5 comments about The Complete Professional Audition: A Commonsense Guide To Auditioning For Musicals and Plays.

1. I don't know how I auditioned before this book. For any high school or college student going through program or emphasis auditions, this book is essential. And even better, for professional auditions, this book is a handbook on how to do everything you will need to know.
   I highly recommend this book for anyone looking to be enlightened.



2. As a student of Music Theatre, this book is a fantastic guide to the well rounded audition. This book even landed me the audition! This book is well worth a read for ANYONE who is autioning in Acting, Singing and Musical Theatre.



3. My son plans a career in musical theatre and this is the fourth book that I have read on the topic. The others included the book by Shurtleff and the one by Silver. They were all good but I liked this one best because it covered all of the practical aspects of performing songs and monologues for auditions. It guides one through all of the details. Since this is the most current of all the books the frames of reference are more appropriate.



4. Actors, whether seasoned or new, who regularly audition for musicals and plays should not omit taking at least a peek at the advice in The Complete Professional Audition: A Commonsense Guide To Auditioning For Musicals And Plays: it's a 'must' for would-be pros and provides an edge over the competition in both musical theater and regular play auditions, from locating the right music or monologue to demonstrating unique talents in a mere 2 minutes. An added bonus: chapters which discuss the realities of a working actor's life beyond the audition, from union regulations and the roles of agents to further reference tips, including web sites. Simply invaluable.



5. If you plan on a career in theatre, this book is a must. Not owning it, is like a hairstylist not owning scissors. It is a necessary item in really owning and excercising one's craft. I have had the pleasure to work with Darren Cohen personally, and can only describe it as an actor's dream. This book is the next best thing. Everything is simple and down to terms that agree with an actor's mind and allow us to understand the delicate creature that is "the audition." I only wish this was around when I was still in college. A Must!!!!

5 comments about Let's Put on a Musical: How to Choose the Right Show for Your Theater, Revised & Expanded Edition.

1. this is a fantastic resource for anyone who is considering putting on a musical. it includes EVERY musical ever written, for all practical purposes...and the reviews are honest, straight forward critiques of the pros and cons of why you should choose this show.



2. I direct musicals in a small college and find this a most helpful compilation of musicals and the information I need to make a selection. Highly recommended!



3. This book is definitely superior to its first edition which was full of errors. Not only that but it is up to date. It's hard to believe that a few years back, I was actually writing my own additions for this book in the same vein. Believe it or not, the show I wrote about are now in this book.
   
   POSSIBLE SPOILERS AHEAD
   
   However, the one complaint I have is that there are two instances where Peter Filichia makes some very insensitive comments. Under the LIABILITIES section for Parade, he writes that the ending, in which Leo Frank, after finally being proven innocent, is hanged by a group of vigilantes does not scream "That's Entertainment". Mr. Filichia, would you prefer if history were altered? Leo Frank's hanging was a hate crime.
   
   Also, in the LIABILITIES section for Side Show, he writes, "Can we really blame Terry for not wanting to be with a conjoined twin?" Um, yes. Terry is in love with Daisy but can't be open about his love because she's a conjoined twin. Naturally, she'd be angry.
   
   While I certainly cannot look past these examples of Mr. Filichia's insensitivity, I certainly am glad to see this updated version of Let's Put On A Musical.



4. This really is a great reference to have. The only thing is that I have an earlier version of this book and it lists a little more information that I think is very helpful. For instance, it lists maximum and minimum players you can use for each show. It also omits musicals such as Pirates of Penzance, Quilters and Seven Brides for Seven Brothers to name a few. In the first addition the author might not have gone into great details on these musical but a little synopsis was written. Otherwise this is a great reference.



5. This book delivers on its title. It should be required reading for every local community theatre. It offers information on dozens of musicals, divided by catagories. (For example, are you looking for a show to highlight your group's best performer-be they male or female? Are looking for a show with little scenery or dancing? Or, for a show with a lot of scenery or dancing?) Moreover, each individual show listing includes the notable song(s) which came from that show.
   For the general theatre reader the book provides a wonderful front row seat discription for most of the important Broadway and off-Broadway muscials since 'Show Boat'.
   Filichia is an enthusiastic fan of these shows but he views his role as a guide; to assist each theatre so that they might produce a show that is successful-both in terms of production and box office.

1 comments about Stages: Creative Ideas For Teaching Drama.

1. I used Stages to teach a 7th grade drama class. The variety of stage games got the class ready for each day's assignment. I found it to be very helpful.

5 comments about Shaking The Money Tree, 2nd Edition: How to Get Grants and Donations for Film and Video.

1. I would highly recommend this book, and I would also highly recommend the Government Funding and You book and video series. Click the link below for more information.
   
   Government Funding and You: Registering For Grants On-line 2007 book and video series.



2. this book really sets you up with the information you need to know about funding. it's nice that there is an example of a grant in the book to help you understand exactly what you need.



3. If I ever meet Morrie Warshawski, I will probably embarrass us both by giving him a huge hug. In 97 easy-to-read pages (plus another 60+ helpful pages with sample grant proposals, budget forms and a bibliography), he succinctly lays out a viable process for successfully seeking grants for film and television projects.
   
   What struck me about "Shaking the Money Tree" was how it is actually a basic primer for all fundraising projects, not just film. Warshawski starts with the basics: developing mission and vision statements (Chapter 1 - "Laying the Foundation: Your Career"). While these steps should be obvious to any nonprofit organization, this is new territory for many independent filmmakers. Warshawski asserts "funding problems are almost always routed in a basic set of unresolved career issues." Not only does he contend that mission and vision statements are necessary, but that filmmakers must identify a set of values by which they choose projects and people with which to work. All of this, claims Warshawski, adds focus to filmmakers' efforts, and keeps them from wasting time on projects for which they have no vision or passion. Valuable lessons for any nonprofit organization.
   
   For the rest of Chapter 1, Warshawski takes the reader through a series of career development steps: articulating major short and long-term goals; identifying people and organizations with which to interact in order to succeed; evaluating progress against the career goals; acquiring promotional tools to spotlight the filmmaker and his/her projects; and networking to avoid isolation.
   
   In Chapter 2 ("Where's the Money?"), Warshawski provides an overview of the various categories of funding potentially available to a filmmaker (individuals, foundations, corporations, government agencies, other nonprofits). He correctly points out that there is an abundance of funding sources (not to be confused with an abundance of funds), but the challenge is determining which sources are appropriate for the particular project. He recommends creating a fundraising plan, identifying the most suitable prospects and determining the most effective way to formulate and make the request. (Again, a sound methodology for any nonprofit.) Warshawski identifies the upside and downside to each category, reviews how to find them and, generally, how to approach them (more information on research and proposals is provided in subsequent chapters).
   
   Chapter 3 ("Patchwork Quilt - Putting Your Project Together") was one of my favorites. Warshawski points out that a major impediment to successfully finding funds is beginning fundraising before the project is fully developed and thus not being able to completely answer all of a potential funder's questions. He highlights the difference between "this is a story that must be told" and "this is a story that must be heard." As is the case with all fundraising, one must start with the need. Warshawski runs through the elements of a solid plan, and explains the questions that must be answered. He also points out that fundraising will take longer than a filmmaker might expect: one to two years to complete the funding is not unusual.
   
   The remaining chapters - 4 ("Getting Personal - Individual Donors"), 5 ("The Paper Trail - Foundations and Government Agencies") and 6 ("All the Rest") explain the types of funders, their motivations and how to research them. He offers some excellent tips that the novice fundraiser/filmmaker might miss, such as Chapter 5's recommendation that, when researching foundations, don't just research "film/video/media/TV," but look for funders of the issue area(s) that the film is tackling. Most foundations are not really funding the film, but are funding the visibility to the subject matter that the film is providing. The last two pages of Chapter 6 provide "Morrie's Maxims" - sound advice for fundraising for any type of project.
   
   I did have some quibbles with the book. The Public Broadcasting Service (PBS) is not a government agency. The address for the Foundation Center in Washington is out of date (the book was published in 2003, and the Center moved to 1627 K Street, NW in 2001). Foundation giving levels are directly affected by economic trends: foundation endowments slump when the stock market declines and the effect is often felt for several years after the stock market starts to recover (Warshawski makes it sound as though foundations are relatively immune to economic shifts, other than facing increased requests for support). And finally, it would have been helpful to mention that the National Endowment for the Humanities and National Endowment for the Arts will provide, upon request, samples of successfully funded film proposals under the Freedom of Information Act. But these are minor blips in an otherwise superb book.
   
   There are two positive outcomes for a filmmaker who reads Warshawski's book and puts his words into practice: a funded project, and a successful second career as a fundraiser. "Shaking the Money Tree" should be required reading at all film schools. But even beyond that, it offers extremely helpful information for anyone who needs to raise money for a project.



4. Now in an expanded and updated second edition, Shaking The Money Tree: How To Get Grants And Donations For Film And Television by Morrie Warshawski is a ground breaking instructional manual in the art of fundraising for the financing of noncommercial film and video projects. Presenting the basics of how to apply for and earn grants and/or donations from individuals, foundations, government agencies, corporations, and more, Shaking The Money Tree combines direct decorum with an invaluable insight for how the financial side of the film business really works, as well as being peppered with useful grant forms and superb grant writing examples. If you have a film or television project that you need to finance -- begin with a close and careful reading of Morrie Warshawski's Shaking The Money Tree!



5. This is a great book...after searching high and low and all over the internet, I found a concise, informative and helpful resource to walk me through the complex world of fundraising for media. I'm applying Morrie's suggestions to my movie's business plan. Everyone interested in film/video should read this book.

5 comments about Spring's Awakening.

1. I bought this title after hearing all the buzz about the current Broadway musical of the same name inspired by this original. I personally found it dated, full of the cliches of late Imperial German culture and its outlook: histrionic, melodramatic and just plain corny. Perhaps readers more sympathetic to or in-tune with that epoch and its values might find this a moving or interesting read. What I got from it, though was a clearer idea of why the post-World War I Weimar Republic's avante-garde couldn't wait to sweep away the cultural system that produced this kind of stuff.



2. I assigned this play to my drama class this fall. At first reading, I witnessed my students' eyes light up and watched them get involved in serious introspection and discussion for the first time. They were inspired. One ignorant parent contacted school administration, and the play was officially banned from our school and the classroom. What a shame. Sad to say...the narrowmindedness of parents haven't changed much in 100 years. Maybe this parent should read the play and then try to get to know her teenager a little better.



3. this play took me about an hour to read, and moved very slowly in my opinion. I love the musical adaptation, but reading this was not exciting at all, it felt like I was reading it for class.



4. Who'd have believed that this work, first created in 1891, could still be just as accessable and classic today? But it was - and is- although it was surrounded by a swirl of controversy when first published. The play focuses on teen sexuality, abortion, angst, guilt and all the throes of puberty and adolescence. As of this writing, it has received many Tony Awards, well deserved.
   If you don't have a chance to see the play in person, this is the next best thing. If you'd like to hear the music, check this out:
   
   Spring Awakening (2006 Original Broadway Cast)



5. I admit I was intrigued to read this play both because I am going to see the musical adaptation in New York and because of the controversy surrounding the content for over a hundred years. The numerous forwards are tough to slog through at times but the play itself is a great read and really captures the angst of youth. Read in 1890 or 2007, this play is relevant to all of us who remember the strange and scary trip that was or is puberty.

5 comments about Careers in Technical Theater.

1. This is a very compelling and informative look at careers in technical theatre. Anyone interested in entering this field should read this for a realistic look at what you will be doing and what you will get paid! As a theatre technician, I can vouch for the reliability of the information presented. It is thoughtfully and clearly written. The interviews are interesting and helpful. Mike Lawlor never loses the sense of humor that is attached to a career in the theatre or to the people who have chosen to make it their livelihood.



2. This is a must read for anyone in technical theatre or has interest in the Theatre at all. I have selected this book to use in class to explore and discuss the many oppurtunities that technical theatre holds and to learn what skills are necessary. I highly recommend this book!



3. This is a good book for those just starting out in the industry to get a feel for what these titled individuals of the production staff do. Even I, a "seasoned" pro, learned more than a thing or two.
   
   If I had one criticism, it would be that the salary/wages information is not specific enough; I understand that it's hard to gather this data, but as someone entering into the full-time staff world for the first time, it's hard to know what I should expect when negotiating.



4. 
   Careers in Technical Theater could have been a feature in our Arts section, but is reviewed here for its overview of the American professional theatre's job market opportunities - a rich listing of opportunities for any who would work in the theatre. It surveys everything from how to be a Broadway theatre technician to becoming a sound designer, makeup artist, company manager or consultant, surveying job duties, how to locate on-the-job training as an intern to break into the industry, and how to narrow a career focus to specialize in a desirable area. As such this is a top pick for any collection strong in career guides, whether it be a public lending library or a performing arts collection.



5. This is an excellent guide for anyone wanting to pursue a career, or just generally interested in theatre, "behind the scenes". It offers very well-rounded descriptions of the different types of jobs one can explore working backstage. Each type of job has its own section with compelete job descriptions, culled from a variety of working professionals. The descriptions include what one can expect in different working conditions and even what might be expected concerning pay scale. It is a very realistic view of a life in the theatre and does a particularly good job of painting the diverse conditions that exist within the American theatre landscape. It offers lots of additional sources for researching ones further interests, via publications, websites, etc. It also offers some very helpful advice about finding college and university programs, or if that is even advisable. The writer obviously has a wide body of experience and has presented the information in a very succinct and engaging manner

1 comments about Dance anatomy and kinesiology.

1. For my kinesiology class this book was availabale in the library for student use. After using it the first time and seeing all that was included within the text, I had to have it. The pictures throughout this book are very helpful to dancers who are learning about anatomy. I know this book will be my guide as I further my dance career. It is amazing, every dancer should own it to understand how their body works properly!

5 comments about I'll Be in My Trailer: The Creative Wars Between Directors and Actors.

1. It's been a while since I read the book, so let me endorse it by sharing with you the comment I remember telling others: I learned more about directing in a few weeks (by reading this book) than I did in 2 1/2 years at my film school! (And I'm keeping my school a secret. Not ashamed at all, just don't want to partake in any "liable".) As it turns out, the author teaches at my school but I never had him for an instructor.
   This book not only teaches principles, but uses real-life situations and examples as experienced by the author. In fact, there are several contributions by actual actors/directors - submitting their personal point of view on various directing techniques that they have found either work or don't work on them when they are on set.
   As I recall, the principles are not nearly as detailed as in the book "Directing Actors" by Watson (which would normally diminish the number of stars the book would receive), but this one holds its own as a compliment to such books; Badham doesn't give step-by-step "how-to" direction on directing (pardon the pun) so much as he gives advice and pointers obtained from experience - which can be invaluable. That's why in its own right it received 5 stars.



2. I've worked in the film business for 30 years and enjoyed reading stories and tips from these film makers. Everything they say is true!! Most Thespians ARE neurotic and if you're going to work with them, you had better be prepared.



3. No matter what the filmmaker's experience may be, John Badham's book is a necessary tool in becoming a greater director. Through stories, quotes, and excellent instruction, this book illustrates top notch methods of working with actors as the creative partners they are. It bridges the gap between crew and talent, and combines the efforts of both for a greater end result that flows easily and successfully conveys the natural emotions and feelings of a directed scene.
   
   As a film student, I have constantly gone back and referenced the book, as well as reading and re-reading particular chapters that are easily outlined and provide excellent advice on everything from holding rehearsals to working with potentially "difficult" actors on the set. Reading this book has changed my methods of directing for the better and given me a greater understanding of how to work with actors for the greatest result of acting. Since I began practicing the techniques found within it, I have seen improvements in my directing, leading to greater performances and all-around better end results. With a fun reading style combined with priceless advice and entertaining stories, I highly recommend this book to anyone wishing to become a greater filmmaker.



4. John Badham has had an amazing career in film and television. He has had great success in every genre, including directing SATURDAY NIGHT FEVER which is, possibly the greatest 'coming of age' film ever made. It is certainly one of the best films of the amazing decade of the 70's which featured so many great films about the Mean Streets of New York. Any aspiring or seasoned director would do themselves a big favor by buying and STUDYING his wonderful book, I'LL BE IN MY TRAILER. Calling upon nearly 40 years of directing, Mr. Badham fills this book with a myriad of object lessons. Mr. Badham focuses, with great insight and humanity, on the relationship between the director and actor. In addition, he incorporates dozens of interviews and quotes from great directors, actors, cinematographers, etc., to give his reader a rich and broad picture of the movie-making process from casting to post-production. It is a rare book that can encapsulate such a range and depth of experiences about the art of filmmaking into all of 200 pages. Mr. Badham's tone is friendly and conversational. Reading this book is like having lunch with a legend and casually discussing the work of directing actors. A rare opportunity indeed; and one that should not be passed up.



5. Most directing books, I've noticed, are either basic primers (how not to cross the "line") or books of chatty anecdotes by major directors. Sidney Lumet's book is about the only one that gives away trade secrets, and he doesn't give many of those.
   
   Finally John Badham has written the book I was hoping to get to read. I'll Be in My Trailer: Creative Wars Between Actors and Directors is as full of director tradecraft as you might hope, coming from the very crafty director of Saturday Night Fever, Stakeout, WarGames and The Jack Bull. Badham hasn't stopped at his own knowledge; he's interviewed fellow directors like Mark Rydell and Richard Donner, and quoted from interviews with other directors.
   
   The tradecraft I'm talking about includes things like shooting closeups first if you're dealing with a scene that might wear out your actor emotionally (generally you shoot the master first, closeups last); the two points of view about rehearsals; what it means when an actor says, "I want to talk to you about my costume; and how not to waste your casting sessions looking important.
   
   This book only focuses on dealing with actors. I'd love to hear what Badham and his colleagues have to say about the more subtle uses of different lenses, when to shoot at a location and when a studio, six day shoots vs. five day shoots, and other technical and production questions. But that really does deserve another book.
   
   If you want to direct, or if you're just a writer or actor who wants to appreciate all that a director has to deal with, buy this book.

No comments about The Stage and the School.

5 comments about Howard Hughes: The Untold Story.

1. After finally watching the Aviator, I wanted to know more about Howard Hughes' life but wasn't sure which book to get since there were so many out there to choose from. The Untold Story turned out to be one of the most moving books I've read. I previously only knew him according to the reputation he had in his final years: bizarre recluse, deranged, weirdo, bilionnaire.
   
   Howard Hughes was an ace pilot. The 200 ton Spruce Goose was his personal triumph. This books brings to light his outlandish reality and his extraordinary and adventurous personal life: the many movies he produced, and his amazing influence on Hollywood censorship, purchasing the most Las Vegas resorts owned by one person, the McCarthy era, even Watergate and the fall of Nixon. It covers the many famous actresses he discovered, his womanizing and dating nearly every leading glamor queen. Jean Harlow, Ava Gardner, Giner Rogers, and Katharine Hepburn all dated this handsome playboy. It explains his passion of aviation, perilous record breaking flights as well as his three plane crashes, and his development of commercial flights (TWA). Howard Hughes was a genius inventor and head of a giant corporation which produced oil drill tools (which he inherited from his father). The book reveals his emotionally incestuous ties to his mother. his addictions, breakdowns and recoveries, disappearing acts such as when he locked himself in a studio room, didn't bathe for months, and watched the same movies 30 times in a row, eating only Hershey bars. His now-famous but then unknown obsessive-compulsive disorder produced full blown food fetishes such as counting chocolate chips in each germ-free cookie and eating his peas with a small rake. Who knows what might have happened, and how history might have changed, if doctors knew about Prozac in those days?
   
   The circumstances of his death remain mysterious and puzzling - to this day, no one is sure about how he died. Like his life, it was covered in a wall of secrecy. A compelling, sympathetic, and well-researched story (nearly 400,000 pages of court documents, 2,000 pages of FBI reports, and 600 interviews were used) about one of the most controversial, intriguing and extraordinary people.



2. After a while I got really tired of all of these starlets stories. I couldn't stop thinking " what a jerk" and how stupid all of these girls, and worse yet, their parents were.



3. I had read an earlier book on Hughes, Empire: The Life, Legend, and Madness of Howard Hughes, and remembered it as a fascinating book. I purchased recently this newer book on Hughes, Howard Hughes: The Untold Story.
   
   It, too, was fascinating in its own National Inquirer kind of way! This particular book dealt more with Hughes' womanizing more than with his business empire. We are treated with endless stories of Hughes' conquest of Hollywood actress beginning in the early 20's up until his final pursuit of women in the late 1950s.
   
   The stories are truly fascinating to read and Brown's and Broeske's writing style certaining kept me engaged. One just has to wonder how one would have acted in Howard's place as he pursued women on a daily basis while in Hollywood. Simply amazing!
   
   The one drawback about this book that I was not anticipating was what made it so interesting: its dedication to his lothario lifestyle. In other words, by the time the story of Jean Peters (his last wife) rolls around, along with his last attempted affair with the starlet Yvonne Shubert, one starts to tire of reading exclusively about his sexual conquests.
   
   I found myself wondering how all of this tied in with his businesses. The authors did throw in just enough about his businesses for it all to make sense, but I don't think there was enough. In other words, this book dealt almost entirely with his sex life than anything else. There were enough tidbits about his paranoia, his germophobia, his Hollywood movie making, and his aviation exploits to keep the book moving.
   
   I recommend this book to read about the personable side of Howard and the book, Empire, to read about the business side of Howard. Both are excellent.



4. I watched Martin Scorsese's "The Aviator" and was immediately interested in learning about the "real" Howard Hughes. This book more than satisfied my curiosity. I wasn't aware of the non-aviation contributions made by Hughes; satellites, seek and destroy missles. All very important to our national security. I had never heard of Hughes' connection to the Watergate scandal until I read this book.
   
   This publication was a page turner about a man that we'll most likely never learn the full truth about. A great read!



5. I first read this book to see what Howard Hughes was all about. I was not disappointed in the writing or information. It was well written and a page turner.
   
   I read bio books to learn more about the personal side of people - their lives & feelings/views on matters, how they handled personal situations more than just facts of their accomplishments. So therefore, this book was a great fit for me.
   
   A few reviews have said the book should have focused more on the specifics of how he handled his business affairs. This to me would be much more boring. There is just enough details of how and why he came up with his inventions, mechanics of flying, and drive to make profits without putting us to sleep.
   
   Enjoy a great read and learn about a fascinating person at the same time!