Casting - ummm where do I start?

Guest Blog by Jule Watson, Artistic Director of Act One Panto

Criteria

       Well, obviously each casting criteria is different but the basis is the same. Whether I’m looking for a physical Shakespeare, a comedic film or a pantomime actor, the first port of call is advertising the position correctly so you only the attract the right applicants.

       Actors are like personnel in the health industry, at least that’s the way I like to look at it. In the health industry you have surgeons, nurses, dentists, chiropodists - the list is endless, and it’s the same for actors who fall into various categories, in the main tending to specialise in their own field:

1.   Strong film actors whose eyes do all the talking and whom the cameras love. Whether they’ve been influenced by Chekhov  or Meisner, they know how to keep movement to a minimum as the camera reveals all.

2.   Well-grounded performers with natural RP who have usually been treading the boards for years, usually working with the Stanislavski's acting system. 

3.   Physical actors whose predominant strength is movement for the portrayal of a piece. Influences include included Lecoq, Jerzy Grotowski, Peter Brook and Rudolph von Laban.

4.   Comedic. Now these actors are lucky as their large movements can work for both theatre and film. Just watch Mrs Brown with Billy Connolly to see how this can be incorporated.

5.   Improvisers. These performers again can adapt to theatre and film, and a majority are influenced by Keith Johnston. Jim Carey, for example, is well known for improvising in most of his films.

6.   Finally Pantomime which requires larger than life actors who constantly  break the fourth wall and are prepared to accept the ‘anything goes’ mayhem.     

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       Well as you know our industry does not have to abide by the employers discrimination act and we can be quite specific in outline when describing whom we require, gender, age, height and weight. Again the list is endless.

       Personally, I still am using the traditional format of having the main boy character played by a girl and the Dame played by a male – but, trust me, that is where the tradition ends! So when advertising for this year’s productions, I left the other parts open to any gender.

       The advert specifies how new and unusual the company is and what a tight ensemble we are. We only employ professional talented multi-faceted theatre trained actors, who are CRB checked, have countless energy and exceptional comedic timing.  Oh - and who can fly (only joking!)

Applicants

       So the applicants CV s come flooding in – now this is the hard and heartless bit.

       All casting Directors have their own methods at this stage – this is mine: I look at the profile picture – this says a lot to me. Model looking shots are binned straight away, as I do not believe this is a true reflection of the actor – I’ve had actors arriving for auditions and had to ask who they are because they look nothing like their photo.

       Once that is done I look at their age against their photo – again some actors shot are over 10 years old than their image, so again, I don’t recognise them when they turn up.

       Now the pile is getting a little thinner.

       OK more shallowness from the casting director: Overall body shots.

Already I have an idea of what I am looking for and if the body shape is not right, out they go. It’s no good having the lead girl towering above the male love interest. In film, maybe, actors can get away with such disparity in height. Sylvester Stallone was known for soap boxes and elevated shoes so he looked bigger than his leading lady and, nowadays, it’s amazing what air brushing and special effects can do to raise a man’s ego.

       Wow the pile getting smaller. So now it’s time to see what they can do. While reading their CV, I look for several things:

·        Whom they’ve worked for

·        What kind of productions dominate their CV

·        Whether they worked for the same employer more than once (good sign if so)

·        Have they toured before?

·        Any special skills, e.g. stage combat, circus training etc.

·        Are they CRB checked?

·        Can they drive? ( Always a bonus)

·        Which Academy or University they attended (but as you see this is at the bottom, as last year’s lion had not attended either and she was so talented I had Jacy change the whole script to ensure she was in the production!

Short List

       Ok. I’ve now compiled my short list and audition invitations are emailed.

       With my need to have the best, I’m prepared to scour the country but realise that the cost of attending an audition up North may not be possible for a lot of Southern-based actors, so I offer the option of a Skype audition, even though I do prefer face to face. However, an actor’s ability to attend often depends on their finances!  

       When acceptances come in, I try wherever possible to accommodate audition times and dates around train times and existing work schedules, as most working actors have supplementary jobs like bar or restaurant work or selling to finance them during in quiet periods – often termed as  RESTING.

Audition

       This is my favourite bit – as I love to see people perform. Knowing how nerve-racking auditions can be, I always try to put the actors at ease with general chit chat, as otherwise they may not give a true performance.

       I explain a little about the company, structure, pay, accommodation and what we’re looking for to enhance our already strong ensemble.

I then ask them what they would feel comfortable doing first - their songs or monologue. If singing is not their strength, they tend to choose that first and I’m never opposed to this being done in character. These applicants have usually been shortlisted for comedic skills and physicality rather than their vocal chords but, if they can sing it’s a bonus, one that can be written into the script.

       I ask what monologues they have chosen and ask if they are from directed pieces. Personally, I don’t like it if they want to do a directed piece, as I believe this is the director’s vision rather than theirs.

       If I can see that an actor may be a potential member of our team, I will stop their monologue mid-flow and direct them, changing various elements of their existing monologue. This enables me to see a) their versatility and b) how they work with direction.

       Monologues and songs out of the way, the floor is open for questions from the candidate, after which I inform them when they’ll know the outcome – and, as a casting director, I always them know ether way, viewing this as a matter of courtesy.

Decisions Decisions

       This is always a toughie, but I have to take everything into consideration:

Acting

Singing

Movement

Special Skills

Attitude

Aura

And, most importantly, will they fit in with the already strong ensemble?

Vampires, zombies & ghosts - Fact or fiction?

       With fascination growing for the occult and cinema queues growing for spine-chillers such as the ‘Twilight’ series and  ‘Resident Evil’, spiritistic themes are currently providing juicy pickings for the film industry. The last year alone has seen 26 zombie movies produced, while over 20 more are scheduled for 2013. As for spooks and other supernaturals – well, box office takings speak for themselves.  

      But is there any basis for believing in the ‘undead’ or the ‘after life’? Are films that feature spiritism in its myriad forms suitable for the young and impressionable? In order to find the answers, we first need to trace the source of such beliefs, to find out whether there is any foundation for them.

       Cue Ancient Babylon, home of Nimrod and many uncanny practices still in use today. Fortune-telling, omen-spotting, entrail-reading, runes, star-gazing and communing with the dead all have their roots in this magic-obsessed city. (Incidentally, Babylon also invented the fiscal system, which, considering recent history, some may regard as the ultimate nightmare!)

       Ironically, atheists’ refusal to believe in a separate, invisible soul is backed up by scripture.  Here, death is clearly shown to be a state of total unconsciousness, a dreamless sleep from which, according to several Bible verses (particularly the Lazarus account) people will ‘awake’ to a physical resurrection when paradise is restored on earth.

       The Mosaic Law did not allow for any form of spiritism whatsoever - in fact it was forbidden on pain of death for the nation of Israel - and it wasn’t until Greece began to stride the world stage that afterlife philosophies began to take root.

       In the fourth century CE, the Roman Emperor Constantine, unable to quell the rise of Christianity by other means and determined to unite his empire, cunningly  infused original gospel teachings with pagan beliefs such as the immortality of the soul, the trinity doctrine,  and – that most terrifying concept of all – eternal hellfire! The Biblical word rendered as ‘hell’ in many versions simply means ‘grave’ or  ‘death’. (Hebrew - sheol; Greek - Hades)

      Constantine’s ‘miraculous conversion’ marked the beginning of the Holy Roman Empire from which the rest of Christendom developed, combining Bible accounts with Babylonish rites and practices while keeping generations of adherents in ignorance. The Dark Ages had truly begun and the Bible was unavailable to the majority of people until the 16^th century when William Tyndale translated the Bible from the Latin Vulgate into English. His aim - for ‘even a plowboy’ to understand scripture - was not appreciated by the church; hardly surprising as, from the Vatican to house churches, Christendom has done more than any other organisation to promote spiritistic practices. According to one spiritualist I met some years ago, “the church already preaches life after death – all mediums do is prove it!”

       What harm does it do? Well, for one thing, the whole concept of life after death is a cruel deception, especially for people who have lost a loved one. Believing they can communicate through a spiritualist medium can lead to all kinds of fraud and extortion; even if the medium is basically well-meaning, it can still open the floodgates to a very dangerous world.

       One particular form of spiritism – now available as a game! – is the Ouija board, regarded by many as a bit of harmless fun. Others, however, no longer share that view. While at university, John*, a close relative of mine, was persuaded to attend several Ouija board séances by a neighbouring couple. At first, the spirit seemed friendly and jovial but over several weeks, it became more sinister, prompting John to avoid these sessions. He was reminded of them sometime later when watching a movie about demon possession: “The first scene showed people playing with a Ouija board,” he explains, “What really scared me was how closely the spirit portrayed in the film mirrored the one conjured up by the couple at my student digs! Afterwards, I couldn’t sleep for weeks thinking how close I’d come to having the same horrific experiences.  There’s no doubt the movie played on my mind and had a very negative, frightening effect.”

  Such negative feelings are common in those who dabble with spiritism, sometimes even resulting in serious mental illness as the unwary are drawn into darker and darker practices. (Apparently, John’s former friends eventually joined a coven).

       Fascinated with fortune-telling, Mary* began visiting a psychic to gain insight into the future. Dissatisfied with her safe but dull husband, she believed the psychic’s prediction that a special man would into her life – prompting her into a divorce, a disastrous love affair and a life of poverty for herself and two children. It was only after a particularly harrowing session to which she’d been invited that she finally came to her senses, realising how deep her obsession with the occult had become.

       Others are not so fortunate, developing paranoia or psychotic symptoms, hearing voices, and suffering night terrors with horrific dreams. In many countries, the occult is particularly rife with of voodoo priests and witches threatening curses or spells in order to bend others to their will. Fear of vengeful spirits has caused many to be forced into drugs, slavery and prostitution.

       So much suffering could be so easily avoided if only people knew the truth. That’s why care should be taken with the kind of entertainment we choose. If it promotes spiritism, it could create a chink for unwelcome and unwholesome forces.

*Not their real names

http://books.google.co.uk/books/about/The_Two_Babylons.html?id=OD_ATrB-g2gC&redir_esc=y

   

Was it a cult that started the War?

        Mormons, Moonies, Scientologists, Born Again Evangelists and Jehovah’s Witnesses – seems any religion that departs from the mainstream is regularly tarred with the same brush, as this interesting twist on proselytising bears out.

       The following incident happened to someone I know who was recently rushed to hospital in a state of acute heart failure. While being attended to, he was approached by a minister from the local church (don’t know which denomination, but obviously not Catholic as the ‘reverend’ in question was a woman)

       “Do you have a religion?” she asked, no doubt thinking he’d be glad of the Last Rites.  

       “Yes,” he replied. “I’m a Jehovah’s Witness.”

       Not overly friendly to start with, the minister’s face contorted with contempt. “You people!” she spat. “You’re everywhere! Building your halls, hanging round street corners, knocking on doors, pushing your literature….how dare you go around forcing your views on people?! No wonder they hate you…..!”

       The diatribe continued, the woman’s voice getting louder and her face redder with every word.  After 50-odd years going door-to-door, the unfortunate object of her rage had certainly had his share of abuse – but never while lying in Intensive Care!  He could only wait, open-mouthed, as accusations spewed unstoppably and with utmost scorn from the minister’s mouth. 

      It was the next bit that did it. “You….Witnesses,” she added. “You’re just a cult, that’s all, just like the Moonies, you’re a CULT…..”

      Finally, having vented her spleen, she paused for breath, giving the gentleman a chance to respond. The nurse’s ears were twitching, awaiting the rebuttal that would surely come. Gazing steadily at his accuser, the patient began to respond in a calm, clear voice.

       “Was it a cult that caused so many senseless deaths in the Reformation? Or that backed the Crusades? Was it a cult that tortured people during the Spanish Inquisition? Was it a cult that preached young men into the trenches during the First and Second World Wars? Was it a cult that had millions of Jews and other minorities herded into gas chambers? Was it a cult that fuelled the hatred in Northern Ireland?” 

      He held up an article he’d been reading in a magazine – illustrated by a wood carving of a man tied to a stake. “And was it a cult that had this man, William Tyndale, strangled and burned for translating the Bible into English?”

       If the minister’s face had been pink before, it was now the colour of a sunburnt tomato.

      “Could I ask…?” wheezed the patient, “Do you have a Bible in your bag?”

      No, she hadn’t!

      “That’s a pity,” said the patient, “because I’d love to talk to you about the beliefs we have in common….”

       But, as far as the minister was concerned, the discussion was at an end. The only sound now emitting from the saintly lady was the sound of her feet as she disappeared rapidly down the corridor. 

 

 

   

   

  

  

    

    

Getting seen and heard without being seen and heard

A peek behind the scenes of Act One Panto's preparations for "Peter Pantastic - by Nathan Turtle, technical and musical director

       “The set has been designed, and is currently being built. The costumes are designed, measured and ready to be sewn. The props are planned and getting assembled, and the script is written and lines are being learned. So surely that’s everything? Not quite.

       Whilst all this has been happening, our technical and musical director (i.e. me, aka Naff) has been working to sort all the songs out and get the best ones chosen to match the requirements of the scene. Having done that, the list go to artistic director Jule Watson for approval, and then the fun begins.

       Once Jule has considered the options ( which takes many attempts, and many ‘umms’ and ‘ahhhs’, (especially when she suggests a really random song that no one has ever heard of) I'll then spend the next few hours going through the lyrics to find a cut or to see if they can be reworded to fit the scene. I will then purchase the track and spend hours chopping, and trimming it, to just the right length. Having done hat, I'll submit it again to Jule for approval (which again takes many attempts) and then send it out to the various cast members featured in that number.

       Now all the songs are set, although the edits are never finalised until the first performance. The next step is to work through the script to determine what sound effects are required so far, but this usually happens during rehearsals when the script flies out the window, and everything changes.

Then comes the lighting. The lighting design is completely different, as it’s a labour of love. I'll spend hours working out the moods, the actions, the feeling of each scene and song, and fill a notebook with various ideas for colours and density, as well as brightness and position. With this being a tour, planning is needed to ensure lighting can adapt to all types of venue, including those that are very dark, and those that are very light. I also have to plan my lighting around the set so that the colours and light don’t take anything away from Malc Nossitor’s amazing design. What I try to do is  enhance the set, in order to bring it to life. But, most importantly, I have to make sure the actors are wel lit - lit comfortably, as all of them have different vibes, which have to be met with different lighting. (Plus most of them are divas, so lighting has to make them beautiful).

When all the planning is done, I'll then spend three to four days programming the lighting with the sound effects and music to ensure precise timing and greater effects, so everything happens in harmony and at the click of a mouse.

Then rehearsals begin. And everything changes… EVERYTHING!”

In the Blink of an Eye - How one man conquered Locked-In Syndrome

UPDATE 7th May 2013

Book now available in paperback or for Kindle!  (Links below)

See video promo:  http://www.youtube.com/watch?v=ISJxpYSCuvg

       "It's hard to explain what it's like being in a coma. A coma is a weird place, like a dream but all messed up. I remember being sat in a chair in a big open room with a needle stuck in my arm and being starved of oxygen, feeling very weak and hearing my heart beating very loudly. People were walking past and ignoring me; I felt like I was slipping away and I was so afraid."
        Fear did not come naturally to Peter Coghlan, brown belt karate, jiu-jitsu and kickboxing enthusiast. At just 33 years old, this former soldier had already faced dangers few of us could imagine; mob violence in Northern Ireland, two attempted bombings and a serious battle with Hodgkin's Lymphoma.
        Yet, having just moved to Perth, Australia with Jade, the love of his life, there was no time to dwell on the past as Peter enjoyed a pre-dinner drink on the patio with friends and family. The future on that hot, sunny evening seemed as bright as the weather until, suddenly, he felt tired and decided to lie down for a nap.
        "About four hours later, I awoke feeling confused and agitated. I walked out to my patio where my friends and family were sitting around my bar. I remember feeling very strange and said, 'I feel like I have had a stroke.' The others noticed I was slurring my words and they asked me to walk in a straight line up and down the patio. Shortly after this I apparently began vomiting in the garden, but I don’t remember this, nor do I remember taking a shower to make me feel better."
The journey to hospital was just a blur. The next thing Peter knew was being totally helpless, unable to move and very, very scared. After suffering a massive brain stem stroke, Peter was now imprisoned by his own body; totally paralysed by Locked-in Syndrome (LIS).
        Sometimes known as "disease of the walled living" this neurological condition is difficult to diagnose as, owing to their lack of response to stimuli, patients are often assumed to be comatose or in a vegetative state. Main causes are stroke of the basilar artery, brain haemorrhage or injury, damage to the pons area of the brain, and diseases that destroy the myelin sheath which protects nerve cells. Effects are devastating. Unable to move, sufferers retain their cognitive and intellectual powers but can only communicate through vertical eye movements - the only voluntary muscles still functioning. Even this ability may go undetected for some time, usually being spotted by regular carers or close family and friends.
        LIS is mercifully rare. Unfortunately, there is no cure or treatment to date, the only help available being assistive technology to improve communication. Despite this - just six months and one day after his stroke - Peter Coghlan left Royal Perth Hospital in Shenton Park, Perth and walked back into the sunshine. (See You Tube Link below).
        Peter is now well on his way to a full recovery, has been actively involved with charity events and has just tied the knot with Jade! And now, he's written a book based on his experiences which he hopes will encourage other sufferers of LIS.

Peter and Jade

http://www.youtube.com/watch?v=9V80F2lLjjA

http://www.amazon.com/In-Blink-Eye-ebook/dp/B00COL4JMS/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1368002652&sr=1-1&keywords=in+the+blink+of+an+eye+peter+coghlan (US)

http://www.amazon.co.uk/In-Blink-Eye-ebook/dp/B00COL4JMS/ref=sr_1_1?_encoding=UTF8&ie=UTF8&keywords=in%20the%20blink%20of%20an%20eye%20Peter%20coghlan&qid=1368001751&sr=8-1#_swftext_Swf (UK)

http://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=in%20the%20blink%20of%20an%20eye%20peter%20coghlan (Australia)

For paperback version:
https://tsw.createspace.com/title/4273296

Stay Safe! How to deter a predator

         My brother had a bee in his balaclava helmet.

       “It’s a hostile world out there,” he said, “I’d better teach you to protect yourself.”  Having recently joined a martial arts school, he was keen to try out his newly acquired skills.Me, I wasn’t too sure. Going by past experience the only person I ever needed protection from was HIM! But, hey, if he wanted to do the big brother thing then who was I to stop him. Next news, a size 10 trainer came flying in my direction, stopping a mere centimetre from my nose.

        “That was just a warm up,” he explained with a smidgeon of self-congratulation. Oh joy!  “Now, let’s suppose someone were to sneak up on you from behind and grab you by the throat – like this!”

       Too late to object. Before I could say “Stop it!” his forearm was already locked in place, squeezing the air from my trachea. “Gerrout of that!” he cried. For the next two minutes, I struggled to get free, wriggling, scratching, pinching his arm, and gasping for breath as my lungs began to shrivel and my heart was pounding, 19 to the dozen.

       Fortunately, I was wearing my new shoes at the time, my first ever pair with proper, grown-up heels. Not very high, but sharp enough to be banned from our sitting room’s parquet flooring. Sharp enough, indeed, to make my 6’3” brother yelp with anguish as I kicked him firmly in the shin.

       “What’s going on!” cried my harassed mother, rushing in from the kitchen, potato peeler in hand.  

       “She kicked me!” yelled my brother, trying hard not to cry and hopping around like a pink flamingo on speed!  “I think she’s broken my shin bone!”

       “Jacy, you bully!” said Mum. “Leave your brother alone!”

       There is a serious side to this anecdote. Since my adolescence, serious assaults against males and females of all ages have proliferated alarmingly. Some people, women especially, are now afraid to go out alone, even in broad daylight. City centres can be a nightmare, particularly at night. Nowhere is safe. So what do we do? How can we protect ourselves? Is becoming a karate black-belt the only answer? Would that even help?

       Of course, none of us can guarantee our safety no matter where we go, but you’re not entirely helpless. Here are a few weapons which may protect you from attack.

Forward planning

       Whenever you go out for the evening – to a party,  club or even a cinema – make sure you get home safely by planning transport in advance – either by arranging a lift with a trusted friend or family member, or by travelling with a group. Teenagers please note - most parents will gladly pick you up to keep you out of danger!

Attitude

       Predators are rarely looking for a fight. What they search for is a perfect victim, someone who looks vulnerable, uncertain and lacking self-worth. Stride purposefully, with shoulders squared and head held high.  Act as though you know where you’re going (even if you don’t) and adopt a ‘don’t mess with me’ attitude.

Instinct

       If he gives you the creeps, he’s probably a creep! Don’t be persuaded to stick around or be manoeuvred into a solitary place. Just leave. You don’t need excuses. Put plenty of distance between you and make sure other people are around to help.

Vocality

       Should anyone make to assault you, Scream. At the top of your voice! It really is one of your best defences. A piercing, glass shattering scream may alert others and will often deter an attacker.

Aggression

       Being determined to fight back surprises and disturbs the would-be assailant. 

Speed

       If possible, and as soon as you see your chance, Run. Take off your shoes if necessary and run to safety – the nearest house or any place where there are people. 

Police

       Whether you fear an attack or have recently suffered one, tell the police.  By reporting an incident and providing as much information as you can, you may help to prevent others being assaulted in the future.

   

   

It's Panto not Proust!

      Having finished the first draft of Act One Panto’s main production for 2013, I was feeling rather pleased with myself. Our esteemed director Jule, however, has a few comments to make. Constructive criticism, she calls it. I could call it something else, but I’m too polite.

       One thing we both agreed on was the title, ‘Peter Pantastic’ – an inspired choice for what is sure to be a hilarious take on J M Barry’s Peter Pan. Eventually....

       “Like I said, Jule, I really don’t mind making changes. I’m not a prima donna and I’m happy as long as you’re happy.”

       “You don’t sound very happy.”

       “Well, only because I think the script already works on an existential level, if you know what I mean.”

       “No, I don’t know what you mean,” replies Jule, “That’s the whole point! At the moment, it’s too wordy for primary school children!”

       “Too wordy!” For any self-respecting writer, the very word wordy’s like a red rag to a bull! But, once in full throttle, Jule’s not afraid to wave the rag around a bit.

       “Yes. It has too many words with too many syllables.”

       Before answering, I take a couple of deep breaths and throw in a couple of Oms for good measure.

       “Are you saying I’m pretentious?”

       “Now don’t go all dramaturgical on me....”

       “Just give me an example! One example!”

       “If you insist..... ‘Obfuscation’. ‘Discombobulate’. ‘Immutable’....

       “Oh now you’re just being picky...”

       “Am I now? Well, how do you expect a five-year old to understand the term ‘subliminal’?”

       “Subliminally?”

       “Come off it!” Jule replies. “Most first-years are just about learning their A B C!”

       “I don’t believe in patronising children, unlike some people I could mention.....besides, it’ll improve their vocabulary.”

       “Oh come on, Steph*. You know I’m right. Just a few less syllables? Please?”

       Sigh. “Ok. But if I cut down on the verbiage, you cut down on the animals...”

       “Well, there’s GOT to be a crocodile....”

       “Fair enough.”

       “And a parrot.”

       “Hmm...ok then. You can have a parrot.”

       “And a St Bernard....now don’t start spluttering! There’s always a Nana in Peter Pan!!

      “A nana right here, if you ask me....”

      “I shall ignore that remark,” says Jule and takes a long, deep breath. “And....

      “What NOW!”

      “An Octopus!”

       Dramatic pause.

       “Good grief! This isn’t a pantomime, it’s Chester flipping ZOO!”

      “So you’ll revise the script then?”

      “Oh, I suppose so!”

       “So, no words with more than 3 syllables, please!

       “Ah well, back to the drawing board!” I sigh.

       “And remember” says Jule, “It’s panto, not Proust.”

 

For more details, check out www.actoneacdemy.wix.com/actonepanto

*AKA Jacy Brean