"Just Breathe"

"Breathe" by Faith Hill - sure it is one of the sappiest songs in American music - and sure you may find me secretly singing it in the shower every now and then - but boy the song has absolutely nothing to do with this message...however, the words - "JUST BREATHE" I find a message there for all of us.

More often then not I have found talented individuals in my classes not singing or sharing monologues with their true voice. What is that true voice? It is that voice that we naturally communicate with and the part of our voice that sits in our chest comfortably. A great way to find "that" voice is by humming in a low register before beginning any sentence (try it now). This allows us to be on the breath and begin our monologue or song within our most natural quality of voice.

To breathe or have breath in our audition pieces also means the moments we give ourselves in our scenes or songs. The moments that give these pieces their true joy and light. What is the breath within your pieces and are you breathing correctly in each moment that you share in your audition. Do your pieces breathe honesty?

In those words "Just Breathe" I love how it reminds us to just let the moment be...sit back..or forward...or sideways...but most important...JUST BREATHE in the current.

Life is not so important that you need to sweat this moment...and to be honest you will probably get a better response...if you relax and breathe.

Breathing is so important in this life (yes, I know this is obvious) but if we can apply this concept to everything we do. We will be more successful in everything we put out into this world. That goes for those friends of mine who happen to have a 9-5 job.

So I invite you to simply find your breath in your next audition and interview...and breathe with more ease when you deliver.

Kind regards,

Rance Wright

Wright Way Master Classes

http://www.wrightwaymasterclasses.com

The Devil Is In The Details.....

The devil is in the details.....I love this phrase!

A very dear friend of mine constantly uses this phrase when reminding me of the importance and value of knowing every detail when going in for a new job or business opportunity.

There is value in knowing everything and knowing everyone in whom you will possibly be connected to during your audition. We as performers can never be too prepared as we step into the audition room.

Such as:

1. Knowing who is behind the table. The director, choreographer, etc. and knowing even details about them, their work environment and location of which you are auditioning for.

2. Knowing the role you are auditioning for. The show, the age, the character, the background, the story that brought me to this point and what will lead me out.

3. Knowing your music. This includes style, rhythm and execution of.

4. Dressed appropriately. Time period, Age appropriate and are you comfortable.

5. Do you have two headshots and resumes with you?

6. Are we grounded and centered. I feel that no audition is ever successful if we do not find ourselves centered and grounded. This can be an easy breath exercise or stretch to relax the muscles and center our breath. Being grounded helps us find the character and reminds us that less is more.

The Devil Is In The Details can refer to so much more. Here you find some basic things to check right before you hit your next audition.

Best of luck in your next audition.

Kind regards,

Rance Wright

Wright Way Master Classes

http://www.wrightwaymasterclasses.com

Your Calling Card (Headshot)

Today I would like to discuss the value of your first impression and I am not talking about what you are wearing or how your hair looks. I would like to discuss the value of your headshot.

In New York City as well as across the country I am shocked at what is being considered appropriate for a headshot. My friends this is not anything that you can take lightly. Your headshot many times is your ticket or your calling card to get YOU in front of those who matter. A headshot does not only share who you are it states so much more.

A headshot answers the following questions:

1. Your Age Range

2. Your Maturity Level

3. Your Professionalism

4. Your Type

5. Your Sex

6. And Hopefully Your Personality

It is so important that you seek out a headshot photographer that you know can get the job done. You also want to find a headshot photographer that you feel represents you as an artist and can pull out of you your true personality and colors. It is not about just having a nice picture of you that you feel you look good in.

Things you want to shine your headshot:

1. Your eyes

2. Your personality

3. Your charming looks

4. Is your joy shining through (even in a serious shot)

5. Are you engaged in the picture

6. Would your headshot make those behind the table say: "Yes, we want to work with that person".

7. Your shot is clean, clear and crisp

8. Colors (try and stay clear of black or white shirts)

It is not OK for you just to have your parent, friend or neighbor take your shots - spend the money and make sure your headshots are quality.

By making sure your headshots are quality...Casting Directors, Choreographers, Directors, etc. will take another glance and perhaps bring you in...so be smart.

If you live across the country check out The Photography Train (http://www.thephotographytrain.com) for potential upcoming stops on their travels. It is a company that brings major headshot and fashion photographers to major cities to help students and professionals get quality headshots.

Hope this helps!

Kind regards,

Rance Wright

Wright Way Master Classes

http://www.wrightwaymasterclasses.com

Preparing The A-Z

Lets take a moment and discuss the importance of doing your homework for an audition. Many different educators will describe doing your homework as simply just having a story to go along with your piece, however, might I suggest a grocery list of things to observe before hitting that next audition.

Grocery List To Preparation:

1. Did you read the script? Sure there are those shows where a script is not available, but for the most part a script should always be available to read prior to your audition. If you are studying a musical, did you take the time to listen to every song as well as read the script. Know your material from A to Z it is your job to know.

2. Who are you talking to? Both in your personal story and in the original script you must know who it is that your character (you) is communicating with. You would be amazed at how often this necessary step is missed. What does the person you are talking to look like, react, eye color, hair color and height?

3. What is your moment before? Take time to figure out what just happened to you - your shock and secret.

4. Who are you at this moment and what is your personal story?

5. What is your conflict and where do you go from here?

Yes, there are more things I could mention here, however, this is a great start.

Auditioning and performing is our job and should be taken that seriously. If we do not do the homework necessary, we are committing performer suicide. By knowing your material you make smarter choices and give a more worthy performance.

You do not fail in auditioning if you did your work.

Do not ever allow anyone to say that you didn't do your job and come prepared!

Happy Auditioning!

Best,

Rance Wright

Wright Way Master Classes

http://www.wrightwaymasterclasses.com

Nurture Being That Fat Girl

Whether you are tall, short, fat, skinny, beautiful or ugly (whatever that is) ...all are welcome when it comes to the entertainment world.

Its not what we are that really matters, its how we carry it. I often find men and women who feel that they need to lose like 15 pounds (and don't get me wrong - some people do) but there are those who are simply losing weight for they feel the need to compete in a truly unproductive genre for them.

Do not beat yourself up to lose weight or to get your face fixed...enjoy what and who you are today. There is beauty in that. Each of us were given different looks, sizes and personalities and we need to fine tune what makes us different rather than trying to be a part of what has already been done.

I love to tell my students...if your the big girl...than love being that big girl. If you are the awkward person in most conversations...and can't ever seem to get a date...than be that awkward non dating individual that makes everyone around them uncomfortable...lol...but do it with class. Be who you are and love it, dress it and give it. Seek to be the best you!

I love when I see someone do something with their material that makes me think twice, something that is very real and honest, something that is so a part of who they are. If you are comfortable with who you are - your size, your look, your you - then everything you deliver will naturally be true to yourself and the vulnerable part of what anybody wants to see.

Stop trying to be someone you are not...nurture who you truly are...and showcase that in your delivery!

Being A Vessel

How do we take the reality of who we are and showcase it in the material we deliver. May I suggest that it comes in the delivery of doing less. It often comes as a mistake when nervous or showcasing our material that a hand gesture, closing of eyes or raising of the arms or body will help in the delivery of that one major note or moment in our piece. However that thought or motion is completely wrong for it takes you away from the reality of the piece and becomes the center point of your mini-production.

I would like to suggest that you rehearse your piece once the way you have been rehearsing it. The second time around might I suggest that you place your arms by your side or just simply sit in place holding the side of the chair and then deliver your piece without movement from your arms or legs. Ask some friends of yours to observe this action and see what it does for you and your performance of the piece as a whole.

When we think less about ourselves and simply just deliver our piece we become stronger performers in our delivery. This is because rather than putting on our "Performance" we are delivering what is from the heart. LESS IS MORE.

Less is more in so many places in the audition process. It is not about us when we are performing, how we sound, or how we are motioning or how we are acting. It is about connecting to something or someone and simply just being a vessel for the material to be delivered. Get out of the music and monologues way....let it deliver itself.

Rance Wright

Wright Way Master Classes

http://www.wrightwaymasterclasses.com

Knowing Who You Are

Knowing who you are as an individual and performer is half the battle at an audition. Even at the age of 32 I find myself still figuring out who and what that is for myself so all of you out there who feel overwhelmed by this particular task, please know that it is an ongoing, ever changing situation for most everyone.

The audition does not begin at the piano or right after you introduce yourself, the audition actually begins outside the room. Why you might ask? Because many individuals behind the table have decided whether or not you are right for the show even before you open your mouth to present your material.

Knowing who you are has many steps, however, today I would like to present three of them and their value.

Your look: As crazy as this sounds, your look has everything to do with whether or not you will be called back or called in again for a role. Your look lets us know who you are and what your personality is like. Your look includes your clothing, your hair, your shoes and(for women) your make-up. Does this mean you need to wear a shirt and tie or prom dress to every audition, actually quite the contrary, it means you must dress appropriately to who you are and the shows needs. There is a fine line between trying to hard and trying to little so figuring out what that is for you at that moment in your life is worth figuring out sooner than later.

Your material: As I have traveled the country auditioning potential students for my classes I have noticed how incorrect most of the material out there is for people. If your material does not showcase who you are as a person or performer than get rid of it. If you have researched the character or individuals age and realize that you may be too old or young for certain material I suggest you get rid of it. If you have never read the script of a piece you have in your repertoire I suggest you read it before ever performing it for anyone, not doing so shows a lack of professionalism and necessary knowledge for the piece. And much like "Your Look", does your material scream YOU.

Your self worth: Probably the most difficult of the three is your self worth. Knowing who you are and what it is you have to offer as a performer is evident as you audition. Confidence not COCKINESS is a tool in the bag of tricks that everyone should have. I recently was at an audition myself and remembered a quote that Alison Franck of PaperMill Playhouse once said to me - "Sometimes all the actor needs is the approval that what they are going to share with us is going to be accepted". Every actor needs to trust that what they have prepared and what they are going to deliver is wonderful material and should have the confidence that it will be accepted from behind the table. Knowing this is actually quite freeing...believe me as one who knows!

All of these cater to knowing who you are as a performer. We are all taught to be brilliant performers and to extend our performance material to try new things and go the distance with some material. But isn't it amazing how when we audition we are often asked to give less of the performance and more of ourselves as we deliver...we are asked to be vulnerable. Try next time you audition applying all of these to their fullest and see if it works out for you. Show your heart in your performance and show the real you - not the performer you.

Best,

Rance Wright