Parents of Child Actors: Why You Can Benefit From Taking Acting Classes

One of the most common questions I get asked by parents of young actors is how they can best support their children at auditions. Whether it’s running lines, serving as a reader, or helping with a self-tape, if parents don’t know a thing or two about technique, they may actually be doing more harm than good. 

I recently worked with a top L.A.-based casting director and when asked how to remedy these issues, her advice was simple: “Take an acting class.” Here are five reasons why that advice is sound: 

Empathy: Parents of a young actor play an important role. They’re their child’s biggest cheerleader when they succeed and their emotional support when they face rejection. It can be helpful for parents to understand the process an actor undergoes to inhabit a character because it can be draining, especially if the scene is emotional or personal. Knowing the steps they take to give a truthful performance can help you better support your child emotionally as they grow and learn.

Looking for habits: Everyone loves having a dedicated teacher in their corner, but taking advice from a parent isn’t a good idea if the parent doesn’t know anything about acting. Being familiar with pace, rhythm, and volume can help parents identify when their young actors are falling into bad habits during self-tapes in ways the kid may not notice. It’s never a good idea to assume the role of an acting coach, but it can be helpful for parents to know the basic mistakes casting directors look for so you’re able to let your child know if they ask for help.

Reading: Having a good reading partner can be the difference between getting the callback and not. It’s great when parents can help their actor by reading with them for self-tapes, but it can be distracting if they don’t know how to do it in a way that showcases their child. Learning how to listen and react and knowing about acting styles for different genres can really help your child stand out in a self-tape. 

Teamwork: It’s always helpful when a parent and child have the same vocabulary; it helps them work together and communicate effectively when it comes to auditions. As a parent, taking the time to get to know your child’s process with acting can really help you better understand their goals and the industry. This will make you more literate on set and allow you to communicate with your child.

Learning from industry pros: Getting information from people who know more than you about something is always a good idea. For parents, this can be a great place to ask questions and learn from the experiences of others. Especially for parents who are new to the industry, it’s great to meet people whose information you trust. While other parents you meet in auditions may try to be helpful, they aren’t always the best resource. Getting information and guidance from casting directors, directors, and coaches can expose you to the many facets of the entertainment industry and give you support as your child continues to grow.

In my experience, many kids don’t like working with their parents; the interactions can make them feel judged, criticized, or misunderstood when filming a self-tape. Acting classes are the best ways for parents to bridge that divide and look at the world from their child’s point of view. By taking an acting class, you’re learning to appreciate their perspective and support them as they carve their path as an actor.

5 Tips for Preparing Child Actors for Post-Pandemic Auditions

Many of my students are curious about theater opening up again and changes to the industry. More specifically, the audition process. With Broadway, television, and film resuming production, the question of auditioning in our new reality is increasingly becoming a hot topic among actors. 

I recently held a livestream where I brought on three different casting directors and directors. They shared their vision of a hybrid audition process with many first auditions by self-tape and further down the road, in person. Theatrical casting hopes to be in person sooner than later. So now that the world is opening up, how do you best prepare? Here are some tips

1. Vaccines and testing.

The unions and productions are still figuring out how to open safely. Most sets will require proof of vaccination or a COVID-19 test before shooting. Store your vaccination card on your phone or in Excelsior Pass if you live in New York state. If you’re traveling to and from certain cities, you may be asked to quarantine so research requirements and plan ahead. 

2. Perfect your setup.

Over the past year, actors had to adapt to the new virtual world. Now that we know casting directors are planning to work this way, having the right gear should be of utmost importance. It not only makes you look professional but being seen and heard with no distractions will help you stand out. Make sure you have a blank wall in a neutral color or purchase a pop-up screen. I like the blue and grey ones. You’ll need a tripod for your camera or phone and good lighting. Many of my students have a tripod ring light. Whether you like it or not, the self-tape is becoming an integral part of the process and well worth the small investment. Auditions have been conducted by self-tape and Zoom for over a year now. Proper equipment is expected. There is so much out of your control in this business that you don’t want to be passed over by inadequate equipment. 

3. Use the self-tape to your advantage.

Self-taping allows casting to see many more actors and it provides many benefits to the actor. They can put their best foot forward by doing multiple takes and choosing the best one to send in. They have more time with the scene and more time to prepare. There are no excuses for memorizing their lines, understanding their scene, and making strong acting choices. Also, since actors may still be taping at home, parents should get savvy on being a good reader to increase their child’s chances of having a great audition. 

4. Talk about the audition room.

As casting progresses into callbacks, testing and chemistry reads, actors will be brought back into the live audition room. Since it may have been over a year that your child has been in an audition, remind them of new protocols like no shaking hands. Being around people may generate some anxiety or nerves, especially for those kids who have been worried about getting sick. Talk to them and assure them no one wants to get sick, and everyone is taking measures to ensure their safety. 

5. Stay flexible, adaptable, and open-minded.  

Don’t keep your child so overscheduled and overbooked that they can’t take adequate time to prepare for the auditions that lie ahead. They may have become so used to taping in the basement that the thought of traveling to an audition or performing in a show again might stress them out. Have a family meeting where you talk to your children about their worries, fears, and excitement. What are they looking forward to most? What are they not? Give them space to share their thoughts and feelings. 

For me, teaching online this past year has been both challenging and rewarding. My students have been more disciplined than ever, with fewer distractions in their Zoom boxes but craving the connection with others. We are a strong community and will all do our part to ensure a safe transition back into the room, on set and onstage.

What You Should Consider as Work Resumes for Child Actors

After months of COVID-related audition and production shutdowns, the acting world is beginning to reopen. I’m fielding many questions from my students’ parents regarding safety precautions, auditions, schooling, and on set protocols. Here’s some information that you should consider so that you can make wise choices as you think about your child actor returning to work.

Difference Between Union and Nonunion Jobs

When your child works under the SAG-AFTRA union guidelines, the production must follow stringent safety guidelines. In response to COVID, SAG-AFTRA developed specific protocols to ensure safety during auditions and on set. You can review the safety protocols here.  

If your child works in a nonunion job, the production team will develop their own safety protocols. Requirements may vary widely from job to job. Before your child auditions or accepts work in a nonunion production, inquire about safety procedures for both you and your child. If your child has an agent or manager, make sure to consult with them. Having a thorough understanding of the SAG-AFTRA guidelines will help you evaluate nonunion opportunities wisely.

Auditions

All first auditions are conducted virtually for union jobs, with scripts, rundowns, schedules, and agreements provided digitally. If your child earns a second live audition, they’ll be able to either wait in your car until their turn or in a waiting area with enough room for social distancing. Some productions may use an app for check-in and text messaging to call them in for their audition. If a live group audition is required, actors will be protected either by clear face shields or partitions provided by the producer. Again, for nonunion auditions the guidelines may be different so be sure to consult with your team first.

Quarantining 

Recently one of my students booked a guest role on a television episodic. He was asked to quarantine in a hotel for two weeks before starting work. Since his mom couldn’t leave her full-time job he was accompanied by his aunt, Broadway actor Michelle Aravena. They had no idea what to expect but were excited for the experience. This is how Aravena described it: “The rules of our ‘hard’ quarantine were much stricter than I had anticipated. We were only allowed out of our hotel room for two 30 minute sessions a day which were supervised by a personal assistant in order to make sure that our quarantine was not compromised. We were tested every other day. The most important thing to me was keeping Jordan active and motivated. I can’t imagine what it would be like to be cooped up in a hotel room for 12 days and then be thrown on set expected to be ready and focused. I needed to be sure that he stayed stimulated.”

Make sure the production staff reviews any isolation requirements with you and your child when offering a part. 

On Set Protocols

Safety is essential on set. In union jobs, the SAG-AFTRA guidelines outline requirements for testing, screening, zoning, and the use of personal protective equipment. Aravena says one of Jordan’s favorite parts that made him feel like a movie star was when they were escorted from their trailer to the set and some shouted, “Zone A coming through. Please clear.” Jordan’s biggest disappointment was no craft services!

Schooling 

If your child is working three days or more on set, they’re required to have an on set tutor. I spoke to Alan Simon, president of On Location Education, an educational consulting service for young performers, to hear what he had to say: “The COVID-19 Return to Work Agreement signed by a consortium of unions with the major studios, amends the SAG-AFTRA Codified Basic Agreement Section 50.D ‘to provide that [onset] teachers may instruct minors remotely to the extent permitted by law or the applicable governmental authority. The key wording in this sentence is ‘to the extent permitted by law or applicable governmental authority.’ In California, for example, its Department of Labor yields to remote shoots that allow for a studio teacher to be on call virtually. However, live tapings, rehearsals, etc., require the physical presence of the studio teacher. Additionally, parents should also be clear that virtual teaching is not necessarily a panacea. Virtual teaching is best one-on-one, especially onset, where every student comes to the table with a specific curriculum. More than one or two students may not get the focus of a virtual teacher, and so a hybrid of physical and virtual teaching may have to be discussed with production.”  

On Location Education has also compiled a list of resources for on set schooling and industry updates here. 

Managing Anxiety 

With so much uncertainty as virus cases are still on the rise, your child may have many concerns about taking a job right now. Rather than skirt the issue, talk openly and honestly about realities. The worry of imagining circumstances can be worse than what is actually happening. Stress self-care and assure them safety protocols are in place for everyone's benefit.  

You are your child’s best role model, so do your best to stay calm and reassuring. Remember, you are your child’s best advocate. If you don’t feel an audition or role is safe for you or your child, decline it and wait for a better opportunity. 

Because we don’t know when the virus will subside, aim to stay flexible, maintain your regular family routines, and work with your child to evaluate each opportunity with an eye on safety as well as how the job will delight and challenge your young actor.

6 Dramatic Monologues for Teens

Who isn’t in search of an exciting, job-booking dramatic monologue? As an acting coach for kids, teens, and young adults, I understand the struggle, having spent hours searching for engaging material to use as teaching tools. Throughout my ongoing searches, I’ve explored the classics and great writers of the past, but I’ve also found many contemporary playwrights producing current, trendy material. 

Here are my top six picks for dramatic monologues for teens.

1. “A Bright New Boise” by Samuel D. Hunter

“A Bright New Boise” was nominated for a Drama Desk Award and won an Obie Award for Playwriting in 2011. While the play itself is more of a dark comedy in the vein of Sam Shephard, this functions as an unadulterated drama in which a teen boy, Alex, searches for his estranged father. There are several monologues in the play that offer honest looks into Alex’s relationship with his dad, including one that extols Alex’s pipedream of his father being a hero returning from war: “When I was little I used to have fantasies about my real dad coming to get me.” Hunter doesn’t sugarcoat his language, making the characters difficult to support at times but still unwaveringly human. While the language is dynamic, it can be crude, so I always suggest changing it to fit the young actor’s age.

2. “Class Action” by Brad Slaight “Class Action” 

This a collection of 25 scenes and monologues about life in and outside the classroom, and any one of them can be a great audition piece. The dialogue is engaging, funny, heartfelt, and occasionally hormonal, much like adolescence itself. One of my favorites is Dennis’ speech in scene nine where he laments the lack of recognition for intelligence at school and settles on the conclusion that when he gets out, life will be full of possibilities when he “makes a fortune on cutting-edge computer software.” This monologue doesn’t take itself too seriously and can even be funny at times, but underlying Dennis’ struggle is a universal desire to be accepted, and his frustration at a system that places the boy with the 176 IQ on the sidelines. This makes it an interesting monologue for an actor to play with, exploring these themes in a more lighthearted manner.

3. “Fences” by August Wilson

This is one of the more well-known plays on the list, lauded as a “classic American drama.” The piece follows Cory, an African American teenager and aspiring football player living in the 1950s, when he stands up to his abusive father. As Cory confesses his resentment for his father’s lack of support, he gradually finds the courage to openly defy his father and in doing so, to recognize his own strength. I love the way this monologue builds to allow Cory his moment of triumph. The character’s growth and arc in this one-minute monologue is enough to give any young actor room to develop their own character and find their own moments of triumph. It’s understandable to any boy who’s ever felt ignored or insignificant and climaxes in an almost cathartic win for the powerless.

4. “Everything Will Be Different” by Marc Schultz

I mentioned this play in my comedic monologues list because it brilliantly handles vast changes in tone and character throughout. This particular monologue makes great use of its contrasting characters as Charlotte, the “ugly duckling” whose mother recently died, expresses her frustrations to Heather, the most popular girl in school. The monologue is easily relatable to teenage girls, who themselves are constantly bombarded with images of, and demands to, mirror society’s standards of beauty. Beyond this, it offers an engaging character in Charlotte, whose naiveté creates a heartfelt confession as she tries to comprehend her personal tragedy.

5. “Laramie Project” by Moisés Kaufman and members of the Tectonic Theater Project

A high school favorite to produce, this deeply moving play tells the true story of Matthew Shepard, a young, gay man who was the victim of a hate crime and has since become a symbol for America’s struggle against intolerance. Zubaida Ula’s monologue, in particular, stands out as a rallying cry against ignorance, while she herself struggles to comprehend the tragedy that she sees unfolding around her. The monologue is brutally honest and offers a biting look into how hatred can infest and spread beyond a single event, while it still manages to retain the curiosity and confusion universal to adolescence. In the end, Zubaida proves herself to be a confused, morally-driven intellectual, as she begs the audience to recognize the hate crime for what it is: “these are people trying to distance themselves from this crime. And we need to own this crime.” 

6. “Push” by George Cameron Grant

“Push” grapples with heavy subject matter, exploring the life of a boy named Chris after he faces bullying and eventually takes his life. I find it to be a rich source of material for any teen willing to confront these difficult topics. Two particularly engaging monologues follow Eve, Billy’s sister. The first provides a look into Eve’s personal grief when she visits the subway platform where her brother died, attempting in vain to understand the tragedy. The second tackles her guilt when, in a flashback, she sees her brother trying to tell her that he’s gay as she fails to comprehend and provide the support that he needs. Both monologues provide deeply moving looks into Eve as a character, and into her relationship with her brother, and provide plenty of layered subtext for a teen actor to unpack.

There you have it. Six dramatic monologues perfect for an audition or just to improve your craft. Keep these in your back pocket and you’ll be prepared for anything a casting director or director throws your way.

How a Child Actor Can Get Cast in an Indie Film

Q: How can my child get cast in an indie film? —Jane S.*

Independent films can be a great launching pad for an actor’s career. That being said, getting cast in an indie film is not much different from getting cast in any other medium.

The first things to consider are your child actor’s talent, readiness, marketability, and type. Actors get cast if they fit the role and have the skill level needed to play the character. If your child does not have representation, such as an agent or manager, to submit them for roles being cast, there are many online resources you can turn to in order to find out about casting opportunities in indie films. Backstage is the first place to go to look for open calls, opportunities to which anyone can apply. Make sure your child has a good picture representing their current age and type, and a résumé to go with it. If there is any video footage you can upload of them acting on-camera, this is also helpful for casting directors, so they can see how your child looks and acts on film.

Beyond casting sites, read the trade papers to find out about upcoming projects. Follow indie directors on social media so you know what may be coming up, and follow sites like Women in Film and IFP, as well as Facebook groups for independent filmmakers, to get a heads up on upcoming projects. Casting directors look for a well-rounded, authentic child who can bring their acting chops to the table and give a compelling performance. That means training is key. Through classes and workshops, your child may also have a chance to show their work to casting directors who cast indie films.

Recently, I moderated an online forum with casting directors to speak about the changes in the industry today. One of my guests casts specifically for indie films, and she said she looks to social media when casting, so having an Instagram account or YouTube channel with videos and photos can be helpful.

By exploring these avenues, you can find opportunities for your child actor to get cast in an indie film.

How the Onscreen Casting Process Works for Child Actors

While many think that children have to be a specific type to be cast in TV and film, or that there isn’t any work for teens, that’s untrue. TV and film are actually very accessible, provided you know how it all works. The first step to getting your child into the business is understanding the casting process. Here’s what you need to know.

How does your child get an appointment?A big difference between auditioning for theater and auditioning for on screen work is the availability of open calls. Open calls, or auditions where anyone can attend and will be seen on a first-come first-serve basis, are common for theatrical projects, but less available for film and television. Backstage and other such platforms can be really helpful in finding auditions for student films, independent films, and web series without an agent or manager. These can be especially helpful for filling up their demo reel. But if your child is looking to get cast in bigger, more professional projects, they really do need an agent or manager to get those appointments.

Does your child need to join the union? There are union and nonunion projects. For television and film, the actors union is known as SAG-AFTRA. All children able to provide proof of employment either as a principal actor or in three union-covered background roles are eligible to join. Currently, the initiation fee is $3,000 and the annual membership dues are a few hundred dollars, plus 1.575 percent of all earnings made under union contracts between $1 and $500,000. SAG-AFTRA does wonders in making sure your child is safe, being educated while on set, and receiving just compensation.

In that sense, it can be helpful to join the union and receive union perks, like pension and health care. However, membership in the union doesn’t grant your child special treatment or preference in casting, and there is more work available to nonunion actors than union. I don’t recommend joining the union until it is absolutely necessary, but it is best to talk to your child’s agent or manager about when joining SAG-AFTRA would be right.

How do auditions work?This is the fun part. When auditioning for television or film the process isn’t very different from theater. Your child will receive sides, or pages from the script, ahead of time and be expected to memorize them. There’s also the possibility that the audition will be a self-tape, which means they’ll record the audition from home and send it to the casting team. If the casting director thinks they’re a good fit for the role, they may have your child retape the audition or call them in for an in-person audition. If things progress well, they may fly your child out to the filming location to have them meet the production team. The same thing can happen if they don’t have representation however you’ll be the go-between with the casting team. Make sure your child is prepared by working on their script with what they have learned from their training or with their acting coach. 

Does your child need to have their lines memorized?In film and television, it’s highly recommended for the child to memorize their lines. Why? Because they’re on tape! If they have their eyes glued to a page, the only thing anyone will be able to see is the top of their heads! It’ll also make it easier for your child to connect with the reader and give a more authentic performance. There’s not much wiggle-room here. Memorize memorize memorize!

What do casting directors want?  It’s difficult to anticipate exactly what a casting director is looking for in an actor, and their criteria change from production to production. It’s best for the child to just be their authentic, unique self rather than play to what they think casting is looking for. That said, there are a few differences in how to audition for TV and film because the audition space is more confined. Smaller, more precise movements are better than larger ones so the actor can stay in frame. Naturalness on-camera is the most important aspect when acting in this medium. The camera picks up everything the theater can hide, so mastering on-camera technique is essential to good film and television acting. Your child should develop artistry through which they can let their personality shine without revealing their technique. 

What’s in your control is finding out about casting opportunities, learning lines and having an understanding of what is being asked. What’s out of your control is getting the part. Remind your child to have fun, do the best they can, let it go, and buy them an ice cream on their way home.

How the Theater Casting Process Works for Child Actors

What do shows like “Harry Potter and the Cursed Child,” “Waitress,” “Frozen,” “Dear Evan Hansen,” and “The Lion King” all have in common? They’re all running on Broadway and employ child actors. 

There are many roles for children and teens on and Off-Broadway, as well as in regional theater. While good actors make acting look easy, getting cast in a live theater production is no easy feat. It takes hard work, discipline, and persistence. It also requires an understanding of the audition process.Here are five things you need to know. 

Appointments

There are two types of auditions held in theater: the agent appointments and the open calls. For an agent appointment, the child will usually receive audition material ahead of time and only has to make an appearance for their specified time slot (a time slot scheduled by their agent or manager). For an open call, performers audition on a first-come, first-serve basis without an appointment. UnionIn theater, most productions are union productions, which means that the actors’ union, Actors’ Equity Association, helps to control the audition process. Equity productions are required to hold Equity Principal Auditions (EPAs), meaning auditions that prioritize union actors over nonunion. Nonunion actors can still attend EPAs. They will generally audition after the union actors have auditioned. There are not many children in the Actors’ Equity Association, so it’s likely that a nonunion child who shows up at an EPA will be seen. There are also nonunion auditions, which provide opportunities only for nonunion performers. 

Deciding whether or not to have your son or daughter join the Actors’ Equity Association requires careful consideration. Membership may give them priority in EPA auditions, but it would prevent them from participating in any nonunion auditions for the same production. The critical thing to remember is that it doesn’t matter if your child is union or nonunion, going to an open call or going to an appointment. Everyone has an equal shot at getting the part. It all depends on what happens in the audition room, not on the union status of the child.

Auditions
Theater auditions have several rounds of auditions, especially for musicals. The first will include singing a 16–32 bar cut of a song and perhaps a request to dance. If a child or teen gets a callback, they will perform for a group of people from the production team, reading a scene from the show generally with another person. The other reader may be the casting director, casting assistant, or an actor hired to assist in auditions. Young actors often struggle with where to focus during these auditions. When singing, a child should gaze at an imaginary focal point directly above the casting director. When reading a scene, actors must engage with the person reading with them just like during a live performance.

Receiving a callback after a first audition is a cause for celebration! Whether or not your child is selected for a role, having additional auditions helps to create confidence. It also gives young actors exposure to casting directors and producers who will see their talent and, hopefully, remember them for future productions.

Casting Directors
In the entertainment world, the most talented actor doesn’t always get the part. The person selected for a role will be the one who is a good match for the material and who also fits sometimes unknown criteria. Maybe the child needs to be strong enough to help move a set piece or look a certain age next to the girl playing his sister. Either way, it won’t help to try to play to what you think casting directors want. Instead, concentrate on being authentic, unique, skilled, and focused during the audition process.   

Memorization
Is it absolutely necessary to memorize lines for a theater audition? No. Or at least not as important as it would be for TV and film. But often, stumbling over their words and having their eyes glued to a page, prevents a kid from connecting with their reader. Memorization can help free them from the pages of a script.

Because it is impossible to predict exactly what the casting director will ask for during auditions, it’s essential to stay on your toes. A few years ago, I was coaching a student for the touring production of “Annie.” The girls reading for the title role were given 12 pages to memorize before final callbacks. When they finally got to the audition, with that long script memorized, pumped up, and ready to go, the casting director asked them to read for the role of the Warden. Why? To make sure they could improvise and adapt, rather than being stuck in a single mindset. Make sure when your child memorizes their lines, they’re learning the words, not the emotion behind the words.

Now that you understand more about the casting process for live theater, you’ll be able to guide your child to navigate the process with professionalism and enthusiasm. Remind your child to have fun and enjoy the process!

4 Ways to Get Your Child’s Demo Reel Seen

Imagine this scene: You close out of iMovie and back away from the computer having just finished editing clips for your child’s demo reel. It’s terrific, and you marvel at how well your child’s personality and talent shine. There’s only one problem: how do you get the reel seen by anyone? It can’t get your child work if no one sees it. 

So, what can you do? Here are four ways to get your child’s reel seen. 

1. Self-submit to agents and managers.
Many websites, such as Backstage, have call boards with the contact information of different agencies and talent managers. Send the reel to prospective agents and managers. Be sure to follow the instructions regarding how they prefer to be contacted. Most reps welcome solicitation from potential clients. The demo reel is a great way to showcase type and experience. Whenever you send out your child’s headshot and résumé, make sure you add a link to the reel on their résumé. 

2. Make sure your child’s rep has a copy.
This idea may sound obvious, but I’ve worked with young actors on their reels who never shared them with their representatives. Agents and managers are responsible for interacting with casting directors and other potential employers, so they need demo reels. If your child’s rep has a demo reel, they can send it to directors and casting directors to generate interest. It’s necessary to see how your child looks and acts on-camera before being hired. 

3. Upload to online casting sites.
We’re living in the digital age and the internet is a great place to put your child’s reel and information out for mass exposure. If your son or daughter has an account on Backstage, add the reel to their profile. You can submit it to casting calls yourself on many sites. Add a link to the reel on your child’s website as well. You can also upload the demo reel to YouTube and other public sites, but beware of scams. Backstage and other such sites regulate who has access to profiles and demo reels to prevent phony casting calls. YouTube and Vimeo don’t have that. That said, they can still be great public platforms to upload the reel to for more exposure.

4. Class exposure. 
I teach weekend and week-long film workshops culminating with the creation of professional demo reel footage. I send the demo reels to industry folks to get my students noticed as I’m proud of their work. Other coaches and instructors may also submit student footage. Check with your child’s acting coach or instructor to see if they provide opportunities for capturing footage. There are plenty of workshops and camps offered in on-camera training which culminate with the creation of demo reel footage. Even some theater college programs are ending their final year with a professional demo reel instead of a live showcase.  

Like a headshot and résumé, demo reels are no longer optional for actors looking to work. A demo reel is a sign of professionalism and experience. Demo reels also help people see how your child comes across on-camera. Having that footage available to potential employers makes the difference between getting the role or not. Make your child’s demo reel available to as many people as possible. Keep supporting your child and look for opportunities where they can get on-camera experience and footage for their next powerful demo reel.

College theater majors: To BFA or not to BFA, that is the question

High school sophomores and juniors start your engines. It is time to begin considering colleges for next year's college application process. With many of you planning to visit schools during spring break, I thought it would be both helpful and fun to guide you towards the right performing arts degree with a little self-assessment quiz. Scoring is below. In the coming months, Denise will explore questions about college admissions in a series of free upcoming teleseminars with theater professionals from several well regarded programs throughout the country.  

1.  I have known that I wanted to be an actor and have been performing since: 

A.  Elementary school or before 

B.  Middle School 

C.  High School 

D.  I have very little or no acting experience 

E.  I've acted in some shows, but I've taken some breaks from acting too 

2.  I am mostly motivated by: 

A.  Making money 

B.  Performing 

C.  Both

D.  Neither 

3.  What is your attitude about the business of show business?

A.  It is something I pay attention to, but my focus is on being the best actor I can be. 

B.  It turns me off or is scary. 

C.  The business part of the industry is really interesting; I want to learn more. 

D.  I'm going to be an incredible actor. The business will take care of itself. 

4. Do you possibly want to teach acting, voice, or dance someday?

A.  Yes. It would be kind of cool to teach.

B.  No. I'm on stage or bust! 

C.  Not sure. Do I have to know everything at 17 years old? 

5.  Are your parents OK with your decision to study acting? 

A.  No, They wonder why they're about to spend all that money on an acting degree. 

B.  Yes, Your parents tell you to go for it. 

6.  Are you an unbelievable salesperson when promoting your talent and ability? 

A.  Maybe not incredible, but I can hold my own. 

B.  I don't have to; people notice my talent wherever I go. 

C.  You bet I am and I don't take no for an answer! 

D.  The thought of self promotion makes me nauseous. 

7.  Are you consistently on the high honor roll?

A.  I nail it in the classroom and on stage. 

B.  My grades are good, just not the high honor roll all the time.

C.  My grades could be better, but I'm going to really apply myself in college.

D.  Grades don't matter, I'm developing my talent. 

8. I want to go to a school with a lot of school spirit and cheer for really good sports teams. 

A.  Absolutely, I'll be the one with his face painted in school colors.  

B.  No way, I only watch the Superbowl for the commercials.

C. It might be fun, but it's not a big consideration.

9. Are you planning to work while you go to school? 

A.  Absolutely, I need the dough. 

B.  Probably, I could use a little extra spending cash. 

C.  Not likely, I'm concentrating entirely on school during the semester. 

Scoring: 1. A2, B2, C1, D0, E0; 2. A0, B2, C1, D0; 3. A1, B0, C0, D2; 4. A2, B0, C0; 5. A0, B2; 6. A1, B0, C2, D0; 7. A2, B1, C0, D0; 8. A0, B2, C1; 9. A0, B1, C2. 

Results: 13 or less, you're leaning toward a BA. 14 or greater, you're leaning toward a BFA.

Before we analyze your scores, let's talk about the difference between a Bachelor of Arts (BA) versus a Bachelor of Fine Arts (BFA) in broadest terms. The difference is usually in the required coursework. The BA generally requires 40 - 45 semester hours of training in a performing arts concentration, such as theater, while the BFA requires 70 - 80 semester hours. In a nutshell, that means the student in a BFA program will not have time for much else. Let's look at the quiz results to see how this may impact you. 

Questions 1 - 4 Are meant to help you consider your goals. Students who are deeply committed and motivated to performance above other goals including making money are great candidates for a BFA program. The extra coursework in your major provides additional opportunity to hone your craft. However, it is almost impossible to double major in the BFA track without taking more than the typical 8 semesters to graduate. That makes the BA particularly appealing to students who have wide interests and talents and/or who might want to double major. A double major in business, for example, could be ideal to prepare for a career in the business of show business. On the other hand, students who aspire to teach in the arts often choose the BFA for its rigorous, focused training and its appeal to graduate programs.

Questions 5 - 6 Assess whether you have the support and personal qualities to succeed in show business. Students without solid support from their families might reach a mutual understanding with a BA in theater and another major. Family support can be important when entering an exceedingly competitive career. Fearless self-promotion doesn't hurt either. If you are not sure that you are up for the challenge and sacrifices typical of actors in the business, a BA degree that gives you wide career options could be best for you.  

The remaining questions focus on the college experience. Regardless of degree type, success in school requires a commitment to hard work and smart planning. The BFA track has more required coursework in theater and the order in which the coursework is taken often matters. Demanding courses sometimes pile up altogether without much scheduling flexibility. Though not impossible, it can be harder to hold a job or attend football games when in the all-consuming experience of a BFA program. Students who eat, breathe and sleep theater should go for the BFA while those who want to do it all or have many outside demands might be happier on a BA track.

The scoring on this quiz is decidedly unscientific, but the questions are designed to you give you some clarity and focus. I encourage you not to get caught up on which degree is best. Rather, focus on which degree and individual programs best meet your goals. Do that and you will end up with a wonderful college experience and a promising career.

7 Audition Mistakes Young Actors Can Avoid

For more than 30 years, I’ve worked with young actors and found that many of them fall victim to the same simple mistakes. Talented children are regularly passed over in auditions because of bad habits that parents sometimes don’t even notice.

If you’re on the lookout for these common mistakes and can fix them, you might find your child getting more attention in the audition room. Here are seven mistakes you can help your kid avoid.

1. Not memorizing the script.
One big mistake I see is kids keeping their faces buried in their scripts, which makes it impossible to make a connection with their scene partner or audience. We want to listen to actors because of the human connection they create. When lines are memorized and young actors don’t have to think about what line comes next, they can really listen and develop connections. Especially with very young actors, reading can be a challenge that gets in the way of authentic performances. If they memorize the lines beforehand, they can focus more on the scene than on pronouncing the words. Plus, during TV and film auditions, casting directors expect actors to have the scripts memorized so that they can look directly into the camera instead of at a piece of paper.

2. Asking how to say a line. 
No line readings! If you’ve heard of the great acting teacher Sanford Meisner, then you know that his definition of acting is “living truthfully under imaginary circumstances.” A child actor can only give a genuine performance when they know what a character wants and what motivates them to achieve that desire. Casting directors want to see children being themselves. When we tell them how to say a line, we aren’t letting them find their truth and create a compelling audition.

3. Not making a choice.
Watching an actor stand and recite lines is boring and ineffective. The difference between a mediocre scene and a standout must-hire is the intention your child puts behind the lines. What do they want to achieve in this moment? Why are they saying this line now? When they can make choices, they will be able to commit to making the scene their own. Understanding the character’s point of view will help them to make their scene specific, not general.   

READ: How to Manage Your Child Actor

4. Second guessing themselves.
Your child should trust themselves enough to make choices. Some actors get very nervous and question everything while they’re performing, including if they’re moving right, speaking correctly, are entertaining or boring, or if they’re even worthy of the part. All of this mind chatter will prevent them from listening to their partner or reader. When they second guess themselves and their talent, the noise in their head gets in the way of connecting with character and desire. Help your child build confidence so that their talent can shine through!

5. Showing up late.
A child may be young, but they should still be professional. Remember, they’re working in an industry and they need to be respectful of other people’s time. Punctuality demonstrates that they can handle the responsibilities of a working environment and will reflect well on them with casting and others. Make sure your child understands the importance of showing up on time and being prepared.

6. Bringing the whole family to auditions. 
Nothing spells unprofessional like every sibling, uncle, and cousin showing up to an audition. It can make a child nervous before they audition, it makes the waiting room crowded, and it can be a nightmare for the creative team running the audition. Young actors show maturity and perform best when they don’t have an entourage. 

7. Skimping on training. 
Even if a young actor has a great look and a great personality, they require training to succeed. Just like with sports or music, acting involves skill. Instruction in voice, speech, movement, technique, and even business savvy will not only improve an actors’ skills, but give them the confidence needed to get hired and give an excellent performance. 

Be on the lookout for these mistakes so that you can help your child develop their skills, confidence, and attitude. A few simple tweaks can make the difference between getting passed over and winning roles.