4 Tips for Memorizing Lines for Young Performers

A question I get asked frequently is: "Should my child memorize lines for their audition?” Here’s a general rule of thumb: For the first audition, the performers should be very familiar with the material, only glancing down at the sides for reference. For the callback and for any taping audition, they MUST have lines memorized. This will ensure the performer is connecting with the reader and not the paper. This is important as it demonstrates to the casting director or director that your child is truly a professional and on top of his or her game in a very competitive industry.

Reading and acting are completely different. Someone may be a great reader but a so-so actor or vice versa. If reading is getting in the way of acting, then memorizing lines may be what your child needs to do in order to have a successful audition. One of the most challenging things for young performers —especially first and second graders - is having a natural read when auditioning. Since these young ones are still relatively new readers, they often get stuck on words and the reading becomes unnatural. If they memorize the lines this can take the task of reading away and they can concentrate on being truthful.

One of the caveats of having lines memorized is that the acting goes out the window if lines are not secured in the brain. The actor will be trying to remember the next line instead of being in the moment and listening to the reader.

There are also scenarios such as this: It is Wednesday afternoon, and your child just got an audition for a television pilot. There are four scenes on nine pages and you were told it must be memorized by Friday. Sound familiar? Don’t panic! Here are some tips to help you keep your sanity while helping your child memorize the lines.

1. Highlight the character’s lines. This will allow your child to quickly locate the appropriate line when glancing down at the paper if it is still needed in the audition.

2. Repeat the lines. Have your child read the lines with someone out loud over and over again. Remind them to memorize the lines only, not the cadence and inflection. They need to discover something new each time they read the lines and say them as if they are spoken for the first time, each time.

3. Break the lines down into smaller pieces. Don’t have your child tackle the entire script all at once. Break the script down into small sections and repeat, repeat, repeat until the lines are ingrained. 

4. Work on lines before going to sleep. Studies have shown that studying lines right before bed can have a big impact on recall. Be sure to have your child review them again in the morning to help lock them into memory. 

Remember that memorizing lines is only one tool for your child to use in an audition. Remind your child that connecting with the reader is more important than the words they say and if they don’t get the line exactly as written, it is perfectly okay. Making the scene their own with specific choices as well as being able to listen and take direction is what will help them get the attention they need and ultimately land the job.

5 Places To Find a Great Monologue

Last week I shared with you how to improve your child’s chances of making a great impression when choosing a monologue. Are you curious where to find some good material for that next big audition? Read on.

1. The bookstore. If you haven’t visited the Drama Book Shop in New York, you are really missing out. I just spent hours there last week and found all sorts of new and exciting material. Ask one of the staff members what they recommend. In fact, ask all the staff. They each read different plays and are more than happy to share their picks with you. When you have a few hours, bring your coffee cup, pull up a chair, and read, read, read. In addition to monologue books, you will find almost any play ever produced as well as librettos from musicals and even some screenplays. If you live out of town, check your local bookstore or library. They may have a limited supply of plays, but you might be surprised with what they do have.

2. An acting coach. I have seen all too many stock monologues that begin with, “I hate my sister. She always steals my clothes....” Want something a bit more interesting and playable? I have been coaching young actors for more than twenty years. I have a huge library with hundreds of plays and monologues that have worked for my students over the years. It is my job to read plays, see theater, and replenish my library regularly. Acting teachers have a pretty good idea of what is overdone, what to avoid, and what may be the perfect piece.

3. Attend classes and workshops. See it. Steal it! What I love about group acting classes is all of the unique and wonderful material students bring. When I hear a brilliant piece I am so excited to know where the actor found it. Trade secret! They may not tell, but you can ask nicely or search for it on the Internet. I taught a workshop at a local high school recently and was pleasantly surprised to hear a few pieces that were new to me. Guess what I did? I added them to my library.

4. See plays and films. Go to the theater. And I’m not just talking Broadway or Off-Broadway. What about the little local theatre in your town that is doing that play you never heard of? Or the high school that is producing a series of one acts? Watch movies on Netflix or Hulu. Check out reviews of quirky, independent films with interesting characters. You can also read film scripts online from these sites:

http://www.imsdb.com/

http://www.script-o-rama.com/

http://www.simplyscripts.com/

http://ww34.whyinsanity.com/

5. Write your own. A 13-year-old boy came to see me last month for some coaching. He came prepared with a monologue that had me laughing so hard I nearly fell off my chair. When I asked him where it was from, he said, “I wrote it. It’s a true story.” He happened to not only be a talented young actor but also a gifted writer. Everyone may not share his talent in writing, so make sure you get some feedback from your acting teacher first.

The next time you are in need of a new monologue, make sure it fits like a glove. Using the suggestions in my last article and the resources I have offered you here should give you a great place to begin.

When Do Child Actors Need To Be Coached?

I was a panelist at a SAG-AFTRA young actors symposium the other day when a parent asked, “How do I know when my child needs coaching?” Do you find yourself running to your child’s coach every time you get a call from the agent or manager? Here are some guidelines to help you determine when to call in the specialist and when to leave things alone.

1. How difficult is the material? It may be an emotional scene where the actor has to cry or get angry. Maybe the character is blind or has a disability. Is it a period piece? Is a dialect required? Sketch comedy and improv skills might be necessary. Your child would benefit by working with a coach for any of these reasons! However, if the audition involves one or two lines and the performer just needs to be natural and be themselves, maybe you should save your money this time.

2. Does your child need a boost of confidence? In addition to working on skills with the young actor, a good coach is also a cheerleader and one of your child’s biggest fans. Mom and Dad, I’m sure you are rooting for your child, but according to my own child, what I say doesn’t count because, according to her, “Parents always say nice things.“ Sound like any child you know?

3. Has it been a while since your child got a callback? Perhaps his or her skills are rusty. Now may be a good time to check in with a coach. Brushing up on improvisation, sense memory, and audition technique may be just what is needed to put your young actor back on the map.

4. Did the casting director request that you NOT coach your child? This would be a really good time to listen. Don’t have them coached - by anyone!!!! If you don’t heed this warning you are not only jeopardizing your child’s chance for success, but you are putting him or her in the very awkward position of having to lie if asked about it.

As an acting coach, it is my passion and my livelihood to work with young performers. As much as I would love to coach your child, there may truly be times when it is best to let things be. Ask your child if he or she feels confident with the material or if working with a coach would give them the upper hand. We can sometimes underestimate our children. They may know what is best this time. Just ask!

How to Audition for Musicals As a Child

Finding a great song that isn’t overdone can be a challenge. Especially if you are ten and have never been in love or had your heart broken. Let’s face it. There are only so many musical theater songs written for young performers. Picking age appropriate material is important so that you can relate to it, but you can also find songs that work by making some adjustments. Maybe a child has never been in a romantic relationship but I’m sure they can identify with losing their best friend or having a celebrity crush.

I am asked all the time about how to choose musical audition material. I decided to ask my collaborator in my upcoming musical audition workshop, vocal coach Bob Marks, to weigh in. Bob has coached hundreds of young performers on Broadway, such as Lea Michele, as well as pop stars, like Ashley Tisdale and Britney Spears.

Here are some of the questions he gets asked.

Student: Where can I find a song no one else sings?
Bob: Why would you want to sing a song no one else sings? In my experience, it’s a good idea to sing a song that is not overdone, but not one that the casting team has never heard. You want them to be listening to YOU, not just wondering where the song came from. And the accompanist may have a lot of trouble playing a song he’s never seen before. I think it’s best to give a unique performance and let them remember you!

I have to agree with Bob. And if there is a song you absolutely love, enjoy singing, can relate to, and shows off your voice and personality, go for it! Let them hear the song like they’ve never heard it before.

Student: What if I can't relate to my song because of age or gender?
Bob: There are many ways to relate to a lyric, and the private subtext you create (what you’re thinking while you sing), is very personal. You might be singing a love song to a pet or parent, not necessarily your spouse! However, if the people you’re auditioning for feel that the song is inappropriate for you, it might hurt your chances for a callback.

Well put, Bob. I have heard songs written for boys, sung by girls. And vice versa. If you can create a natural, believable story, by all means, sing it.

When auditioning, the song can be taken out of context from the show. How do you, not the character, identify with the song? If you are singing "Part of Your World" from "The Little Mermaid," it is improbable to think you are a mermaid on land for the first time. Perhaps you can imagine you just landed a role on Broadway and play the awe, excitement, and exhilaration that would come with that notion.

I hear kids that have the most beautiful voices. The only thing missing is the story they are telling through their song. Who are you singing to and why are you telling them this? Pay attention to the “monologue” of your song. It’s what will get you the callback and hopefully the job!!!!

How To Handle Being Dropped By Your Agent

My 13-year-old client Samantha called me this week crying, “It feels like my boyfriend just dumped me!” Her agent had just dropped her. Whether you are in a romantic relationship or a business arrangement, it hurts when the other party moves on. You may be thinking, “I’ll never work again!” or “Will another agent or manager ever sign me?”

Don't fret! Here are some tips to handle your situation.

1. Find out why you are being dropped. Some common reasons include: your rep can’t get you appointments for auditions, you’re too tall for your age, or you’re in the dry teenage years.

2. Find out why you can’t get appointments. It is often for a specific reason: your cold reading skills, acting ability, or vocal qualities are suffering. If this is the case, beef up your training before approaching another industry rep. Maybe your look no longer works and it’s time for an image reassessment. One client was dropped by her agent and came to me for a consultation. I immediately advised her to cut her hair before seeking new representation. It was down to her knees and made her completely unmarketable.

3. Adopt a new attitude. Adolescence isn't a curse, but I am not saying it's easy either! Yes, the hard truth is that there are many actors over the age of 18 who can play teenagers. It is cheaper for production to hire them because these actors can work longer hours and don’t incur tutoring costs. Even though it is tough to get work in the teen years, many reps may be willing to take a chance on you for the long haul. Remember, you won’t be a teen forever. Focus on another part of the business like commercials. Take the time to study, hone your craft, and come back with a bang!

4. Take control of your career. Believe that things happen for a reason and take more control of your career by finding work yourself. You can get a fresh start by using resources such as Backstage to find your own auditions. Many agents and managers will not bother pursuing these leads for you.

5. Don't lose all hope! If you have worked before and have talent, it is time to reassess your assets with a trusted professional. Get an opinion of your strengths, repackage your portfolio, and shop till you drop. I'm not talking Macy's! Agents and managers need talent. Just because your current representation is unwilling to handle you, doesn’t mean someone else won’t. What may not be in vogue for one rep, may be just the thing another is looking for.

6. Make sure you exit with dignity even though you are the one being dropped.This is a tiny industry and what goes around comes around. Don't harbor anger and resentment; you will be the only one losing sleep over it.

Take the time to master your craft, empower yourself and enjoy the journey...

Ask Denise: Agent? Manager? What’s the Difference?

Q: What’s the difference between an agent and a manager?

A: Here’s the basic breakdown:

A MANAGER:

•  Helps to cultivate a career. Does not just book a job.

• Generally has fewer clients than an agent.

• Gives more individual attention.

• While working with a manager, you can freelance with several agents, thereby having access to more auditions.

• Managers generally take a 15% commission off the top.

AN AGENT:

•  Agents are state licensed employment agencies.

• By law, agents cannot take more than a 10% commission. If you only have an agent, you only pay this one commission.

• Can have a small or large number of clients.

Ask Denise: How do I Write a Good Cover Letter?

Q: How do I write a cover letter?

A: Keep it short and sweet!

Here is an example:

Dear Mr. X,

My son, Brandon is 11 years old and loves acting, singing and dancing. He has appeared in numerous local productions, and we believe he is now ready for more professional work.

We live outside of New York City and are willing to travel in for auditions.

We would love an opportunity to meet with you at your convenience.

Please feel free to contact me by email at sallysimon.org or phone me at 345-555-5555.

Thank you for your consideration.

Sincerely,

Sandra Dee (mother of Brandon)

Ask Denise: How do I Choose a Good Agent or Manager?

Q: How do I choose an agent or a manager?

 A: I tell clients it is like picking a pediatrician!

• Send the potential agent or manager a well-lit, casually dressed head and shoulders shot.

• Send a cover letter detailing your child’s talents, skills, acting experience, and training.

• Make sure the personality of the representative will result in a positive effort for your child, including an ongoing relationship.

• Find someone who is excited about your child.

• Assess how well the representative communicates with you and your family.

Ask Denise: Is Show Business Right For My Child?

Q: How can I decide if show business is the right choice fir for my child?

A: Here are some questions that might help you determine if show business might be a good choice for your child.

• Does your child express a strong desire to perform?

• Does he/she talk about it all the time?

• Do you think your child has the “right look?”

• Is your child personable and outgoing?

• Is your child funny?

Ask Denise: How do I Find a Good Photographer?

Q: There are so many photographers out there. Which one will portray my child best?

B It’s all in the research, really. Do keep in mind that initially parents need not spend any money on headshots for their children. A good candid shot of your child will be sufficient for an initial interview; however, if you want to go with a photographer, here are some pointers and some photographer recommendations:

• Find out if the photographer has worked with children.

• Look at his or her book before making the decision to hire.

• Make sure the work environment is compatible with what you want. For instance, does the photographer work in the studio or in natural light?

• Get prices. You don’t need to spend a lot of money. About $300 for a sitting is reasonable, especially since children grow quickly and these shots must be re-done again and again.