Dear K8,
Hi! I'm 16 and I've been to quite a few auditions for Broadway and touring shows, but how do I find out about doing readings and workshops? I've heard that's a good way to start but it's really hard to find the information. I use Backstage.com and Playbill.com, but I really can't find information on those sort of projects! Can you help me?

Thanks,
Kalyn

Dear Kalyn,

Becoming part of the reading/workshop circuit is an interesting challenge. I didn’t even know what a reading was until I was asked to do one. Once I had participated in my first reading, it was a long time before another one came along. But over time, I have been involved in dozens – I lost count a long time ago.

Readings and workshops are what keep many actors busy when they are not employed in a show. The world can seem pretty exclusive. Most of the time, directors/writers/producers won’t even hold auditions; they will simply make offers to actors. This saves them time and money. Also, because they are often dipping into the same pool of actors that other readings have used, they are confident that these actors know what to expect, have the skills to learn material very quickly, and will make strong acting choices in a short amount of time.

However, despite this veneer of exclusivity, there are ways in for an actor who hasn't yet gained a reputation as an expert at readings and workshops.

A few suggestions:

1. The NYU Musical Theatre Writing Program is a 2-year program for aspiring lyricists, composers and book writers of musicals. In their second year, students work on writing a thesis musical, which they present in reading form at the end of the school-year. These readings require talent to be brought in from the outside. While some performers are simply asked to participate, auditions are held in advance. If you are cast, you suddenly gain access to an incredible group of people who will make up the future generation of musical theater writers.

2. Meet writers, meet writers, meet writers. Not just the ones at NYU. Go to their concerts at Ars Nova, at Birdland, at the Metropolitan Room, the Duplex… Introduce yourselves to them. There are so many young, talented writers out there, many of whom are already finding success in their field. Invite these writers to see you perform, whenever possible. Who knows – you might become their next muse.

3. This suggestion sort of piggy-backs on number 2 - expand your network of people in the business. You just never know, out of all the actors, directors, writers, producers and casting directors you meet, who might have the biggest impact on your career.

4. Perform. In whatever way you can. Several of the readings I’ve done have resulted from someone seeing me in something else, and saying to themselves: “Oh, she’d be right for this project I’ve got in the works.” It happens to actors all the time.