What happened to Committment?
Wed, 25 Feb 2004, 10:37 amHarbour12 posts in thread
What happened to Committment?
Wed, 25 Feb 2004, 10:37 amThere used to be a saying "The show must go on".
People were committed to a particular club (or two) and that no matter how bad the play was, or how unbearable the situation, there was a commitment from everyone involved in a production to carry on. There was a dedication to the audience to go ahead. That seems to have been lost over the last few years.
Now, actors are only interested in performing for themselves - stuff the audience, and if my ego gets hurt, then there is no hestitation in pulling out - stuff the consequences. And I can understand and sympathise with some of the reasons. It is very distressing to the self when there are 'problems' with a production, or a person, that can make the rehearsals very unbearable, and I think there isn't a time in every show when I would like to quit. BUT, we are not in this for yourselves. We do this to bring entertainment to others and by pulling out of a production before it goes up is a disappointment to the audience and to everyone else involved. Not to mention the cost of reimbursement of memberships, royalties, publicity, tickets, etc.
But this appears to be the way of the future, and it's sad. Virtually every club is struggling to find committed members to run the Club, or do backstage or FOH. It is often left to a few overworked and dedicated individuals, while all the rest flitter from club to club to perform, then move on when the going gets tough.
Well, it's not good enough. That is why productions and theatre's fold - no commitment. If you are going to perform in a show, be committed, otherwise DON'T waste yours and our time coming to auditions.
There, I got that off my chest. Now, is there anyone out there that cares?
People were committed to a particular club (or two) and that no matter how bad the play was, or how unbearable the situation, there was a commitment from everyone involved in a production to carry on. There was a dedication to the audience to go ahead. That seems to have been lost over the last few years.
Now, actors are only interested in performing for themselves - stuff the audience, and if my ego gets hurt, then there is no hestitation in pulling out - stuff the consequences. And I can understand and sympathise with some of the reasons. It is very distressing to the self when there are 'problems' with a production, or a person, that can make the rehearsals very unbearable, and I think there isn't a time in every show when I would like to quit. BUT, we are not in this for yourselves. We do this to bring entertainment to others and by pulling out of a production before it goes up is a disappointment to the audience and to everyone else involved. Not to mention the cost of reimbursement of memberships, royalties, publicity, tickets, etc.
But this appears to be the way of the future, and it's sad. Virtually every club is struggling to find committed members to run the Club, or do backstage or FOH. It is often left to a few overworked and dedicated individuals, while all the rest flitter from club to club to perform, then move on when the going gets tough.
Well, it's not good enough. That is why productions and theatre's fold - no commitment. If you are going to perform in a show, be committed, otherwise DON'T waste yours and our time coming to auditions.
There, I got that off my chest. Now, is there anyone out there that cares?
Re: Alan Parker film, 1990, great soundtrack
Wed, 25 Feb 2004, 06:18 pmRob Tagliaferri wrote:
>But there is an interesting question here. I am not a professional actor, so if I am in a show that is universally acknowledged to be complete crap, it doesn't really matter. But what if your livelihood depends on your reputation, and staying in a show will damage that reputation? I wonder if it's OK to drop out then?
In my experience, I've actually found it can work in my favour. Being seen to be the best thing in a crap show is actually not bad for your reputation. Punters and reviewers have usually been able to see where the problems lie, and an individual performance isn't necessarily tarred with the same brush. It can be tedious working on the show, or with particular cast members, but it is a testament to your own skill if you can still produce your best work under the circumstances. Directors also notice this, and it might mean offers of future work under better circumstances, if you get a reputation for giving your best no matter what.
If it's your own performance that is regarded as crap, then I guess nothing can help your reputation there. But that's as it should be, by definition. Try and work on what you can improve. and learn from the experience.
As to the audition argument, professional directors expect your showing up at an audition to be a commitment of being available. There is nothing worse for them (and you may be surprised to hear this happens ALL THE TIME) for an actor to audition when they already know they are NOT available to do the role. The actor might be seeing it as an opportunity to 'be seen' by a director, and they might feel that if they let the director know that they are busy with another priority then they won't be considered for this role. This is probably true, but it's far better to be honest about it than to conceal it and then reveal after an offer is made that no, you're not really available.
Directors don't just match actors to roles, they match combinations of actors to roles, and losing one from the mix can drastically alter the balance of what they see as a whole.
If you have a clashing commitment, ask whether it's still okay to audition...there is still value to you doing your piece for them, if it means you might be considered for something else down the track, or perhaps for a bit part that doesn't require full rehearsal. Or they might just say no, not this time, in which case they'll be pleased you didn't waste their time.
That's not to say you are bound in writing to forever remain available. You really MUST declare any non-availability upfront... sometimes you have some 'potential' clashes, some pencilled in dates from other auditions that you may not have heard about yet. It's probably not good to give the impression that you'll only accept this current audition if you miss out on something else...that this is a second or third or fifth best option...but really, I still recommend tactfully admitting any potential clashes and letting them know the dates when you envisage you'll know one way or another, so as to confirm your availability.
And between the audition day when you declare yourself fully available, and the day when you confirm your commitment after the offer has been made, there is still the likelihood that your availability will change. Directors understand this, and are understanding. Keep them informed and up to date of changes in your circumstance, and they will still recognise your commitment, even if it means backing out of the race.
Professionally, once an offer is officially made, there is a certain number of days later after which you need to decline, or accept and sign a contract...and then you're legally committed. But yes, I think the show of commitment starts at your first audition, if you take yourself seriously as an actor.
Cheers,
Craig
[%sig%]
>But there is an interesting question here. I am not a professional actor, so if I am in a show that is universally acknowledged to be complete crap, it doesn't really matter. But what if your livelihood depends on your reputation, and staying in a show will damage that reputation? I wonder if it's OK to drop out then?
In my experience, I've actually found it can work in my favour. Being seen to be the best thing in a crap show is actually not bad for your reputation. Punters and reviewers have usually been able to see where the problems lie, and an individual performance isn't necessarily tarred with the same brush. It can be tedious working on the show, or with particular cast members, but it is a testament to your own skill if you can still produce your best work under the circumstances. Directors also notice this, and it might mean offers of future work under better circumstances, if you get a reputation for giving your best no matter what.
If it's your own performance that is regarded as crap, then I guess nothing can help your reputation there. But that's as it should be, by definition. Try and work on what you can improve. and learn from the experience.
As to the audition argument, professional directors expect your showing up at an audition to be a commitment of being available. There is nothing worse for them (and you may be surprised to hear this happens ALL THE TIME) for an actor to audition when they already know they are NOT available to do the role. The actor might be seeing it as an opportunity to 'be seen' by a director, and they might feel that if they let the director know that they are busy with another priority then they won't be considered for this role. This is probably true, but it's far better to be honest about it than to conceal it and then reveal after an offer is made that no, you're not really available.
Directors don't just match actors to roles, they match combinations of actors to roles, and losing one from the mix can drastically alter the balance of what they see as a whole.
If you have a clashing commitment, ask whether it's still okay to audition...there is still value to you doing your piece for them, if it means you might be considered for something else down the track, or perhaps for a bit part that doesn't require full rehearsal. Or they might just say no, not this time, in which case they'll be pleased you didn't waste their time.
That's not to say you are bound in writing to forever remain available. You really MUST declare any non-availability upfront... sometimes you have some 'potential' clashes, some pencilled in dates from other auditions that you may not have heard about yet. It's probably not good to give the impression that you'll only accept this current audition if you miss out on something else...that this is a second or third or fifth best option...but really, I still recommend tactfully admitting any potential clashes and letting them know the dates when you envisage you'll know one way or another, so as to confirm your availability.
And between the audition day when you declare yourself fully available, and the day when you confirm your commitment after the offer has been made, there is still the likelihood that your availability will change. Directors understand this, and are understanding. Keep them informed and up to date of changes in your circumstance, and they will still recognise your commitment, even if it means backing out of the race.
Professionally, once an offer is officially made, there is a certain number of days later after which you need to decline, or accept and sign a contract...and then you're legally committed. But yes, I think the show of commitment starts at your first audition, if you take yourself seriously as an actor.
Cheers,
Craig
[%sig%]
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