Catching up on yesterday... Part II
RE: SwishySarah, To Circle or Not To Circle, To School or Not To School...
First the "circling" - I think you may just be reading too much into the situation. Whenever I've seen that option posted on an audition form, it's simply there to help the production staff know who to consider for what once they start coming up with the callback list. I find there's nothing wrong with indicating which roles you'd like to be considered for. This way you won't be wasting their time, and, more importantly, they won't be wasting
your time putting you through a callback for a part that you're not interested in. Also, there's nothing wrong with just wanting to be in the show, in any capacity. I have a bunch of friends in the business who are actually happiest being in the ensemble. In most shows, they actually end up getting to sing more, dance more, have more costumes, etc., than the leads -And there's none of that "leading lady/man" pressure worry about. They just love being in the theatre! But if you want a lead, Go for it!
As for schooling... That really is a tricky question, and I'll try to keep my answer as brief and non-contradictory as possible. And I'll start off with this:
The one "complaint" I have about some of the major university training programs is that they are turning out "triple threats" - good actor, good dancer, good singer. However, they're just "good" at all three things, and not "great" at any particular one. The emphasis seems to be on "creating" very good ensemble and chorus people, people who will get into shows on Broadway - and then the school can add their names to the "famous alumni" list. Yes, it sounds like a very broad generalization, but I've actually heard those sentiments from faculty members and administrators.
However, there really is nothing wrong with being a "triple threat". But...
I'd advise going into an good acting program which allows you to take dance and music classes as part of your curriculum. There really is greater stress nowadays on the "theatre" side of "musical theatre". You'd be covering a lot of great history and background, the stuff that led up to the formation of "musical theatre".
However, on the plus side of a musical theatre program - or any program - you'll be surrounded by others going through just what you are going through. That sense of camaraderie can sure come in handy during the inevitable tough times.
The big catch to look out for is whether a university's Music Theatre program is part of the Music department or the Theatre department. -Just how many years of music theory do you really want to take? But if you like music theory, then more power to you!
Finally, I'd say the big thing to remember is that you always have a choice and follow your instincts. If you "know" that a particular voice teacher just doesn't get that you want to "do" musical theatre, then change teachers. If you sense that a particular acting teacher will not provide you with the skills and encouragement you need, then put in a request to change teachers - or even, secretly if you have to - take some classes somewhere else, with someone else. If you feel like you're wasting your time in any class you're taking, then see about switching to another class/subject.
In short, it's your choice. Set aside some good time to think about it. Write out lists. Compare curriculums. Do your "homework". My favorite lyric from
Sunday in the Park with George comes to mind right now: The choice may have been mistaken, the choosing was not... Move On. -We all make mistakes. The trick is to not let those mistakes stop us dead in our tracks. We should learn from them, take something positive away from the situation (even it's just something as simple as, "I'll never do that again"), and then take another step forward. -And to quote another Sondheim show, "Now you know!"
Was that confusing enough for you?
