For the first time in…well…”awhile,” I’m showless. Not only not tag-teaming ‘tween a performance for this one, while rehearsing another…but totally without a role at all.
…No idea what “next” is, nor the “next, next” after that. Which is not a norm for me, cuz I like to stack my plate. So, naturally, instead of taking time off to enjoy the break of not having lines to learn or blocking to run…I’m spending lunch the day after closing my last show, trying to find m’next three jobs.
When you’ve no solid idea of which way things are leaning…no pre-casting already taking up some of the slack in that department…it means you’ve gotta go straight to the boards and start shopping.
…Which shows are being done where? With how long a rehearsal schedule… running which date to which? It isn’t about just finding out what is “next,” it’s about making a combo of line-ups…one show which could allow a second to follow without conflict or too much mental/physical strain.
…Cuz my working area is large…across three counties. So it’s not just, “This show starts rehearsal and opens…then what?” It’s: “This show starts rehearsal here, and opens there, but that show begins rehearsal about three-quarters through the other one…can I do both considering they are in two different counties, and have enough recoup time from that super physical show and this super wordy one? Then, what’s the third follow-up option after the first closes and the second has begun its run?”
Scheduling even the hypotheticals can be tricky…not to mention the second and third-alternate options. And then, what do those alternate option shows do to the schedule following that? This means basically three separate scenarios laying out in front of me right now: Option 1, which because of placement of performance dates means an only two-show set-up, ‘tween now and end of May. Option 2, which gives three back-to-backs, booked solid. Option 3 which means no casting in first or second show preference, leaving a third and fourth try open for others.
… Season set-up like this requires a lot of picking and choosing. What are the roles you really want? Who do you want to work with? How do the shows fall on the calendar? Are you willing to chance it all on one, or all of them, to give up other show options? Or do you set up a fall-back alternate knowing how bad it would already suck not to get the roles you want, but even more so if you are also sitting at home with no job at all?
…There is always a give and take in these instances. And even when you know where your heart lies, it means dick until you get the offer call. It’s Lotto odds for an actor to get what we really want, to begin with. Even for the secondary and third choices, we’re damn lucky to be considered at all. Not to mention that sometimes the seasons are so banging, it’s like there’s nice, meaty fun just everywhere you look…and choosing at all becomes an agony.
…Which is all just an incidental to the fact that it is entirely possible you won’t book anything at all. Cuz there are like six zillion actors in this world. And even Union odds are 1 job in 10. So…good luck with that.
But you know what? This is what an actor has to do. To prepare every scenario of what-if and then book the audition slots, prep the pieces, and show up to fight it out. And even if we nail it…it is entirely possible that hair color, height, weight, politics, size of any one piece of anatomy being too big or too small, or the casting agent or director being hungry, grumpy, or needing more caffeine, can still TOTALLY tank it. Even if you don’t.
That’s show biz. Rejection option any time for any reason. At all.
…So, there’s always that to consider.
Which means, the ONLY POWER an actor really has, is to be “prepared.” For anything. And everything. Including winning the role. Or losing it. And what comes after, is where the next adventure begins.
But it doesn’t start at all, if you don’t get out there and try.
…Which is why I’ve already booked 6 role option audition slots for just the month of November, alone.
Now, onto prep.
:)
~D