When you’re in the rehearsal, the director is like a reigning monarch. You always defer to his decisions. If you get a good director, they’ll listen to your ideas and incorporate them into his vision of the show. This is true if you’re an actor, designer, or even sometimes a producer. The director reigns.

But, as we all know, with great power comes great responsibility. A director is in a position to employ actors. These days, there aren’t a lot of jobs out there that are actually available for actors. This is becoming more and more true as more and more theatres are using non-equity actors to fill out their casts and only giving Equity Guest Artist contracts for leads.

With so few jobs, actors are up earlier, working harder, and putting themselves out there more for the fewer jobs available. They put themselves into the hands of the auditioners and leave the rest up to their talent, and sometimes luck.

Sometimes, however, directors, producers, and other creatives can violate the etiquette of the power balance. This happened only a few days ago. A director in an audition room rifled through all of the resumes and headshots that they were given that day and took down all of the emails of the acting hopefuls that they saw that day. As this was a large call, there were over 800 emails. Later, an email was sent out that was entitled “Observations from the _________ Auditions.”

Many actors thought this was an invitation for a callback or (hold your breath) a job offer. Instead, it was an email hocking the acting class of the director for one of the shows from the season.

Not only is the preying on the hopes, fears, and dreams of people who got up at the crack of dawn to stand in line in the cold to wait to sing and act for you, but it’s just plain rude. It violates the delicate power balance between actor and director.

For those who are actually going to be cast in that particular show, how can you trust someone who took your information and used his position of power for his own gain? How can you work for or even respect someone who did that?

This director was reported to the union and subsequently sent out an apology email. Hopefully, this is the end of the story and everyone, even those not involved, learned something from this outrageous behavior.

Like how you should never do it.

Well, maybe not for Broadway but it has certainly been a big week for me theatrically speaking. Yesterday was the one and only EPA (Equity Principal Audition) for one of my favorite shows “Into the Woods.” It’s certainly been a huge time for this Sondheim musical. There’s been a resurgence in it’s popularity in recent years leading to remounts of the production and now an animated Disney feature directed by Rob Marshall. Keeping my fingers crossed that the movie will be as good as the original filmed stage version with Bernadette Peters et al. There’s talk of new Sondheim written songs in this one.

I wonder if those songs will make it into the Delacorte Theatre production coming this summer. This version is the one that has been ported over from London and is why so many aspiring actors/actresses showed up yesterday morning at the audition. My inside sources tell me that there were over 3 holding rooms FILLED with hopefuls, many were non-Equity and were soon weeded out. Just goes to show you how much people want to be a part of this much beloved show.

Speaking of much beloved shows, I won’t go into it right now because I want to devote a whole post to this production, but I found this on Playbill.com today and haven’t been able to stop watching it. Elena Roger, we’re counting on you. Dear little Eva…don’t let me down. A bad production of Evita would break my heart.

Image Courtesy of the Dallas Observer

There’s not much in the theatre world that can get my dander up more than when someone completely ruins a beloved show. Hairspray is one of my guilty pleasure musicals. I admit to watching John Travolta dressed in drag in the movie version of the show and I also admit to this being one of the only shows I’d ever agree to actually act in. But it’s not just the catchy music and the fun characters that make this show one of my favorites.

The whole point of the show is that everyone is equal. The chubby girl gets the guy and she helps integrate a popular television show in Baltimore in a time where African-American kids were not allowed to dance with the white kids on camera. So you can imagine my intense ire when I found out there was a production in Plano, Texas that was putting on Hairspray with an ALL WHITE CAST!

I admit, I yelled a little, my jaw may have dropped, and I retweeted, facebooked, and emailed the story to almost everyone who I thought would be outraged enough to yell with me. The whole point of the show is about racial integration! How can a young white boy or girl POSSIBLY sing lyrics like “The blacker the berry, the sweeter the juice” or “Big is back and as for black it’s beautiful!” ???

I’m working myself into a towering rage again and I really can’t do anything about this. Except I plan to write a letter to MTI expressing my outrage that they allowed this show to be done with an all white cast.

Oh, I should mention that this was a children’s theatre and the children (or rather, their parents) must PAY to be in these productions. The director of the board of this theatre says the kids wanted to do Hairspray and that they were not about to bow to “political correctness.” Apparently he knew they would be unable to get any of the African-American community to audition. Even with this knowledge, he continued to pursue the rights to the show.

I’m seriously sickened.

Image Courtesy of the Dallas Observer

Would you enter a pie eating contest without knowing how to bake? Would you offer to drive a friend to the store if you didn’t have a car? Would you walk into an international meeting without an interpreter or knowing the language?

Then tell me, why, WHY you would put on a production of Hairspray if you know you couldn’t properly cast half of the show?

Read the article that got me all worked up HERE.

Things I dislike about being a writer can be counted on one hand. One of the things that makes me crazy is spell check. Yes it sure does help every once in a while when I can’t remember how to spell deceive (you’d be amazed at how often I forget that one…) but it still makes me nuts.

Every time I want to talk about theatre it gives me that dreaded red squiggly line under the word. I have news for your spell check THEATRE is a word! The theatre vs. theater debate began in college for me. I turned in a paper for my introduction to theatre history class and got it back with an A-. Minus? A MINUS? Yes, the reason? I had spelled it “theater” the whole way through.

My professor actually addressed this the next day. (Apparently I wasn’t the only one to make this grievous mistake.) She claimed that we should think of it this way: Theater is a movie theater and Theatre is a place for acting and art. Obviously she had some sort of vendetta against the movies.

If you love the movies, here’s how you should remember it: theater refers to the actual physical building that theatre happens in. Make sense? Theatre is the actual art form. Theater is brick and mortar.

Goodness I hate all the red lines in this post…

At twenty-five it seems a little odd to say that I’ve been in the theatre business for many years, but it’s true. I have been involved in professional theatre since I was quite young. Before you get any ideas, no, I am not an actress. Well, there was that one time I played an Easter bunny in the 4th grade play, and I did a little dabbling in high school, but really, my heart was in the ART of theatre. I built, painted, sewed, and loved the heck out of everything that had to do with the backstage world.

I grew up in the world of lights, curtains, last minute rehearsals, late nights, and thankless jobs. And guess what? I loved every second. I know that I’m not the only person on earth with a deep love and passion for theatre, so I’ve created this blog to share news of the theatre world. This is a place you’ll find out everything you need to know about Broadway, off-Broadway, readings, theatre festivals, audition techniques and tips, and anything else your little theatre heart wants to know.

There are a lot of critics and theatre writers who have never been involved in the business other than writing from the outside. This is my take. These are my regards to Broadway.