From the Desk of the Executive Director - April 2014

CONGRATULATIONS to all the 2014 Jeff Nominees. Your hard work and passionate commitment to Chicago Theatre is one of Chicago's biggest treasures. I am so proud to work with you, and so happy to be a part of such an extraordinary community of artists.

Welcome to April - Welcome to Spring

After surviving a record-setting winter in Chicago, I am so relieved to finally celebrate Spring. BoHo Theatre Company Members have been a flutter with activity! Sean Thomas has just recently closed Sandalwood with Tympanic Theatre while our fabulous Casting Associate, Stephanie Sullivan has been hard at work with Fox Valley Rep working on Cheaper By The Dozen. Greg Foster, who recently garnered a Jeff Nomination for his role in Spamalot, is also  heading towards his opening of Kokandy Production's Assassins, playing Charles Guiteau. Meanwhile,and our own Peter Robel will be starting rehearsals for our summer musical of Myths & Hymns in just a few short weeks.

Announcement: BoHo Theatre Welcomes New Company Member 

Eleanor Katz

I'm pleased to announce that BoHo recently on-boarded a new company member. Many of you may remember Eleanor Katz from her role as Anna Hauptmann in our production of Hauptmann in 2013. Eli will be working along side our Space Coordinator, Greg Foster, to assist our renters at the Heartland Studio. Look for Eli around the city - she'll be seen with the Signal Ensemble Theatre in the premier of The Next Thing, "a new musical spanning six years, five movies, four deals, three significant others, two Oscars, and one combustible relationship".
We are so happy to welcome Eli on board!

Arts & Business Council - Business Volunteers for the Arts

As you may recall, last Fall BoHo partnered with the Arts & Business Council - Chicago to participate in their Business Volunteers for the Arts program (BVA). The company and board has worked diligently alongside our fantastic BVA's to craft a three year strategic plan. As part of this initiative, we have identified and explored how to help on-board new faces to help us with this ambitious plan. Keep your eyes on our website for information on open positions, and how to get involved.

Upcoming Events:

Myths & Hymns
June 13 – July 13, 2014
presented at Heartland Studio
Directed by Peter Robel
Music Direction by Nick Sula

Parade
Oct 18 – Nov 16, 2014
presented at Theater Wit
Directed by Linda Fortunado
Music Direction by Matthew Deitchmann
(look for information on auditions in the coming weeks!)

2015 Season Reveal Party - Coming Summer, 2014!

Being Bohemian: Stephanie Sullivan

BoHo Theatre's Casting Associate Stephanie Sullivan, on what it means to be bohemian:

I’ve heard and seen several variations on the definition of Bohemian, all of which speak to me in positive ways. Our theatre company’s “new” mission and vision statements do a great job of capturing how we collectively feel about being Bohemian, so when asked to speak about this from a personal standpoint the first thought that came to mind was to talk about how it FEELS to be bohemian.

One source describes Bohemianism as “the practice of an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, involving musical, artistic, or literary pursuits. In this context, Bohemians may be wanderers, adventurers, or vagabonds.”

To me, being Bohemian is a way of life and it’s something you feel/experience.

Being bohemian means constantly pursuing truth, love, freedom, and beauty; it means living honestly and genuinely, and it means honoring who you are, no matter what others may say (thereby foregoing conventional norms at times.) I am always in pursuit of the things that bring me the most joy in life. Interpersonal relationships and human connections are the most important thing in my world, which is a huge part of why this theatre company has become my home. I also try to live my life to its absolute fullest; for me, this means experiencing as many things in this world as possible; it also means incorporating art and creativity into every day.

“They laugh at me because I’m different. I laugh at them because they are all the same.”

“When you show up authentic, you create the space for others to do the same. Walk in your truth.”

“When she transformed into a butterfly, the caterpillars spoke not of her beauty, but of her weirdness. They wanted her to change back into what she had always been. But she had wings.”

Throughout BoHo Theatre's milestone 10th Season, BoHo company members will be revealing what being "bohemian" means to them. What does Bohemianism and BoHo Theatre mean to you? Let us know in the comments or on Facebook!

Pygmalion: How Stephanie Sullivan discovered Mrs. Pearce

In our co-production of Pygmalion with Stage Left Theatre, BoHo's own Casting Associate Stephanie Sullivan plays Mrs. Pearce, housekeeper to Henry Higgins. She shared with us the process behind finding her approach to the character.

"The path to discovering Mrs. Pearce has taken many different turns, especially because in the beginning, I wondered how I would take a character that is traditionally played by an older woman and make her story believable in the context of our production.

"The simple answer to the age thing? Mrs. Pearce has simply known Higgins her whole life, which affords her the knowledge she needs to 'handle' him (perhaps she even inherited her role from her mother, who would have been around to help raise Higgins.) Although my Mrs Pearce wouldn't have been around to help with the raising, she's been around long enough understand what it takes to manage him. She knows her position in life, but also knows that he could never manage without her. I've had a lot of fun in discovering what that fine line is— there's a balance between what her station in life dictates, and what her personal relationship with Higgins will allow.

"Luckily, I had a lot of inspiration to draw from; shows like Downton Abbey have prompted a whole new level of interest in the life of maids and footmen, many of which aren't too far from my actual age! In fact, one of the first things I remember Vance saying early on was, "I think of Mrs Pearce as someone kind of like Mrs O'Brien, but softer." Indeed, I think Mrs Pearce has the conviction and tenacity of Mrs O'Brien, without her cunning, scheming quality.

"The other fun thing we played with was dialect. Early on I rehearsed the script with standard RP in mind, but Vance wanted Mrs. Pearce's dialect to reflect a class distinction. We also knew that in the presence of a dialectician she couldn't sound anywhere near as bad as Eliza— no way he would be able to tolerate that for years!

It was Peter Robel who planted the seed of using a slightly Northern English influence in the dialect, which I feel has given this character a whole new flavor and life! Somehow this new direction made her much more three-dimensional, and brought qualities to her character that I wouldn't have discovered otherwise.

"What a fun show to be a part of! I am truly grateful for the experience and grateful to have worked with such an amazing cast and crew!"

Catch Stephanie's hilarious work while you can: Pygmalion is currently running at Theater Wit through February 10th. Learn more...

Audition Best Practice: Top 20 for Actors (Part 2)

This post is Part 2 of 2 featuring the Top 20 Audition Tips for Actors. It was written by Stephanie Sullivan who serves as one of the Casting Coordinators for BoHo Theatre.

11. Be prepared to talk about yourself! Give your monologue an extra beat or two to breathe at the end and do not be in a rush to exit the room.  When time allows, we may ask you a question about your resume or what you are currently working on.  Even if you aren't working on something, be prepared to talk in a positive way about something relevant (i.e. a class you are taking, a show you just saw, a trip you just took.)  We want to get to know your personality so avoid short answers that make us feel like you aren't interested.  This is your chance to show a side of yourself that is fun and relaxed!
    
12. Make sure that your piece follows the guidelines set forth in the audition notice - especially when it comes to allotted time.  We all know it's difficult to do a one-minute monologue, but there is a reason someone might request this and is disrespectful of your auditors' and fellow auditioners' time.  I know people who will jot down specific notes about this.
    
13. Read the play you are auditioning for!  Know the character(s) you are auditioning for and, if possible, try to show us that you are right for the part.  This does NOT mean showing up in costume.  It DOES mean, suggesting the part through dress.  If you know you are auditioning for a Victorian play, for example, do not show up in jeans.
    
    
14. Be on time.  In fact, be 15 minutes early! Period.  We know that unexpected things will come up, but if you are consistently late to auditions, we will assume you will consistently be late for rehearsals and maybe even performances.  Give yourself time to find parking or plan your route.  Make sure you have a contact phone number on you in order to notify someone if you are running late. 
    
    
15. If you find you will not be available for an audition, after you've already scheduled one, please be courteous and respectful in doing whatever is necessary to cancel that audition - for BoHo, this means going back to the sign-up page online and "undoing" your time slot in order to free it up for someone else. Unless specified, do not call to cancel your audition.  We get a lot of sign-ups and we do it online for ease and convenience.  Smaller companies do not have people working 24/7 to answer phone calls and your message may not be received in time.
    
    
16. Never assume it's ok to just not show up to an audition if you have a schedule time and cannot make it.  I promise you that these are little things people notice and even write down.
    
    
17. Always list ALL of your conflicts, no matter how insignificant they may seem to you.  If you are not willing to part with a conflict, you should make sure the casting director and/or director know this ahead of time.  "Being seen" by the casting director will very quickly become a negative if he/she wants to hire you but find out that you have conflicts after the fact.  Trust me when I say that it is better not to be seen if you cannot make yourself available, than run the risk of never being cast again.  There will always be more audition opportunities!
    
18. Similarly, pay attention to all of the rehearsal dates, performance dates AND callback dates.  If you are not available for the callbacks, do not assume that you will be seen on a different day.  Scheduling audition dates/time require a lot of work and coordination.  Often times, we are working with several people's schedules, time constraints, and space constraints.  Sometimes we are paying a rental fee on an audition space.  The dates and times we choose to hold audition/callbacks are specific for a reason.  If you are not available for callbacks, make sure to ask if you can still be seen at the general audition. Most of the time, we will work to accommodate you in any way we can but this is a case where asking for permission rather than forgiveness definitely pays off.
    
19. Do some research on the company you are auditioning for, and make sure to see shows that the company produces (you will learn a lot about their style.)
    
20. Always be courteous to everyone you encounter!  You never know what their connection to this (or any other) theatre is.  Your behavior outside of the room is just as important as your behavior inside.

***Bonus: If you are not cast but have followed all of the guidelines and done your very best work, please do not take it personally. There are so many things that go into the casting process and all you can really do is focus on the things you know how to control.  The rest is out of your hands so have fun!

Your loving casting associates,
Stephanie Sullivan & Rebecca Mauldin

Audition Best Practices: A Top 20 for Actors

This blog is Part 1 of 2, featuring the Top 20 Tips for Auditioning

We have wanted to write this blog post for such a long time, and are so excited to share these little nuggets of information about auditions because, as fellow actors, we know that the task of auditioning can be both exciting and terrifying! Over the years we have gathered as much information as we can from other casting directors (admittedly, many of the tips and tricks listed below were stolen directly from Bob Mason.) If you feel confident in your knowledge of do's and don'ts, your job just got a heck of a lot easier!  If you can focus on the things you know how to control, you'll find auditioning fun and exhilarating - promise!

Below is a list of tips that will help you prepare for ANY audition, including BoHo's.

How to prepare for ANY audition - things you MUST do!

1. Make sure your resume is stapled to the back of your headshot, and make sure it is cut to the 8x10 industry standard.  You can go to an office max, buy a ream of paper, and ask them to cut the paper to this size!  I have heard several times of casting directors who will throw away headshots that don't meet this standard based on the fact that it will not fit in their files.
   
2. List any and all pertinent skills on your resume.  Be as specific as possible (what kind of stage combat, what kind of dance etc.)  Treat your resume as you would any professional resume. Be smart about which skills you choose to list! Quirky and fun talents are great, but "belching the ABC's" is definitely not.
   
3. List all significant teachers and directors - it's a small world!  If we are interested in you but do not know your work, we may want to chat with someone who does!
   
4. Select a monologue that shows your range - it needs a beginning, middle, and end.  Choose something that has a discovery and takes the auditor on a journey; make sure you have a point of view.  "Safe" choices are ones that lead to stagnant performances; even if your choice isn't what the director would go with, the important thing is to show you make choices!
   
5. Select pieces that best represent YOU.  If the monologue is age, or race specific, pay attention to this - if you are 22, you will most likely not be cast in a "mother role," so avoid doing a "mother monologue."  Some pieces are not age/race specific and you can get away with a departure from yourself, but if the piece is from a well-known play, do not take that risk. 
   
   
6. If you choose to do a monologue from the play you are auditioning for, understand the risk involved.  Some directors will be very open to this, and others will be turned off.  It's possible you may "wow" someone and even help shape their opinion of the character, but be aware that many directors will have firm opinions about a character prior to the start of the process and your take may be very different from theirs. 
   
   
7. Never choose to address your piece to someone in the room.  If we feel we are acting with you, then we are not truly able to do our work and focus on you.  Also, do not choose to do your monologue to someone in a chair or on the ground - we want to be able to see your eyes!  Pick a spot just above the auditor's head either directly in front of you or on an angle (just make sure we are not looking at your profile the whole time!)
   
8. There is no need to shake hands with anyone, unless a handshake is offered to you.  No one is trying to be mean here, but keep in mind that we might see 100 people in a day, which makes for a lot of handshaking!  There is also a hygiene issue to consider.... yes, I know that sounds gross but it's true!
   
9. If you are introduced when escorted into the room, there is no need to re-introduce yourself - just the name of the character and play will do.  Also - please do not give us a play synopsis or any kind of exposition.
   
   
10. Always be prepared to do a second monologue.  Think of "contrasting" more in terms of a different character, voice, point of view - not necessarily a different style or genre (though this is ok too.)  If you list that you're a singer, be prepared to sing 16 bars a capella.

Audition Techniques - From BoHo Casting Coordinator, Stephanie Sullivan

I always get so excited when we begin the casting process for our next show....  It's the beginning of the birthing process, a time when anything is possible and when you wonder what your baby will look like.  It's also a heck of a lot of work (more so than what most might imagine) which is why, over time, I've focused a lot of my energy on finding the best, easiest, most actor-friendly way of making it all happen.  As an actor myself, it's easy for me to step into those shoes and then find solutions to the many, wonderful hurdles that come up. 

The result of this streamlining process is an online sign-up format.  Actors can visit the sign-up web page, choose a time that is convenient for them, and then come back to the site and make changes, if need be.  I've recently changed the way the sign-ups appear when visiting the page (after much debate) so that actor names are displayed publicly.  An actor can choose to display their full name or simply put a first name and last initial - in other words, you can still remain somewhat anonymous if you choose, and this is what ultimately made me feel comfortable about the decision.  The biggest downfall to this website is that actors don't get a confirmation email once they've signed up.  I used to consistently get emails from actors who'd forgotten what their audition time was, and now they can go back and check!

Over the last couple of years we've been fortunate to always have amazing turnouts at auditions and we've always believed in giving everyone equal opportunity to audition.  People have asked me if we ever do invites, and the answer is yes.  On occasion we will make sure to invite certain actors, who've worked with us in the past or who have been recommended to us, if we feel they might be appropriate for a role.  That being said, if you aren't invited, it doesn't mean we aren't interested!  One of the many wonderful things about always doing a general audition for each show is that we are introduced to new faces all the time.  I'm also equally excited by the number of old friends that come back because it's wonderful to see the growth in people: how they've changed or matured, and what they're capable of in new contexts.

My hope is that the audition process is always a positive one for the actor, each and every time.  BoHo prides itself on being very actor-friendly and we truly do value and respect the time that people put into preparing for an audition.  I do my best to notify people of their status in a timely fashion because I know how much it sucks not to hear back at all.  I also try to remind actors that if casting didn't work to their advantage this time, it isn't personal.  I trust that actors already know this, but it helps to hear it again.  There are many, many factors outside of an actor's control and the competition is always extremely fierce at BoHo auditions.  

Stay tuned, though. In my next post, I'll talk about tips that will serve as good "general audition reminders" for everyone, and I'll also delve into some tips of a more subjective nature, that are specific to BoHo's audition process.

-- Stephanie Sullivan is the co-Casting Coordinator for the Bohemian Theatre Ensemble. She along with Rebecca Mauldin oversee the casting process for all BoHo shows.