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What Your Accompanist Can & Can’t Do
If it's not written on the page, your accompanist can't read your mind, no matter how clearly you explain it beforehand. Here's exactly what's safe to ask for.
32-Bar Cuts
"32 bars" hasn't meant actual measures in decades. Counting them is the wrong math entirely, and there's a framework that matches what casting is really asking for.
Cursing
Swapping out a curse word to sound polite isn't professionalism, it's dishonesty. The real question was never whether you're allowed, it's whether the character would.
Outros
Fade-outs work on a record, not in a room. If your song doesn't end on its own, you need to build an ending that actually ends.
Intros
A bell tone and a breath isn't an entrance, it's a scramble. Five better options exist for walking into your song instead of falling into it.
Setting Up Your Song with a Pianist
You get twenty seconds to set up your entire audition with a stranger at the piano. A four-letter framework makes those seconds count every time.
The Perfect Self-Tape Does Not Exist
Anne Hathaway's Oscar-winning take wasn't her last one, it was her fourth. Chasing perfection in your self-tape burns the very thing that made your first takes good.
What Belongs in Your Audition Book?
A bigger book isn't a stronger one. The most castable actors build lean, targeted audition books, and there's a simple test for what earns a spot.
Don’t Know What the Character Doesn’t Know
Perfect delivery is killing your scene work. The secret to sounding alive on stage is forgetting what your character is about to say.
Overdone Songs
There's no blacklist casting directors are secretly checking. The fear of singing something familiar is costing actors more opportunities than the song ever could.
Marking Audition Cuts
Scribbles and arrows on your sheet music aren't tradition, they're static. Here's the modern fix that keeps your accompanist's eyes moving instead of decoding.
Giving a Tempo: Part 3
The accompanist just played your song wrong. Now what? Three options exist in that split second, and only one of them actually works most of the time.
Giving a Tempo: Part 2
Your adrenaline is lying to you about your own tempo. Here's how to keep control of the one moment in the room that's entirely yours to own.
Giving a Tempo: Part 1
Snapping and clapping won't cut it. There's a specific three-part formula top actors use to lock an accompanist into their exact tempo before a single note is sung.