

In the mainstream theatre, here is a general overview of the timeline for an actor:

  • Audition
  • Offer
  • Contract
  • Measurements
  • Pre-rehearsal work
  • Rehearsals:
    • First Read-Through
    • Depending on the director there may be a mix of text/table work, exploration, blocking or time mapped out for other show specific elements
    • Run-Throughs
    • Tech Rehearsals (Cue to Cue; Tech Run; Dress Runs; Preview)
    • Interspersed will be media interviews/media calls and fittings
  • Performances

Most theatres will cast for their season early on, so actors will know as they go into the fall what work they have. Although smaller and independent theatres cast later, therefore allowing one to fill any gaps in their season. It also means that you’ll likely know if you are going to need to hustle for other work based on how many contracts you have in an upcoming season. It all really depends on what shows theatres are doing and how many roles you are suitable for, then if you stand out from others in consideration. It is normal for actors to have a good year and book many shows, then the next year to have little to no work.

Networking and Reputation

Yeah, you audition, audition, audition – no matter what. And sometimes you won’t even get in the room, depending on what play it is, how many people they’re looking for. Don’t get discouraged about that. Just keep submitting. Try and do indie shows, scrounge up friends because people go and watch shows. Decision makers, directors, ADs go out and watch shows. It’s part of their job pretty much to go see the talent out there and the talent that’s coming up. They go see university shows. So, try and make your art and try and spotlight and focus yourself and, you know, present yourself in the best way possible by doing a lot of work. Do Fringe, do workshops. I’d say always be, for university students, be in touch with your instructors as well. Sometimes it’s hard, for me especially when I was in university, to realize that, oh yeah, my professor goes to all these shows, they are on boards, they talk to these ADs, you know.  Just constantly be in touch with your instructors, see what’s going on out there. They can help you navigate the professional world as well at the beginning. – Ray Strachan, Actor, Winnipeg, MB

Stay off social media. All of them. Everybody. It’s a disease. I mean, I am really prejudiced. And so, we’re talking about a very strong bias. I really dislike it intensely. For what? Its perception of being a place to air your thoughts freely. And it’s a really dumb place to me. It’s really toxic. As opposed to using your words. And having courage to check around and to be polite and to be rational and think about like… You know, what does it mean that I want, that I don’t want to do this? Am I being fair? take it on. Be accountable to yourself. And I see that that’s also something that’s gone missing. It’s like, who’s accountable? And if you say, like, I’ve been harmed, it’s not enough unless you actually have been harmed or you are in real danger. But just be the accountable one first to yourself. About everything. Look at the whole thing. And I just find that the answer’s always there.  – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB

CAEA/Contracts/Agents

I was pleased two years ago to pick-up the paper and see a headline that actors deserve more pay. It’s not usually something talked about, other than the high salaries of Hollywood stars. Part of the business of being an actor is knowing about contracts and representation.

CAEA

As has been discussed in other chapters, Canadian Actors Equity Association is the professional association for actors on stage (ACTRA for other mediums). You will need to join eventually if you are working regularly with theatres who are PACT members. Also if you are a non-member hired by a company that uses the CTA or ITA you will still be engaged under a CAEA contract and have deductions sent to them, after enough of these you’ll have offset your initiation cost and it is worth joining.

You can’t join though until you qualify. And it is good to build up your resume first since once you do join you will not be able to work with community theatres, some smaller independents, and others who simply don’t have the infrastructure or can’t afford CAEA rates. There are CAEA agreement options though for the Fringe, collectives made up of CAEA members, and independents who work in different models. As a performer, you are eligible to join with your first CAEA contract under a negotiated scale agreement (i.e., Canadian Theatre Agreement, Independent Theatre Agreement, Stratford Festival Addendum, Equity Second City Agreement).

A contract under an Equity engagement policy, such as the DOT Policy, Indie 2.2, or Festival Policy does not make you eligible to join.

Membership benefits include insurance, RRSP, advocacy, contracts that protect you, and a network. There is a one-time initiation fee of $1,000, plus payment of $90 for a half-year of basic dues, for a total first payment of $1,090. A portion of the filing fees you have paid for CAEA contracts you’ve had up to then (up to $333 per contract) will be applied towards your initiation fee to reduce the payment.

Contracts

If you are a CAEA member, the contract is issued through them. If the theatre is a PACT member and works with CAEA then you will be placed under a CAEA contract even if you aren’t a member. If the theatre company is not working under these existing agreements and you aren’t a CAEA member, then there won’t be an existing contract to use. It is still good to ask for a written agreeent even if it is a Fringe show. As discussed in earlier chapters, it can be a simple agreement. For an actor it should outline the part you are playing, the dates, rehearsal hours, performance times, total number of hours you are committing to, how much you will be paid, and any stipulations around filming or digital sharing.

When you are first starting out you may be willing to work for free in order to build up your resume, perhaps with a community theatre or collective of your peers. It is still good to try and get all information in writing so that expectations are clear. If you aren’t getting paid then you want to make sure it is a good experience, will allow you to grow, and be a showcase of your ability to allow for future opportunities.

Agents

An agent is not necessary for theatre work when you are starting out. It is different for film/commercial work. In smaller centres most actors do not ever have a need for an agent, but in larger cities you may want one to help find out about and coordinate auditions and negotiate contracts (especially if you get to a point where you are going to ask for more than the minimum pay). Negotiating certain things can more easily remain professional when you aren’t having to manage it personally. Agents will take a cut of your payment though, usually a set percentage. Do your research before signing with any agent. There are great ones, but there are also those who will exploit those desperate to be actors – they will insist you pay for expensive photos with their photographer, they will take more of a cut than is standard…etc.

If you are wanting to explore more about on screen work regional ACTRA branches often provide great resources.

 

Resources/Tips

Aim at excellence. Aim at rigor…What we do is not easy. It’s ridiculous. It’s crazy. There’s no real money, no security. And you’ll just, what you’ll get is a huge thrill if you do it right. So, might as well do it right. – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB
I think in our profession, we tend to just go through rehearsal without acknowledging that we’re putting ourselves out there emotionally and psychologically. And even acknowledging it helps, leave it in the rehearsal hall, go home. And just to flag that mental health issues are something that’s an issue in the world in general, and especially in our kind of business where we’re open and honest and trusting. – Ray Strachan, Actor, Winnipeg, MB
There is no big money, but there is a wealth of human beings. That’s what we have. That’s what we’re rich in. We’re rich in human resources in this industry, if you can call it an industry even – it’s a devotional form. And if you think of it that way, then you will put a premium on who’s someone I know and trust. To go to and say, what do you think? – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB
Just to make choices, not just as an actor for character, but also as a professional. Sometimes, you just got to put yourself out there and take chances. And, I’ve always been a very pragmatic person. I’ve not been an artist my whole life. So that world kind of scared me. So, I didn’t really jump in with two feet like I probably should have. And that’s probably why I’ve only been doing it professionally consistently for seven years rather than the whole time I started. I kind of inched my way in. I got scared and got disappointed. But you will in this profession, there’s no way around that. There is disappointment in hearing no a whole bunch of times. But eventually you get used to it. And yeah, I just wish I would have been more assertive and sort of more confident in regards to auditioning. – Ray Strachan, Actor, Winnipeg, MB
A lot of what we’re seeing now as we’re going through this necessary time of balancing the way we look on stage is the way our casts look. I love it. It’s totally great. But I’ve talked to some students some young people who are, they’re not students anymore. They’re more young colleagues. And there’s well… I’m not getting the work because I’m not a person of colour. And I’ll say, well, just hang in there. Because you just need to keep being excellent and what will happen is that the artists of colour who have skills, they’ll keep getting work for sure. That’s who will get priority for these next few years. Right behind them will be people like you, who also have skills and they work beautifully together because this is just a time where certain people have a slight advantage and that’s as it should be for the time being. But that’s going to change and develop. And those left standing will be all the people who are good at their jobs… and also quit being so impatient. You know, you just graduated. You just ply your craft, you know. Really keep working. Get on stages no matter what. Do anything, to keep making sure that when you go into an audition, you’re comfortable, you know what you’re doing, you have confidence to a certain degree, and you’re prepared. – Denise Clarke, Choreographer/Theatre Artist/ Associate Artist One Yellow Rabbit, Calgary, AB

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The Business of Theatre: Pathways to a Career in Theatre Copyright © 2023 by Hope McIntyre. All Rights Reserved.

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