To Self-Test or Not to Self-Test

Les Solomon on the great Self-Test debate.

Covid started it - but the big question is, will it ever end? Self-tests, as first-round auditions for almost everything, seem to have become normal practice - a performer must submit a self-recorded audition before there is any chance of “getting in the room”. As an agent, I can to a large extent accept it for film and television even though I don’t like it. Yes, the casting agent can see more people, but actors can also be more easily dismissed. Getting in the room is becoming something of a privilege. Many are asked for self-tests, but few make it into the room.

What happens to the self-tests? Do we ever hear back? Sadly, not often enough!  They often cause enormous stress as actors manage their way through buying ring lights, setting up, getting an actor to read with them – then the big challenge - getting the test through to the right portal, often never really knowing if it has even been received.

It’s a mangled business. A recent survey found that while Sydney and Melbourne actors dislike self-tests, in other states many prefer them. I wish we could return to the older, more secure system. Actors often don’t take self-tests anywhere near seriously enough, as they would if they had a time and a place and then (most important) some direction from someone in the room to guide them closer to what was required to make the audition a success.

Self-tests for TV and film are one thing, but for musicals it’s so, so wrong. How can an actor deliver a well recorded song with an often hard to follow backing track, with sound that varies and does them no favours, then - even worse - if they must do a dance tape. Where? In the lounge room, hire a dance studio, a gymnasium.

Some of the best singers and dancers look dreadful in self-tapes. I throw them back to do them again but often the result is sub-par. Musicals must have the actors in the room to get any real indication of ability.  

The MEAA has weighed into the issue, but mainly to try and dissuade their use for musicals. Agents were promised it would be strongly discouraged once Covid was over, but it is still happening too much as a first round for so many talented people who just aren’t technically proficient.  

Will things change? I hope so. I find the success rate for actors required to self-tape in relation to the chance to get in the room has dropped by 40-50 percent. The battle goes on; it is accepted worldwide since Covid - it is easier for casting agents, but an awful distressing mess for many actors.

A great actor in a great play.

Valerie Bader is one of our foremost and most versatile female actors. Everything she does is tinged with a strong understanding of passionate humanity. I spoke to her recently before seeing her superb performance in two highly diverse roles she plays in Tim McGarry’s great new interpretation of Collen McCullough’s TIM, now touring regional centres with the strong hope of a national tour in the next twelve months. Valerie and I talked mainly about the two central characters – the neuro diverse Tim and his love of a much older woman, as it develops from a motherly situation into passionate love. 

Image: TIM Valerie Bader & Tim McFarlane. Photographer: Branco Gaica.

You may remember Mel Gibson starred in the movie many years ago. Valerie and I discussed the whole question of considerable age difference in a relationship and the many young people in particular   who are critical of large age gaps. We decided it is all to do with the physical perception of the person, not their actual age. I referenced the Twilight fantasy series of books and films where there’s a hundred-year age difference between male and female characters but it is acceptable because they both look the same age. It was a fascinating conversation regarding a play that is warm, controversial and touching even if still a little buried in ‘70s thinking. Valerie’s tenderness as an actor and as a person does much to bring great wonderment to the production.

An overview

What an incredible couple of months of theatre going. I can’t remember a time when there was such diversity of entertainment in live theatre and in one instance two productions of a Sondheim classic.

The production of Sweeney Todd by 3rd year graduates at NIDA was epic, original, terrifying (the first time I have ever been afraid watching this musical), unique, and even gave a different take on the final ten minutes of the show. The actors may not have had the vocal range of more traditional productions, but did they ever make up for it in acting chops. Johanna became a neurotic wild creature, Anthony more dark and dangerous than ever before, and Mrs Lovett a wily business person. The setting suggested was the eighties and Andrew Worboys and his musical direction was – mighty!

By comparison, it was hard to enjoy such a traditional production as was offered only a month or so later at the Sydney Opera House, despite expert singing and solid staging. Stuart Maunder delivered a very traditional Sweeney with no surprises. It was polished and proficient, but never terrifying. It very much depended on what Sweeney you wanted. For me, for classics like this to endure they must be re-invented and re-wired to make them fresh for a new generation.

Speaking of rewired, Darlinghurst Theatre Company brought the musical Natasha, Pierre, and the Great Comet of 1812 to the stage for the first time in Australia. Wild, weird and totally all involving, it will go down as among the best productions of the year.

The Hayes did a fine job with City of Angels with a strong cast. It is a long night and there is no doubt the show could do with a bit of a fresh edit, the absolute highlight being the magnificent jazz band - wonderful.

Beauty and the Beast returned in a lavish new production that is obviously is heading for Broadway; it was great to see it here first. Everything was re-packaged, with new special effects and “Be Our Guest” brought a standing ovation mid show. Rohan Browne stole the night as Lumiere - what a unique star.

Billy Elliot got a new production on the Gold Coast and it’s exciting to see the fine work happening up there. My big complaint was that Billy did not fly in the dream sequence in Act Two, which is such a vital part of that show. Deb Krizak gave one of the best versions of Mrs Wilkinson I’ve seen.

Les Misérables was back at Packemin in Parramatta, with a chance to see Daniel Belle and Rob McDougall do their roles once again. A solid production that would have been that much better if the ensemble had underplayed a little more. 

Finally, a word on Shakespeare in Love, produced in the unique tiny town of Tyalgum in the Tweed Valley in far north NSW. This was a remarkable mix of community theatre players and strong professional actors doing another NSW premiere of a work that needs to be seen in Sydney.

This production was so unique, so immersive, so strong under the direction of the talented Solar Chapel, that I could see it playing in the city with absolutely no apologies.

The production goes way beyond a community production, helped by the two leads - Reuben Loire and Kymrie Henge.

They were superbly supported by four experienced professional actors in Lucas Stokes, David O’Donoghoe, Christian Bischoff and  Jonathan Weir - who is about to be seen as Mel Gibson’s son in the new Oz movie Sons of Summer.  Watching Weir is like getting a preview of a major star in the early years of what is going to be an extraordinary career.

The evening (complete with two lavish feasts between acts) runs for five hours, yet its awe inspiring, constant humour and activity becomes so involving one leaves, sad to depart from this magic back into the real world. The production has endless humour, tight pacing and elaborate breathtaking staging. It is one of the most exciting nights I have spent in theatre for ages. If people hear about this production, the whole thing could run for years with buses of tourists descending to explore the wonders of the town and the magic of the night in the theatre.

It comes back for a longer season next year and is worth a trip up north to see - a fine end to a couple of amazing months of theatregoing.