Yesterday, I had my first private coaching session in preparation for winter auditions to MFA and regional Shakespeare Festivals (the best case would be a two-'fer such as The Alabama Shakespeare Festival.) My coach--Jan Powell--wants to work on three of the six Shakespeare monologues I brought in. Next week, we'll choose among two or three contemporary pieces. She liked what I had--Roy Cohn, Richard Roma, Bree (from A DAY IN THE DEATH OF JOE EGG) and a severely-edited monologue from Bogosian--but none were quite right for these particular auditions. I'm going to look at Peck, from HOW I LEARNED TO DRIVE, as well as a couple of guys from Albee. I also want to find a 'hippie dude' kind a guy. Do you have any suggestions? He needs to be between 35 and 50, approximately (which rules out SUBURBIA.)
Tonight, I begin a ten-audition class with Tim True. Good timing. A month from now, I'll have at least seven pieces up to performance level; I have more than that at various stages of development, now--three or four of which I'm comfortable doing at audition--but none really sings.
I've also chosen a couple of songs for these winter auditions, which require anywhere between 16 and 32 bars. I feel good about them, but I'm keeping 'em to myself, for now.
This week, I begin making appointments, among which will be OSF, for which Jan believes I should audition every year, from now on. The good news there is that, evidently, I'm finally beyond EMBARRASSING myself in front of a company such as OSF, even if I still don't make the cut. Six months ago, auditioning for OSF would have been a disaster before it happened.