Days Of Auditions Past

Hi everyone,

I hope you’re all staying healthy, wearing your masks, and keeping up that social distancing.  As an introvert who often has to take breaks from dealing with people, it’s not so hard for me to keep my social distance, but it gets lonely after a while.  I don’t get to hug anyone!  Except my Mom because I am once again with my parents and this time I’m in Arizona.  More later about what I’ve been up to.

What I really wanted to share today were some funny and cringe-worthy audition stories, inspired by an article about different celebrities sharing crazy audition stories.  And also because in-person auditions will not be resuming any time soon.

Here we go:  When I graduated from college, I moved back home to the Portland/Vancouver area because I was afraid of LA.  I finally had my chance to audition for one of the big Equity theatres and I was so excited!  I went to sign up as a non-union person for a slot and came back for my audition time.  I chose a very shouty, angry monologue about a girl complaining about how her mother loves everyone more than her and part of Someone To Watch Over Me, eight bars as they had asked.  I had already e-mailed the company manager about how to break into theatre, so I knew him somewhat.  I walked in to audition for him and shouted through that monologue playing the anger and not the story.  And when it came to the singing, I started and then stopped the pianist, walked over to the piano, looked at the music, and then restarted.  I might have even apologized.  I knew immediately that I had bombed.

I once auditioned opposite a puppet for a web series.  I knew the series involved a puppet, but I had no idea I’d literally be auditioning with it with the creator doing the voice.  I had to give lines that were just absurd considering the set up.  It was about the woman telling the puppet that she had had a child from a one-night stand with him that he never knew about.  Also, it was in his home.

I auditioned for an interpretive dance version of Carmina Burana in the little town of St. Helens, Oregon, also right after college.  I hadn’t taken a dance class since first year of college, so I was rusty.  The director told me to choreograph my own dance on the spot and I flopped about having no clue what to do.  I decided that that show was way too weird of an idea, so that I wouldn’t accept it if he cast me, and he never called.

I auditioned for a summer theatre program when I was 19 and I did Desdemona’s “My Noble Father Speech” kneeling and talking to a chair.  It was a musical theatre program.  I did sing too, but I can’t remember what I sang.  And I auditioned for a theatre program after college performing the Miss Malaprop speech and another weird speech.  I didn’t do either very well.  The program head who auditioned me essentially made fun of me and asked if I had asthma and why did I yawn with my hand out like I did.  I got a rejection letter telling me to take acting classes at a community college because I wasn’t ready for their program.  I had a theatre degree.

Another really weird experience was when I auditioned via table read for a children’s musical in the writer/producer/director’s apartment.  I was reading for a British Sheep Dog wondering why I even decided to do this.  The whole set up was really creepy and amateur and the dialogue was awful.  When he and his assistant director told me right after that I was cast on the spot, I told them no and they insisted on me telling them why not.  I said I didn’t want to be part of it and that I didn’t like it.  He replied, “Well, you have to start somewhere.”  And I walked out saying, “I’ve already started.”  And I ran straight down those stairs and out to my car.

I got a rejection letter from the Brown University MFA program stating that I was “unacceptable for [their] program” and then the regular rejection message under that.  Two years later, I was chosen out of 4 candidates from the US to be in the post-graduate program at Drama Studio London.

What have we learned from these experiences? We do not talk to chairs.  Use age-appropriate material.  Do not stop your audition unless it’s an emergency.  Trust those instincts.  Desperation makes you do dumb things.  You can improve.  Acting coaching does wonders.  You don’t have to work with people who don’t respect you.  And puppets make funny co-stars, so do macaques.

Zip On Your Alligator Skin

Hi all,

Happy Mother’s Day!  I made sure to call my Mom today because I love her so much.  We’ve really become friends as well as mother and daughter.

Today’s blog title comes from one of the panels that I attended at the Film in California Conference two weekends ago.  The event was held at LA Center Studios and has been going on for many years.  The keynote speaker was the amazing actor, Courtney B. Vance, who got his start in professional theatre.  I needed to go home early due to a conference call for the 48-hr Film Challenge team that I was chosen for.  I was one of many actors so I will have to hear if the script they write for the competition has an acting role for me.  Whatever happens, I will help them out any way they need.  As you’ll recall, I’ve been on three 48-hr film challenge teams, including the IFP Phoenix 48-hr Film Challenge from which Business Casual came.  Well, the second panel I attended that day was about women who work behind the scenes.  The panel included TV director Millicent Shelton, cinematographer Loren Yaconelli, Chief Creative Officer Rachel Shane, and veteran Production Designer Jeannine Oppewall, who all talked about being a woman in the industry and how they have made their mark in male-dominated positions.  I really loved when in response to the question about who inspired them, Jeannine Oppewall responded that she was her best support and motivation back when she was one of the few female production designers.  She also said that every morning she “zipped on [her] alligator skin,” which is a motto I need to use from now on.  The industry will be tough and I’ve got to just push through.  While I have never wanted to have a technical position, I can certainly take my inspiration and motivation from any of the veteran ladies in the industry.  There was also a panel for the Amazon series, Bosch, which is exclusively filmed in and around Downtown LA.  It sounded like an interesting cop series, which my Mom would love if she had an Amazon subscription.  My parents now have a Netflix subscription, which can have additional users, so now I can watch anything on Netflix!  Unfortunately, The Handmaid’s Tale is on Hulu so I can’t watch that right now.  And there were exhibitors from every county of California with free cookies, chocolate, phone chargers, and even popcorn.  Of course, I also picked up the brochures and business cards even though I have no idea how I’m going to film in San Francisco.

This past week I auditioned for Mary Poppins at Glendale Centre Theatre and I got a dance callback, but I haven’t heard if I was cast yet.  I’ve gone on EPAs for other theatre productions and no news from them yet.  I will be sending in a self-tape audition for a staged reading of a brand new play in Louisville, Kentucky, which will be in June.  And I have another self-tape for a table reading of a pilot that I procrastinated on.  Then, I had an audition for a paid short film yesterday for the cutthroat CEO/Agent in a Black Mirror/Westworld type of world.  I did have an acting teacher say I had an extreme casting.  So, I’ve got some auditions right now but I hope for bigger, Union bookings on recognizable TV shows, plays, musicals, and films.  I’m praying to God double time to make it all work out.

Anna In Charge

Hi all,

Well, that was a long gap in posts.  How are you all doing?  It’s Spring Break but I haven’t slowed down at all.  It’s crazy that when I’m vacation from the day job, I still have so much to do.  I just auditioned for the relaunched Reprise Theatre cast by Michael Donovan Casting.  I briefly met Michael when my Acting Business class in college had a commercial presentation at his office.  We learned about commercials and got to even try reading copy boards and improvising on-camera.  Speaking of commercials, I’ve had several commercial auditions since January but not the past two weeks.  I even got to audition for a Google ad.  We also sometimes get voiceover requests.  The only booking I have gotten in the past few months is background on a Cisco commercial, that I got myself from Actors Access.  That’s the only site I usually get auditions from, except those I get through my agent on Casting Networks.  I also auditioned for a student film for Mount St. Mary’s University held at Sunset-Gower Studios yesterday.  A friend of mine recently had an audition for a series regular and has booked a few co-stars before that.  I wish I had his luck.  I’m considering using the representation finding service through Actors Access/Breakdowns Express to obtain theatrical representation and a manager.  My only manager meeting was not what I wanted.  I’m specifically looking for someone who believes in me auditioning for Union projects and doesn’t insist I keep working non-union jobs that don’t have consistent pay, protections, and residuals.  I can work a few more non-union projects, but that doesn’t pay the bills.  This is in regards to theatrical projects; my commercial auditions are taken care of.  I also did a large mailing this week of postcards and three headshots and resumes.  I’m doing one last push before Pilot Season ends.  I know many people say that a non-theatrically represented non-union person like me has no hope of obtaining a pilot audition, but I don’t care.  No famous person ever said they didn’t go for something before they became successful because they weren’t union yet or didn’t have the credits or even the agent.  So I have no idea where this attitude came from.  And many people mean well when they say it, but it doesn’t help me to place limitations on what I want or tell me it isn’t possible.

I once again auditioned for my favorite outdoor (and sometimes indoor) Shakespeare company and then went to Las Vegas for my birthday.  (Happy Birthday to me!)  I also recently took an amazing Shakespeare Monologue class with veteran Shakespearean actor, Joseph Culliton, and we had a student showcase last week.  And I’m auditioning for the Kingsmen Shakespeare Festival on Saturday.  I’m bringing my Cordelia.

The weekend after this, I am attending the Supermentors Showrunner Summit hosted by Marc and Elaine Zicree, the founders of The Table of which I’m a member.  I am hoping for solid connections and good things to come from it.  The showrunners will have me in the same room as them for two whole days straight.

Well, Happy Easter!  I need to get back to work.  (Or maybe go to the beach.)

It’s November, mmmm…

Hi all,

Yes, I took a long time to write another blog post.  I have simply not been getting back to my page like I should.  How are you all doing?  I haven’t had any commercial auditions since the 4 audition run of awesomeness in August.  I did get to audition for a music video for which I had to react to a racial slur two different ways while pretending to pour water.  On the class front, I finished my How To Book Everything Class with Chris Game and then I took the Sitcom Class with Troy Metcalf, who is a series regular on The Middle.  I had a great time in both classes and got some practice I haven’t had in a long time or for skills I simply didn’t have before.  I’ve been keeping up with the TV and Film casting directors adding my sitcom contacts to my target list.  I recently refined the theatrical and commercial casting director lists into one document.  There are a few offices that are not possible to contact due to addresses that don’t work or not having an address.   I haven’t gotten a theatrical audition for my target list yet, but I did get to send a self-tape audition (per request) for a high-paying web series.

On the theatre front, I was cast as the Orange Fairy in a children’s Halloween play and had a quick rehearsal and two-weekend performance run.  It was called the Happy Halloween House and the company is Creating Arts Company, which produces musicals and plays for children, and also private events.  I hope to work with them more in the future.

I had a very successful audition for the Young Audiences program at the LA Philharmonic.  For some wild reason, my audition buddy and I were among the only four people there when sign ups began.  Usually at EPAs little non-union me has to wait between 2 to 6 hours to get seen.  But in this case, my buddy and I got to go in the first block.  The auditors were so nice and we had a lovely conversation about me studying in London and about how I had a major crush on the actor playing Michael Cassio in The Globe production of Othello.  However, when I went to the EPA for Utah Shakespeare Festival, for whom I had such a wonderful audition last year, I couldn’t get in to save my life.  There was a ridiculous amount of Equity members and EMCs and I was number 2 on the non-union list.  And now this Friday, there is going to be the EPA for the touring company of Les Miserables.  I listened to that musical and the Phantom of the Opera on permanent loop throughout my childhood.  I’m getting there really early and hoping to God I can get in.

Springing Into Action

Hi all,

It’s been two months since the last post and I’ve been so busy!  I will be casting the other roles before beginning the crowdfunding campaign and contacting investors.  I’m a Filmmaker Pro Member of Film Independent, which you can also be for $250 per year. On that note: the site for Film Independent is, where you can find out about membership, events, film grants, and filmmaking labs in screenwriting, documentaries, producing, etc. You need to apply and be accepted for the labs. My membership also includes two free casting sessions. I’ve already used my producer session perk. So, my task in the next two days is to contact potential actors for the remaining roles (I’m Amelia, of course!).

I am still auditioning for all the Equity theatres I can and I hope to get cast somewhere soon. The next two ones are Independent Shakespeare Company and Theatricum Botanicum. I’ve started volunteering for ISC and completed my first session last night for a screening of the documentary, Still Dreaming, about a production of A Midsummer Night’s Dream in the Lillian Booth Retirement Home for Actors. I had a wonderful time and the film was engaging and charming.

Recently, I got to see my acting teacher, Kevin McCorkle, in White Guy on the Bus with The Road Theatre Company and everyone was brilliant! You have got to go see it. It deals with some pretty heavy topics, so be prepared. The show plays Friday and Saturday at 8pm and Sunday at 2pm through March 18.

Next up classwise, I am taking a 3-week soap opera workshop with veteran casting director, Bob Lambert, and I am so excited! I am also attending the free industry seminar hosted by Billy Damota and Dea Vise at Acting Up Network on March 10. March 10 is also my birthday and since my Grandpa joined my Grandma in Heaven, I’ve been celebrating by myself. Check out Acting Up Network for great classes and seminars: Jodie, the head of the company, is one of the best people to know in the industry.

And the last piece of news is that I have a commercial audition this Tuesday via Skype, which should be interesting since I’ve never done an audition through my computer before. I keep pushing forward with my marketing, classes, and connecting. I’ve also gotten back into ballet classes and I really want to take more than just a class per week. I need to back up my special skills section on my resume.

Make Friends With Your 5AM

Hi all,

I plan to do more than one post this month, and I have a few weeks to do it!  I’m back into substitute teaching, but Christmas break started this week, so I’m free to do actor business and visit home.  (I have to get up at 5am each day I get an assignment, hence the name of this blog post.)  When I get back from my vacation, I will have to once again learn to balance a day job and acting duties.  Fortunately, I am able to take a day when I need to for auditions and acting business.   I now have another producer signed on to make The Go-Girls happen and we need to get the funding plans in action, begin the casting process for the other roles, and finally organize and launch the crowdfunding campaign.  I can hardly keep straight all the things that I need to do.  And I now have a bunch of people that I have to keep in the loop.  I wasn’t sure if all the elements were going to come together for the film.  Maybe it will be an indie hit and I will become the toast of Hollywood, or at least it will open the door to lucrative Union opportunities and a competent agent.  I obtained an agent meeting but then the agent cancelled.

I had a general meeting with my Facebook friend, Billy DaMota, and it was so awesome!  I’m very glad to now have him as a mentor.  He pointed me in the right direction of how to pursue my career and to see industry people as colleagues.  It is actually alright to call casting director offices and agents to ask about meetings and submissions.  Even drop offs are fine in most cases.  You just need to be professional.  So, I will start the improved marketing campaign and make friends with the phone (which scares me) in the New Year.

I will still be going on EPAs and there is one tomorrow for the San Diego Old Globe theatre.  No news about the other theatres and Shakespeare Festivals yet.  I did receive a wonderful e-mail from one theatre I auditioned for in November saying that while they didn’t cast me, they still loved my enthusiasm and would keep my materials on record.  I sent them a Christmas card!

There is so much to do!

After The Turkey Is Over

Hi all,

Let me squeeze in all the news.  I had a wonderful Thanksgiving.  A nice lady in the church choir invited me to dinner and I was so happy to have somewhere to go.  I went home last year, but I couldn’t afford to fly home for both Christmas and Thanksgiving this year, so I’ll be home for Christmas.  Thanksgiving doesn’t mean the same as it did when my grandparents were alive and we had a house full of family.

I took a fantastic acting class with veteran actor, Kevin McCorkle, at Camera Left/ASG Casting.  He calls the class Acting In Motion and I got a special price for the class.  Basically, the class is mainly about commercial technique, business knowledge, and defining an actor blue print.  I have an actor blueprint put together, but I haven’t been able to stick to all of it.  My plan is to send a few postcards a week, submit to one agent, and make sure to do one thing to practice my skills each day, among other things.  No news on the agent front yet.  Being SAG-eligible is not in the near future for me, unless I book some TV credit sometime soon.  I did get to audition for a AAA commercial a few weeks back.  I am always doing something.

I attended the Film Independent Filmmaker Forum and I learned so much.  I got to meet a big casting director, a working producer, and the Fine Brothers!  They have lunch and brunch meetings with successful industry members, big name key note speakers, sessions about different trends in the industry, and one-on-one Industry Connect meetings which early birds (like me!) got first crack at.  My first one-on-one went great and the second did not.  I also met an entertainment lawyer among the attendees.  This is not an event that most actors attend and barely anyone was in a position to help me with The Go-Girls.  It’s about the third weekend of October each year and costs about $215 for members ($230 for non-members).  I’m also now a Filmmaker Pro member, so I can attend exclusive free screenings, have a free production consultation, use the offices for casting, and have table reads. (It’s $250 per year; A regular membership is $95.)  I met with the fantastic guy who is the production consultant and he was greatly helpful.  He said that I had been doing pretty much what I should and that I was well-informed and organized.  He was honest about everything but very constructive and positive.

I had a Crowdfund Manager, but he seriously didn’t understand me or the project.  I’ll be looking for another one, because I know what to do for the crowdfunding campaign, I just need someone to help me out.

There is a new member on the Go-Girls team to be announced at a later date.

In stage news, I auditioned for the Utah Shakespeare Festival and the Broadway tour of Wicked!  They both went great.  For the Wicked call, it was an open call and 200 people showed up.  I was lucky number 13 so I didn’t have to wait that long to audition.  They had us do 8 bars, which had me scrambling to cut down my song to fit.  I heard from the people who auditioned long after me that they ended up doing the songs a cappella towards the end.  I am also auditioning for the Idaho Shakespeare Festival this week.  I always make sure to get to the EPA calls as early as is reasonable so I have a chance to be seen.  If you get there too late and you’re non-union, you may not get seen or have to wait 6 hours.

There’s a great deal of work to be done in what’s left of 2016.  I am so sad about all the important people who died this year (except Fidel Castro.  Brian Avellaneda is definitely cheering.)

Off Pitch

Hi all,

I’m still here.  Happy almost Halloween!  It’s my brother’s favorite holiday and his birthday is on Tuesday so everyone wish David a Happy Birthday!  In other news, I am blogging from a new Apple computer as the video card in the other one decided to die and after some drama getting the Genius Bar opinion, I decided to buy a new one.

This past week I got a dance callback after auditioning for Miracle on 34th Street: The Musical.  It was for the same company that I auditioned for for The Producers and they remembered me.  I was even asked to sing a second song, and I was really deft at finding one of my signature pieces, So Many People, from Saturday Night by Stephen Sondheim.  I haven’t ever been asked to stay for a dance callback in a pro company, so this is great progress.  I got in there and broke out the dance moves.  We went in a group to learn the number, then in smaller groups, then guys and girl separately, and then alternating four guys and four girls.  It was all very Broadway.  Speaking of Broadway: I finally listened to the entire Hamilton soundtrack!  I was blown away and deeply glad that Lin-Manuel Miranda was able to bring his masterpiece to the biggest stage in the US and win multiple awards.  He really is a musical genius.  I was so inspired that I decided I am going to learn the song, Helpless, from the musical.  While I know the main roles are not for pasty Scandinavian people to play, I can still sing the music.  The common wisdom is that one should not sing a song for an audition from a currently running Broadway musical, unless that musical is a revival.  So this one is definitely for showcases for now.  I have also learned How Could I Ever Know from The Secret Garden, which came out when I was a little girl.  I will definitely be singing that one at my auditions from now on; I just need to go over it on the piano with someone, because while I can technically pull off singing it for the first time with piano at an audition, I definitely know from experience that it’s a bad idea.

All this talk about singing reminds me of a story or two.  When I was growing up, I was all about ballet and whatever side activity there was.  I wasn’t really aware that I had any singing ability whatsoever.  I knew other people who sang, but it never occurred to me that I could ever be good at it.  I took piano and then bass guitar, so I knew music.  I decided to take the plunge and join the liturgy band that did all the songs at my high school masses.  I labeled myself an Alto and then found out about being a cantor.  I only needed to join the cantor class.  I used to be so nervous about singing in front of people, that nothing would come out of my mouth.  Therefore, in the class I would try to sing the music and it came out all wrong, to the embarrassment of the coordinators.  My high school was not a place to test out your talents and learn that failure is a part of life; they had a reputation that they couldn’t risk at any cost.  All the cantors alternated weekly and one time when it was my week, one of the coordinators told me not to embarrass them.  You don’t say that to an insecure 15-year-old!  I had no self-esteem in my teens; it was bad enough I gained weight in the 8th grade and had braces.  My fellow students didn’t care if the notes were right; they told me “great job!” no matter what.  I wouldn’t realize until a really long time later that tension in the jaw muscles can make notes go awry and that nerves can really sabotage you.  For the next year, they decided that cantoring would be by audition only.  I missed the sign up, so I was out of contention.  I had started taking voice lessons at the behest of one of the coordinators and found out that I was a Soprano.  I had had a lonely moment the year before when I was singing the Alto part of a song and realizing that I was the only one and that I really wanted to sing the higher part.  The next year I was in time for auditions and had to audition in front of the choir teacher and the one coordinator, which is a great deal of nonsense considering choir had nothing to do with the liturgical administration.  I was actually never in choir.  Well, I found out the next week by reading the list on the coordinator’s door that I hadn’t made the cut.  He happened to be there at that moment and I gave him a look that said, “You’d better explain yourself.”  He tried to cover for himself and then I got the truth when he told me, “You have a beautiful voice, but you can’t sing in tune.”  Mind you, there was a girl who sang like nails on a chalk board that made the cut, so I knew that was ridiculous.

I would later sing in the church choir at college and then I met a voice teacher who showed me I could actually sing in tune and that I had a great deal of talent.  I took from Janet for three years before I went to Drama Studio London and I will forever be grateful to her for giving me a foundation of confidence.  I think I might be fully cured by now of my insecurities around singing.  It was only recently that I gained the ability to sing in an audition without getting really nervous and mucking up a note, or having my voice go thin on me.  I don’t fear the singing audition like I used to.  Now about those Broadway auditions…

The Supportive Industry

Hi all,

Right now I’m looking for the rest of the main production team.  So, here’s the ad:   I know that a great deal of people, especially here want money up front and won’t start at the ground floor.  Somehow anyone who makes a film is supposed to magically have money up front.  I had two useless phone calls with two industry experts who told me to get business collateral before I even begin funding.  But they had no advice on how to get it except for crowdfunding development funds.  I’ll wait for the official film budget to be finished before I set the amount for crowdfunding.  My trouble is that I have a tough time getting people on-board to give me money or anything.  I will give my best try to get the word out before I launch the funding campaign.  Maybe fliers in comic book shops or other marketing jaunts.  I’ll just have to review my crowdfunding notes and use my resources from Film Independent.

I had a great time volunteering at the LA Film Festival!  I mostly spent my time at the information booth helping attendees find what they needed.  We got vouchers for movie tickets after each shift.  I got to see Like Cotton Twines from Ghana, Opening Night starring Topher Grace, and the documentaries of Denial and Life, Animated.  They were all very excellent.  The film festival is a qualifier for the Academy Awards.  Many of the films sell out in advance so I didn’t get to see everything I had wanted to see.  I was going to be in a play but it didn’t work out; and that’s about all I’m allowed to say.  I did, however, get to see my friend, Sokrates, in a play at the Hollywood Fringe Festival called The Wheel of Invention, a dark satire of theme parks like Disneyland.

One thing about being in LA is that a number of people are not willing to reach beyond themselves to be helpful.  I have seen postings from successful actors saying to not contact their Agent/Manager about representation as you should do that work yourself.  And certain hiring people saying that they won’t accept auditions from non-union people, or even people with SAG-Eligibility, or talking about a casting that’s agent submission only and expecting people to not ask about being considered.  We are all hungry for work and deserve more respect and openness.  Making things limited and impossible doesn’t make companies and hiring individuals look better; it just makes them look closed-minded and discriminatory.  Most of us actors are really talented and dedicated people, not little flies to be swatted off.  And hiring individuals or really successful actors need to remember that success or power doesn’t make you superior.  I went to two EPAs and had no chance of being seen because the Equity actors get to go first and no one wanted to (or was permitted) to squeeze anyone else in.  This isn’t New York so I was surprised.  I got really hurt and angry after waiting six hours one day and a few the next with the lady making the announcement that non-union people wouldn’t get seen for a long time.  She then told me that being number 13 on the non-union list meant I was never getting seen.  I wasn’t available the second day of auditions.  She also told me that the company has resident artists so it would be very difficult for me to get in in the first place.  I saw so many people younger than me who were already union, including one really entitled and snotty brat who went to both auditions.  I know not all hiring entities or successful actors behave this way.  But the entertainment industry needs more community, not divisions, entitlement, or more closed doors.  We are all important and have a great deal to offer.  So, please support your fellow artists and creators and be nice and make opportunities for others.  Maybe donate an hour or two of your precious professional time to help someone create a funding promo, or maybe make some footage or a SAG-AFTRA New Media project to help your friends get SAG Eligibility.  Helping others is no assault to your dignity or street cred.

California Dreaming

Hi all,

Here’s what I’ve been doing.  I was cast in a paying industrial PSA about three weekends ago during my five-week temp assignment.  I saw the posting on the Actors’ Network Facebook page and I sent in my headshot and was cast.  I was really glad about that.  I hope to be able to utilize Facebook and Twitter to get auditions, especially from those casting directors, as many people say you can.  I still haven’t determined who out of the many casting directors I should target.  Another one of my acting career projects right now is getting representation.  I am following the Representation Race program from Dallas Travers because I want to do this effectively.  Check out all her programs and free in-person workshops at   She is one of the best acting business coaches in the industry with advice and practical steps that will make you feel empowered.  I’ll be attending her free acting business seminar on June 7.

I also checked out some TV/Film acting teachers but I haven’t found my fit yet.  I really enjoyed Jeff Hardwick’s commercial class because it was comprehensive yet low-key.  I’m certain taking the class helped me to book that small commercial.  He has another four-week class starting up on June 2.  Information is at his website at

I went to the Post-Cannes Soiree hosted by Infolist.  It was at the swanky and pretty Sofitel in Beverly Hills.  I met a good number of interesting people and we all exchanged business cards, but I didn’t get cast in a pilot like last time!  (The pilot is still happening but film dates haven’t been set yet.  I’m really excited about when it happens.)  I did meet a pop culture journalist who thinks his team might be interested in interviewing me about The Go-Girls.  About my little movie: my executive producer and I are finalizing our funding plans and asking the important questions about investors and funding.  I am part of the Nancy Fulton Meetup film funding group and she has many videos and seminars about producing films.  I just watched the one about accepting money from investors under the Regulation D criteria.  I also went to a crowdfunding seminar a few weeks ago and they charge $2600 for training and support for crowdfunders with a discount of $1,000 for those signing up the day of.  That’s an easy amount for someone who makes that or more every day they work, but not little starving artists.  I’ve been really researching the crowdfunding and going to seminars for two years, so I’ve got this.

One thing I have realized is that I have a great deal of talent and that I have to conquer my audition nerves, trust what’s inside of me, and go to auditions feeling like the goddess I am.  I’ll be once again going to EPAs because theatre feeds my soul and Equity theatres pay enough.  (Mostly, though some only pay the non-Union a stipend and the Union people a weekly salary.)

Well, that’s enough info for now.  How are you guys doing in your artistic pursuit?  What have you been doing to keep yourselves going in your work and financially supporting yourselves?