TIP#40– Scenario One: It’s a rainy Thursday night in New York and I’ve found a quiet little table for two – well-off the beaten path. It’s been a tough month and I’ve vowed that my significant other and I are going to have one meal together where we can sit, talk and quite frankly ‘get caught up’. Blackberries are turned off. Our bags filled with work files are shuffled away under the table and a (semi-expensive) bottle of red wine is ordered. Perfection – right? Not quite. “Duncan!” I look up and there is a young woman staring down at me. (Do I know this person??) “Hi. Do you remember me? I came in for you a couple of months ago – at the original call. I don’t think you asked me to stay. How are you, things good?” I say that I am fine, make a polite introduction at the table and try to imagine what that full glass of wine sitting in front of me is going to taste like. I don’t get the chance, “Hey, can you tell me what you think I need to improve upon? I didn’t feel great about my acting that day. Wasn’t really in the moment, you know? Is there anything you think I can do in the future? Would love to be in that show.”
Scenario Two: I’ve been waylaid in my office (fighting some casting fire of course) and am racing from Times Square to Ripley Grier Studios where I’m just about to step into a full afternoon of auditions. Traffic is too busy for me to grab a cab, so I decide that if I walk very quickly I can make it there in ‘under 15’. With a briefcase (full of audition files, resumes, headshots, pens, post-it notes, etc) in one hand, and my cell phone in another, I hurriedly put out a call to my Associate, letting him know that I might be 5 minutes late. I’m in the middle of the conversation (“Please open the room up and let the dancers know they can warm up in there.”) when someone hits my arm. Caught off-guard, I turn around. It’s a woman I taught a while back in one of my classes – quite a good actor. “Hey Duncan, how are you?” “Oh hey, fine.” I reply as I continue to barrel my way down 8th Avenue. The actor, who was walking north decides to do a u-turn and starts to follow me – “Hey, I auditioned for so-and-so Studios and they’ve cast me in this showcase on the 19th. I’ve got some great scenes in it.” I tell my Associate (still on the phone) to “hold on a moment”, and give every indication (sweating brow, one hand on ear with phone, the other hand holding onto my heavy bag) to the actor that I’m in an extreme hurry. “Hey, that’s great. Kudos to you.” I say, but before I can utter another word, the actor says “here let me give you a postcard” and proceeds to rummage through her bag to find a flyer. By this point in time, (so as not to be rude – I guess that’s the Canadian in me) I stop and wait for her to find the notice. Find it she eventually does. I thank her and walk even faster… arriving at the studios 10 minutes late.
Scenario Three: It’s 10:20am and I’m waiting in front of the elevators in the lobby of my office building. I have a conference call with London at 11:00am and I’m running through all the things I have to do before then to ensure that the call goes smoothly. I’m trying to figure out how best to send those excel documents out, when the elevator door opens and a few people come out including one guy who is on his cell phone and in the middle of a conversation. He looks vaguely familiar so I give a polite smile as I walk into the elevator. The phone drops from his ear; he spins on his heels and says “Duncan! Hey, I’m Glynis’ friend – the guy who took the acting class with her?” I don’t know what he is talking about and the doors are about to close (I’ve already pressed ‘12th floor’). Imagine my surprise when he jumps back in the elevator with me. “Yeah, Glynis said I would be perfect for Chicago. Role of Amos. So what do you think? Will you bring me in? When are you next holding a session?” With my mind still on all that I have to do for my impending deadline, I politely (again, being the good ‘Canuck’) let this actor know that while I’ve presently got no auditions coming up for that role, he should keep an eye out for future online breakdowns, announcements etc. The elevator door opens, I get out and the guy follows me to my office. He doesn’t offer me a resume/picture, preferring instead to reiterate that “Glynis knows my work so call her. She said I’d be perfect”. “Ok” I say as I try to get back on track on what I need to prepare. Meanwhile, he realizes he’s kept the other person he was speaking to his cell phone, waiting all this time… (???)
Bottom Line: These three scenarios happened – they are not fictional examples. So what’s my point? It’s this – networking is fine. I get it. I support it. (I love actors and completely respect the art and craft.) Actors want to (and should!) let everyone know what they are up to. BUT – there comes a point, when being ‘proactive’ (to the point of being pushy), doesn’t serve you. There’s a time and a place for everything, so pick your moments carefully. Exhibit tact and discretion. Don’t come across as desperate. Finally, be remembered for the right (i.e. not wrong) reasons…
(Duncan & Alaine)
Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler. Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company. Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.
Alaine Alldaffer is the Casting Director for Playwrights Horizons. Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park. Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC. Assoc. credits include “ED” (NBC),”Monk” (USA). Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC. Festivals include Williamstown and Humana. She casts for The Huntington Theatre in Boston and the Women’s Project NYC. Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.
