Audition notice for Broadway's SCHOOL OF ROCK!

Hey ATC Students!

Check out this cool audition notice for SCHOOL OF ROCK!

SCHOOL OF ROCK

AEA Production Contract

Director: Laurence Connor

Producers: Bespoke Theatricals, The Schubert Organization, The Nederlander Organization, Warner Music Group, The Really Useful Group

General Manager: Bespoke Theatricals

Music by: Andrew Lloyd Webber

Lyrics by: Glenn Slater

Book by: Julian Fellowes

Music Supervisor: Ethan Popp

Musical Staging by: JoAnn Hunter

Casting: Tara Rubin Casting

SEEKING FUTURE REPLACEMENTS FOR THE CHILDREN:

CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

PRINCIPAL ROLES:

TOMIKA- A wonderful singer, she is a girl who is exasperated by her two fathers’ inability to see that she needs help.  They think she’s perfect.  She knows she’s drowning. This character is African American. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

SUMMER- A blonde Manhattan princess.  She has never had it any other way than her own, and she is confident things will continue in this vein.  She gives a new sense to the word entitlement. Pop/RockSinger who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

KATIE- PLAYS GUITAR/BASS GUITAR. She is distinguished by her talent for the bass. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

MARCEY- Clever girl. Back up singer with style. Pop/Rock Singer who moves well. Will understudy SUMMER- A blonde Manhattan princess.  She has never had it any other way than her own, and she is confident things will continue in this vein.  She gives a new sense to the word entitlement. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

SHONELLE- Clever girl. Back up singer with style. Pop/Rock Singer who moves well. Will understudy TOMIKA- A wonderful singer, she is a girl who is exasperated by her two fathers’ inability to see that she needs help.  They think she’s perfect.  She knows she’s drowning. This character is African American. Pop/Rock Singer who moves well.  CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

SOPHIA- Pop/Rock Singer who moves well. Must play the GUITAR/BASS. Will understudy the role of KATIE- PLAYS GUITAR/BASS GUITAR. She is distinguished by her talent for the bass. Pop/RockSinger who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

MADISON- Pop/Rock Singer who moves well. Will understudy TOMIKA- A wonderful singer, she is a girl who is exasperated by her two fathers’ inability to see that she needs help.  They think she’s perfect.  She knows she’s drowning. This character is African American. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

GIRL SWING 1- Must play GUITAR/BASS. Will understudy KATIE- PLAYS GUITAR/BASS GUITAR. She is distinguished by her talent for the bass. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

GIRL SWING 2- Does not need to play instruments. Will understudy principal roles. Should be a strong dancer and Pop/Rock singer. Previous Swing experience a plus. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

ZACK- PLAYS GUITAR.   A mixture of anger at his father’s indifference and passion for the music that is raging inside him.  He knows he has more in him than he has ever been able to show. Pop/RockSinger who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

LAWRENCE- PLAYS PIANO. A shy, awkward boy, unconfident and gauche, but a genius on the keyboard, who needs a free spirit like Dewey to lead him out of the darkness. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

FREDDY- PLAYS DRUMS. A boy who is happy to be released. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

BILLY- A boy with a marked artistic flair, and other problems. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

MASON- As eager as the others to enjoy school instead of dreading it.  He is a whizz on the technical side. Pop/Rock Singer who moves well. Must play PIANO. Will understudy the role of LAWRENCE- PLAYS PIANO. A shy, awkward boy, unconfident and gauche, but a genius on the keyboard, who needs a free spirit like Dewey to lead him out of the darkness. Pop/Rock Singer who moves well.CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

LEONARD- Student. Pop/Rock Singer who moves well. Will understudy FREDDY- PLAYS DRUMS. A boy who is happy to be released. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

BOY SWING 1- Must play GUITAR. Will understudy the role of ZACK- PLAYS GUITAR.   A mixture of anger at his father’s indifference and passion for the music that is raging inside him.  He knows he has more in him than he has ever been able to show. Pop/Rock Singer who moves well. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12.

BOY SWING 2- Does not need to play instruments. Will understudy principal roles. Should be a strong dancer and Pop/Rock singer. Previous Swing experience a plus. CHILDREN MUST BE UNDER 5’ TALL AND AGES 9-12. 

PLEASE SEND A PIC AND RESUME IF YOU HAVE ONE, ALONG WITH WHERE YOU ARE BASED AND CURRENT HT. AND AGE TO: SCHOOLOFROCKCASTING@GMAIL.COM

Special Weekend On Camera Workshop With Ryan Kitley !

There is still time to register for this exciting new workshop: 

On Camera Weekend Workshop at Actors Training Center

Taught by senior ATC instructor and veteran actor Ryan Kitley www.ryankitley.com.

Ryan's recent credits include Chicago Fire, Boss, Empire, Dig Two Graves.

How successful was your last on camera audition?  Need to brush up on your skills?  Not getting enough callbacks?  Take advantage of this weekend workshop and get a leg up on your next audition.  This unique two day workshop will cover such topics as audition technique, tools of the trade, script analysis, the callback process, and more.  Students will get the opportunity to tackle various scenes from current and past Chicago television and film projects.  Each student will also go through a mock audition with scenes provided by the instructor.  Learn firsthand what it takes to make a lasting impression in the casting room in order to land those callbacks and bookings.

THIS WEEKEND!
Saturday March 28th from 12-3

Sunday March 29th from 12-3

Location: Actors Training Center in Wilmette, IL http://www.actorstrainingcenter.com/

Cost:  $125

Class is limited to 10 students (age 18+)

To register call ATC at 847-251-8710

Interview with Chicago Actor & Stage To Screen Calibration Teacher: Ryan Kitley

What do you mean by Stage to Screen Calibration? What the heck is that?

Stage to screen calibration is the actor’s process of adjusting their work from a theatrical performance to an on camera performance.  In Chicago, most actors begin working in the theater and eventually pursue work in film and television.  The process of auditioning for, and working on tv/film projects requires an entirely new skill set, different from lessons learned in the theater.   This class will give you specific tools to do just that.  In the theater, actors play to the audience and their vocal and physical action needs to be projected out.  The camera is attracted to stillness, subtlety, mystery and secret.  It prefers for you to keep it very honest, simple, almost hidden.  Actors need to understand not only the difference from stage to screen, but how to execute those adjustments.  Stage to Screen is a unique class that will help you make that calibration.       

As a professional actor do you still find it difficult to make this transition?

Yes, the transition from stage to screen is very difficult.  One very important aspect of the on camera process is for actors to watch themselves as much as possible.  By observing their work on camera they will be able to pinpoint what’s effective and what’s not.  They will be able to observe the importance of subtlety.  Stage to Screen gives actors the opportunity to observe their recorded work in “playback" each week as part of the class.

I've done on camera, very little theatre, should I even take this workshop?

If you want to build upon the camera skills you already have, then yes.  

Isn't calibrating for the camera just a matter of talking quieter?

No see the answer to question 1 LOL.

Why do I have to do both? Theatre AND On Camera ?

You don’t have to do both, however, in Chicago actors need to pursue theater, film, television, print work, voice work, improv, etc. if they want to compete and experience success in this market.  Two major areas of work for Chicago actors are theater and on camera work. 

What's so darn special about ATC? Why teach there when you can teach anywhere?

ATC trains actors to work in the professional arena.  Our teachers are working professionals who are at the top of their game.  I couldn’t think of a better group of people to serve as mentors and role models for the actors at ATC.  Our students understand the business and the amount of work required to succeed.  They approach the work creatively, honestly, fearlessly.  ATC gives actors the freedom and courage to grow.  I teach at other schools in the area but ATC will always be home for me.

Interview With LA Casting Director: Deb Dion

How did a girl from North Carolina end up as a Casting Director in Los Angeles?

I think everything I did before ending up here as a Casting Director was the journey I needed to take to get where I am today....ending up in casting was a big surprise to me.

Often we start out on a journey with a goal in mind and along the way we take a turn which really is the right turn for us...not our original goal perhaps but exactly where we

are supposed to be.   I started out as an actress in New York and along the way was approached about going into casting.  I was told I had a good eye for talent.  I almost did not

do it but when i really thought it over, I admitted to myself that I was tired of the struggle and constant search for the next job.  Once i made the decision to go into casting, I never struggled again.

Everything I had done up until that point was the best training I could have gotten to go into casting.  It was meant to be. 

Why do you shlep to ATC year after year woman?

I LOVE ATC.  I am in awe of the amazing staff.  I love them and I love the students and get so excited to see many again and again.  I love the passion and the creativity and the energy and the 

love I feel in the school.  It is my favorite.  I wish I lived there so I could teach every single week.  I look forward to my visit so much.  And I hope to see many familiar faces!!

What is unique about L.A., is it for everyone?

L.A. is a bunch of small towns under the same dome.  I love it.  I found my town here and friends tease me that I never leave it.  No, it is not for everyone.  It is

hard - it can be lonely if you do not have a great support group of family and/or friends.   But it is alive and it is competitive.  If you like to compete - if it inspires you 

and pushes you to be your best then it is the place for you as an actor.  But make sure you are competitive before you come here or it can defeat you.  Know what you

are doing.  Study hard.  I see so many unprepared actors arrive here and LA eats them up and home they go.  Be ready.  

How often do you reach out past L.A. for actors and how does that work? Where do reach out to?

I reach out past LA on every project.  I reach out to NC - I know many of the talent there.  I reach out to ATC since Dibo and associates know all the talent there.

I often post my breakdown to the entire country and Canada.  I sometimes reach out to talent in London and Australia.  The world is so much smaller with technology 

so I can really search and find gold.  

What makes a good impression on you when an actor gets in the room?

Energy energy energy.  Good energy.  I am very sensitive to it.  If you come in with darkness and negativity, I will feel it.  I like actors who come in and who are excited to show me their work.  I like actors who are not in their head about booking the role but just want to live it in the room.  I love actors who have fun and who love creating. Prepared actors are my joy.  Unprepared actors make me crazy.  

Is there one thing you wish actors would keep in the back of their heads when they audition?

I would love them to feel like in that moment they own the role.  They are not renting or just trying it on for size - they own it.  That is when the magic really

happens.  

Explain what your role is as the Casting Director. How much say do you have in the final casting?

I read the script, talk to the director and producers about it and get an idea about what they want in the characters.  Then I go out and try to find the actors who will bring their vision.  Sometimes I try to show them another vision as well with actors they originally did not see in the role.  

I know a lot of actors of course so I schedule them to read for roles they fit and I always try to find new actors in my process as well.  That is very fulfilling for me.  I present the actors I like and the director and producers choose the one they like best.   Ultimately it is their decision but their decision is usually based upon the actors I bring who I like, the knowledge of the actors, their work and their personalities, and my opinion.  Sometimes I will fight for someone who I feel is being overlooked.  And many times I have won.  So it varies from project to project.  It varies from director to director.

Sometimes I just sit back and present my favorites and let them decide and sometimes I go into the ring and fight it out.  

What are you working on these days?

Well I was looking for a couple of American kids for Tim Burton's Miss Peregrines Home for Peculiar Children right before Christmas.  Then after the holidaysI helped out with the kid search for Kenny Lonergan's new movie.  Right now I am starting to work on a feature called The Scent of Rain and Lightning which is based

on the novel by Nancy Pickard.