Listening in New York by Sean Gormley

I took my first acting class in Seattle in 2002 at age thirty-eight. Over the next three years I studied the craft, mostly at Freehold, and gained experience in local theatre and film productions. I relocated to New York in October 2005 to pursue my acting career full time. Needless to say it has been and continues to be an eye opener.
 
During the first couple of years I took a lot of classes and attended all the open call auditions. Equity are required to have an EPA (Equity principal audition) for all union productions. Members can sign up for a time slot. When those slots are filled you go on the alternate list which basically means they will try and fit you in.  After that comes the non-union list, which they often never get to. This was the list I was usually on. I stuck it out however and often managed to get into the room, usually after many hours waiting. I did four auditions in a day a few times which was more than I would do in a year in Seattle!  I soon discovered that an actor's job seems to be mostly about looking for work. As I began networking and meeting other actors I realized that hardly any of us ever seemed to be working. Sure there are plenty of showcases and readings that give one the opportunity to perform and there are endless classes to take but I want to be a professional actor and that means - to use those words frowned upon by many a purist - getting paid to act.  Of course it is fine to do non-paying work occasionally, for the chance to play a challenging role or to gain on-camera experience or the opportunity to work with someone wonderful etc. but there comes a point when you must consider the financial side. Professional or Amateur? Discuss.

Given that so many actors seemed to be seeking work most of the time I took classes in audition techniques: the monolog audition; cold-reading techniques; the call back; auditioning for different film formats -  primetime, sitcom, feature film, soap, comedy.

Auditioning is not quite the same as performing. I also took classes in goal-setting and planning which were very helpful. I learned that there are things in your control (preparation, planning, technique etc) and things that are not (quality of project, the competition, their mood etc). It is pointless wasting energy on the things that are not. When I finish an audition now I find it easier to let it go and move on.
 
I feel that education in the business side of acting is sadly lacking in many schools. Is it not realistic for people entering this profession to have a few workshops covering aspects such as dealing with agents, self-submitting by mail and online, networking, databases, submission materials and guidelines, contracts, unions, cold reading, and so on?
 
Another trend that has become popular is the paid seminar where you are basically paying to meet with an agent or casting director and show them your stuff for a few minutes. There are several companies running these sessions which have become the topic of much debate. There are many pros and cons and I have experienced both.
 
My auditioning persistence paid off when, having waited for seven hours to get seen at the Irish Repertory Theatre, I got in the door and got called back for a role. Though I didn't get that particular role I made an impression and was eventually offered a small part in late 2007 at the same theatre in a show that ran for ten weeks (Shaw's "The Devil's Disciple"). Most importantly I had finally earned my Equity card.
 
When the show ended I booked another job in a piece that ran for one month. I was so excited to be actually working as an actor and to be a member of the actor's union. I enjoy the condensed rehearsal period where choices must be made quickly. I find that the best choices, like instincts, are most often the first ones.
I am currently appearing in Friel's "Aristocrats" at the Irish Rep (see photo at right) which runs through the end of March. At seven shows per week we will have done about eighty performances by then. That is where the real discipline comes in. Keeping it fresh every time. Showing up early to the theatre, warming up and preparing properly while staying connected and respectful as part of an ensemble.
 
What have I learned technically? The importance of good vocal and movement training. I have strengthened my voice and I look after it. I have been practicing Yoga for a year now. It is amazing for breath control, discipline of the mind, flexibility of the body, relaxation and concentration. I try to listen with my whole body, to be present in myself so I can be available to others. It is so important to just get there and do it. Nothing trumps real life experience. It's all about the journey.

Freehold Theatre is an acting studio that for over 18 years has been providing exceptional acting, directing and playwriting classes.  Our faculty are all working professional performers and our students include the beginner and the advanced student.  For more information, www.freeholdtheatre.org or call us at (206) 323-7499.