Jeffrey Moore over at Axtravaganza Films is looking to cast another music video here in Portsmouth, Ohio.

The band is called Righteous Vendetta and they are from Wyoming. The shoot is March 3rd here in Portsmouth, Ohio, and will be from 10AM until 2PM.

This is NON-paid but I will cover travel expenses and provide food the day of the shoot.

I am looking to cast 2 Children for the video:
I am looking to cast a young boy and a young girl around the age of 9-12

Interested parents please send a current headshots (snapshots okay) to Jeffrey@axtravaganza.com

Weathervane Playhouse will be holding auditions February 22 - 24, 2013.

Applications are also now being accepted for internships and apprenticeships for behind-the-scenes positions such as lighting, costumes, scenic design, construction, stage management, props, ticketing and administration.

Please prepare 32 bars of two contrasting musical theatre songs. Please bring sheet music in your key, an accompanist will be provided. Also prepare a one-minute monologue. There will be a dance call and movement callback. Please bring proper dance attire and shoes (flats, heels and tap shoes if you have them). You may be asked to prepare material for later in the day or to read from a script.

Full audition information and casting details can be downloaded here.

To schedule an audition, please e-mail auditions@weathervaneplayhouse.org  Please include your name, a contact phone number, and your preferred audition day and time. We will do our best to accommodate time requests. Once you are scheduled for an audition, you will receive a confirmation e-mail.

ACTING IN COLUMBUS Launches New Website!

Check out our new website at: http://actingincolumbus.net

Click on the Video Player below to see HIGHLIGHTS from Acting in Columbus:

Local investors sought to bring 'Snowman' to life! Columbus, I strongly encourage you to support this project!!

Star and the Snowman Video Pitch from Arbor Avenue Films on Vimeo.

A spokeswoman for the local Arbor Avenue Films, operating in partnership with Clintonville resident Dino Tripodis' Never the Luck Productions, last week announced that a "crowdfunding" campaign has been launched on Kickstarter to support the movie Star and the Snowman, a joint project of the separate film firms.

"The film is the story of two people searching for 'normal' in a world of death, betrayal and revenge," Michelle Garrett stated in her announcement.

Filmmakers are seeking $8,000 in funding to shoot winter scenes in central Ohio, she said.

"Arbor Avenue Films makes quality theatrical films on a modest budget," Grove City resident John Whitney, the movie's director and a partner Arbor Avenue Films, said in the announcement. "Because of the type of worlds in which our stories are set, we're able to use existing locations to communicate the visual tone of our films."

The film stars Clintonville-based actor Kevin McClatchy, who has appeared in the movies Unstoppable and Love and Other Drugs and can be seen in Catco's upcoming production of Red.

The production team includes radio personality and filmmaker Tripodis, who serves as a producer and plays a key role in the film.

"Star and the Snowman is the film that I've been waiting to produce, because as I read the script, the story and the characters jumped off the page; I could see this film as I was reading it," Tripodis said in a statement. "Working with talents like John and Phil, two guys who I know will make that happen, makes it all the better."

"It's much more economical to make a film here in central Ohio versus L.A. or New York," producer Phil Garrett of Arbor Avenue Films said in the press release. "We have an experienced team to call on here and can produce a quality film for much less. Our brand of filmmaking remains cost-effective without compromising the production value."

Together, Whitney, Tripodis and Garrett have 20-plus years of filmmaking experience.

To support Star and the Snowman, visit the Kickstarter page at: http://www.kickstarter.com/projects/230353252/star-and-the-snowman

5 Things To Know Before Heading to Hollywood By Lana Veenker

For a regional casting director, it’s tremendously fulfilling to midwife actors through their big move to Hollywood. But too often, actors take this leap haphazardly, convinced the red carpets will unfurl for their boundless talent and good looks.

Many actors I’ve watched scuttle off to L.A. over the past decade were gifted with charm, talent, and good looks. What they lacked was preparation. Bright-eyed and bushy-tailed when they pushed off the curb, most return a few years later, hardened, cynical and full of war stories.

Hollywood has no pity for the weak of heart or pocketbook. Your drive to carve out an acting career in the palm-lined “Jaws of Hell” must be so fervent that the thought of not doing it makes your skin hurt.

Convinced that you must try your hand in the City of Angels? Then for the sake of all that is good, position yourself for success with proper planning.

Behold five elemental items that belong in your arsenal, long before you pack your sunscreen:

1. Chops. I cannot emphasize this enough. The talent you’ll be competing against are hungry and masterful. Secure top-notch training and a few real credits before setting sail. No world-class schools, theaters, or productions chez toi? Consider moving to a larger market first to hone your skills. Classes at Second City and a turn at Steppenwolf in Chicago will impress more than a dozen hometown community theatre credits.

2. SAG-AFTRA Card. It’s easier to snag your SAG-AFTRA card in a busy regional hub than in L.A. Why? Producers get fined for hiring non-union actors on union gigs, unless they can prove no suitable union actors were available. That’s a tall order in a metropolis teeming with unemployed guild members, but doable in a market like Portland, where the pickings are slimmer. Get it before you go. Once you’re in L.A., no one wants to help you procure your card.

3. Connections. Reputable regional coaches, schools, talent agents, and casting directors often have connections in Hollywood and may be able to help you land representation or get a toe in at the top casting offices. A director you befriended on location might recommend you to an agent, manager, or other contact upon arrival. Got friends or family in the industry? Hit them up!

4. Money. Take lots of it. More than you think you need. By the time you touch down, your expenses will multiply: gas, food, parking…parking tickets! You’ll need new headshots right away. Those small-town ones will never fly. And you’re not moving to L.A. just to slog at a day job and spend the rest of the time in traffic, are you? Just think: if you only had to work part time your first year or so, you could spend the remaining hours taking classes, doing showcases, networking, and hustling—things that are important to do when you’re new to town, before you’ve lost your luster and become jaded.

5. A Plan: Make your move when you’ve got momentum from a few high-profile bookings, film festival accolades, or a gajillion hits on your web series. Generate buzz before you go, then know your plan when you hit the ground. Don’t think you can wing it and get discovered at the Coffee Bean and Tea Leaf. You need a plan for your housing, training, representation and day job (a field guide like Bonnie Gillespie’s Self-Management for Actors can help).

Once you’ve got all these, then you can bust out the sunscreen. (You’ll need the periodic R&R to preserve your sanity and renew your sense of possibility.) Now go get ‘em!

Casting Director Lana Veenker began her career in London and, upon returning to her Northwest roots, founded one of the top location casting companies in the country.

Recent projects include NBC’s Grimm, now in its second season, and 64 episodes of TNT’s Leverage. Gus Van Sant, Robert Benton, Guillermo Arriaga, Catherine Hardwicke and Tim Robbins figure among past film clients. Commercial accounts include Nike, Apple and Nintendo, and international campaigns from Shanghai to Santiago.

Lana is a member of the Casting Society of America and the International Casting Directors Network. She frequently lectures across the U.S. and abroad, most recently at The Actors Platform in London, IfiF Productions in Vienna, The Acting Studio in Berlin, Studio Bleu in Paris and Prague Film School.



Some place I read that the first thing actor Christopher Walken does when he commits to a new script is go through it and cross out all of the punctuation. He doesn’t want to be tempted to get into a line-reading situation that was suggested by the playwright.

Most really excellent directors will tell the actors at the first read to cross out those italicized stage directions that the playwright put in there. Words like “Lovingly” and “Tearfully” and “Excitedly” are eliminated. I’ve directed maybe more than my share of plays and make it a point to instruct the assembled cast on the first day to eliminate blocking. Things like “She crosses to pour a drink.” Or “Sally gazes out the window”. Most often, those stage directions were put in there by the stage manager of the very first Broadway production. Amateur actors and directors can follow them if they want to, but it isn’t a requirement.

An exception to this is a playwright like David Mamet or Neil Simon, both of whom make a big deal about how they don’t want side directions taken out. If I’m not mistaken, Simon even has that in his movie contracts.
But let’s forget for a moment who the few exceptions are and focus on the averages. Most playwrights, once they get on a writing roll, will “see” the play unfolding in their heads and, if a character says something a particular way, will make a note of it. That doesn’t mean you have to say the words the way they heard it in their heads.

An actor has an obligation to say the words of dialogue as written. Period. There is no obligation to say them in any particular way, even if the script suggests that there is. Indeed, part of the fun of staging a play is making the character’s words your own.

Personally, my artistic respect for a director plummets if he or she does not instruct the cast to take out the italicized guidance at the first rehearsal or read through. I take that to mean that this particular director is going to be more like a traffic cop than a director. If the script says a line should be spoken “sadly”, this kind of director will make certain it is spoken sadly. Bah! Humbug! Don’t tell me to say a line sadly. The way I say the line will come out of the playing of the scene and depends a lot on what the other actors are doing.

By the same token, lines can be broken up to great advantage. Suppose a character has this line: “Jesus Christ, don’t you dare talk to me like that, mama!” Just because all of that is in one sentence doesn’t mean you have to run it all together. You might, for example, exclaim, “Jesus Christ!” out of exasperation, intending to say nothing more. Then the rest of the thought comes to you. “Don’t you dare talk to me like that, mama!” In other words, the actor might well make two lines out of one.

I have always advised my acting students that the best gift an actor can give his scene partner is to surprise her. Don’t be predictable. The two of you have rehearsed until you have a good idea what one another is going to do. Now, in the playing of it in front of an audience, forget about all of that. Reading a line of dialogue is not intended to be frozen. It comes out of the moment. I figure that, even if I have seen a play fifteen times, I should be surprised by the sixteenth production.

Writing about this takes me back thirty years to summer stock outside of New York. There was a young actress in the company whose idea of acting was to get your performance “right” and then never vary it at all. She said every line the precise same way every single time, and it was the most boring thing in the world to act with her. Sweet girl, though. I wonder whatever happened to her? She’d have made a great mom because her kids could count on her to be consistent.


ACTING IN FILM by Michael Caine

A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael Caine is uniquely qualified to provide his view of making movies. This new revised and expanded edition features great photos throughout, with chapters on: Preparation, In Front of the Camera - Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more."Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING!"- Gene Siskel


"This fascinating and detailed book about acting is Miss Hagen's credo, the accumulated wisdom of her years spent in intimate communion with her art. It is at once the voicing of her exacting standards for herself and those she teaches, and an explanation of the means to the end. For those unable to avail themselves of her personal tutelage, her book is the best substitute."
—Publishers Weekly