My mother, the "agent"

I wish my mother was an actual competent agent with connections and credintials instead of some self-appointed "volunteer" headhunter that makes phone calls to companies on my behalf saying she knows a young professional with a BFA and makes up bizarro stories about how she's an art teacher and is trying to find employment for someone who is in "no way her daughter". It's one thing to use your connections. It's another thing to just meddle. My mother, the professional. My mother is not an art teacher. Throwing clashing splashes of color on a wall and safety pinning pillow shams together does not an art teacher make.

My mother finds all these "leads" from calling people and gushing about how talented and established I am without ever telling them anything about me. It's the cold call equivilent of tabloid news. She's started doing it for Braden too, much to his chagrin. We're adults and even though it's unwarrented, there's no saying "no." The word "no" is temporary in my Mom's mind, like a wart you file down but just comes back. It does make me wish we cut ourselves off from her market, aka the Triangle, since she's lived here for 50 years and claims to have connections with everybody.

Braden's mom is a professional artist. She's involved in organizations and galleries and has a website and everything. My mother knows how to put a classy and stylish outfit together, but I wouldn't exactly call that art.

Mom rant over.

She might be on to somthing. She introduced me to my teaching job now, which is very promising but only part time. I love it though. I love my students - they make me laugh and I continue to be impressed with their talent. I don't think I was that talented at 16. If I can help these students get the part they want or get into the conservatory they want, that would be a profound accomplishment. Losing on everything I worked for, but providing a better oppurtunity for someone else? I suppose that's what teaching is all about.

Audition Etiquette

Yesterday, I helped adjudicate the song and dance auditions for TPAC's Broadway Revue. Watching a bevy of 8-16 year olds audition is exhausting. I had forgotten about all the adolescent drama that goes into producing the drama. It had been a long time, if it all, that I had been on "the other side" of the table. It probably helped since I was fresh talent and didn't know any of these kids personalities. In any case, some of their audition techniques were sloppy. At least I have a lesson plan for Tuesday -- We are SO working on Intros!!

Audition Intro Etiquette & Tips:
- Before you even walk into the room, take a deep breath and imagine from beginning to end a successful audition. A positive mindset leads to a positive audition.
- When you walk in the room, SAY HELLO and SMILE to the adjudicators. Remember, "first impressions" go a long way.
- If you are singing, walk over to the accompanist, hand them your music, explain where you are starting and ending, softly sing your tempo. Make sure you music is readable and has cuts or changes clearly marked. This is part of being prepared. If you are doing a monologue let them know if you are going to sing first or do the monologue first.
- Always let the accompanist know if you want them to play an intro or just the first note. Practice IN ADVANCE how you want to start a song. The scariest part of an audition song is starting it. (I prefer to just have them play the first note because I like to control when I'm starting the song and so I know exactly what my note is. Others find it easier with a short musical intro.)
- If the audition requests 16 bars, DO 16 BARS. However, if the cut lends itself to 20-24 bars, do that. Some songs don't comfortably fit into 16 bar cuts. BUT, keep it under 32 bars. The reason auditions ask for 16 bars is for time and given the choice, people always do more than that. If we asked for 32 bars, people would do the whole song. It's true. In fact, there will always be people who try to do the whole song no matter what because it shows off "their range". If you can show us your range in a whole song or play, you can do it in a 1 minute cut too.
- After you are done speaking to the accompanist, ask where the adjudicators would like you to stand and go where they tell you. (usually there's an X or a line of tape on the floor). Plant your feet and let your arms rest at your side. Don't wiggle or sway. Take a breath and center yourself.
- Wait until they are making eye contact with you (sometimes they will look at your resume and audition form or still be making notes as you enter). Smile and state your name, your # (if you have one) and what pieces you are doing. "Hi my name is Jenny Jones, #45 and I'll be singing "If I Loved You" and doing a piece from Shakespeare's "As You Like It"" Say this loudly and clearly. Part of the audition is seeing if you can project and enunciate. (That's why we put the tape so far back in the room.)
- DO NOT make excuses about being nervous, sick, not knowing your music, etc. This looks SO unprofessional. Remember, preparedness is half of a successful audition! I have seen extremely talented people muddy up their auditions by making huge deals about their pieces and how they are nervous they are. Keep it to yourself! Part of the audition is how you present yourself. Auditioneers don't care if you make mistakes or are nervous. We know people get nervous in auditions. Everybody gets nervous in auditions. What we do care about is how you handle those nerves. One of the things we remember most is CONFIDENCE, not little errors.
- BREATHE. Take in your surroundings. Find a focal point at eye level to start your pieces (most adjudicators prefer if you don't do the piece right at them.) Depending on space, I like to pick a point right behind them or a few chairs in front of them. Unless it is a bold and SPECIFIC acting choice, don't start your piece looking at the ground or at the ceiling.
- If you are doing a song, there are two ways to let the accompanist know you are ready. The first is to acknowledge them with eye contact and a small nod. The other more commonly used way is by simply taking a breath and prepping yourself. If you look ready and feel ready, the accompanist will start. The more you audition, the smoother this transition will be.
- Make sure you face out during the majority of your pieces. I have seen people do entire songs and monologues profile. Not only is it odd to watch, it obscures the face. You can move away from the X, but make sure you stay in the general area and find your way back to the spot by the end of your pieces.
- Take a beat on the last moment of your piece and smoothly ease back into yourself. Say THANK YOU loudly and clearly. You did it! Take another breath to center yourself after you've finished. DO NOT apologize if you've made any mistakes (every single person auditioning will make a mistake). Wait to see if they have comments or requests. If not, take your music from the pianist, thank everyone again and leave the room with your head held high.
- Don't diss other auditionees or gossip about the audition. Sometimes there are other company members, directors or other important adults in the lobby. Remember, you are auditioning yourself so don't let it go to waste by ruining your reputation in the lobby!
- Finally, don't beat yourself  after you leave the room. Often, we are our own worst enemy. Feeling prepared and confident about our work leads to more successful auditions in the long run. Better auditions make us better performers!

Hot for teacher

Apparently, I have a tendency to kiss straight on and completely smush Braden's nose. Ex-boyfriends can attest: I have always been a rather aggressive smoocher. I would make the worst soap star ever. In my defense, my neck injury makes turning my head rather uncomfortable.

I did not subject anyone to Cher hair, but Braden and both discovered that is insanely difficult to find photogenic ways to pose ourselves. A lot of the photos we were standing there like bad prom set-ups. How do you stand up and look "romantic" in posed photos? It either looks way too slack or awkward, as in "how do we position these limbs of ours???" Do people just walk through the woods, holding hands and smiling? I THINK NOT.

I am looking forward to the day that I become Virginia Leonard and no longer Ginny Buckner. Shed your name, shed your unwanted idenity? Getting married is the ultimate benefit for those looking for a change in their persona. It's kind of like going to college. It's a clean slate.

I started teaching yesterday. I have about 12 kids in each class for each age group 7-9s, 10-12s, and teens. I have a much better rapport with teens than the little ones. And don't get me started on the 7-9 year olds. For my first day, I just felt like I was doing crowd control. A lot of my beginning exercises involve sort of free exploring and that just did not cut it with the wee ones. I think more disipline is neccessary. I think I'm gonna have to do a lot more research on what works and what doesn't.

I don't know if I'm a natural at this, but I hope I can help the kids grow and achieve whatever they want to achieve. Most of my teen class want to be MT majors, so I want to help them get there!

Tonight I have an audition for "The Magic Flute". As a soprano, it's kind of a crap shoot. From what I understand here is the ratio of talent: 10 sopranos for every mezzo, tenor and baritone. I also overslept this morning and look a little less than glam as of now. Oh well...positive thinking!