General information that applies to everyone

First time cruisers, be sure to read all the tips below because you never know what might apply to you. But after you read them, click here to see what some other performers have done. This gives you an idea of what to expect.

- Show business is BUSINESS 
This is the real world and you are expected to act like a professional.  There is no room for pouting primadonnas or out-of-control children. Agents not only look for talent, they look for people they can trust and work with.

- Be on time 
Be ready well in advance of your appearance and wait quietly for your turn.  Excessive chatting and horsing around are the signs of amateurs.  Don't comment, especially negatively, on others' performances.

- Dress appropriately
When you are modeling, such as on the Runway and Photo Showcases, don't wear "loud" or highly patterned clothes. Remove most or all jewelry, although small earings are okay. For ladies, pull your hair back so it does not touch or hide any part of your face and avoid heavy makeup. The agents want to see YOU, not your wardrobe.

When you are performing, you may wear whatever your costume or performance attire is. Just remember, you want the agents to look at you and your performance, not your clothes. Of course, an exception is if you are modeling unusual clothing.

- Don't chew gum
Unless it is part of your props, don't chew gum wherever an agent might see you.

- Be accessible and available
When you are just starting out, it is important to be easy to contact.  You don’t want to make it difficult for agents to reach you with a job offer.  After all, they have a position to fill and if they can’t reach you, they will go on to the next person on their list.  

Remove all spam-blocking and mailbox-guarding applications from your email and phone messaging mailboxes (don’t remove virus blockers).  In fact, it is a good idea to set up separate email, Facebook etc accounts just for your professional contacts.  If you can afford it, set up a separate phone number for professional contacts.  Otherwise, be sure your personal voicemail greeting sounds professional.  Nothing is more annoying to a prospective client than having to jump through hoops just to reach you.  Set up your professional email and Facebook etc accounts today so they are ready when you get on the cruise.

Along that same line, being available is extremely important.  While agents try to give you advance notice of auditions, it doesn’t always happen.  Be prepared with at least an up-to-date resume, headshot and reel.

Practice saying your slate. We will have more on slating later.  Ask you agent/manager/coach the best way for you to present your slate.  Practice this now as you will definitely have to do it on the cruise and probably at every audition you attend.

Let’s talk about your slate and the Runway
Slate, what’s that, you ask?
It is your first opportunity to impress the judges on the cruise, that’s all.  So, you want to get it right.

Near the start of the cruise, probably in the “Talent Review” or “Runway” events, the emcee will bring you on stage and ask you to introduce yourself.  He will give you a few instructions and turn the mic over to you.  This is your big chance, all eyes are upon you and everybody’s listening.  What do you do?

If you’re like some of previous participants, you will look at the emcee, smile sheepishly and in a tiny conversational voice directed to him say something like,
“Hi, I’mJaimieCharltonI’m25yearsoldI’mrepresentedby
IandIAgencyofKansasCityMissouri.” 

You will then walk as fast as you can across the stage looking down at your feet most of the time.  You will probably get some applause, but that’s just charity clapping. You just blew your first opportunity to look good.  So, what should you do?

It’s really quite easy if you remember these few simple rules:
-The emcee is there to present you to the audience, not to chat with you personally.  That means even though he appears to be talking to you, he is really talking to the audience and you should do the same.  Look at the audience/judges and speak to them (not to the emcee) in strong clear voice.

The 30-70 rule is a good guide to follow when you are on stage chatting with the emcee or doing the Scene Study with another performer. That rule says that to look your best to the audience you should be facing 30% towards the person on stage with you and 70% towards the audience. Your tendency will be to face the other on-stage person, but then the audience sees only your profile – not good. You should stand mostly facing the audience (70%) and only slightly facing your on-stage partner.

Your name is very important!  Obvious, huh?  Then say it like you mean it.  The way to do that is to look at the audience, say your first name, pause for a short one-count, then say your last name.  It may seem awkward to you, but it sounds natural to the audience. 
If you have a somewhat unusual name, like mine, it is very important to say it slowly.  If you have a foreign name and/or have an accent other than Midwestern US, you might even want to repeat your name.  For example, I might say, “Hi, I’m Jaimie Charlton, that’s Jaimie, Charlton, I know it’s a little strange. I’m represented by the I and I Agency of Kansas City. Missouri.”  Your agent can give you specific pointers.

Many people, for some reason, unconsciously run their first and last names together.  A very bad thing when you are trying to make a good first impression.  Don’t be in a hurry, saying your slate only takes 5-8 seconds.

-When you finish saying you slate you will then walk across the stage.  Follow the emcee’s instructions as to where to go.  Follow these instructions on how to get there.

Although it’s called a runway, you don’t actually run, you walk confidently.  As you walk across the stage, make eye contact with the judges, look at the audience and always smile.  Do not look at the floor or your feet, ever.  It is important that you show confidence in yourself and looking down or away does just the opposite.

-Be real.  There is one character that every model, singer, dancer, actor, comedian knows how to portray and that is himself or herself.  Agents are experts as seeing through phony personalities so, just be your friendly, outgoing self.

In summary, the whole idea is to show confidence.  State your slate clearly and to the audience. Smile and act like you are enjoying the experience. Walk confidently and make eye contact.   Remember, the judges can see you even when you are not on stage.  You must look confident and in control even while you are lined up waiting your turn.

All this sounds so easy as to be obvious, but many participants screw it up. Be sure you don’t, PRACTICE.  Practice saying your slate out loud, clearly and confidently. Practice walking, smiling and making eye with persons you may not be able to see through the bright lights and practice just being your friendly self.  You’ll do great!

Using Microphones to Your Advantage
Microphones
Mics are the most misused piece of equipment on stage, it pays to learn how to use them properly. Here's some tips.

- Most of the time you will be faced with a microphone that looks something like an ice cream cone. These pick up best on the top so point the mic at your mouth.

- Rule #1 - NEVER think that you don't need the mic. You always do. Don’t step away from the mic and ask the audience, “Can you hear me?” The ones in front say “yes” and you hear their reply. The people in back never heard the question. Whenever you talk to the emcee, even if he/she is right beside you, always speak into the mic. Whenever you are on stage - YOU ARE ON STAGE - and every comment is also for the audience. A good example is any late night show on TV. Even when a guest performer has an aside comment for the host, you still hear it, don't you? That's not an accident, they know to always speak loudly and clearly into a mic.

- Position the mic stand properly. 
-- Poor mic position can really spoil your performance. If it's too low, it won't pick up clearly. If it's too high, it will be in the middle of your face and the audience and judges will be looking at the mic instead of you. If the emcee positions the mic for you, great. But don’t depend on it. Take a few seconds to adjust the mic stand height so the mic is slightly below, and pointing at, your mouth. It should not be directly in front of your face. If the emcee or audio technician does help you position the mic stand, wait for him to finish and get completely off stage before you begin your performance. Remember, it’s all about you, not them.

-- Regardless of whether you are standing, sitting, lying down, do not move more than about 8" away from the mic while talking or singing. The pickup fades away fast. You will sound your best when you hold the mic a steady 6-7 inches away from, and slightly below, your mouth so you don't accidentally breathe into it. If your routine requires you move, take the mic with you.

Hand Held mics
- Don't gesture with the hand holding the mic. Remember, the pickup range is only about 8" so your golden voice will not be heard if the mic moves farther than that away or points away from you. 

- If the mic has a cord, carry a small loop of slack. Nothing ruins your performance more than having the mic jerked out of your hand because you reached the end of the cord.

- Singer guys, if you are going to let the mic touch your chin, be sure to shave. Even the lightest beard sounds really loud and raspy when it touches the microphone. Same goes for a moustache. If your style calls for a very close mic position, place a finger to act as a spacer between the mic and your face. This prevents raspy sounds and looks cool, too. But, don't breathe, spit or holler into the mic, that is very uncool. A better bet is don’t let the mic touch your face at all.

- Project your voice as if the mic weren't there. Professional actors and singers all know how to project their voices and sound strong. They do this even though they are using a microphone because it gives them a cleaner, well rounded sound. You don't want to have a little mousy voice. 

- Singers, practice using a microphone in different positions. Sound radiates from your mouth, face and chest in varying amounts. You can take advantage of this by finding out where the mic should be to give the sound you want. Your coach is your best source of help. Watch TV performances and videos of recording sessions, you'll see a wide variation of mic placements. But remember, the mics on the cruise must not be farther than 8” from your mouth and closer is better. 

- The boat is a noisy environment so you can't sing as softly as you would in a quieter venue. If your number has some very soft parts, hold the mic closer, this will help your voice override the boat noise. The tone and timbre of your voice will give the impression that you are singing softly while the audio system will keep you loud enough to be heard over the ship’s noise. Of course, when you come to the really powerful parts, move the mic a little farther away. Ship board sound systems aren't as sophisticated as recording studios and they don't handle overload well.

- Don't pop your "Ps" into the mic. 

- Don't tap, scratch or rub the mic, it amplifies all those sounds. 

- Don't operate any switches you find on the mic

- The mic stand is not a crutch or a support. I have seen performers seem to lean on the mic stand. They sort of grab the mic with both hands and use it to support their arms. DON'T DO THIS! The stand is not very strong and it may well collapse under the weight of your hands. How embarrassing it would be to have the stand collapse and you fall forward. Even if the stand does not collapse, the mic picks up the sounds of your hands touching it - you don't want that sound competing with your voice.

A little horror story:
In an earlier cruise, there was a performer who was doing a great routine and clearly had command of the stage. He sounded good and looked great. Then, for some reason, he decided to approach the row of tables where the agents/directors were seated. In so doing he left his mic behind and stepped out of the light. (Note: the agents table is nowhere near the stage lights.)

When he did this, he became nothing more than shadow whose mouth was moving, but little sound coming out. This greatly degraded his performance.

Stage Lights and how to take advantage of them
- The stage lighting is bright and shines right in your eyes. Get used to it. You don't have to see the audience, but they have to see you.

- If you can see the audience, you are out of the light. Light comes in at an angle and the best way to know you are in it is when it is shining in you eyes.
You also know you are in the light when you can feel the heat on your face. After all, that's why they call them hot lights.

- Before you get on stage, look for guides (sometimes tape on the floor) as to where you may perform. If there are no guides, notice where the lights shine brightest on the floor and perform there. This is only a rough guide, always be sure the light is in your eyes and you can feel the heat on your face.

- Smile at the audience and pretend to make eye contact even though you really can't see them. Especially pretend to make eye contact with the cameras by looking directly into the lens, not at the operator.

- NEVER step out of the light, you become nearly invisible. Dancers, be sure to notice the limits of good light on the stage and stay within them. The coolest moves are wasted when nobody can see them.

- Don't shield your eyes with your hand, looks unprofessional.

Runway

It seems easy, but it is important because it’s the first time the agents will get a good look at you and hear your name. Although the name is runway, you do not run. The emcee will give you some guidelines and you should follow them exactly. Stand tall, don’t look at the floor or your feet, smile, make eye contact with the agents (even if you can’t see them because of the stage lights) and walk like you are proud to be there. I know, I said that before, but it bears repeating.

Ladies, practice walking with a little style and grace. You don't have to do that "super model walk", but put a little bounce in your step. There will be loud music playing so it may help you set your pace. Many times I’ve seen great looking girls walk the runway like it hurts and they just want it to be over. Or, they slump across the stage like they are doing the audience a favor.  Don’t be like them.

Guys, yes, it’s a runway, but don’t feel self-conscious. Follow the emcee’s instructions and show confidence and style. Don’t run, but don’t drag either. Eye contact and smiles are very important. Some guys apparently feel that they have to show their masculinity by swaggering in like a construction worker. If that’s you, fine, but if you are faking it, don’t. The agents will see right through you.

Ladies, walking like a construction worker is never appropriate!

Monologues

This is one of the events where you can really show your stuff. You know way in advance what you are going to do, you practice it and it’s easy to perform. Furthermore, you have the whole stage to yourself. Here are some tips to make your performance even better.
- Don’t start talking until the microphone adjuster is completely off stage.  You do not want to appear anxious or uncertain.  This is part of “owning the stage”.
- Pretend you are telling a story to a single person - the audience.  This is important because you do not want to give the impression that you are talking at the audience.  You should pretend it’s a conversation, but you’re doing all the talking.
- Be the story teller. Practice this by telling your monologue to a friend or individual members of your family, or better yet, your coach.  You want the audience to believe the story and your sincerity in telling it.  It can be funny, serious or angry or any other style, but be sincere.  Personally, I think angry is over done.  I guess it is easy to find something to be angry about and launch into a rant.  Besides, nobody likes angry people. 
The best monologue I can remember (actually, the only on I can remember) had the performer giving a pep talk.  Not until the very end did he reveal that he was talking to his dope addict brother.  It was very moving and brilliantly delivered.  Of course, it was all an act, not real life.  Anyway, the idea is to get each member of the audience and each judge to believe you are talking only to them.
- Speak loudly and into the microphone. The boat is noisy.
- When you finish, wait on stage a few seconds and acknowledge the applause. Say, “Thank you and smile”. Don’t insult your audience by running off stage as you are saying you last words.

Improv

Improv seems to scare so many performers and there is no reason for that. Regardless of what you may have heard, it only lasts 30 seconds and there are no set rules. It goes like this.

The emcee introduces you as you walk to center stage where there is a microphone. An off-stage actor will say the name of a common product such as a brand of toothpaste, toy, beauty product, place etc. You job is to make up – improvise – a commercial for that product. If you are unfamiliar with the product, say so and they will give you another one.

For example, suppose you are given the product Crest Toothpaste. You might say something like, “Don’t use soap to clean up your dirty teeth, use Crest. It tastes much better, gets rid of that yucky yellow stuff and gives you sexy, kissable breath. The best part is it is on sale now for 50% off at your nearest toothpaste store.”

See how easy that is? Here’s some suggestions to make your performance even better.
Try to avoid starting your commercial with a question such as, “Do you have dirty teeth?” There is nothing wrong with this except that nearly everybody starts that way. You will stand out if you can come up with something different.  Also, try to avoid starting, “Do you like Crest toothpaste, I like it…”  This is fine for youngsters, but is pretty bland for anyone over 15.   In fact, don’t be afraid to have fun with the product.  For example, a guy might be given AXE Body wash.  Instead of extolling its virtues, he could relate a personal experience such as, “I showered with AXE just before going to a big party expecting the girls to fall all over me like in the TV commercials.  No girls swooned, but the family dog seemed to take an unnatural interest...”  Whether you do a straight commercial or a funny one, remember that the judges are interested in your presentation, ability to think on your feet and most of all that you owned the stage.  

Practice making up commercials OUT LOUD by having somebody give you product names. This practice works best if you have some kind of an audience to give you feedback. You want to avoid that deer in the headlights look when you first hear your product. 

As always, stand close to the microphone and in the light and wait for the mic adjuster to leave the stage.  It’s all about owning the stage.

Food
There are all kinds of recommendations as to what foods are good and what to avoid.  The truth is most don't matter.  Eat anything you like four hours or more before your performance.  Some performers prefer to eat little or nothing within three hours of a performance to avoid becoming drowsy from excessive food.  Just remember, a healthy body will have a healthy voice.

Good stuff
Water is good if you are thirsty.  But saliva, not water, lubricates your throat.  Therefore, if your throat is dry from nervousness, chew gum to keep saliva flowing.  Remember to remove the gum before performing. 

Citrus juices are good.  Many people like to water them down to reduce their acidity.

Mints and mint flavored snacks are good.  Mint tea is better than regular tea.

Bad stuff
People are affected differently by various foods and drinks, but it is generally accepted that the following are worth avoiding just before a performance:
- Milk products (may affect breathing)
- Carbonated beverages (burping)
- Sugary foods (sticks in your throat)
- Coffee  (makes you jittery)

Nervousness
Everyone gets nervous before a performance.  It is good in the sense that it keeps you alert and on your toes.  But sometimes it gets to be too much, so here are some tips that may help you control it.
- Be prepared.  You do this ahead of time by being completely familiar with  your material.  Ten minutes before showtime is not a good time to be learning new material.

- Familiarize yourself with the stage area.  Get a look at it ahead of time.  See where you are supposed to perform (see comments above about lights and mics).  If possible, even try to practice your routine in it ahead of time. 

- Do not regard the agents and directors as adversaries, they want you to do well.  Don't fear them.

- Don't pay attention to the comments of other performers.  They are often wrong or at least not helpful. On the flip side, avoid making comments about other performers. They don't like it any more than you do.

- Concentrate on your performance and doing it well.

- Sing out like you mean it.

- Keep your hands out of your pockets.

- Practice every day, even on the cruise.

What if Something Goes Wrong?
Bad things happen on stage all the time. Musicians lose their place, singers forget a verse, actors miss a line, dancers stumble and costumes have a propensity to come undone at the worst possible time. I have seen actors adlib a whole scene in a play when they went blank and singers practically re-write a well
known song during their performance because they forgot where they were in the verses. We’ve seen costumes come off and dancers drop their partners. If it can happen, sooner or later it will happen on stage and sooner or later it will happen to you. The problem is not the mistake; it is how you handle it. DO NOT run off the stage crying. Remember,
“The show must go on.”

The best way to minimize the chances of a problem on stage is to be absolutely confident with your material and the way to do that is to practice.

Practice in different locations, practice in front of people, practice with distractions such as with a TV or radio playing. The idea is to make yourself independent of your environment.

I heard of a case where singers couldn't sing their best at an outdoor gig. It turned out they always practiced indoors and because they sounded "different" outside, it threw them off their performance.

It sounds silly, but sometimes the smallest thing can cause a problem. A friend of mine once told me that when he was a kid he studied piano. He practiced and practiced his recital song until it was perfect. He played it for everybody whether they wanted to hear it or not and was eager to play it on stage.

The big day came and he confidentially walked on stage and sat down at the piano - and froze. He could not play his song; he didn't know how to start. Finally, he just got up and left the stage, probably in tears. Everyone thought he had forgotten his song, but that wasn't the issue.

It turned out that his piano teacher gave him lessons in his home on his own piano. This is also where he practiced and gave all his impromptu performances.

Early on in his lessons he had trouble finding the middle C key. So, his teacher stuck a small piece of tape next to it to help him. His lessons progressed and he got better and better and soon knew where all the keys were. But the tape remained.

At his recital, when he sat down at the piano, he discovered that there was no tape marking middle C and he was lost. He had developed an unconscious dependence on that little piece of tape. Sure, he knew where middle C was, but under the stress of the moment, he needed the "security blanket" provided by the tape and it wasn't there.

The point of the story is you never know what dependencies you may have. The way to avoid them is to practice in different venues, at different times, in different costumes etc. Make you performance independent of your surroundings.

Okay, you've done everything right, but what if something does go horribly wrong on stage?

For example, suppose you are singing and you realize that you have forgotten the next verse. No problem, you can repeat a previous verse to stay with the recorded accompaniment or, if it makes musical sense, jump to the chorus and sing it once or twice to finish the performance. Just stay with the accompaniment, even hum or do a little dance, smile and no one will ever know the difference.

Actors have it even easier. If you lose your place, just stay in character and ad lib your part. But try to give your partner his cues so he can stay with you. After all, the audience doesn’t have the script! 

Dancers, if you fall, get up and keep dancing, work it into your routine, if you can. If you have a minor costume problem, ignore it. If it is a major problem, dance so your back (or front, whichever hides the problem) is toward the audience and fix the problem. Do this smoothly and they will think it is part of your routine.

Along the line of costumes, please be sure to fix your hair. A recurring request of agents is that hair is pulled back so it doesn’t hide any part of your face. This has been mentioned before, but it takes on added urgency for singers and dancers. As you move during your performance, you do not want your hair to distract from you performance. It must never hang over one or both eyes or touch the edge of your mouth. You might think that hair hanging over an eye is cool or adds to you character, but agents definitely do not.

NEWS FLASH!

Megan Foley, President and Casting Director of the famous Los Angeles company Megan Foley Casting, will be offering individual coaching on monologues.

When: Thursday, May 17 at 2:00-3:00pm

Where: On the boat in the Conference Room (past the bathrooms near the Starlight Lounge).

Why: Your monologue is a very important part of your performances so you want to get it right. Megan Foley will show you how.

How Much: The cost of this one-on-one coaching is only $15, but the value to your career is priceless. Don't miss the opportunity!

Tips for Dancers
Sell Yourself
- Dancing is all about selling your personality so sell it BIG. Be energetic, kick big, jump big and most important, smile big. But don't put on a fake smile, be sure that you really love to dance and you are the best thing to ever hit this stage.
- Show some cool new moves that set you apart. Many amateurs just wiggle and jump around on stage and all look the same. Don't be one of them.
- Someone once said, “Dance like nobody’s watching.”

Confidence Especially for Dancers
- Just like in acting, singing and modeling, looking confident is extremely important. Be sure that you have your routine down cold and keep practicing it. On a strange stage, in front of strangers, is way different from dancing at home in front of the cat.
- Be ready to ignore distractions. People will be moving about in the audience and the directors/agents may be talking to each other. DO NOT let this distract you. Remember you own the stage, act like it.
- Singers, dancers, actors, models, DON’T look at your feet - shows a lack of confidence.

Music
- Dance to the music. Show that you have a good sense of rhythm and phrasing.
- If the music CD skips a little, keep dancing if at all possible
- If you have any doubts about staying with the music or expressing the music through your dance, ask your coach now. You still have a little time to fix problems.

What Agents Look For
All agents/directors have their own criteria for selecting talent, but generally they look for the following:
- Good technique, be sure you show good turnout, pointed feet, high extensions, lots of flexibility
- Good Skill, perfect your turns, jumps and combinations so they appear effortless
- Good emotion, show the proper energy, focus, facial expressions and confidence. Be sure that these are all genuine. Otherwise, you will look like a robot simply going through the motions. 

Very Important
Your last move is your most important move. Be sure you finish confidently in the right position, in the right spot on the stage, in the light, with a big smile. You may screw up a few steps in the middle of your performance, don't worry, the last step is the most important.

Confidence for Everybody
Be comfortable, interesting and confident. You have to command attention by being the most interesting person in the room.

Remember that the directors and agents want to see the very best of you. They want you to get call backs and are on your side.

As you are waiting in line and as you first enter the stage, act professional, be confident and up beat. You are on stage long before you set foot on the actual stage. The same is true when you performance is over and you are leaving the stage, stay up beat and confident regardless of how you think you did. 

If you get a call back, wear the same outfit you wore in your performance. You don’t know why you are being called back, so don’t change anything. Your attire worked once, let it work again.

ALWAYS check with your agent and the Global Stars Network requirements to be sure your recorded music meets their specifications for duration and format such as MP3.

You will have two minutes for your initial performance and this is when you will use the short form of your music. Although it is not essential, it is a good idea to make this short clip end at the end of the song. That way you get a big finish as your routine and the music end together. This will look very professional. Otherwise, when your time is up, the music will stop and you just leave the stage which is not the best ending. You may be invited to perform at the Grand Finale. That is when you will use the full length version of your music. It is a good idea to practice both the short and log versions of your music so you look good either way.

Good luck, or as they say, "Break a leg"!