Workshops: Do or Don't? + Do's and Don'ts

"This is for educational purposes only and participating does not guarantee you of work."

Ah, workshops. Paying to meet and perform in front of a casting director.

I know many actors who downright refuse to do workshops. I was one of them. The thought of having to pay to meet casting instead of auditioning for them - which costs nothing - kind of sucked. But during the time I was contemplating the "suckiness" of the situation, I had zero auditions and zero credits. I didn't even have an agent who could get me an audition even if I wanted one. (and believe me, did I want one!) So, 48 hours and 40 bucks later, I took my first workshop in 2012.

Fast forward to today -- I've completed a record-breaking 9 workshops THIS MONTH. (Disclaimer: I've never done this many in that short span of time before, so you can go ahead and call me crazy)

Because I've done my research, met quite a few offices, and booked two roles in a year (yes, both through workshops) I thought I would compile some tips for fellow actors who are looking to maybe do a workshop but don't know where to go or how to stand out.

WORKSHOPS: Do or Don't? 

My answer: DO, only if you're going to kill it! 

I understand we all get impatient in our careers and want things to happen for us here and now, but what is the point of meeting a casting office before you're ready? These are people who really could potentially give you a job down the line, and you are basically paying them to not hire you. Think about it: From around 10am-6pm, they audition maybe 100-200 actors a day for their TV shows, then they come to a workshop and see 20 more actors audition. That's a lot of faces! You want to stand out in the best way possible. Not by being underprepared, on book, or lacking confidence. You have about 4 minutes to make an impression, use it wisely.

So...how do you kill it? 

Well, I don't know how you personally define "killing it,"but here are some do's and don'ts that have definitely helped me along the way:

1. Be smart & selective about the workshops you do!

Do you "fit the world" of the the television show that this office casts? BE OBJECTIVE. Yes, of course I'm dying to be to be Lady Sara on Downton Abbey but chances I book that show are very slim so I wouldn't go in for that office, you get me? Choose shows and thus offices that you could actually see yourself on. With that being said...

2. Actively watch TV!! A lot of it.

Watching TV all day isn't being lazy. We're actors, it's our job to know what is out there, which networks are making which shows, which shows are getting cancelled and which got picked up for another season, and of course, which offices are casting those shows. How do you know if you fit in the world of the show if you don't watch the show?! And by actively watching, I mean, studying the storylines, pacing, and tone of the show as well. The way I watch Veep is very different than the way I watch The Food Network. Let's face it, we aren't going to be right for every show. Veronica Collins-Rooney, who casts Once Upon A Time, says she specifically casts actors who don't look too "LA or NY," they have to look like they fit in a fantasy world so that the show is believable. A show like Scandal moves at a very fast pace, there is no time to show you can do long dramatic pauses. Also, keep in mind shows that have been around for a while like Criminal Minds and Grey's Anatomy need new faces! So, that's a good strategy to use when deciding which workshops to tackle first.

3. Castingabout.com is your friend.

Casting About is a site that tells you every casting director, what they are currently casting, and how many episodes will be in their season. I use this site every single time before deciding whether or not to spend money on a workshop. I personally don't like meeting casting directors when their shows are on hiatus (meaning they are on break until the next season.) I like being in front of them while their shows are casting because I stay fresher on their minds. Specifically, I like to meet someone when they have just begun to cast again--the more episodes there are, the more opportunities there are for you. I remember meeting Christy Faison while she casting the last season of The Newsroom. At the time we met, she was casting episode 5. Guess how many episodes there are in the last season of The Newsroom? SIX. I was too late and super bummed because I love that show. But that's all in part of doing your research! Catch them early on while there are still plenty of episodes available. Casting About is also tells you where the show shoots. Some shows that shoot in NY or Vancouver cast their smaller co-star roles in those cities, because it's just easier and cheaper for them to do so. If you're still building co-star roles on your resume, maybe look for a show that solely casts in LA, and then work your way up. If you're into sending postcards to offices, this site also gives their addresses. It's fairly inexpensive to join and very useful to actors: Casting About

4. Don't pass up on an associate! 

Many are under the impression that meeting a casting associate is pointless because they don't have as much say as the head director. That is very far from true. Some casting directors don't even do workshops, so if you want to get into their office, you'll have to get through their associates. Casting associates are the right-hand person to casting directors and they are trusted for their judgment and eye for talent. Otherwise, they probably wouldn't have a job. And remember, today's associates are tomorrow's head of casting. If you don't believe me, check out this post -Jamie Castro Casting- by the wonderful Jamie Castro, associate to Linda Lowy, John Brace, and Will Stewart AKA the casting geniuses behind Grey's Anatomy, Scandal, and How to Get Away With Murder. She prides herself on bringing in students from workshops and booking them! (Do you see a familiar name in the post?)

5. Do choose sides that will BEST showcase YOU!

If you're seeing the office of Parks and Recreation, best to not bring in a scene from Sophie's Choice. Vice versa, if you're targeting a procedural show like CSI, maybe don't perform your stand up routine. Remember, you're trying to fit the world of their show, so show them you fit in. Some offices bring in their own scenes for this reason, but if they leave it up to you, be smart about what you're bringing to perform. Personally, I like bringing in scenes from less watched shows or pilots that never got picked up so that casting doesn't have a point of reference or comparison. Meaning, if you bring in a scene from Friends, (which I admit I probably would make an excellent Monica) chances are THEY ARE GOING TO KNOW IT'S FROM FRIENDS. That was an iconic show. And what are they going to think while you're performing your scene? How your interpretation of "Phoebe" will never be as good as Lisa Kudrow's and that's why she has an Emmy and you don't.


Now, there are many places to take workshops around town but here are the three places I can refer:

Actors Key
    Why I like it - Not too pricey, they bring in great offices, free and easy parking, and you can bring in your own scenes. Also, a lot of casting offices are exclusive only to Actors Key, and they have two locations, one in Burbank and one on the West side.

ActNow 
   Why I like it - Multiple week workshops, you see the same casting director for 2-4 weeks instead of one night, which helps you build a stronger relationship and also keeps you fresh in their minds for longer. Also they screen their actors before letting them join the studio so it's not a bunch of wackos, and they assign you a "consultant" to send you workshops you're right for. Also, free parking garage!

ActorsLink
   Why I like it - This is Scott David's studio, he also brings in great offices. I like how you can sign up for a time slot ahead of time so you don't have to sit around waiting to audition. And they frequently advertise discounts and package deals through their Twitter/FB pages.


Are you auditioning as much as you'd like to be? Would you be meeting these offices otherwise? Then, what do you have to lose, really? If you're strategic about it, workshops can be a great place to put your face and name out there. Don't sit idly waiting for the phone to ring. Better to be proactive in your career, so that when those opportunities DO come along, you will be ready for them.

Working with the star of Scandal

Chances are if you're reading this, you more-than-likely know that I recently worked on an episode of one my FAVORITE shows, Scandal.

I did not have a big role, in fact I said one line and my name was, "Female Staffer." If you blinked during, Ep. 402 "The State of The Union" you maybe missed me. But, let's be real, I would have gladly stood in the background as "Thing #8" to be on that show, and more importantly, I was fortunate enough to work with Kerry Washington.



And I love Kerry Washington.




Exhibit A: My 2014 Vision Board, with KW herself front and center.

Please also notice on Exhibit A, my 2014 goal list. Another brilliant woman I have been dying to work with, the one and only Shonda Rhimes. #ShondaLand #QueenofABC #TGIT

So, I've noticed the go-to questions any person has when a friend/colleague has just worked with a famous actor, is, "OMG HOW WERE THEY? WERE THEY NICE? WERE THEY EVERYTHING YOU EVER WANTED AND MORE?!"

Well, I can officially answer that question for you.

Kerry Washington is hands down, the kindest, most gracious, generous actor I've ever met.

So I auditioned for the role on a Monday and found out Friday I got it. I still didn't know who my scene was with though, because, if you watch Scandal, everything is very hush hush, can't have any leaks (Otherwise Olivia Pope would need to HANDLE it!) So, I waited for the script to find out. And I got incredibly lucky in that my scene was not only with her, but also with Tony Goldwyn (Fitz!) and Darby Stanchfield (Abby!)

I got to set after hair and makeup and was waiting for them to arrive. And when they did, in came Kerry walking right up to me, and said, "Are you our staffer? I'm Kerry! Nice to meet you!" In one handshake, she eased my nerves. She made me feel important and necessary and deserving to be there. Both Tony and Darby introduced themselves in the same genuine fashion, and I don't know if it's the actors themselves, or Shonda Rhimes who sets that tone for her casts to be welcoming to all actors who work on the show, but whoever it is, I felt very grateful to be there, collaborating with fellow creatives to make a great episode of TV.

The 8 hours I was on set was such an incredible learning experience. I watched Kerry talk to her fellow stars in between takes, asking if she was giving them what they needed, I watched our director give them adjustments and ideas for different takes and they took the notes, without a bit of ego, pride, or attitude. During downtime, Abby worked on lines for a huge monologue she had to do later, she was diligent in her work ethic. Tony joked around with the crew and extras, no hint of "don't look at me" BS you sometimes hear about with actors. Everyone was having fun but also took their jobs very seriously, were accountable for themselves but also each other.

There was a moment I thought I messed up Darby's line and I panicked and apologized, and she looked at me and said, "That wasn't you, you were perfect."

When I was wrapped for the evening, I thanked Darby and Tony for being so kind, and contemplated going up to Kerry. And I thought, well, should I never get to work with her again, I want her to know how much today meant to me, both as an actor and a true avid fan of the show.

I quickly went up to her and said, "I just want you to know, I'm such a huge fan of the show and you. You're on my actor vision board! This was incredible, thank you."

And I'll never forget what she said.

"Sara, thank you sooo much for sharing that with me! You were so great, you anchored me in that scene. So so wonderful to work with you."

I cried.

Not in front of her! I made it to my car and then burst into tears naturally. She in no way had to say what she did. She didn't owe me anything. She could have politely smiled and I would have been fine with that too. But, from the moment we shook hands, she understood that I was a fellow artist, a kindred spirit, a colleague. She understood that I'm working hard to be in her place someday.

And should I be so lucky to be in her place someday, I know exactly how to treat the business, treat the craft, and treat others.