vol 16 no.01 question of the month new york views much...

January 27, 2012 © 2012 All Rights Reserved

Vol 16 No.01

Question of the Month New York Views

In This Issue

Much AdoThe Twice Monthly Access Newsletter’s Blogby Richard Hart

Much Ado con’t on page 8

SUCCESS STORIES

Success Stories con’t on page 7

Sites Express

Much Ado Page 1New York Views Page 1Question of the Month Page 1Success Stories Page 1Sites Express Page 1

Quick Notes Page 2NY Production Notes Page 2Casting Corner Page 2 Exploring the Web Page 3Actor’s Voice Page 4

OFF BROADWAY SEASON: WINTER 2012

LOOK BACK IN ANGERRoundabout Theatre Company Laura Pels TheatrePreviews start: Jan. 13Opening: Feb. 2Director: Sam GoldPlaywright: John Osborne► A revival of John Osborne’s searing portrait of four people struggling to live together and love each other in 1950s England, with Adam Driver, Sarah Goldberg, Anastasia Griffith and Matthew Rhys.

YOSEMITERattlestick Playwrights TheatrePreviews start: Jan. 18Opening: Jan. 26Director: Pedro PascalPlaywright: Daniel Talbott► The world premiere of Daniel Talbott’s play about three siblings who are sent out into the woods to dig a hole deep enough to bury a family secret.

RXPrimary Stages at 59E59Previews start: Jan. 24Opening: Feb. 7Director: Ethan McSweeny

H e r e i s a n o t h e r s e g m e n t of Success S t o r i e s , the column devoted to the triumphs o f o u r hardworking actors. This month we have chosen the accomplished artist, Dave Vescio. Born in Somerset, Pennsylvania in 1970, Vescio began making his own way through life at a very young age, joining the U.S. Army (25th Infantry Division) when he was 18-years old as a combat light infantry soldier with a specialty in jungle warfare. He studied Broadcast Journalism at Virginia Tech after his service, and Vescio soon found himself working as a TV Photojournalist for CBS News.

What follows is a journal I wrote in the form of emails to friends and family during my (first ever) trip to London over the Christmas holidays. Enjoy!

SUNDAY, DECEMBER 25 - CHRISTMAS DAY11AM - Merry Christmas from Londontown, everyone! Sitting here in my hotel room trying to stave off sleep because there are already things I want to do today and I don’t want to fall asleep just yet because I’m way too excited. Tried to sleep on the plane without success, so I’m pretty exhausted from the flight and all the rest of it - the anxiety of going through customs for the first time, them almost losing my luggage, trying to find the almost-impossible-to-find coach bus into town, and the fact that on Christmas Day in London, EVERYTHING shuts down - stores, restaurants, the tube - so I’m going to have to be very creative in finding

Question of the month con’t on page 6

New York Views con’t on page 5

http://drinkify.org - provides cocktail recipes based on the kind of music you like to listen to.http://thekittencovers.tumblr.com - this site takes all of your favorite album cover art and replaces the people with kittens.http://stevegobs.tumblr.com - a fanciful, funny site courtesy of Will Arnett.http://sexy-sweaters.com/?9d0efe10 - this site is dedicated to designing the dopest pop culture sweatshirts you’ll never be able to buy.http://www.huffingtonpost.com/2011/12/08/who-are-the-top-11-heroes_n_1135116.html#s527359&title=Guard_Dog_Hero - heroes of 2011, starting with the Japanese earthquake guard dog.http://inhabitat.com/german-village-produces-321-more-energy-than-it-needs/?mid=5466 - read more about this

Q: For some reason, I was unable to email Sides to one of my clients. To facilitate the process, I gave him my Sides Express password so he could access the Sides he needed. Now I’m concerned that he will use the password to access my Breakdowns. What should I do?

A: Under no circumstances should you ever give your password to one of your actor clients, even if your Breakdown Express password and your Sides Express password are different. When agents and managers and/or their assistants give out their password to unauthorized personnel, including actors, it opens up a security breach that is easily spread. Security is of the utmost importance to Breakdown Services and to the Casting Directors who trust our system.

If you have given out your password to one of your actors, you should get in touch with Breakdown Services immediately and have your password changed. While it’s possible your client may never use your password


Vol 16 No.01

NY PRODUCTION NOTESAmanda Seyfried has joined Hugh Jackman, Russell Crowe, Anne Hathaway, and Eddie Redmayne for “Les Miserables”.

Jason Bateman and Melissa McCarthy will star in the Seth Gordon directed “Identity Thief”.

Kristen Wiig is in talks to join Ben Stiller for “The Secret Life of Walter Mitty” which plans to shoot in April.

NBC has made pilot orders to Roseanne Barr’s “Downwardly Mobile”, as well as comedies “Go On” and “Animal Kingdom”.

ABC has cancelled “Work It”, and ordered a pilot for its own reboot of “Beauty and the Beast”, after the CW had given a pilot order on its own version.

Kate Winslet will star in “The Guernsey Literary and Potato Peel Pie Society.” The Fox 2000 pic starts shooting in March. Chris Evans will star in “Snow Piercer.” Feature starts production in March. AMC has extended its third season order for “The Walking Dead” from 13 episodes to 16. Jeff Probst will direct “Kiss Me.” Pic starts shooting in Feb. in L.A. Tom Cruise and Olga Kurylenko will star in an untitled sci-fi pic. Feature starts shooting in the next few months.

Quick Notes

Elevator Repair Service’s six-and-a-half hour version of F. Scott Fitzgerald’s “The Great Gatsby,” which premiered last spring at the Public Theater, will return to the Public after a lengthy U.S. tour. The show, called “Gatz,” centers on an office worker who becomes fascinated with reading Fitzgerald’s book, leading to a verbatim reading of the entire book. Hoping to re-create the success of the show’s original sold-out run, “Gatz” will open March 14 at the Public for a seven-week run ending May 6. Scott Shepherd will reprise his role as the obsessed office worker.

For those who missed this announcement back in December of last year, Alan Cumming will star in a one-person version of “Macbeth” at the Lincoln Center Festival in July. Mr. Cumming will take on all the parts in Shakespeare’s tragedy and will reteam with director John Tiffany, who directed the actor in “The Bacchae” in 2007. The production will play at Glasgow’s Tramway in June before coming to NY for a short run July 5-14.

“Leap of Faith,” a 1992 Paramount film starring Steve Martin as a charlatan faith-healer and his relationship with a single mom in a small Kansas town, will be getting the tuner treatment with hopes of a fall opening later this year. The show is to be directed by Christopher Ashley with a book by Janus Cercone and Warren Leight and choreography by Sergio Trujillo, with music by Alan Menken and lyrics by Glenn Slater. Raul Esparza is attached to play the faith-healer. At this point, no dates, theater or further casting has been announced.

Michael Douglas will receive the 12th annual Monte Cristo Award from the Eugene O’Neill Theater Center for his career achievements and contributions to the legit community. His wife Catherine Zeta-Jones will present the award at the Monte Cristo gala scheduled for April 16 at the Edison Ballroom. Mr. Douglas spent three summers as an actor at the O’Neill Festival in the 1960s and has been a member of the organization’s board of trustees since 1980.

Jerry Mitchell has inked a deal to launch

his own production company, Jerry Mitchell Productions, in association with U.K. producing organization and theater owner Ambassador Theater Group. The goal is to create, develop and produce stage projects for ATG theaters in London, New York and at spots around the globe. Mr. Mitchell will serve as creative producer and will also direct and choreograph some productions. ATG is the largest legit company in Great Britain, with over 39 theaters overall, 13 in the West End.

There will be a developmental reading this spring for a musical version of dog tale, “Because of Winn Dixie,” with the hopes of bringing the new musical to Broadway at some future date. Nell Benjamin will write the book and lyrics with Duncan Sheik writing the music. John Tartaglia is set to direct. The show will be based on the 2000 Kate DiCamillo novel of the same name which also inspired the 2005 film. The story centers on a stray dog who helps a young girl embrace life and reconnect with her father. No dates for the reading have been set.

Howard McGillin is joining the cast of the upcoming Broadway adaptation of Daphne Du Maruier’s “Rebecca.” The musical has been adapted for the stage by composer Sylvester Levay and lyricist-playwright Michael Kunze, with an English translation by Christopher Hampton. It will premiere at the Broadhurst Theater on April 22. The cast also includes Sierra Boggess, Tam Mutu, Karen Mason and James Barbour.

This summer, the Sydney Theater Company’s production of “Uncle Vanya,” starring Cate Blanchett, Richard Roxburgh and Hugo Weaving, will be a part of New York’s Lincoln Center Festival from July 19-28. The well-reviewed production has already played the Kennedy Center in Washington, D.C.


Vol 16 No.01

EXPLORING THE WEB

Exploring the Web con’t on page 5

CLASSIC MOVIESIf you’re a fan of the classic film genre (like I am), then you will love this site, called simply Classic Movies (http://www.classicmovies.org/index.html). According to webmaster and host Brad Lang, “Classic Movies is your best source of information on the Web (currently #1 or #2 on Google for ‘classic movie’ searches, depending on which server you’re using) about classic movies, movie stars, directors, and all the things you love about the Golden Age of Hollywood. Our focus is on films made more than 20 or 30 years ago, and more specifically on movies from the 1930s, 40s, 50s and 60s, when they really knew how to make ‘em!”

Brad’s online bio states that he is a professional writer who has also been an actor, musician, published novelist, cab driver and disc jockey. He has appeared in dozens of plays and has written a musical which has yet to be produced. He attended Michigan State University, where he majored in English. His multi-media development skills are self-taught. More to the point, he is a lifelong movie fan who was once the Guide for the About.com Classic Movies site, from May 1997 to March 2004. (Almost all the content from that site is on Classic Movies.org for users to enjoy, with hundreds of additional pages added after March 2004.)

The site is simple and easy to use. There is a search mechanism, of course, which will allow you to search for any film or actor. Many of the links provided through the search mechanism circle back to the Turner Classic Movie site, but you will also discover a wealth of additional information. A search for Norma Shearer, for example, turned up a link to a list of Oscar winners from 1927-1939, as well links to clip art featuring Ms. Shearer and another link to a variety of online images of the classic film star. If you’d like to see which of Ms. Shearer’s films are available on DVD, there is a handy A-Z list of some of the most popular films from the late 1920s through the early 1990s and beyond in a few cases, with links that will take you to either Movies

Unlimited (commercial DVDs), Amazon.com (DVD and, in some cases, VHS tapes), or The Warner Archive Collection (DVDs and downloads). Brad has accumulated over 2,000 listings, including collections, and he continues to add new ones (almost entirely DVDs, since releases on VHS are becoming extremely rare) as time goes on. The list is updated as often as possible to replace movies no longer available on VHS with DVD versions or to add more new titles. And each week, the new releases are accessible through a handy link. The list is by no means complete, so if you do not see the film you want, you can click on any random film title, and when you arrive at the supplier, type the name of the film in the search box. If you still don’t find the film there, you can check out Brad’s extensive list of online video/DVD sources.

In addition to the film title and actor links, you will also find a substantial number of feature articles and news items, over 1,200 pages of information about your favorite old films or classic film stars. Clicking on the link for “Feature Articles” will take you to a list of articles that include interviews with some of the few remaining classic film stars, tributes to some of those who worked, both onscreen and off, during the Golden Age of movies, and essays on the history of Hollywood (like the role of censorship in the movies over the years or the tragedy of the Hollywood Blacklist.)

Another fun feature is Brad’s collection of wav sound files from many of your favorite classic (and some not-so-classic) films. The links are provided in two categories: A link for a specific movie means there are two or more sounds in that collection. Alphabetical listings (A-D, E-R, etc.) are for films with only one sound file. So if you want to hear Hal give instructions to Dave from “2001: A Space Odyssey” or listen again to Katherine Hepburn evoke the strange beauty of the Calla Lilly, this is the place for you. You may also choose to visit the site’s advertisers in order to get the best deals on videos, DVDs, posters and collectibles, and to help support this site. And you can keep up to date about what’s happening on this site by subscribing to the weekly email newsletter, available by using the convenient subscription form on the site’s home page or by subscribing to the RSS feed (details at the very bottom of the left-hand column on the home page).

You can also visit the site’s own Classic Movies Store, where you’ll find great classic films recently released on made-to-order DVD by the Warner Archive Collection and MGM, priced at up to 25% off the usual retail price. Since there is only one (or in a few cases, two)


Vol 16 No.01

Bonnie Gillespie’s “Vid Is It” and “Emma J. Purvey’s POV” article was originally published at www.showfax.com under the Actors Voice. For articles written by Mark Sikes go to www.showfax.com under the Casting Corner. Both Casting Directors contribute weekly exclusive columns to Showfax. Views expressed in Actors Voice and Casting Corner do not necessarily reflect the views of Breakdown Services

The Actors Voice con’t on page 6

Do you remember record albums? Like vinyl? And do you remember that some people liked to buy albums and others liked to buy 45s? Some people wanted an entire album, so they could hear all the different things their favorite band could do, while others only wanted the hits and rarely cared what was on the B-side. Remember that?

There are those who want range, others who want specificity. That’d be--where video is concerned--your agents and your casting directors.

Agents generally want to know all the things you can do, because that allows them to know all the ways to submit you. They can understand the full range of your abilities and how others have cast you before, which helps them get you in front of the buyers on the next project and the next and the next.

Casting directors generally want to know, “Do you solve this problem I’m having right here, right now?” While they’re certainly happy to know you have range, if you talk them out of believing you’re going to NAIL that thing they need you to do on set tomorrow, you’re less castable than an actor who makes them believe, “Hey, in my sleep, I do this. All day. This is me. No risk.”

Already this year, I’ve cast a series of commercials for a car dealership and we needed to see actors “floating” as they tend to do around this particular make of car. Not many actors have on their demo reels footage that specific, so we invited actors to put up audition footage in that tone, at the time of their submission. Many did. Others did not. Twenty-six of those who did not self-tape SO had the

right look that the director--after huddling with the producer and the client--asked me to ask them to upload footage of themselves doing something “float-like” near a car, like folks tend to do around this make of vehicle.

They wanted to “hear” the 45. They couldn’t get a sense of the “hit,” from “hearing” the whole album. Basically, these actors’ demo reels weren’t showing them exactly what they needed to see, but the decision-makers felt it was likely the actors DID have it in ‘em.

Yes, we’re witnessing the evolution of auditions, to a certain degree.

Certainly, there will always be in-person auditions. There will always be producer sessions. There will always be chemistry reads. These things aren’t going away--especially on the most high-stakes projects (like a series regular role on a network show, let’s say). But first reads are slowly becoming a narrower and narrower needle’s eye through which to thread a piece of string.

Being ready to shoot yourself, upload footage, and show folks that you can do exactly what they need done is becoming “the new normal” for some projects. And it’s not just happening in LA (in fact, it’s happening MORE elsewhere). I’m writing this week’s column from the Self-Management for Actors tour in Orlando, and when I asked a room of 75 or so actors at the SAG Foundation and AEA event Friday night whether they had ever put themselves on tape for a first read, nearly three-fourths of the actors in the room raised their hands.

And they love doing it. These actors are used to driving sometimes hours for auditions, so to put themselves on tape is a great deal! Upload the best take. Get it right. Feel good about it. Save time, overall. And, YAY, get “in the room” (virtually) for projects all over the world.

Of course, if you’ve adapted the specifically-labeled scene model and are submitting the right clips (the 45s) on the right projects at the right time, you’re getting closer to teaching buyers you’re right for roles without having to go to the trouble of shooting footage for the read. Awesome! These are two ways in which we’re pushing toward the new way of doing

business.

Oh, and I should note that--even though I always tell actors their vids will be viewed if they include links within the NOTES section of their submissions at Actors Access--lately, because so many (seriously, SO many) actors are attaching footage to their actual submissions (meaning, their vid clips are linked within their profiles at the submission site), some of the “here’s my reel at YouTube” notes are being overlooked by the decision-makers. Consider this, when you are weighing the pros and cons about uploading specific footage at your profile.

If you’re game to upload footage for projects on which you’re already being told you’re in the final few (like, those 26 actors I mentioned, above), please prepare yourself for success (PDF), there. Have a camera ready. Have a place in your home set up for shooting. Have good lights. Have good sound. Have a buddy who will read with you (as you will for your buddy). And be able to upload on short notice.

I asked my Twitter followers how much time they would need to upload 20 seconds of footage on a project that they had already submitted to be considered, when given notice that they were in the final round of consideration. Everyone who replied said it would take anywhere from 20 minutes to four hours to get that done. I love knowing that, and I’m paying attention to those who say that it’s do-able. One of the few actors who uploaded footage of “the float”? She ended up on set a few days later. So, it works.

I love that. Can’t wait to meet her. It’s not the first time I’ve cast an actor I’ve never met. In fact, it’s probably the tenth time since 2008. And this is only getting more common. Sure, not all projects are ones on which a “virtual casting” will work, but some are. And for those that are? Be ready. Nail it. Lay down that hit single and let’s jam!

Emma J. Purvey’s POV: New YorkCreatives often pick up and move, changing their lives--multiple times--as they discover new components to their creative pursuits and


Vol 16 No.01New York Views con’t from page 1

Exploring the Web con’t from page 3

Playwright: Kate Fodor► Kate Fodor’s quirky comedy about romance in the age of prescription drugs asks what we really need to heal ourselves.

CQ/CXAtlantic Theater Company at Signature Theater Company’s Peter Norton SpacePreviews start: Jan. 25Opening: Feb. 15Director: David LeveauxPlaywright: Gabe McKinley► An up-and-coming reporter at The New York Times has dreams of becoming a famous journalist, but in a flash, they come crashing down when he becomes the center of a plagiarism scandal.

THE UGLY ONEThe Play Company/Soho Rep at Soho Rep MainstagePreviews start: Jan. 26Opening: Feb. 2Director: Daniel AukinPlaywright: Marius von Mayenburg► New York premiere of this social satire about a widget designer who has a normal life, until one day he learns the truth.

HOW I LEARNED TO DRIVESecond Stage TheatrePreviews start: Jan. 24Opening: Feb. 13Director: Kate WhoriskeyPlaywright: Paula Vogel► The first New York City revival of Paula Vogel’s Pulitzer Prize-winning play about a series of driving lessons that progress from innocence to something much darker.

CARRIEMCC Theater at the Lucille Lortel TheatrePreviews start: Jan. 31Opening: March 1Director: Staffird ArunaBook: Lawrence D. Cohen, based on the novel by Stephen KingMusic: Michael GoreLyrics: Dean Pitchford► Marin Mazzie and Molly Ranson star in this newly reworked and re-imagined production of the infamous and short-lived Broadway musical about a misfit girl with telekinetic

powers.

GALILEOClassic Stage CompanyPreviews start: Feb. 1Opening: TBADirector: Brian KulickPlaywright: Bertolt Brecht► F. Murray Abraham stars in this new production of Brecht’s play about the life of Galileo Galilei, the great Italian Baroque natural philosopher, who was persecuted by the Roman Catholic Church for the promulgation of his scientific discoveries.

ASSISTANCEPlaywrights Horizons Mainstage TheaterPreviews start: Feb. 3Opening: TBADirector: Trip CullmanPlaywright: Leslye Headland► New York premiere of Leslye Headland’s new play about young office assistants working for a hellacious boss, wondering what they’re all working toward.

AN ILLIADNew York Theatre WorkshopPreviews start: Feb. 15Opening: TBADirector: Lisa Peterson► Lisa Peterson and Denis O’Hare create a sprawling yarn based on Homer’s epic tale of gods and goddesses, undying love and endless battles told through an original and immediate voice, with Mr. O’Hare and Stephen Spinella alternating performances.

PAINTING CHURCHESKeen Company at the Clurman TheatrePreviews start: Feb. 14Opening: TBADirector: Carl ForsmanPlaywright: Tina Howe► The first New York revival of Tina Howe’s play about the changing dynamics in the parent-child relationship later in life.

THE TWENTY-SEVENTH MANThe Public TheaterPreviews start: Feb. 21Opening: TBADirector: Barry EdelsteinPlaywright: Nathan Englander

► The world premiere of Nathan Englander’s play, based on his short story of the same name, about a Soviet roundup of the giants of Yiddish literature in Russia.

THE BIG MEALPlaywrights Horizons Mainstage TheaterPreviews start: March 1Opening: TBADirector: Sam GoldPlaywright: Dan LeFranc► The New York premiere of Dan LeFranc’s play tracing five generations of a modern family.

RUSSIAN TRANSPORTThe New Group at the Acorn TheatrePreviews start: Winter 2011Opening: TBADirector: Scott ElliottPlaywright: Erika Sheffer► The world premiere of Erika Sheffer’s play about an immigrant couple, their two assimilated teenagers and the upheaval they experience when an uncle from the old country comes to stay with them.

of each available, you’ve got to act fast. All profits go to support the site. (You’ll actually be purchasing from Brad’s store on Amazon Marketplace, which is called Writer890’s store. You’ll notice a few other items for sale there in addition to movies.) All in all, this is a great site for any classic movie lover. Tons of information and excellent resources designed to help you find that hidden classic. As Brad says, “True classic movie fans can’t get enough photos, sound files, and stories about their favorite stars, directors and films. I’m pleased to be able to offer you my own special tributes to the actors, filmmakers, and movies you love, plus hundreds of annotated links to the best classic movie sites on the Web.”


Vol 16 No.01

The Actors Voice con’t on page 10

Question of the month con’t from page 1

The Actors Voice con’t from page 4

places that help them celebrate those choices more fully. Emmy J. Purvey is a New York-based actor who started out in London, and who has worked as a model in Miami. As she continues to build her career, she reflects upon some of the major lessons she has experienced, and today, she shares those reflections with us.

Interaction with Actors; Tips for Ac-torsAs a British actor living in New York, you go through a stage where you don’t feel you fit in anywhere. You think like a New Yorker but you aren’t one and yet when you return home you have become too much like a New Yorker. So you have this new identity and perspective and it is a combination of the best of both worlds. It is an international perspective and you understand the world is your home, not just one country. This brings a new depth to your work and I believe is a valuable asset to what you have to offer as an actor.

When I first began to study acting, I felt accepted and understood. I found a home, a place where people spoke my language. I had finally found an outlet and discovered that my sensitivity and emotional depth was a gift and not a burden. I now understood how to channel it. Getting to this understanding was a major breakthrough for me. I also understood that my life before acting prepared me and I now know the time and energy invested into getting to know myself was the groundwork to build my training upon.

Training alone I discovered can only work when you combine it with knowledge of self, when you understand the experiences you have had in life you can then use them objectively for your craft if you so choose. I used to think to myself, “Why didn’t I study acting before broadcast,” but I now know, that is because everything led me to this moment and it turns out, broadcast was a smooth transition into acting.

You are your product and self-discipline is a huge part of being an actor in order to maintain your product. Becoming a vegan taught me how the outside is simply a reflection of the inside. My body is leaner, my skin glows, and my hair shines more since I made the choice to be a vegan.

I learnt from modeling that you always have to be ready to go at a moment’s notice, which means--apart from the obvious acting tools--grooming should be a reflex. I am a fan of yoga; it gives me balance and the breathing helps my voice technique.

The greatest lesson learnt for me is to love yourself and accept who you are and stay true to yourself, even if that means standing alone. Only then can you market yourself successfully. I think self-love should be taught in school; it is that important. If you don’t fully believe in yourself, then who will?

Relationships are everything and building them and maintaining them is vital and normally leads to repeat bookings. For example, I called a producer I had worked with to say hello and she asked if I could do a Polish accent, as they had to replace another actor in a project. I could and I was booked for a three-day job in Mexico. Had I not called, I may not have been considered.

I also think it is wise to tap into all your talents. Voiceovers are great money and fun and actually a welcome break from not having to think about how you look. I love being in the sound booth.

My interaction with actors on the whole has been hugely positive and nurturing. I find that problems arise when, on the odd occasion, I have had to work with “so-called actors” (people that just try it for something to do and don’t respect the craft or take the time to invest in learning the craft). I remember on an Off-Broadway play a couple of years ago (I will not mention names), this happened and my scene partner really enjoyed creating a hostile environment. I had to make a choice to not let this affect my work and stay true to myself and be a professional. There will be people like that but often they won’t last long in the industry as they are in it for the wrong reasons and nobody wants to work with someone negative and unprofessional.

Another experience I had that stands out was on a job overseas and after each shoot day we would all go to dinner; the client, crew, other actors, and then some people would go on to party. I had one objective and that was to do a great job so I would go to bed and read my script after dinner, ready for the early-morning calltime. I was actually confronted by another

actor and called antisocial because of this and it made me realize that you have to stay true to yourself. I was there to do a great job.This actor later apologized and I found out he had a problem because the client really liked me and he thought I had it easy. Jealousy can be direct or indirect, and such a waste of energy. My lesson from this is to stay committed to your objective. While it is important to socialize with the crew, client, etc., it should never come before your work. I felt empowered after this situation. No one and nothing can distract you from being your best, if you’re committed.

People may only see the end result, but the behind-the-scenes work is never-ending. I think that it is important to have a good team and to communicate openly and honestly at all times, to surround yourself with winners--positive, uplifting people that respect your work. Just like a dancer works on their instrument daily, the same is true for an actor.

Dream big and always stay true to yourself.

It is so very important not to let forces of jealousy, personality conflicts, or poison

to access the Breakdowns, it is important to change the password just in case.

When an employee leaves your company, you should also get in touch with Breakdown Services to have your password changed. That will prevent any one from using or selling your password to someone who should not be using it.

We here at Breakdown Services received periodic complaints from agents and managers about actors accessing the Breakdowns. Having your password changed when an employee leaves, or when you suspect that an authorized person has access to your password, can help us keep this security issue under control.

As always, if you have any questions concerning the above, please feel free to contact us at Breakdown Services. 212-869-2003 (NY) or 310-276-9166 (LA). We’ll be more than happy to help.


Vol 16 No.01

Success Stories con’t on page 8

Festival in September, where the critics and the audience members where just thrown for a loop. ‘Hick’ is about a 13-year old girl who decides to run away from home (because she lives with a dysfunctional family), and the honest to god reality of what would probably happen to a 13-year old if this situation actually happened. And honestly, the novel is a semi-autobiographical story in the first place. So, the Toronto Film Festival audience members who were under the age of 18 just loved this film! J But, the older adults well, they were very critical of the storyline and the situations that this 13-year old character was placed in. But, that’s real life for you, and real life situations must be told to the world, because it prepares us for the reality of life. So, right now, there is talk that the film will be screened for the American audience at the Sundance Film Festival this January, and either screened at Cannes for the European audience next May, or released theatrically after the Sundance screening. So, I’m totally looking forward to seeing how the international audience reacts to this beautiful, truthful art piece!

Breakdown: What advice would you give to your fellow actors?

Dave: That’s a good question. This is what I know about the film & TV industry. We are all here for different reasons. So, just figure out why you are really here, and then just do that for now on. Become the master at that. So, if you really want to become famous, then become famous. Hire a publicist on a monthly basis, create a huge social network following, and sell merchandise to all of your fans. If you want to make a nice living at professional acting, then either create your own acting projects for the paying audience to see each & every year, or become the best of the best at your specific niche / typecast. And if you want to create great art, then surround yourself with award winning producers, directors, writers, actors, cinematographers, and other crew members. Because whatever you choose to focus on in life, is what you’ll actually get. And what you don’t focus on, is well, what you’ll never get. So, really figure out why you became a film, TV, theatre, and/or internet actor

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Here is another segment of Success Stories, the column devoted to the triumphs of our hardworking actors. This month we have chosen the accomplished artist, Dave Vescio. Born in Somerset, Pennsylvania in 1970, Vescio began making his own way through life at a very young age, joining the U.S. Army (25th Infantry Division) when he was 18-years old as a combat light infantry soldier with a specialty in jungle warfare. He studied Broadcast Journalism at Virginia Tech after his service, and Vescio soon found himself working as a TV Photojournalist for CBS News. Performing on screen was always a natural medium, and it was only a matter of time before Vescio was accepted as a full-time student at the Atlantic Theater Company in NYC led by an impressive ensemble, the likes of writer/director David Mamet and actor William H. Macy (Fargo). Dave quickly found his passion for playing the villain in theater plays and feature films. For nine years Vescio has meticulously perfected his craft, focusing on the antagonist and offbeat roles and developing his own unique style of acting. With his stunning ability to step into the mind of the character, and a preference of provocative and controversial roles, Vescio offers a performance that invades audience’s comfort zones. Always attracted to the darker side of life, Dave Vescio has performed in over 40 horror and science fiction films, including SyFy’s Gemini Rising, Lionsgate’s Virus X, and the thriller Lost Soul. A rapidly rising star, Vescio takes the helm of the villainous role in the upcoming blockbuster Hick (2012) alongside a star-studded ensemble including Alec Baldwin, Blake Lively, Juliette Lewis, and Chloe Moretz.

Breakdown: How long have you been on Actors Access (AA) and how did you find out about the service?

Dave: Wow, I think I’ve been using Actors Access since the spring of 2004. That’s when

I became a film actor in New York City. And before that I trained for two years as a theatre actor with David Mamet’s Atlantic Theatre Company Acting School.

Breakdown: What success have you had with AA?

Dave: Tons of success, actually. I think I have fifty-five IMDb acting credits, plus, I’ve done dozens on dozens of other acting projects that aren’t listed on IMDb, such as other short films, industrials, commercials, music videos, and etc. etc. And the mass majority of the bookings that I’ve gotten as an actor were definitely from the casting notices that I or my agent have found on Actors Access or Breakdown Express.

Breakdown: What is the most helpful feature on AA?

Dave: I believe the most helpful feature on Actors Access is the casting director articles that Bonnie Gillespie & Mark Sikes both write each and every week. There’s tons of useful information for us actors to use in our careers. And honestly, I wouldn’t be the actor that I am today, if it wasn’t for the successful industry members who have shared their hard earned information over the years with me through articles, books, and in person interviews. I also like how Actors Access let’s us actors share our headshots, resume, & demo reel as internet links. That way I can attach this Actors Access link to every single one of my emails that I send out to industry members. Very useful tool! J

Breakdown: What has been your favorite acting experience?

Dave: Wow, my most favorite acting experience so far is the feature film that I did this past March in North Carolina called ‘Hick’. It stars Alec Baldwin, Blake Lively, Juliette Lewis, Chloe Moretz, Rory Culkin, & Eddie Redmayne. And it’s based on a critically acclaimed novel by the same name written by Andrea Portes. And so far, this film has created such a controversy. It actually world premiered at the Toronto International Film


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in the first place, and just focus on that for now on. That’s the best advice that I could ever give anyone. Because whatever your personal answer is, is the answer that will bring you joy and happiness in life. Just follow your heart. Follow your bliss.

Breakdown: How long have you been acting and what made you go into the field?

Dave: I actually didn’t start acting until I was 32 years old. So, that was the summer of 2002. Before that I was a TV photojournalist for CBS News (specializing in spot news: natural disasters & man-made disasters). And before that, I was a combat light infantry soldier in the U.S. Army (specializing in jungle warfare). And what made me leave working behind the camera for CBS News was the fact that I just didn’t want to win Emmys as a TV photojournalist. I wanted to win a major entertainment award for something else. I just didn’t know what that was at the time. Was it going to be for reporting or for anchoring? Or was it going to be for something else? I just didn’t know; until the spring of 2001, when it just struck me one morning that I just wanted to be a professional actor for now on. So, I read over three dozen acting books, found out that David Mamet’s ‘True and False’ acting book, plus, the book that his students wrote, where my two most favorite acting books of all time. So, I applied to David Mamet’s acting conservatory, got in, and finally started training there in June of 2002. And since then, I’ve been slowly working my way up the career ladder as an actor, working with award winning film festival industry members & major award winning industry members as well, so, one day in the near future, I’ll get that major entertainment award as an actor. That’s why I am here as an actor; to create great controversial, provocative art, that invades the audience’s comfort zones.


something to eat. But one step at a time. For the moment, a quick nap and then out the door for my Charles Dickens’ Christmas Carol Walking Tour. Now if I can only get my new travel alarm to display the correct time!

4PM - Well, I’m sure the Dickens’ Christmas Carol Walking Tour of London was delightful and charming, and hopefully, some day, I will experience it. But not today. Just couldn’t stay awake long enough and was just too tired and hungry after the flight. Didn’t realize jet lag could be so draining! Still, I couldn’t sleep for very long, so I got up eventually and walked down towards Trafalgar Square. Ate in a little Indian wrap place. Was so dazed and confused from the jet lag I left my takeaway sack on the counter. Also, after weeks of studying my British coin collection, I still don’t know a pound from a pence and tried to pay the guy way too much. Oh, well. I’m sure I’ll catch on soon enough. Then walked around Trafalgar Square, which is right down the Strand from my West End hotel, the Strand Palace. Walking back, all I did was cross the street, and the next thing you know, I found myself down on the Embankment, which is a few blocks south of my hotel. Have NO IDEA how I got there! I swear to God I thought I was walking in a straight line back to my hotel. At least I knew more or less where I was. Months of pouring over those London maps has actually paid off. But I will have to be more aware, at least these first few days, of where I’m walking, because it’s pretty easy to get lost. I will say this - London is a beautiful and charming place and I can’t wait to see more of it. Going all the way to East London tomorrow to see a “Cinderella” panto, so that should be quite an adventure. Better see if I can get a little more sleep. Not enjoying this jet lag AT ALL!

MONDAY, DECEMBER 26 - BOXING DAY9AM - Greetings, everyone! What a gloriously overcast morning it is here in London! Finally got some sleep last night and feeling refreshed this morning. Just went out to see what I could scrounge up for breakfast and, of course, it being Boxing Day, the only thing open was McDonald’s. Well, thank God, because otherwise all I’d have to eat this morning are the sugar packets the hotel provides with the

tea service. Today, I start with a walk down to Buckingham Palace (I got a good look at it on the cab ride from Paddington yesterday and it’s pretty spectacular) and then I circle down to Westminster Abbey. I won’t be going in, but I will be doing one of Rick Steve’s audio walking tours of the surrounding area. And then it’s off to try and find a way out to Stratford in East London for “Cinderella.” This being London, there is naturally a tube strike today. Yipee! Some lines are running, partially, and some are not running at all. Even if I can get out there on the tube, there’s no guarantee I can get back. Don’t they realize I have a theater schedule to meet? Anyway, I could end up on a bus or, God forbid, taking a taxi, which would cost me about $40 both ways. Well, I’m just going to assume I’m going to get out there and back with no trouble and then let the Universe take care of the rest.

6PM - Just had the MOST amazing day! Strolled down to Buckingham Palace and around St. James Park, which is truly one of the most beautiful parks I’ve ever seen. Small, but so peaceful and lovely. With geese and ducks everywhere. Really serene, especially early in the morning when no one was around. Sat on a bench in front of the lake for about twenty minutes just soaking in the surroundings, then headed down to Big Ben and Parliament and Westminster Abbey. More tourists down that way, but still not very crowded. Sat on another bench down a piece from Westminster Bridge and watched the Thames flow by and the London Eye go around. The Eye moves much slower than I expected. I might give it a try after all sometime before I leave. Then I strolled back up to the Theatre Royal Haymarket and picked up my ticket for “The Lion in Winter” tonight (a limited run starring Robert Lindsay and Joanna Lumley) and then headed back to my hotel to see if I could get a tube service update. The Universe was truly looking out for me, because just about the only line running in the city was the Central Line, which was the line I needed to get out to Stratford to see “Cinderella.” OMG! You should have seen the show they put on out there. SO MUCH FUN! It would take too long to describe everything, but imagine a campy, trashy, fractured-fairy-tale version of the Cinderella story, set in the

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Caribbean (with an island-flavored score) and accented with some truly macabre touches (one of the step-sisters actually cuts off her toes so that her foot will fit into the glass slipper), all performed in a very loose style with lots of improvising and audience interaction. The step-mom and step-sisters were played by men, which is a tradition in English panto. (The actor playing the step-mom was especially funny and looked just like Geoffrey Rush.) I was literally the only American there, but I did manage to meet some wonderful people, including the man sitting next to me who sees a panto each year with his entire family, all of whom were sitting around me. Sixteen people in all, including his seven grandchildren. What a great time I had! And that doesn’t include me getting lost in the new, huge Westfield Mall while I was trying to find the theater. Mobbed, because it was Boxing Day (a HUGE sale day in London!), that place was like an American suburban mall on steroids. The largest shopping mall in Europe, from what I hear. I can’t remember the last time I saw so many people shopping in one place. Anyway, after the show, I got back to the Stratford tube station to find the platform filled with about a million people waiting for the last train out of that station for the night (all trains on all lines were stopping at 5:30PM due to the tube strike). Fortunately, I’ve been taking the NYC subway for twenty-five years, so I was not intimidated by the crowds. I just shoved my way to the front like any respectable New Yorker and even managed to find a seat! If I hadn’t caught that last train, I’d probably still be out in Stratford trying to figure out which bus I was supposed to take to get back to the West End. Thank you, Universe! Many of the London tube cars, by the way, are much smaller than NYC subway cars. Narrower. You can’t really walk from one end to the other if it’s crowded. And they’re curved, rounded at the top, so if you’re tall, like me, you can’t really stand in the doorway, unless you don’t mind hunching over. But they do have a certain charm that our trains lack, and the seats are upholstered! Can you imagine an upholstered cushioned seat lasting five minutes in NY? Now, I’m just taking a breather and eating something before I head over to “The Lion in Winter.” It is great fun to have planned so much to do, but I have to say, the plans I made

are really much better suited to the 25-year old Richard. Man, I’m pooped! But a nice strong cup of English tea and I’ll be good as new.

11PM - Just got back from seeing “The Lion in Winter” and yes, it’s still the same old crusty bird of a play we all know and love. After seeing now my fourth production of this play, I think the material still works best on film, but despite the mediocre reviews from the London critics, this production did have some worthwhile moments along with a perfectly beautiful set. The first half was pretty slow moving, and with all I’ve done today already, I wasn’t sure I was going to make it, but Joanna kept me going, and in the second half, when things get really heated in the play, the acting improved immensely, as did my interest. Overall, I went in with fairly low expectations (thanks again to those London critics) and as we all know, if you keep your expectations low you’re bound to be pleasantly surprised. I don’t know if I’d go quite that far, but it was not the cold piece of clay I was expecting. The audience, mostly Brits (I have my radar trained now for any Americans), really seemed to enjoy it, although they do not (thank heavens!) leap to their feet like a pack of drooling, yelping hyenas the way Broadway audiences do. They’re very polite, if a bit restrained, in their applause. One, two, three bows and enough. We’ve all had a good time, now get off and let’s head home. Speaking of which, every single bus stop between here and the Royal Haymarket had at least 25 people standing around at this late hour waiting for a bus because of the tube strike. Tomorrow, everything will be back to normal, but in the meantime, there are a lot of angry Londoners standing about in the cold cursing the tube workers union.

TUESDAY, DECEMBER 2711:30AM - It’s another slate-grey morning here in London, with the weather again expected in the lower 50s. Strange weather here. Not really that cold for this time of the year, but quite chilling none the less. I think it’s the lack of sunshine that does it. It’s quite possible to feel cold and sweaty all at the same time. It’s done quite a number on my eyebrows, of all things, which are starting to looking positively Fezziwiggian. I actually had to give them a trim last night as they were starting to turn downwards and impair my eyesight. Just had

a quick dash across Waterloo Bridge to pick up my ticket for tonight’s performance of “Grief” at the National Theater. Unfortunately, the lazy buggers don’t open their box office until 4PM. Can you imagine? But it wasn’t a wasted trip. I got my first look at the Thames from one of London’s many bridges. Truly spectacular. Reminded me a bit of the view from Key Bridge in DC looking down towards the Washington Monument, although the Potomac doesn’t really hold a candle to the Thames in terms of atmosphere and history. A bit disappointed, though, not to see a desperate Vivien Leigh striding across Waterloo Bridge preparing to throw herself in front of a lorry, but then, you can’t have everything. Now, I’m off to meet Patricia and her husband Kevin for lunch. Patricia is a friend of mine from NYC and Kevin is her London-born husband. They’re in the city visiting his family for the holidays. And then we’re all going to see “Pippin” at the Menier Chocolate Factory, a theater in the South Bank of London known for reviving Broadway musicals and breathing new life into them. I hear they’ve set “Pippin” on the moon or inside a video game or some such nonsense. “There’s magic to do, just for you.” Yes, well, we’ll see about that.

10:15PM - Well, it’s been quite a day. Trundling all about the city, mostly on the South Bank, with Patricia and her husband, Kevin. Got to places I don’t think I would have necessarily seen if I’d been on my own, but since Kevin is a native Londoner, we zipped around in all the tiny, dark places between Waterloo and the Tower Bridge. Like “The Clink,” which is the oldest jail in London, in use from around 1100 AD to about 1650 AD. Notorious for the brutality of its conditions. We didn’t go inside, thank goodness. I’m thinking I’ll get enough of that when I visit The Tower on Friday. Also saw the wall of Winchester Cathedral, the oldest surviving section of anything architectural from the medieval era in London. Odd, this little strip of ancient wall hidden along a narrow, cobblestone street, with tiny groups of tourists standing in front of it, wondering what the hell they’re looking at. Love that area, though. Like something right out of Dickens. Dark, twisting byways, ancient pubs with crumbling exteriors, street urchins begging for handouts, drunken layabouts crouching menacingly in


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doorways, slack-jawed prostitutes slobbering over their prospective clientele. Actually, that’s a lie. Yes, it is all quite ancient, but with all the development in the South Bank, it’s now quite cleaned up and hospitable and charming. Anyway, after all this trundling, we ended up at the Menier Chocolate Factory for some “Pippin.” Unfortunately, the less said about “Pippin,” the better. An attempt to bring the musical into the twenty-first century by making Pippin a gamer struggling with his latest video game. Didn’t work at all, not in my opinion. And the second act, which was never all that hot to begin with (not to mention the faux-suicide ending), completely fell flat. They would have done better to do it as a period piece. This version had none of the charm, charisma or color of the original. Let’s face it. That show is so tied to the period in which in was created - culturally, theatrically, musically - and relied so much on Mr. Fosse’s enormous creativity, that it’s almost an impossible task to breathe life into it now. The audience seemed to like it okay, but I frankly could not wait for it to end. Lovely theater building, though. Very, very cool space. The upstairs restaurant and lobby both have wood beams everywhere, cozy, warm, really lovely. The theater itself is pretty simple and functional - basically a modified black box - although the playing area has a large cement pillar smack dab upper stage right center. They must be used to it, because they maneuvered around it pretty well. I can’t imagine blocking anything for that space though. Sight lines alone must be a nightmare.

After the show, the three of us walked back up the Thames, where Kevin and Patricia dropped me off at the National Theater to see Mike Leigh’s new play, “Grief.” I don’t know quite what to say about this play of Mr. Leigh’s. I will say that I’ve never experienced anything quite like it, although that’s not necessarily a good thing. I’m still trying to find my way with it. A study in repressed grief, of the kind the English seem to specialize in. Stiff upper lip, jolly good show, all that sort of rot. Set in 1958, in the home of a woman

who has been mourning her husband (killed in WWII) for over TEN YEARS! The same dismal, dull, repetitive existence day after day after day, living with her brother, who is a spent, corporate drone, and her daughter, who barely remembers her father and now HATES her mother. All done in fairly brisk, brief scenes, complete with cello-ed scene changes. Unrelentingly sad, almost perversely morose, excruciatingly boring at times, and yet brilliantly, meticulously acted. Frankly, I don’t know how Leslie Manville (a Mike Leigh veteran who plays the grieving widow) performs that play every night. She’s on the verge of tears from beginning to end. And yet, after two incredibly long, intermissionless hours, the play’s action, which has remained pretty static for most of the evening, suddenly explodes in the most devastating finale. One second I was looking at my watch, praying for an end to my torture, and the next second the play was over and I was sitting in my seat, shaking and hyper-ventilating. I could barely applaud at the curtain call, I was so upset. I got out of the theater as quickly as I could and scurried up the stairs to Waterloo Bridge, just stood there in the middle of the bridge, looking down the Thames at the most beautiful sight of a lit-up St. Paul’s Cathedral, and just sobbed. Sobbed and sobbed. I’m not kidding. It really was most vexing, to say the least. I think a great deal of it had to do with the commitment of the actors. If you know how Mike Leigh works, the actors basically create the text out of nothing, starting with just a single idea - in this case, a woman obsessively mourning her long-deceased husband - over a period of months, working out each internal, emotional detail on an organic level. Then after all that work, Mike Leigh writes it all down, blocks it and they perform it. Despite my boredom throughout, in the end, the actors were so committed, and the ending so staggering, that I just couldn’t help losing it, which may be just what Mr. Leigh intended. Afterwards, the woman sitting next to me asked me if I enjoyed it. I told her that, in all honesty, I could not say that I had enjoyed myself. I wasn’t even sure I was glad to have seen it. And yet, there I was, somehow genuinely moved. And how often

are you genuinely and powerfully moved by what you see onstage? An altogether singular evening in the theater. PART II CONTINUES NEXT TIME WITH: THE BRITISH MUSEUM, SIMON CALLOW IN “A CHRISTMAS CAROL,” “NOISES OFF” AT THE OLD VIC, AND A WHOLE LOT MORE!

playmates affect our creative pursuit. Easier said than done, of course, but totally do-able! :) It’s a muscle we must strengthen, just like any other, and just as we build up our strength physically, we can make stronger, more professional choices as creative professionals, surrounding ourselves with good people, staying positive, and enjoying the journey. What a delightful road!

About Emma J. PurveyEmmy J. Purvey studied broadcast journalism at the London College of Fashion and interned at Kiss radio in London, where she was on the air for the daily magazine show The Word, interviewing everyone from Janet Jackson to Iman. Television followed and--with it--a love affair with NYC, as Emma was constantly back and forth between the two cities. After graduating, she worked in NY as the editor of Hip Hop Connection and then moved to Miami Beach to pursue modeling, and then acting. While in NY for the summer, Emma studied at HB Studios, where her interest in acting grew. While shooting A Ballad of a Soldier in Miami, Emma decided to head back to NYC to study at the American Academy of Dramatic Arts. Lately, Emma has worked on Perversion in Thirds, Enso, Law & Order, Y-Net, Fuji TV, the Off-Broadway play 69 Ain’t Just a Number, Happy Hour, numerous print jobs, and a commercial for Three Olives Vodka. Emma is repped by AboutFace Talent in NY and her blog is nyactress2010.blogspot.com.

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