Acting Studio Chicago Review: On Camera II

I have in no way be compensated or solicited for this review. This is solely my opinion. 

I cannot believe that it's been 8 weeks since I started my On Camera II class with Chris Agos at Acting Studio Chicago. The time has absolutely flown. Pretty frightening if I think too hard about it. I've got a lot I want to accomplish on my arbitrary timeline.

Now, for the review. I am going to preface this by saying that, if you can, you should absolutely take this class. You can stop reading now, or continue for a more detailed examination.

I am not a person who responds well to a bullying teaching method. This class is absolutely NOT that. I write this because some people do need someone to push and prod and make them feel bad about themselves to make progress. If that's you, that's fine, but this isn't the class for you. This isn't to say that Chris won't get you were you need to be. In fact, you'll sometimes do take upon take until the objective is achieved. But it's never from a place of destructive criticism, it's just the opposite.

Which leads me into: take upon take upon take. You are on camera every. single. class. Then, the whole class watches your first take and your last take and you and Chris discuss the changes that were made, whether they were good, etc. Before coming to Chicago I had one on camera role. Since March, I've completed three and one I'm currently in wraps up, weather permitting, next week. I've also been auditioning for on camera things pretty regularly. This was a bit overwhelming at first given my utter lack of experience (theatrekid4eva). However, I was at an audition yesterday and I felt at ease. I went in, felt the floor, and did my thing. I came out happy with how I did and, as you know, that's the most that you can ask of yourself in this business. It was invaluable, confidence and technique wise, for me to literally be on camera every week working with, most often, unfamiliar copy. (We were given copy in advance only twice. The rest of the time was devoted to semi-cold reading.) Also, a word about that copy: we used real scripts from things that were, mostly, shot in the area. Being able to work off of the kind of copy that we are most likely to encounter here was (can you sense a theme?) indispensable. (JK. I used my thesaurus for invaluable).

Finally, the last part of class was always devoted to the business of the Chicago acting market. As I've written before, Chicago is different from the coasts. We talked about everything from agents to headshots/resumes to the confusing world of the unions specific to Chicago. This might have been worth the cost of the class alone.

Take it. That's the verdict. Their contact information follows.

Website: Acting Studio Chicago
Phone: 312.527.4566

LATE!

Yesterday (Monday (I know I'm late)), was the first rehearsal for The Hamlet Project, a show I'm doing. I've even got my own page under The Company. Mayhap I'm unreasonably excited about that. Anyway,
[Oh wow. Two Steps From Hell's Heart of Courage just came up on my Pandora station, this post just got super epic feeling. Back to it, sorry....] I absolutely hate to be late for commitments. I get a little ball of stress deep inside my soul if there's even an inkling that I might hold something up. [This STATION IS AWESOME!!! Gaelic Storm just came up. Seriously, do yourself a favor and add the Epic Soundtrack station to your Pandora. And now Pirates!!!!! GAH!!!! My life feels so EPIC right now!!!!] What was I even talking about?

Right. So my bus broke down. I would have been early had the universe aligned for me. Nope. It breaks down a twenty minute walk from the theatre. I text the CTA bus hotline to see when the next one arrives. 29 minutes. This is, of course, after four buses had gone by while my fellow passengers and I were communing on our non-moving metal-chariot. Off I go, setting out into the great Chicago unknown. I get there 10 minutes late. Hate that.

But, rehearsal was awesome. I'm beyond excited to be working with the amazingly talented cast and director.

What's the point of this post? You ask. No idea. You're going to be late to stuff so no worries???? Meh.

Sirens in Chicago

Here's some extremely good news for the Chicago acting community: The Sun Times reports that the USA show Sirens is shooting its second season in Chicago. All rejoice, more work more work.

I'm a little tuckered out so that's it for tonight. But, considering the magnitude of the news, I don't feel so bad. ;)

Rose Byrn's Get Him to the Greek Audition Tape

Do people call them tapes anymore? Anyway, I love audition tapes. I think with active viewing, much can be learned about acting craft and audition skills.
My favorite example is Rose Byrn's for Get Him to the Greek. In addition to awesome comedic timing, I love the suggestion of the character. We get "hot mess" immediately with nothing more than a few strands out of place and a subtle smudge of eyeliner. She's not "dressed up" for the role, she's hinting at it.
However, this isn't to say that dressing up, when done well, can't be a successful tactic. Check out Jason Momoa's Game of Thrones Audition for stellar use of costuming elements in an audition.

WARNING NSFW!!!! (cursing, etc.)

Be Unapologetic About Your Acting Career

After I watched Killer Joe last week, I was perusing interviews with William Friedkin (director) when a reporter's question stuck out at me. I can't remember which article it was or I would link it, but the gist of the question was whether Friedkin held Matthew McConaughey's romantic comedy past against him. Seriously? The blatant snobbery of the question got me thinking.

It also sent me back to my first year in my theatre undergraduate program. Down in a basement classroom the professor asked for a show of hands for who wanted to do movies. I raised my hand. Solo. I was pretty surprised that no one else had the desire, or at least wasn't admitting it. He asked me whose career I would like. "Meryl Streep." I quickly replied, thinking that she at least had some major theatre cred. "Well, at least you didn't say Jessica Alba." The class laughed and we moved on. In another time (like now) I probably would have countered with a statement along the lines of "if I could, I would have her's." Because what is Jessica Alba doing that I'm aspiring to? Working. As. An. Actor.

Sometimes you're going to take roles where you sell a car to a regional audience or (if you're blessed with good genes and work out a lot) run around an exotic location in a bikini or maybe be Elf #7 in a children's Christmas show. And that's ok. I promise. Your career is up to you. The shape of it is no one's business but your own. You get to decide if you're going to take the Elf #7 job and get paid or pass.

Don't let someone make you feel less than worthy as an actor for taking an acting job.

If it's time to re-brand because you are unsatisfied with your career, say stopping romantic comedies and seeking grittier fare a la McConaughey, do it. If you've gotten to the point where you can make 89 minute romantic comedy space travel adventure movies for the rest of your life and want to do it, do it.

We're going to have misfires now and then. Passion projects will turn out horrid and roles we hated may take us to previously unassailable career opportunities. Do what you do. You know whether you are willing to sell mops on a commercial or that you will never, ever do commercials. Either choice is a valid one. It's your career, don't apologize for it.

Here's a little inspiration from Kacey Musgraves. Appropriately titled "Follow Your Arrow."

Chicago Talent Agents: Expert Curators of Marketable Talent (<--I'm coining that)

Chicago is a secondary market. It's not New York or LA, though, as I reported in a previous post, it is making some major headway in film and television production. I had not made this connection until class last week, but being a secondary market means that things are run a little differently here. Makes sense right?

*Note that from here on out I will be writing about things that are generally true. The business relationship between a specific agent and actor may be different from what I describe. 

Chicago is a "scale" town. In other words, most working actors in the Second City do not command paychecks beyond those mandated by the unions. This in turn, means that the role of a Chicago agent is oftentimes a little different from that of a coastal agent. Due to the realities of his/her respective market, an agent in New York or L.A. is going to be more heavily involved in the shaping of an actor's career, as well as, negotiating an increase in pay (or as the adage goes, negotiating you out of a job). Here, for the most part, an agent acts as the first line between the actor and the job. They are, if you will, expert curators of marketable talent. More than likely, before you get called in to read for Chicago Fire you need to have been picked up by an agent. His/her relationships with the casting directors in town are invaluable. If you want to move up the ladder of work in this city an agent's partnership is necessary.

HOWEVER, this is absolutely NOT to say that the lack of an agent keeps you from submitting directly to casting directors. Absolutely do that. Even after you get an agent don't stop doing that. Even the greatest agent in the world is not responsible for the shape of your career. You are.

Acting Studio Chicago (where I'm currently enrolled) has a list of agents and casting directors. They also have a ton of other useful information on their website. Check them out.

Comments? Concerns? Corrections? Let me know.

And, because I mentioned Chicago Fire, I give you Severide. You're welcome.

Taylor Kinney as Kelly Severide -- (Matt Dinerstein/NBC)