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Who Am I? An Interview with Ashley Flowers (EDITED BY ASHLEY)

Many students come to college to audition for a BFA in Musical Theater or Acting. Others come and go into Production or Design/Technical Theater. While they are all great areas to go into, only sometimes students will stay in that major until graduation. The Theatrical Studies major is not specialized, but gives students an opportunity to learn a wide arrange of skills within the theater. My friend and Theatrical Studies major, Ashley Flowers, talked to me about life as a “TSO” at Ball State University.

As a Theatrical Studies Major, what do you do within the department at Ball State?

Well I enjoy doing everything, so as a TSO I have been able to immerse myself in various aspects of the theater. I work in the Scene Shop, where I perform a multitude of tasks varying form building to painting. In addition to this, I am the department’s Prop Organizer. With this I keep track of ALL of the props and keep the prop rooms organized, which can gets crazy with all the shows we do.  I have also dabbled in acting classes, dance classes, dramaturgy and playwriting (which is becoming one of my favorite hobbies). My playwriting class actually inspired me to pursue writing more and at the moment I am in the process of writing a play that will eventually turn into a musical. Also, I do a lot of student films, which is great because I can act and experience the difference from film to theater. As you can see, as a TSO I am able to try about anything within the theater and I love it.

Do you think it is important to be skilled in more than one area of theater? Why?

YES! I think it is extremely important for anyone involved in the theater to understand the different aspects of the theater, not only to gain the general knowledge of how a production is created, but also to gain an appreciation for everyone involved in the theater. If no one understood or appreciated one another’s job, then it would be come a huge mess that no one would enjoy.

Why did you decide to go into acting?

Ever since I could remember, I have been performing on stage. My mom actually put me in the theater because I was so hyper and she thought it would calm me down; she didn’t know the can of worms she was opening. She told me that when I was younger (and an only child keep in mind) I would give myself different names and personalities (I know I was THAT kid and it’s fine, I’m judging too), which she went along with and realized that I belonged onstage. I got the theater bug big time because there was nothing like escaping my own life to be a part of another world. Acting allowed me to reinvent myself with each character. I could creatively express myself and be anyone I wanted.

What are some of the benefits of not being a BFA major in Acting or Musical Theater? Does not being a BFA have any disadvantages?

There are always advantages and disadvantages to each option and it depends on who you are and how you look at it. I was very devastated when I did not make it into the BFA program at first, but now I realize that I wasn’t suppose to be a BFA Musical Theater or Acting Major. For me, Theatrical Studies is the best option because I enjoy learning about everything and trying new things. As a TSO, I can take a wide variety of classes. With that I can learn more about the production and design aspect of creating a production. For me this is great because I know I will most likely always have a job within the theater because I am now well rounded in the theater compared to other students. The biggest disadvantage of not being a BFA is not being able to have the extensive training in performing.  However, I keep myself very busy by acting in student films and I am also a dance minor. I figure that if I can’t get the training, then I’ll do it on my own. Therefore I act in several student films, take dance classes, take as many acting classes, and teach myself guitar and piano (which is an interesting process, but possible).

How did you get involved with props and working in the scene shop?

Sophomore year I wanted to get a job so I applied for a general job within our department. On the application it says to list your skills. Well I am very organized and I enjoy being organized so I wrote that down. Next thing I know John Sadler (My boss and Scene Shop Supervisor) meets with me and asks if I could organize the prop rooms. I thought, “great I have a job!” Then he took me down to one of the prop rooms and well, let’s just say I couldn’t see the floor. I put on my music and got to work. After I organized the rooms they kept me as their organizer. Then I got to a point where the rooms were all in order so John put me to work in the scene shop building. I did some carpentry before Ball State, but not to the extent that they were wanting. I was willing to learn and now I think I’m an okay carpenter and painter. I never would have thought Freshman year that I would be working on these amazing sets, it just proves that you never know what life is going to give you.

You have been accepted to an opera house in Utah as a props assistant this summer. What do you think is important to remember when applying for an internship?

Keep an open mind and apply to everything! All you can do is apply and be honest when interviewing. A lot of places aren’t looking for a highly skilled intern. The majority of places want someone friendly, honest, hardworking, eager to learn and open-minded. Applying to internships seem a lot more stressful than what it is, just be yourself and everything will work out.

What are your plans when you graduate from college? What are you going to take from college that will help you in the real world?

I have two plans at the moment: move to NYC or get my master’s in Acting (both would be great). My plan is to start auditioning for everything I can find and applying to various jobs within the prop world. I want to live in New York, I went to there during spring break and fell in love. There has never been a place where I felt I belonged, then I found New York. My main goal in life is to create art that I believe in and that inspires others. I don’t care if I ever become famous, all I want is to create pieces of art that moves and inspires audiences and fellow artists. Once I have done that, then I know I did my job.

College has been a roller coaster, but most importantly it has taught me to be more open, to be proud of my art, to be myself, and it has given me so much knowledge about the business of show business. I also learned a lot about myself while I was here, most importantly that I do not need to make people like me, all I have to do is be myself and the right people and work will come. I know that this is the right path for me.

What advice would you give for students coming into college to major in theater?

Life is about to go crazy and take so many shifts and turns, but if you stay open minded you will end up where you are suppose to. College will suck at times and you will doubt yourself, when that happens remind yourself of your dreams. If you stay focused and determined, your dreams will become your reality and every late night studying will pay off. Also, keep in mind theater is hard and highly competitive, so you can’t compare yourself to others. Once you start comparing yourself and trying to be someone else, your art suffers. No one will ever be like you, so why try to be like them?

This Week on Broadway

We are getting closer and closer to the Tony Awards with each passing day, and the Broadway world has not stopped buzzing since the announcement of nominees on April 30!

Due to their many Tony nominations including Best Play, along with strong ticket sales,  Vanya and Sonia and Masha and Spike has extended their run until July twenty-eighth. The show is playing at the Golden Theatre and has an all-star cast including David Hyde Pierce and Sigourney Weaver. 

The cast of Pippin performed on The Late Show With David Letterman earlier this week and it was also announced that the show will be going on a national tour starting in 2014.

Tom Hanks also appeared on The Late Show to promote his play, Lucky Guy now running until July third at the Broadhurst Theatre.

In other news Lindsay Mendez (of Godspell, Everyday Rapture, Dogfight) was recently announced to play Elphaba in Wicked on Broadway, and Derek Klena (Dogfight) will be joining the cast of Wicked alongside Mendez as Fiyero. Many people are thrilled to see Klena and Mendez costar together after playing opposite each other in Dogfight as Eddie Birdlace and Rose. This past week the cast of Dogfight and the creators Benj Pasek and Justin Paul held their first of two concerts at the infamous Joe’s Pub to celebrate the release of the Dogfight cast recording.

For all of you American Horror Story fans out there, it was announced that Broadway’s iconic Patti LuPone will be joining the cast of AHS: “Coven” this fall alongside Angela Bassett as the two leading ladies for this new season. (According to this tweet by creator Ryan Murphy.)

Speaking of Broadway icons, Liza Minnelli may be heading to Broadway next year for a solo musical, however that is unconfirmed for the time being. We will have to wait and see what is to come from this!

In other news, musical theater singer/songwriters Kait Kerrigan and Brian Lowdermilk are preparing to release their live album based off of their “You Made This” tour. Kerrigan-Lowdermilk’s album is set to release on May twenty-first and will include numbers sung by Lindsay Mendez, Laura Osnes, Rebecca Naomi Jones, Jenni Barber, Steven Booth, Andy Mientus, Matt Doyle, Morgan Karr, Jesse Ruben, and many more.

This past week Jane Lynch began her run as Ms. Hannigan in Annie, and will play through July fourteenth.

Earlier this week it was announced that NBC will be cancelling many shows next year that have featured Broadway stars including Smash, 1600 Penn, The New Normal, and Go On. 1600 Penn and The New Normal were canceled after just one season with both shows starring the original Elder Price and Elder Cunningham from The Book of Mormon (Andrew Rannells and Josh Gad). Go On was also cancelled after its first season and starred Women On a Verge of a Nervous Breakdown’s Laura Benanti.

Oh, and speaking of TV, did you hear? Cristin Milioti has been revealed as the actress playing THE MOTHER on How I Met Your Mother (or just HIMYM for other uber-fans like us!). Can’t wait to see more of this familiar face, who recently ended her run as “girl” in Broadway’s Tony Award-winning musical Once.

Check back in next Friday for our next Broadway news roundup!

What to Expect at an Audition as an Actor

For all novice actors who haven’t yet started auditioning, just hearing the word might send chills up your spine. You might have to prepare yourself mentally, emotionally, and physically before you head into the room. But don’t worry! It’s not as scary as you’d think, as long as you know what to expect.

1. Embrace your nerves. Right off the bat, please understand that everyone in the room, seasoned or not will be nervous. Auditions are really nerve-wracking sometimes; especially if you’re auditioning for a show you hold near and dear (I recently auditioned for Into the Woods, and was really nervous because it holds such a special place in my heart). But nerves are great and nerves fuel your adrenaline– they help you do a better job than you think you can.

2. Get ready for a long day. It’s not going to be a fast process. Yes, your audition itself might only take five minutes but waiting for your turn can sometimes take a while, especially if you’re not the first person there. To speed things up for yourself, come a little bit (about fifteen minutes) before the audition actually starts so you can fill out any necessary paper work. But in case you’re there all day, make sure you have plenty of water and a snack (one that won’t make you feel phlegmy when it’s time to sing!).

3. Know who’s in the room. You will be auditioning for some major players in putting the show together. The director, casting director, producer, and maybe even musical director, if it’s a musical, will all be present in the room when you walk in. The more prepared you are to stand in front of these people the better. Prepare yourself by marking your music, memorizing your monologue or getting to know the script that you’ll get sides for in the room. Also, if you know the names of the people auditioning you, it’s worth a Google. Just like with any job interview, knowing the history of the person behind the table, might help you prepare for questions they might ask… you may even trip across an article about their audition pet peeves!

4. Don’t get thrown off by a curveball– it’s usually a good thing! After you audition, the director might ask you to stick around and read with someone else. This isn’t unusual; all the director wants to do is hear how you interact with the other person, to see if you two would mesh well together onstage. Just relax and follow the directions you are given.

5. Be supportive of your fellow actors and know that not everyone is right for every role. You’ll be able to hear others audition even if you’re not in the room with them. Don’t let that throw you. Remember, you have as much of a chance at a role as anyone else coming out for the show. Keep telling yourself ‘I can do this. I deserve it if I get it’. And if you don’t get it? That doesn’t mean you’re a bad performer! It’s more likely that you just weren’t right for the role. Remember, rejection is par for the course!

6. Finally, have fun! Remember to be yourself, wear a smile and go out there and break a leg!!

My Audition Pet Peeves

As a director, I’ve sat through hundreds and hundreds of auditions.  From diapers to Depends, I’ve seen it all.  In general, one could say I’m a fairly easy person to audition for.  I know that no matter who you are, you are putting yourself out there while auditioning and I understand how difficult that can be.  Trust me, I’ve been there too.  So, I empathize. Plus, I’m not afraid to compliment a job well-done.  Sometimes, people deserve that much.  However, I’m not going to lie, there are a few things that just get under my skin in the audition room.  Every now and then, somebody will do something that I just can’t take, and it’s difficult for me to even force that fake smile and say “thank you” at the end of it all. It doesn’t matter if we are talking community theatre, school, regional, or Broadway.  The same rules apply.

So, here it is.  A short list of my “audition pet peeves.”  Call it self-indulgent or helpful tips.  Regardless, these are things that I advise against when going through an audition, and I’m sure there are thousands of directors and casting directors out there that would agree.

1) The Stare-Down.  This one’s fairly simple.  I cannot handle it when a performer delivers there audition directly into my eyes.  Sure, try to make the performance as intimate as you want, but that tells me nothing about your ability to perform to a crowd of several hundred people.  Besides, talk about awkward!  I’ll never forget having “Hey Big Spender” sung right to my face.  Yup, that was weird.

2) The Inquisitor.  Please, please, PLEASE don’t ask me what I thought of your audition.  If I want to tell you, I will tell you! If I didn’t enjoy your audition, I still respect the work you have done enough to not crush your hopes and dreams on the spot.  No one wants to be on either side of that situation. So please, don’t ask.

3) The Friend.  The theater is so specialized, and the community is so tight, that one day, I promise you, you will have to audition for a friend.  And it can lead to bad things.  I’ve had many friends audition for my productions in the past, and I’m proud to say that most of them are mature enough to keep it professional.  But every now and then somebody will try to use it to their advantage.  It’s uncomfortable.  It’s manipulative.  It’s fake.  I’m sorry, no matter how genuine our relationship is, it’s important that we both do our jobs.  Don’t take it personally.

4) The Chatterbox.  Honestly, it’s not that I don’t think you’re interesting.  It’s just that the other three hundred people are interesting too.  Go in and do your job.  If we want to know more, we’ll ask.  This is simply to keep the process going.  When people go into an audition and relay their life story, it’s very off-putting.  Sorry, but this is not American Idol.

5) The Chewer.  Seriously? Gum? You’re chewing gum?  No.  This should be an obvious no-no. But, believe me, it’s happened.

6) “I’m sorry!” For some reason, people apologize all the time in auditions.  It’s not necessary.  I know your trying to be polite, but honestly, if you’re sick, we’ll be able to tell.  If you miss a note, we know.  And we know you didn’t mean to.  You’re human, not a robot.  And that’s okay.  We want to hire a human, not a robot.  Take the mishap, and turn it around for the better.  In the end, you’ll show more versatility and no one will care that you screwed up.  Then, you won’t be sorry!

7) The Teacher’s Pet.  Please don’t compliment me.  I’m totally okay with saying “Hi! How are you?” etc. But when it goes past this, we both know what you’re trying to do. Again, keep it real.

8) The Over-Compensator. Sure, I love when somebody comes in and has choreographed a dance with their song. And I love when people move around a bit when they are delivering their monologue.  Giving yourself this freedom both shows preparation, commitment, and (if done well) characterization.  However, some people go waaaaaaaayyyyyy toooooooo faaarrrrrrr…. If you come into the room acting like Patti Lupone and Ethel Merman’s love child hopped up on Starbucks, it’s time to tone it down a bit.  That’s right, you can get rid of your solo kick line.

So, there you have it, some of my audition pet peeves.  Don’t take this as the definitive word on audition rules, but I guarantee that if you keep these things in mind, but still allow yourself to relax and go with the flow, your next audition may just go even better than you expect.

Springtime in the City

by Rory of www.WearAboutsBlog.com

There’s really no wrong time to be in New York, and although every season is wonderful, spring is definitely my favorite. Winter is too bitter, summer is too sweaty, and although fall is almost as nice, it’s not quite at the level of spring. The whole city seems to wake up from the cold winter and really live up to it’s name, “The City That Never Sleeps.”

One of the best things to do in NYC in Spring is visit Central Park. Spring is when it really comes alive; with both plants and people. Flowers are in bloom, the trees are covered in green and people sit on benches and eat food and play with their dogs. People aren’t holed up in their apartments like they were two months ago, and they aren’t moving as fast to get wherever they need to go. It’s a beautiful place to be!

 

Another fun thing to do is walk the High Line. As a photographer, this is one of the best things I can think of to do in New York! There are so many beautiful photo opportunities.

Of course, it’s only expected that you break out sandals and a springy dress. Looking good is always in style when in New York.

To see more outfits and learn more about me visit my blog, www.WearAboutsBlog.com

This Week on Broadway

Hello everyone! This week on Broadway has been lots of fun and full of exciting news!

This week could otherwise be known as “the week of cast recordings.” Pasek and Paul’s off-Broadway show Dogfight, which premiered last season starring Lindsay Mendez, released their cast recording, as well as Roger + Hammerstein’s Cinderella. Pippin recorded and completed creating their original revival cast recording on May Ninth, according to this video the creators posted on Facebook.

The hit new musical Murder Ballad starring Caissie Levy, Rebecca Naomi Jones, Will Swenson, and John Ellison Conlee has extended their run until September twenty-eighth, and Jekyll & Hyde has decided to end it’s limited run early and will close on May twelfth.

This past week, the heartthrob that can be found on nearly every theater-loving girl’s Tumblr page, Aaron Tveit kick-started the first of five concerts at 54 Below, otherwise known as “Broadway’s Nightclub.” Tveit sang songs from some of his past shows such as “One Song Glory” from Rent, but he also sang popular hits like Taylor Swift’s “We Are Never Getting Back Together.”

Also, you probably noticed that this past weekend was Broadway.com’s #BACA2013, or Broadway.com Audience Choice Awards. For a full list of winners, click here!

Other exciting news just recently announced is that (drum roll, please!) Neil Patrick Harris will once again be the host of the Tony Awards airing on June ninth (AH!). This will be his fourth time hosting, and Harris said in a statement that “The show will rock!” If YOU would like to attend the 2013 Tony Awards and see Neil Patrick Harris host live, be sure to check out Camp Broadway’s Tony Award Experience!

Drama Desk Award Nominees

About mid-morning on the twenty-ninth, the Drama Desk Award Nominations were announced in preparation for the award ceremony on May nineteenth. (Note: these are NOT the Tony Award nominations!) Hands on a Hardbody received nine nominations all together, tied with Giant. Hands on a Hardbody was nominated for Outstanding Musical, Outstanding Music (Trey Anastasio and Amanda Green), Outstanding Book of a Musical (Doug Wright), Outstanding Lyrics (Amanda Green), Outstanding Orchestrations (Trey Anastastio and Don Hart), Outstanding Featured Actor in a Musical (Keith Carradine), Outstanding Sound Design in a Musical (Steve Canyon Kennedy),  Outstanding Choreography (Sergio Trujillo), and Outstanding Featured Acress in a Musical (Keala Settle).  Although Hardbody had a short run on  Broadway, it certainly made a statement in the theatre world!

Other shows that are up for several awards include Pasek and Paul’s Dogfight, Roger’s and Hammerstein’s Cinderella, The Mystery of Edwin Drood, Kinky Boots, Pippin, Bring It On: The Musical, Matilda, and Chaplin: The Musical.

In other award show news, the Tony Award eligibility was announced, and it was noted that the four girls who play Matilda (Bailey Ryon, Milly Shapiro, Sophia Gennusa, and Oona Laurence) will not be eligible for Tony nominations due to the split stage time seen as the role. They have however received the 2013 Tony Honors for Excellence in the Theatre award.

With Tony Award Noms being announced later this week, will we continue to see original and new shows like Hands on a Hardbody sweep in the nominations? Or will the revivals take over? Tune in to watch Sutton Foster and Jesse Tyler Ferguson announce the nominees on April thirtieth at eight-thirty AM!

Open Call Auditions for ANNIE!

SEEKING: Girls, ages 6-12 between the heights of 3’8” and 4’8”. Must be excellent singers, dancers, and actresses. To be considered for future replacements for Annie and the other orphans in the Broadway company. All ethnicities are encouraged to attend.

Please bring a photo and resume stapled together!

AUDITION DETAILS
Sunday, June 2nd, 2013
10:00am-4:00pm
(Sign-in begins at 9:00am: PLEASE DO NOT ARRIVE BEFORE 9:00am!!!!!!!)

The Dalton School Athletic Building
200 East 87th Street (off 3rd avenue)
New York, NY 10128
(Closest subway line is the 4/5/6 train to 86th Street)

WHAT TO PREPARE/BRING:

Please come prepared to sing a short contemporary musical theatre song acapella that shows off your voice. We are asking all those auditioning to also have sheet music on hand for that song in the event that you are asked to sing along with accompaniment. Please bring snacks and beverages as you may be asked to stay for a few hours.

Although we STRONGLY prefer to see people in person, if you cannot attend this open call, please send a self-taped audition of your child singing a contemporary musical theatre song a capella or with accompaniment (via a Private YouTube linkONLY) to annieonbroadway2012@gmail.com. At the beginning of the self-taped auditions, please make sure to have your child clearly state their name, age, and height. Make sure that when sending this link that you attach a recent photo and resume and that you grant viewing privileges to: annieonbroadway2012@gmail.com.

WE LOOK FORWARD TO SEEING YOU ALL AT THE AUDITIONS!

Matilda the Musical Announces Lottery Ticket Policy!

MATILDA THE MUSICAL

Announces Lottery Ticket Policy

NOW PLAYING AT THE SHUBERT THEATRE ON BROADWAY

Beginning tomorrow, Tuesday, May 7, MATILDA THE MUSICAL will hold a daily lottery for $27 tickets. Please note that student rush tickets will be discontinued once the lottery begins.

A minimum of 20 tickets will be sold via lottery for each performance of MATILDA THE MUSICAL. Beginning two-and-a-half hours before every performance, patrons are invited to enter the lottery; winners will be drawn two hours before each performance. Each person will print their name and the number of tickets (1 or 2) they wish to purchase on a card that is provided.  Entries will be collected and names will be drawn at random. Winners will be able to then purchase tickets at $27 each. Cards are checked for duplication prior to drawing. Winners must be present at the time of the drawing and show valid ID to purchase tickets. Limit one entry per person and two tickets per winner. Subject to availability. Seat locations may be partial view.  There will be no lottery for the matinees on May 11, 12, 18 or 19, 2013.

MATILDA THE MUSICAL opened to rapturous reviews last month and has received 12 Tony Award nominations, including one for Best Musical.

Winner of a record-breaking seven Olivier Awards including Best Musical, MATILDA THE MUSICAL is more than a show, it’s a phenomenon.  Based on the beloved novel by best-selling author Roald Dahl (Charlie and the Chocolate Factory, Fantastic Mr. Fox), MATILDA THE MUSICAL is the story of an extraordinary girl who dreams of a better life. Armed with a vivid imagination and a sharp mind, Matilda dares to take a stand and change her destiny.

Produced by The Royal Shakespeare Company and The Dodgers, MATILDA THE MUSICAL is directed by Tony Award® winner Matthew Warchus (God of Carnage), who helms this exhilarating and ingenious production with a book by playwright Dennis Kelly and music and lyrics by Australian comedian, musician and composer Tim Minchin.

The production has sets and costumes by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, and sound by Simon Baker.

Tickets are available at www.telecharge.com.

www.matildathemusical.com

 The RSC Literary Department is generously supported by THE DRUE HEINZ TRUST.

American Airlines is the preferred airline for MATILDA THE MUSICAL.