A sweet, pure voice floats over the auditorium of the Academy of Music. The song, from a musical of the '90s, fills the air of Northampton's venerable old palace and bounces off the empty seats.
Yes, empty seats. There's only a handful of people in the house tonight, scattered in the front rows. The singer stands on a bare stage, harshly illuminated by overhead work lights and accompanied by a solo pianist.
This isn't a performance, however. It's an audition. Except, of course, for the singer it's a very important performance. She's trying out for the role of Mary Magdalene in the rock musical Jesus Christ Superstar, which will play at the Academy next spring. At the same time, she's being seen by the director of A Christmas Carol, the Academy's holiday show.
And it's the director of that show, Linda McInerney, who homes in on her as she ends her song and delivers her prepared monologue. "I think you've memorized that piece in sections," McInerney says, "and the seams are showing. Try it again, and think through to the next thought as you go."
After she leaves the stage, the young woman confesses that even though she has had professional training, every audition is a daunting test of nerves and spirit. "It's like standing on a cliff and diving off."
Not your typical cattle call
This dual-audition session is an experiment, a collaboration between two of the Academy's resident companies. David Fried-Oppenheim, co-director of PACE, the Pioneer Arts Center of Easthampton, is casting Superstar for his spring production. McInerney leads Old Deerfield Productions and is on the Academy's board of directors. She is looking to fill a few roles in her Christmas Carol to replace performers who aren't returning this season after last December's performances of the show she plans to make an annual fixture.
During a break, the two directors explain that many of the auditioners have previously worked with one of the troupes but not the other. This cooperative process, they say, benefits both the performers and the companies, not just in efficiency but as an opportunity, as Fried-Oppenheim puts it, "for performers to introduce themselves to people they haven't worked with. It also gives us a chance to see performers who may not have considered auditioning outside of that safe zone of familiarity."
Out in the lobby, Nikki Beck, PACE's stage manager, is signing people in as they arrive, assigning each one a number and handing them sheets to fill in with their contact information, previous experience and training, availability for rehearsals and preference of shows and/or parts. Volunteer Joan Haley takes an iPhone snapshot of each one before they head to the stage.
All participants are asked to bring in a song and a brief monologue. Tonight's hopefuls are a mixed lot, from those with professional training and years of experience to singers who have never tried acting before and actors who would like to be able to sing but can't really.
Some have problems delivering their songs, either finding the right key or keeping in synch with the pianist, Alexandra Marie Melo. The directors' fallback in these situations is to ask for an a cappella rendition of a familiar song—usually "Amazing Grace"—just to hear vocal quality and pitch-reliability.
This is not a New York-style "cattle call" run at high speed by impassive directors. McInerney and Fried-Oppenheim are patient and encouraging, recognizing that the performers are under pressure and, in many cases, awed by being on the Academy's historic stage. The atmosphere is relaxed and supportive, with moments of levity. When one man announces he's a bass—the vocal range required for Caiaphas, the high priest—McInerney quips, "David needs you. Just don't suck, and you're in."
One performer with a strong voice has trouble beginning Judas's solo number from Superstar. "It's a little hard when you don't have the electric guitar starting it off," he grins. Fried-Oppenheim replies, "Shall I go duh, duh, duh-duh?" and they both laugh. The number includes a shrieking high note, and when it's finished the director asks, "Can you hit that note every night?" and gets a confident affirmative.
In order to gauge the performers' flexibility and how well they take direction, the directors sometimes ask them to repeat their material with adjustments. Fried-Oppenheim leads one singer through an exercise to help him "act" his song. "Find that comfortable space around you, and find a specific focus in front of you," he suggests. "Then just speak the lyric before adding the music. Take your time. Breathe."
McInerney works with a young actress on her speech from an Oscar Wilde play. "Wilde is all about style," she says. "Picture yourself wearing the most exquisite chandelier earrings, in a floor-length dress and white gloves up to your elbows. Now try the speech again."
Afterward, the two directors pronounce the experiment a success and hope the concept will expand to include more companies. They're also happy with the talent they've seen. "I look more for potential than experience or polish," says Fried-Oppenheim. "I was very, very pleased to have such a good group showing up."
McInerney adds, "I am always astonished by the bravery of folks to step onto the stage in front of strangers and bare their hearts and pour forth their dreams. I know that sounds very Paula Abdul, but it is so true. There is never a disappointment in an audition for me, because each time, no matter how far from pitch or how many words are forgotten, you still are witnessing a human soul on display. Now, that is bravery!"
A Christmas Carol will be performed Dec. 17-20 at the Academy of Music, Northampton. Jesus Christ Superstar plays there April 8-11, 2010. Casting for the Superstarensemble is not yet complete. Interested singers can e-mail jcs@pioneerarts.org.
Conversation Pieces
Double Edge Theatre makes its home in out-of-the-way Ashfield, but don't let the rustic setting fool you. The company is an active and respected player in the national and international alternative theater scene. This month, in addition to reprising their Garden Cycle of three original plays, the troupe is hosting a series of "Conversations" among leading theater practitioners from a variety of backgrounds. The second of these gatherings happens this Sunday.
"Staging God and Policy" focuses on playwright Erik Ehn's performance cycle-in-progress, which is being developed by six different theatres around the country. The Conversation explores Ehn's themes, including political repression and genocide, and the role played by culture and religion in oppression and reconciliation. The author is joined by writer/performers Laurie Carlos, Daniel Alexander Jones, Robbie McCauley and Ana Parea, along with Amherst College professor Ilan Stavans.
Next week, an international panel of artists and teachers discuss a variety of "Approaches to Training." The Conversations are open to the public, both in person and via live webcast. Visit www.doubeedgetheatre.org for details.
