Hey, you know what we've never taken a look at? My resume.
My resume always feels like an afterthought in the audition process, but when directors and such only get to see you for 2 minutes it must be invaluable for filling in the blanks when your face and your chosen material aren't enough to paint the whole picture of you as an artist.
Still, what in particular made me worth exploring? Was it the only three Shakespearean credits I had? True, The Shakespeare Society was the only group producing any of Bill's work at Emerson College, but they had no way of knowing that, did they? Just as they had no way of knowing that the Shakespeare Summer Arts Institute was run out of a house in suburban North Jersey.
It could be that they trusted my Emerson education. I know that many alumni and professors alike have been involved in ASP productions. And if casting can be decided by pedigree and specialized knowledge, then I was pretty sure which shard of information would've been most intriguing.
Callbacks were at Central Square Theater. It's a real nice place, but I'm embarrassed to say that I've only ever seen one production there - a show based on the dreams of a pregnant woman, which had its moments. I'm blanking on the name.
When it was my turn, I was greeted in the theater by Allyn, who introduced me to Patrick the director. I dusted off Romeo, which I hadn't used for an audition in a very long time. And then, in accordance with the email requesting "a short ditty" to go with my monologue, I sang Brazil. My voice felt hollow when it came out, but I kept a smile on my face to spite my vibrato.
Allyn asked me about my stage combat experience. I KNEW IT, I thought, and told him all about Ted Hewlett, rapiers, broadswords and quarter-staffs.
My legs were aching when I left. Had my knees been shaking? I didn't realize how nervous I was! I wanted to work with these guys more than I thought.
This was the first callback to come from my StageSource audition. Will it be the last? Beats me!
5 headshots still remain.