joel fishbane
Excerpt from ‘A Few Words on Auditioning’ by joel fishbane for CharPo
“Auditioning is sort of like me hiring a lawyer after watching the way she washes my car.”
It’s important to remember that when you walk into an audition, nobody is waiting to see whether you know how to act. They already assume that you do. What they want to see is whether you are Right for the Part (or for their Theatre School). How do you prove you are Right for the Part? Sadly, this is a question with no answer. If you are auditioning for Hamlet, perhaps you can try to show you know a thing or two about being depressed in Denmark; but if you are auditioning for Theatre School, you’re not so lucky.
If you’ve recently loaned Danny Boyle money or plan on being the next James Franco, then you probably don’t have to worry about auditions. But in case your career path isn’t following this trajectory, it might be good to remember the following things: (…)
Continue reading at charpo.blogspot.com/…/
While notable literary, visual and media artists thrive within Quebec’s “carré anglo hoods”, so to speak, importing and disseminating performing arts or solidifying drama programs in schools remain some of Quebec’s biggest obstacles to us, regardless of region or language. The expense and accommodation requirements for English-language theatre outside of Montreal is monstrous in touring English-language theatre within Quebec, and venues range from the ill-equipped to non-existent. To date, youth theatre Geordie Productions has managed to make itself most known within other regions of Quebec, due to its history, important lobbying efforts, quality programming and school touring system. It has been no easy feat for Geordie, who undoubtedly has seen countless cuts to both drama programs and school production budgets along the way.
[Charlebois Post: Valerie Cardinal]
“Joan Orenstein (pictured above), People Are Living There, Centaur, 1975.” It was my first year as a Centaur subscriber and it wasn’t a great year for the old house until this Fugard play in which Orenstein created an indelible memory as a bath-robed, shambling landlady of a flophouse. She was sad, funny and gorgeous. She would dominate Centaur’s stage once again, decades later, in Stone Angel.”
Montreal’s hot new “It” boy Patrick Lloyd Brennan
