CRJ...An Unlikely Inspiration

If you would have told me a year ago that I would be writing the next sentence you are about to read, I would have told you that you were crazy, insane, totally off your rocker...

Well... here it is. The inspiration for this latest blog post is none other than pop songstress Carly Rae Jepsen, (who from here on in will be refered to as CRJ). That's right the one and only CRJ, who's song Call Me Maybe, made her an international pop sensation. Before I go on, let me preface what I'm about to write by telling you this; I don't know CRJ, nor do I have any real affection for her in any which way. Like most of you, I know her from her pop career, that is all.

Carly Rae Jepsen soon to be making her Broadway Debut

When I turned on my computer this morning, I of course went to my facebook page to see the latest postings and news of the day. Imagine my surprise when I read various posts that CRJ was to assume the role of Cinderella on Broadway.  Now my immediate reaction was not one of disdain, nor did I jump to any conclusions whatsoever. Rather, my first thought was "Great, another Canadian on Broadway!" Now it comes as no surprise that people from the musical theatre community were very split on this casting decision.  In fact, some were down right mad and insulted by it.  I do understand this, and in fact, used to get up in arms about many casting decisions myself.  People of the theatre train, and work very hard to do what we do, and feel protective of the art form. I get that, and respect that. Many felt that the role would be much better served by someone who is not from the pop music world, and that many aspiring ingenues had been short changed by this decision. Many people chimed in with "Thank God I saw Laura Osnes in the role", implying that they were certain that CRJ is undeserving and would not measure up. (Here's a little known fact that many don't realize...Tony nominated, Drama Desk Award winning actor Laura Osnes, first gained notoriety when she was plucked from a reality television series to play the role of Sandi in "Grease" on Broadway. That's right people, Laura Osnes is a product of stunt casting.  Does that make her any less talented...I don't think so).
 Now, if we are being totally honest, the musical theatre community has always been a judgemental one. It's also very easy to jump on the "I hate stunt casting" bandwagon  when it's not our millions of dollars that are being invested to produce these mega shows. However, if I were to put myself in the producers shoes, would I go with the unknown ingenue, who in all likelihood, will not sell tickets to a show whose box office is already suffering, or do I go with the sure thing, the mega star, who for better or for worse, will keep the show open, insuring employment for a whole company of actors, musicians, stage managers, and crew. If I were the "Money" behind the project, the answer would most certainly be the latter of the two choices. ( Coincidentally, CRJ graduated from a theatre school that has produced some pretty wonderful artists...that's right people, CRJ went to theatre school.)

Now, these feelings of resentment are certainly not exclusive to CRJ. In fact I remember not to long ago  that many people were very upset that Ann Hathaway had been cast as Fantine in the film version of Les Miserable. "How could they cast a film actor as Fantine, this clearly is a travesty, a sin of the highest magnitude, this is Les Miserable after all, the holy grail of musicals" When given a sneak peak of her singing "I Dreamed a Dream", many were outraged that she did not have the vocal chops of say a Louise Pitre or Patti Lupone. To be honest, I really loved how she interpreted the song for film. It was honest, raw, and heart wrenching. I'd much rather she make her own choices, than try to imitate and be something that she's not. Obviously, others felt the same, and she went on to win an Oscar. Now in the case of Les Miserables,  the cost of filming something like this far exceeds putting it up on the stage. Like it or not, of course they are going to go with a bankable star. (Or in the case of this musical, star's)

Ann Hathaway as Fantine in the film version of Les Miserable

Most recently, people became down right incensed because Carrie Underwood was to assume the role of Maria from The Sound of Music, for a live television taping. Now collectively, most felt the project was a failure artistically and that she did not do justice to the role made famous by Julie Andrews. But the fact remains, that from a network stand point, this was a huge success, and whether you like it or not, it's a win for theatre as well. Given the fact that her fan base is huge, she managed to introduce countless people to musical theatre who may now pay money to see a live performance.
  Speaking of The Sound of Music, most all of you know, I was in a huge production here in Toronto, who's leading lady was a product of a reality television show. What most of you probably don't know is that because of this reality show, the pre sales for The Sound of Music surpassed those of The Lion King. Now you tell me, when putting up a show that has a start up cost of eleven million dollars, why would you not go this route. It should be noted that many in the theatre community expressed major doubt whether the winner of "How Do You Solve a Problem Like Maria" had the tools to carry a show of this magnitude and some seemed down right hopeful that she would fail.  Well...she hit it out of the park, won a Dora, and continues to work to this day.
It's time we stop pretending that stunt casting is a new phenomenom.  Maybe in the form of reality television casting it's new, but if we are being truthful, it's been around for as long as I can remember. For example, Donny Osmond in Joseph, Paul Stanley from Kiss as the Phantom, Diane Carroll as Norma Desmond in Sunset Boulevard...The list is endless, and it's because of stars such as this, many of these shows stayed open for far longer than they would have otherwise. Make no mistake, the people coming to Joseph were there to see Donny Osmond first, and Joseph a distant second. He was the reason the show ran as long as it did, made the money it did, and employed many, many people for a very long time. Even when talking of medium sized dinner theatre, stunt casting has been the norm for a very long time. Look at Stage West for example, they built that company on bringing in sitcom actors from the seventies on, to star in their productions. It was a gimmick and it worked. To this day I maintain that "Bell Bottom Fever starring Billy Huffsey from Fame" was by far,  the worst shows as far as the book was concerned, that I ever did. But the music and dancing were great, the audience loved it, and it employed me for six months.
Instead of jumping on the "I can't believe they cast CRJ as Cinderella" band wagon, maybe we can give her the benefit of the doubt that maybe, just maybe, she might do a great job, bring in a new audience to see live theatre, who otherwise might not have any interest, and more than likely keep a wonderful show open that employs many people, for a few months longer. (I believe at present Cinderella's box office is at fifty three percent.) Not to mention she's Canadian! That alone deserves our support.
 It seems to me, that there also seems to be a bit of a double standard going on. I truly believe, that if the tables were turned and "one of our own" from the theatre were to become a huge pop sensation, I can say with much confidence that we'd all have no problem in celebrating that success. When a star of the theatre crosses over in to film or television we seem to take great collective pride in that accomplishment, and rightfully so. So why is it, that we become so territorial when it comes to the reverse? Not just with pop stars, but with film actors too. Have we become that insecure that we are unable to welcome a fellow artist from another area, in to our world. It's my understanding that the writers of "Book of Mormon" were the recipients of the same cold shoulder when they were making their first foray in to the Broadway scene...and we all know how that story goes.

Denis O'Hare
Tony Award Winning actor who's also enjoyed major success in film and television. Also, one of the kindest, most humble, generous actors I ever had the pleasure of working with.

In general, I think that as an artistic community, we need to start supporting our colleagues be it actors, directors, choreographers, designers, whomever, and perhaps
start being just a little more generous when it comes to judgement of work that has yet to be realized. As I said, I too have been guilty of this type of judgement, mostly in my younger days, and sometimes I felt my suspicions were correct. But more often than not, in witnessing the end product, I was proven wrong. Now when I feel that casting may be questionable, I always give the benefit of the doubt and instead become curious of a vision that differs from my own.
Up to this point, the artists I've been referencing in this post are obviously very famous. But we tend to be like this with the not so famous, every day working artist also. We need to stop assuming that just because someone was maybe a dancer first, that there is no concievable way that this person could ever direct a straight play, or that just because someone was a musical theatre actor first, there is no chance that this person could ever become a classical actor, or that someone who is amazing on film couldn't possibly be stage worthy. It's wrong and just limits us as a whole. Let's face it, we already have too many people deciding what we can or can't do. It seems to me that when we do it to each other, we are creating an even greater travesty when it comes to artistic growth and the business of theatre.
So how about this, whether you agree or disagree, why not throw some support your colleague's way. Instead of being judgemental, become curious. Instead of being resentful, become supportive. If something doesn't resonate with you, be open enough to discover why it does with others.  In the long run it will just make our community stronger, more united, and dare I say make all of us more successful both as artists and human beings. One of the most inspiring artists I've ever come across is Multi Media Artist, Phil Hansen. He has a wonderful Ted Talk entitled "Embrace The Shake" in which he states "We first need to be limited, in order to become limitless." What a wonderful philosophy! I encourage all of you to go to youtube and watch his Ted Talk.  He's gifted, generous, and awe inspiring.

Remember this...nobody gets through life unscathed, everyone is fighting a battle, and when it comes to art and artists, there's room for everybody.

Sincerely Yours Stephen Scott Findlay
A.K.A. The Oldest Male Chorus Dancer in Toronto

                                                                                     Stephen Findlay

Learning to be Grateful...Still

This past Sunday morning, as I woke with the sun streaming through my bedroom window, my very first thought of the day was "I need to be more grateful." Admittedly, this thought caught me totally off guard...I mean come on...everyone's aware that I carry with me, the persona of that upbeat, driven, positive person, who's been extremely grateful for all of my "very cool" life experiences. It also caught me off guard as my first thought of the day usually has something to do with coffee or urination...sometimes both.
Now given the news of the past week, be it political, tragic, or the culmination of both those things, I am an extremely grateful human being. For the most part, I do take a moment out every day to be extremely thankful for the very interesting life I've led and will continue to lead. I feel blessed that I have a passion, that I've been able to maintain a career in the arts in Canada, that I have great friends, a wonderful partner, that I've been able to travel extensively, that I had a relationship with my pet Cat, Miss Celi, for almost twenty two years before she passed, hell...I'm even grateful when transit is on time. Bottom line...I do not take things for granted. So what was it that made me wake that day with the need to be grateful?  It was then I realized this; I am continually looking for my "next cool experience" which usually has something to do with work or travel. In fact, I can fixate on it. Now in my opinion, there isn't much wrong with having this kind of drive or desire except for one simple thing...rarely do I take time to celebrate my accomplishments. It seems that lately, I have become that person who is rarely satisfied with what I've been given. Now, when I'm in the moment, I am extremely grateful, but as soon as that moment is done...I'm on to the next, continually "putting it out there" that I need something "really wonderful" to happen for me, that I need and want my next "great adventure." It was then I realized that in the past few weeks alone, I have had a lot of amazing life experiences, and maybe just for a moment...a few minutes even, I can stop, take pride, and be thankful for them...and I'm only talking about the last few weeks.

Backstage at for The Irving Berlin Evening at The Toronto Centre for the Arts

So I did it. I made a list in my mind of all the things I was grateful for, all of my "cool life experiences" in the past few weeks. I was surprised at the amount of great things that had happened. Between being taken on a cruise, having my choreography on stage at The Toronto Centre of the Arts, (being performed for a sold out house for a benefit for The Harold Green Jewish Theatre), having the students of Sheridan College execute the work with as much presicion and panache as any professional I know, having a much needed, wonderful assistant for this process, booking an industrial, booking some extra teaching for George Brown College, asked to come and guest teach at another studio, the list seemed endless. It was at this moment I thought that at times, I need to step back, relax, and just enjoy.

Another cast picture backstage for The Irving Berlin Night. They were truly wonderful

Now as I said, I do enjoy and am grateful in the moment, but once the moment is gone, I'm on to the next. Make no mistake, I don't think that's an entirely bad way of being. After all, this business breeds that kind of mentality. We're all aware of the expression "You are only as good as your last job." Well, there is a lot of truth to that expression as far as the entertainment business is concerned. It's also smart not to rest on your laurels. I've always been of the mind that complacency, halts growth, and can be the beginning of one's demise as an artist. Yet at the same time, I realized that in my never ending quest for all things wonderful, interesting, and down right cool, maybe I can relax just a little bit each day, and celebrate the fact that although I don't have everything I've ever wanted, and haven't done everything I want to do, things are actually pretty great...and there's still time!                                                                          

In writing this blog, I have come to a few realizations one of them being this; As an artist, none of us are only as "good as our last job." Think about it,  not only artistically, but on a purely human level, we all have something of great value yet to be offered. So yes, strive to do your personal best, don't become complacent, stay aware, stay interested, stay interesting, but maybe every once in a while, take some time out to be grateful and I will do the same.

Sincerely Stephen Scott Findlay

A.K.A. The Oldest Male Chorus Dancer in Toronto

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Humility, Humanity, and other Life Lessons

You know, most people say to me "You are always so up beat and positive. I never see you in a bad mood." Well know this, because I am human, and like everyone else, incredibly flawed, my bad moods do exist and come in varying degrees of temperament.  If you don't believe me, I can present a few choice individuals who will gladly back up this claim. I guess I've just become quite good at not bringing it in to my work place and when I enter a dance studio, things change and my mood becomes considerably brighter. But rest assured, I can be as cranky as the next person.
Now, my mantra for this week, which I've had to revisit no less than a hundred times is this; "I am a highly skilled individual." In fact, I'm saying it to myself as I write. Ha!

My early years as a ballet dancer in rehearsal with Ballet North

Before I go on, I'll let you in on a little secret...I do not posses a lot of formal education. It's not really something I'm embarrassed about or proud of, it's just fact. You see, growing up, my background was very typical of many from my generation. My father was an alcoholic, ruined his career, and my parents divorced. My mother worked extremely hard to keep our family afloat, and to her credit, I never once felt like I was missing out on anything. I knew from a very young age that if I was to make anything of myself, it was going to be as a dancer. Although I was pretty good in school, I knew my future was not to be one of academics. (Somehow I know my mother felt the same and was always very supportive. Also, my father, in his later years, had had a lot of regret, one of which he was never able to tell me how proud he was of me and what I had achieved. When he died, I was sent a box of newspaper clippings and memorabilia which he had saved throughout my career. He may have had his short comings, but deep down, he was innately good.) At seventeen I was accepted into a professional program in a ballet school, in a city, three hours from where we lived. Fantastic! However, given that  there was very little money to send me away, I had decided to leave school and work so that I could train in what I was meant to do. That's right, at seventeen years of age, I held down a job, an apartment and went to ballet school five days a week. Now, even though this has worked out for me, I do not recommend it for others. Simply put, it was the hand I was dealt. I took a risk, and it payed off. Having said all this, I am highly educated in what I do. I have had the good fortune to train with some of the best teachers in Canada as well as the U.S.A. I have worked in many major centres in North America, and have had a career in dance that has been more diverse than most people in the industry today. I also continue to educate myself in this industry as much as time and finances allow. All in all, it's been a good ride, and I don't regret the choices I made.

Let's get to the point of this post shall we. I've always known that as an artist, that things will always be up and down and that quite often you'll be forced to take on other work to pay the bills. I am certainly no exception to this rule, or rather, this way of life. I've usually been really good about it, in fact, in the past, I've even had a lot of fun and have met incredibly interesting people in all my "Joe Jobs." So why the sudden change last week? Now I'm not sure if it's my impending fiftieth birthday that's right around the corner, or if my slightly impatient nature was rearing it's ugly head, but all the while, as I was hanging up coats as guests were arriving at this function I was catering at,  I had to keep saying to myself over and over, "I am a highly skilled individual." The next night, while working yet another catering event, the same thing... While the people who were trying to make the event run as smoothly as possible were getting all up in arms about the most minute, unimportant, details, I kept having to remind myself, " I am a highly skilled individual." Sadly, the night that followed, another catering event, the exact same thing with one exception...the tension at this event was so thick, you'd need a chainsaw to cut through it. In all my years, I had never experienced a choice group of individuals so wound up about something that should be of very little stress, it was mind blowing. Once again, in the midst of serving chicken and beef, while tempers flared, and voices became raised yelling "I need those brownies out on the tables NOW!", I kept saying over and over to myself "I am a highly skilled individual."

Now society, as we know it, has become of the collective mind and thought, that experiences such as the ones described above are all put in to motion to teach us something. That experiences such as the ones above, are really just life lessons disguised as obstacles to help us grow as spiritual beings. I too, am usually of this mind set. But given my mood while all of this was happening, I kept thinking "What in the, F#*K am I supposed to learn from all of this?" (I am a highly skilled individual.) Well, to be truthful...I don't know yet. I'm sure it will all make sense one day, but as of now, whatever the bigger picture is supposed to be, has yet to be revealed. That is, if there is a bigger picture... Who knows.

One thing I know for sure is this; life, as we know it, has a way of stepping in and keeping us humble when needed. When we  get slightly pompous about what we do, who we are, or what position we may hold, we can all benefit from a little humility.
Life has also taught me that no matter what position you are in, professionally or personally, it's always a good thing to keep our humanity in check. I have been in a position of power a number of times in my life and have always felt it was of the utmost importance to treat all individuals with dignity, kindness, and respect. So, if nothing else, last week was a good reminder of all those things.

I was able to make it back to dance class today. (Thank God!) One thing that was confirmed for me this morning was this; When I'm in the studio, whether I'm dancing, teaching, choreographing, or even just watching, that's when I'm at my very best. With fifty fast approaching, I have had this goal of wanting not only to be dancing at this ripe old age as far as this profession is concerned, but dancing well and dancing hard. It is without a doubt that I am going to achieve this, and in fact will spend my fiftieth birthday on stage. For that, I am extremely grateful.  However, looming in the back of my mind is the thought that my current state of dancing well and hard, will not last forever. (I am a highly skilled individual.) Make no mistake, fifty is old for a dancer and I am certainly the exception, not the rule. I can't help but think I'm being prepared for whatever the next step in this crazy, nutty, journey may be. At least, that's what I'm putting out there and that's what I'm hoping for. "I am a highly skilled individual."

Backstage during Oliver this past summer

So...is there a big lesson here or not? I don't know...the jury is still out on this one. I guess both humanity and humility are great lessons regardless of size, and that no matter what, there will always be opportunities, disguised as obstacles to keep us on track.

So...enjoy the week, and now that I have officially removed my "Cranky Pants", I will endeavour to do the same.

Sincerely Yours- Stephen Scott Findlay

A.K.A. The Oldest Male Chorus Dancer in Toronto.

It's A Competitive Industry

It is with out a doubt, that upon reading the title of this recent post, you thought to yourself "No Kidding...this is OLD NEWS!" Well,  what if I were to put forth to you, the idea, that there is no such thing as competition within the dance/theatre/television industry. Have I peaked your interest yet? I mean, after all, how can this be. Whenever we go to any type of audition there can be numerous people in for the initial screenings. Even when you get to the final callbacks, you may still be up against numerous people for that illustrious job that we're all chomping at the bit for. So how is it possible that in an industry such as this, that we would not be in competition with our colleagues. It's simple really, in my opinion, competition within the industry should be viewed as something within yourself. When it comes to work that is artistic at it's core, I truly don't believe competition really factors in.

A good friend of mine turned me on to this thought process years ago. I'll never forget what he said. First off let me preface his words to me by telling you that I, by nature, am extremely competitive. I used to consider everyone in the audition room my competition. Now I consider no one in the room my competition. Upon discussing an audition with him that I was up for, I was telling him who the other contenders for the same show were. I distinctly remember saying to him that I considered a handful of other dancers serious competition. He then said to me " You know, I don't believe in competition. We all have something unique to offer. You are who you are, and they are who they are. If the people in charge of hiring want what you have to offer, they're going to hire you. Nobody beats you out for a job, you book it because you're right for it. It's as simple as that."
 That was probably over fifteen years ago, and those words have stuck with me ever since.

Getting ready for the Flashmob

Now don't get me wrong, there are times when I forget that way of thinking myself. But at it's core, there is a lot of truth in that statement. Think about it. Whenever you hear of someone getting any kind of  job, it usually never comes up that they beat out their competition, but more to the fact that they had what the creative team wanted. Lets face it, sometimes the creative team doesn't know what they want. They may have an idea, but it may not become clear until it's presented to them in the audition room.

Now drawing from my own personal experience, let me share with you a couple of examples.
 I was recently hired to film a flash mob for a television series. When I went to rehearsal there were numerous people there. All different shapes, sizes, ethnicities...you name it. I looked around for anybody that had any similarities to myself. Other than the fact that there were other men there, there were none who shared what I had to offer as a whole. I was the only older, salt and pepper haired dancer guy in the bunch. I had a similar experience when I was hired to shoot a Best Buy commercial a couple years ago. I was told without hesitation that I was there "Dad type." I didn't see one other person at that audition who I considered to be like myself, in any regard.

On set shooting a Best Buy Commercial with Sean Cheesman

Many of you will remember when I was teaching all the audition material for The Wizard of Oz here in Toronto. Now it was taken for granted by most, that I was going to be in the show as their swing dance captain. To a degree, I even took it for granted that the likelihood of that happening was more than great. After all, it was the exact same creative team that I had worked with on The Sound of Music, I was now more than familiar with the dance material, and had proven myself more than capable. I was a shoe in right...wrong. It was decided before the creative team arrived in Toronto that they would not be using children as Munchkins. That instead, for logistical reasons, the ensemble would act as the Munchkins, there-for many dancers needed to be smaller in stature. They felt I was not right to cover any of the key characters and in the end I was too tall and didn't tumble. I received a lovely email from the choreographer outlining all of this. I was told that it was preferable that the swings be smaller so that they could swing both the shorter tracks and the taller tracks, and that atleast one had to tumble. It wasn't personal, I wasn't in competition with anyone else, it was just plain and simple logisitics. I couldn't offer what they needed. Don't get me wrong, that was a hard pill to swallow, but I totally understood.
(On a side note to that particular story, I was invited to the first dress rehearsal of the production and truly wondered after investing so much of myself in to that audition process, how I'd feel watching it. Would I be bitter, angry, jealous, all of the above...Well I'm happy to report that all I felt was happiness for everyone involved. I felt that the casting was appropriate and that everyone was wonderful. In fact, I agreed that I really didn't fit the three key characters who travel through Oz with Dorothy, as far as covering was concerned, and I really didn't see myself within that ensemble. I also was happy with the fact that I was a better person than what I had given myself credit. In some ways, I had evolved.)

Often times when you hear a director being interviewed regarding a particular actor being cast in a production they'll say "When they walked in to the room, there was really no one else for the part."
I remember a great story regarding Stephen Spielberg's casting of Oprah Winfrey in the Color Purple. He saw her hosting a talk show on television and said "That's my Sophia." It was simple as that. At that time Oprah had never even done a movie. In fact, I don't think she had ever acted. There are many stories out there such as this and I have no doubt, you've probably heard a few yourself.

So, when it comes to competition, maybe try to think of it as something within yourself. Something that drives you to be so much more than the last audition or job you did. Strive to be a better, more unique you, than you could ever imagine. That's when competition becomes something of value. At forty nine, almost fifty, I am still extremely competitive within myself. Sometimes I fail, but more often I triumph...usually as a result of my failures. Do your best to be happy for your colleagues in their triumphs also. This mind set will only lead to more good for you in the end. Remember...there's room for EVERYBODY!

Sincerely Stephen Findlay
A.K.A. The Oldest Male Chorus Dancer in Toronto

How Do We Keep Our Audition Skills Fresh?

Michelle Nolden Dancer turned Actor Currently on Saving Hope

So...if anyone has a definitive answer to the question I posed in the title of this latest entry, please pass it my way. I decided to write on this very subject as it seems that this very thing has come up time and time again. Most recently, I have talked to a few actors who are all wonderful at their jobs, but for one reason or another, have all experienced sub standard auditions recently. If you've been reading my blog, you'll know that I myself have had the same experience. Let's face it, we do not have the industry here in Canada that they do in the U.S.A. Not to say that our American neighbors in this industry do not have their slow periods also, but I'm pretty confident that when it comes to auditioning, Americans usually have the upper hand. Why, because they have more audition opportunities. This past weekend, while having coffee with a friend I hadn't seen in a while, she was asking about all my recent auditions. Her reply to me was "Wow, you've been really busy lately with all these auditions!" In which I then pointed out to her that, excluding callbacks, I had had two auditions, no more, no less. In fact, the last few months, I have had a total of three auditions. Now, given my age and specific talents, I do realize that auditions are not as forthcoming as they would be for a twenty or thirty something actor, but three auditions do not make for a busy period. I remember a little over a year ago I was invited to a Billy Elliott call in NYC. It was exciting, and honestly, this audition was great. It was a small group of men in this call and given that the audition was in and out all through the day, I remember quite clearly two actors juggling two other auditions that day and for them, this was no big deal. In fact for them, this seemed quite normal. My good friend Michelle Nolden who's currently on Saving Hope was telling me of the times she would be in Los Angelos auditioning during pilot season, where in she would have to juggle sometimes up to seven auditions a day. That definitely doesn't happen in Canada. It's a simple fact that we get better at things by doing. This is not a secret. It's been proven time and time again.

I remember all the way back to the casting sessions of Wizard of Oz in Toronto where I was resposible for teaching all the choreography. Now please keep in mind that given equity rules, the time allotted to dance and sing people is not a lot. Most from this audition were cut. I was stunned. Dancers that I knew to be wonderful, were not putting their best foot forward. I was asked by more than one agent why the cuts were so severe. Now, other than type, (which no one can control), It was simple, people were not "Popping" in the call. My agent asked me why I thought this was happening. My answer was this, "We don't audition enough in this country". Sadly, many of the younger dancers and musical theatre artists I know, are not able to work their audition chops enough for various reasons. Often times, it's just not in the theatre's budget to run long casting calls. Many of the calls are closed due to type, age, experience, you name it. Some places now will do a big call once every two to three years, get a roster of performers, and keep those said performers for a few seasons. This practice is not exclusive to musical theatre either. If you think it is, you're fooling yourself. Companies such as Soul Pepper use the same actors time and time again. Great for the working  artist, but not great for keeping our audition skills fresh. The irony of this is, more often than not, we're in our peak audition shape upon graduating from school. The reason's are simple, for many young artists, they have spent the last three years singing, dancing, and acting. Their vocal book is established, and they usually have a couple of appropriate monologues ready and at their disposal. It's once you leave school, where in the responsibility becomes your own, do we usually fall short.

Someone once said to me "It's our job to audition, and if we get the gig, that's a bonus." There's a lot of truth to that statement, no matter what country you work in. Regardless of the amount auditions available to us, it's still our responsibility to keep our skills fresh. Present company included. So how do we do this? I certainly don't have all the answers but I do have a few ideas. Now, I say this time and time again, if you're a dancer, don't become a one trick pony. Be the kind of dancer who can feel at ease in any style of dance call. How do you do this, its simple, take from more than one teacher. Don't just take hip hop, or just take contemporary, be well versed in all of it...including tap. I've seen so many dancers crash and burn at dance calls lately because they don't posses even the most basic tap skills....and I do mean basic. I was at those said calls, and believe me, none of it was rocket science. Studying just one style of dance, with one teacher is the equivalent of just eating pizza everyday. It may be good, you may love it, but after a while, it's the same thing over and over again. I also believe as dancers that we need to treat our class time, much like we would any audition. There's a famous saying that goes "Dance Like No One Is Watching." I love that saying, however, I tell my students "Dance Like Everyone Is Watching!"It's that mind set that will make you pop. Every combination is a performance opportunity.

When it comes to singing calls, for many of us, we are at our most vulnerable as we are so exposed. We need to find more opportunities to sing for each other. An actor I spoke to most recently had come up with an idea of getting an audition night together with industry people where we just go, pay a small amount for the room and the accompanist, and sing for each other. This is a great idea. Ideally it would be great to run something like this weekly or even bi weekly if we could. Maybe this is something we should all explore. I know there is a night such as this that's currently running once a month, called Jill's Livingroom. It's a great event and allows you to get up and do your material with a great accompanist, in a supportive environment. I highly recommend this night. (You can find the group on Facebook.) There are also repertoire nights available with many great vocal teachers such as Alan Reid and Elain Overholt. All of these are great options.
Now I know all of this comes at a cost. Figure out where you fit, what's important to you, and go from there. We're all unique artists with unique gifts. It's up to us to keep our talents in check. But please, if you're going to go to musical theatre calls do know this...Trying to take a crash course in singing or any kind of dancing will not get you the job. I know this sounds harsh, but it's true. On very rare occassion, actors who's resumes carry a lot of weight may be given leniency if they are being looked at for something specific, but know this, they've paid their dues and their resume's speak volumes, and at the end of the day, if they don't have the goods, they won't be cast either.

So...there are just a few of my ideas on this subject. If anyone has any other ideas, please be forthcoming with them. We all need to support each other. Remember this "There's Room for Everybody!

Sincerely Stephen Findlay

A.K.A. The Oldest Male Chorus Dancer in Toronto

Letting Go of the Bad Audition

If you are in an area of entertainment industry where you must audition to "get the part", chances are you've had a bad audition. Well...welcome to the club. We all have. In fact, I have yet to meet an artist who hasn't. I felt it important to write about this very thing as a follow up to a blog I had posted previously, where in I had shared with you, some recent wonderful auditions I had had. You see, most recently, I experienced what was in my opinion, the very worst audition of my life. How did that happen? I was on a role, on my game, in the groove, I had arrived. Well it's simple, sometimes as human beings who have human flaws, we screw up, and that's exactly what I did.
The good news...I have the answers to this never happening again! The bad news...if you believe that last statement, you're incredibly gullible.
Now to be honest, something happened in the room and it threw me. What that something is, is not important. What's important is how I reacted to the situation. Instead of holding my ground and keeping my confidence, I let the situation get to me. All of a sudden I became nervous and uptight, and that was evident in my vocal production. Not good. However towards the end of the audition, I thought enough. I pulled myself together, and presented myself in a much more favourable light.

Even though the latter half of my audition was much better, I couldn't help but have that sinking feeling of blowing it. When I got to the theatre that day for work, I had decided this, "you have one day to feel sorry for yourself and sad, then that's it. This will not affect your work on the stage, and you will suck it up like an adult."Luckily my cast mates were incredibly supportive when I relayed my story to them. Most sharing with me, bad auditions they too had had in the past.

Here's the thing, looking back, I now realize that I had forgotten a few simple rules. Rules that I do my best now to live by when it comes to the audition process. The first being, "this is your audition." If you need something or something isn't clear, ask for it, nicely of course, and do not feel any less of an artist for doing so.

What If Artists Ruled The World

What if artists ruled the world...one thing's for sure, it would be a very different world than the one we're living in now. No doubt it would still have it's problems, but I'm almost certain that whatever problems the world would have, artists would find a more humane approach in solving them. Now of course we'd need economists, scientists, and various other professionals as advisors. That's a given. But most recently, I've become convinced that artists could very well do a bang up job.
I came to this thought while watching Ted Talks recently. Ted talks are a series of different speakers from all walks of life, doctors , scientists, business people, artists, the list is endless.  Truth be told, I've become slightly addicted  to them. I find the speakers, thoughtful, engaging, and very wise. I was particularly fascinated by a talk given by a classical composer by the name of Eric Whitacre. In short, Eric Whitacre was able to start an online choir, auditioning thousands from around the world, to showcase a piece he had composed. He had someone to mix all the voices and the end result was glorious.  I thought this was totally mind blowing. The very fact that he was able to bring this many people together from around the world is what inspired this line of thinking.
Think about it, whenever there is some kind of crisis or when people are in need, artists are usually the first people to step up and take action. We have organizations like The Actors' Fund, Fashion Cares, Broadway Bares/Equity Fights A.I.D.S. We constantly have musicians and singers spearheading concerts for causes such as famine relief and global warming. Not to forget celebrities such as Bono, Matt Damon, Angelina Jolie, Leonardo Dicaprio and many others who use their celebrity to help solve world problems and give aid to those in need. It seems to me that artists just have a different agenda...a human agenda. Wouldn't it be great to give them a chance. If you're hungry, an artist will bring you food. If you're sick, they'll rally around you to do whatever they can to help the situation. If you're cold, they'll bring you clothing and blankets. I know...it all seems rather simple doesn't it. Well really, it should be. Think about it...can you honestly say that our world leaders are doing a fantastic job. Look at what all those high powered, supposedly talented, Wall Street executives did to the American economy. They ruined it, and many middle class Americans are still paying the price for their greed today. Even if we look at something as simple as Toronto's Mayor, Rob Ford. He wants to close many of our public libraries and Margaret Atwood campaigned to keep them open. Her only agenda, for people to have access to books, computers, and a place to study. It certainly wasn't for any self serving reason. Rob Ford just wanted to save money. A noble  thought, but at a cost to many. I had read once that there is enough food on the planet to feed the world's population seven times over. So why are there people who are still dying of starvation. Artists in this instance, have taken the food over to these third world nations themselves! Just to make sure that the people actually  got it.  Most of human suffering is caused by greed and misleading philosophies.  I do believe that an artist, no matter what nationality, would find a better way to work things out and to make a difference.
Now I'm sure many of you will disagree with me, and that's okay. The likelihood of  a movement
such as this ever happening in our lifetime would be slim at best. But do take a moment and ask
yourself, "Are we any better off now with the way things have been going?" After all, we have global warming, religious wars, wars over oil, the U.S. and many European economies are in the toilet, these are just a few examples of where our world leaders have brought mankind to today. One thing's for sure...it's doubtful we'd be worse off. In fact dare I say it, but we'd probably be a more kind and loving race who'd work collectively on a world wide scale to make sure that we're all looked after.
Now...as I said, I'm sure a lot of you are probably thinking "what an airy fairy, load of granola crap!" That's okay...please have an opinion, just make sure you do something good with it. And hey, check out Ted Talks on YouTube. They really are wonderful.
Yours Truly
Stephen Findlay-Artist-A.K.A. The Oldest Male Chorus Boy In Toronto

Confessions of the Oldest Male Chorus Dancer in Toronto: Jump Up And Find Out What Happens On The Way Down

Confessions of the Oldest Male Chorus Dancer in Toronto: Jump Up And Find Out What Happens On The Way Down: Cool title don't you think. I do and wish I could take credit for the phrase, but I can't. It was a phrase quoted to me, by an instr...

Confessions of the Oldest Male Chorus Dancer in Toronto: The Audition That Changed My Life

Confessions of the Oldest Male Chorus Dancer in Toronto: The Audition That Changed My Life: Pretty dramatic title isn't it. "The Audition That Changed My Life." Well, the truth is, I've had a few auditions that hav...

Confessions of the Oldest Male Chorus Dancer in Toronto: I Am The Dance Class Nazi

Confessions of the Oldest Male Chorus Dancer in Toronto: I Am The Dance Class Nazi: I love teaching open classes. I especially love teaching them in the summer. In the summer, I meet so many new dancers from different studio...

Jump Up And Find Out What Happens On The Way Down

Cool title don't you think. I do and wish I could take credit for the phrase, but I can't. It was a phrase quoted to me, by an instructor by the name of Kerry Griffin, who was one of my teachers at  The Second City Training Centre. That's right, I'm an improv enthusiast and I don't care who knows it.

All of us in the entertainment business are going to experience a lull in their career at some point or another. No matter if you're the third chorus girl from the left, or the handsome leading man whom everyone falls in love with, we're all going to have down time. It's what you do with that down time that matters.
After a great run of The Sound of Music, I had another great run of teaching workshops, television commercials, and choreographing for Theatre Sheridan, among other things. I was busy and I was loving it! Now quite often, right after a really busy period, a slow period has a way of rearing it's ugly head. That's exactly what happened to me. I was still working, but not at the pace I was used to or that I liked. Recognizing this I thought, what can I do to make use of this time? Well given my experience with the Resident Director of Billy Elliot, I felt that now would be a good time to take some improv. For years I had wanted to take a course at Second City and I thought, there's no better time than the present. I had always been a big fan of many Second City Alumni such as Gilda Radner, Andrea Martin, Martin Short,(who I happened to do a commercial with), and many others. I also felt that the training I would recieve at Second City would help me a lot in commercial auditions.

 Now before I go on, I am of the opinion that dancers are control freaks, and with good reason, we have to be. We need to be in control of our facility and of the movement. We must never let the movement over take us. If it does, we're not executing it from a grounded, centered place. However, having said that, it's only when we trust that the technique is there for us, can we truly be engaged in our story telling through movement. In other words, don't show me your technique, show me what makes you special and tell your story. Trust that all the work you have done up until the point of performance is there for you so you can feel free to immerse yourself in character.

When I entered The Second City, I had the option of taking Improv For Actors or a Level A beginner class. I decided to start right at the bottom level and had made a conscious decision to not let anyone know that I was in theatre. For me this was a no brainer, I wanted the luxury of being a beginner again and I didn't want to feel the pressure of people thinking I should be better than what I was. On the other side of the coin, I didn't want my classmates to feel intimidated by having a professional actor in the room. Although I have been in the business for years, I hadn't done any improv since my grade eight drama class. I was a novice, and wore that label with pride. I was there to learn, to take risks, and to grow as an artist. In level A the exercises we would do for the most part were the foundation skills of improv. We learned about the famous "Yes And" that Tina Fey talks about in her book Bossy Pants, and about not blocking the offers our scene partner would present to us. "Every offer is a gift" our teachers would tell us, and if my scene partner came in and said "Hi Dad, why are you having an affair with my math teacher?' I have to accept the fact that I've been endowed by my scene partner as their Dad and apparently am having an affair with my their math teacher, whom if I chose, I could "Yes And" that offer and make that math teacher a male hermaphrodite from Brazil, if I chose to. So, I'm accepting the offer and adding to it. That's one of the things that makes improv exciting. You learn to really listen and to not judge. At the end of every class I felt exilerated. I was loving all the new things I was discovering and all the really gifted people, from all walks of life, that I was working with. Many of whom I can now call my friends.  Now of course being a dancer, my controlling nature would often rear it's ugly head. I was the one who always wanted to steer whatever scene we were doing in the direction that I wanted to go. At the beginning, I was always trying to "write the scene." Well, improv is collaborative, it's never a one man show. You never know what's going to happen and rarely is it what you think. The more I did, the more I wanted to do. I had become an "Improv Junkie." For my whole time at Second City, many of my classmates kept up with it as well, and we moved on to the different levels together. Each level presented new and exciting challenges and I learned much from my success in class, but even more from my failures. As a class, we felt our Level C show was wonderful and that we were well prepared and right in the pocket. In our  Level D show, we felt that we were  mediocre at best. That's the thing about improv...nothing's a guarantee and you never know how something's going to pan out. I had gone all the way through to Level E which would finish with a show on The Second City Mainstage. Although I had been on huge stages throughout the country as well as the U.S.A, this was one of the most exilerating performances I have ever had the pleasure of being a part of. Why...because I "Jumped up and found out what happened on the way down!" I was completely in the moment because really, there's no choice. In improv every scene you do is motivated by a suggestion from the audience. So you take the suggestion and you run with it. Coming from Musical Theatre, I excelled in a scene called "Sounds Like A Song." In this scene, whomever is hosting the scene can shout out "Sounds Like A Song" and based on the very last sentence you said to your scene partner, the musical director then starts to play a musical style and basically you listen in, ground yourself, and sing. You sing a song that's totally off the cuff, in a style that your musical director picks for you. I love this scene and did this in my Level E show. The great thing about this, there's no time to get nervous.

For the most part, I had always been nervous singing in auditions. I can't recall a dance audition where I was nervous, but for whatever reason, the singing call would always be a challenge. Sometimes I'd do really well, and sometimes my nerves would get the better of me. It was always a hit or miss situation. Now, being a dancer first, I know I'm not alone in this. I know many dancers who feel the same way. In the past couple of weeks I've had two auditions, and subsequently, two call backs. Now to be honest, the dancing went well and I expect it to go well. It's never perfect, but that's my comfort zone and that's where I excell. For both auditions I had to sing and for the callbacks, I had to sing and do sides from the show I was auditioning for. Admittedly,  (and I'm not exactly sure why),  I wasn't really that nervous. In fact, these said callbacks were perhaps the most enjoyable callbacks I have ever had. For both shows that I was reading for, I felt invested and in the moment. Regardless if I gave the director exactly what they wanted, I was in it, and then open to change and to be directed. In fact, I welcomed any change or direction given and was able to implement the changes asked of me. Subsequently the singing calls felt grounded and in the moment also. In these callbacks, they were probably  the first ever that I didn't judge every little, or big, sound that came out of my mouth, or every acting choice I made. But rather, just committed and was "In the monment."I really felt I went in and did my job. This was a very good feeling, and to be honest, pretty new. Were the auditions perfect, of course not. Were they committed, absolutely! Here's the thing, beyond what we do in the room, everything else is beyond our control. All we can do is control what we do in our audition, then after that, it's out of our hands.
At the end of these callbacks I kept saying to myself, "Thank you Second City." I truly believe that many of the foundation skills I learned at the centre, have served me well in many areas of the business and in life. One thing it has taught me for sure is to be "In The Moment." I encourage not only every dancer, but absolutely everyone to take a course there. It's truly a wonderful place and am looking forward to getting back at some point. Yes, I've done all the levels, but there's so much more yet to explore. Really, as far as improv goes, I've done levels A through E but really, I've only just scratched the surface. I may no longer be in the first grade, but feel I'm just about to enter high school.
So, if you have down time, (and you will at some point), make use of it. Take a risk, try something new, challenge yourself. Whatever you do, if it's done with good intentions, it's going to manifest a positive result.
Take care and be well.
Sincerely
Stephen Findlay A.K.A. The Oldest Male Chorus Dancer In Toronto

The Audition That Changed My Life

Pretty dramatic title isn't it. "The Audition That Changed My Life." Well, the truth is, I've had a few auditions that have changed my life. Some good, some bad, and some just extremely average. But at this stage, I've come to the conclusion that there's value to be found in  every audition that you will ever do.
By far the most gratifying audition I ever had was when I was sent in for the character of Mr. Brathwaite in the musical, Billy Elliott. Truthfully, I was surprised, (and thrilled), that I was being seen for that particular character at all. The character of  Mr. Brathwaite is usually played by someone who is more of a "character type" than what I would be considered to be. To give you an idea of what I am referencing, the actor whom they were replacing at the time was six foot three, probably two hundred and forty pounds, and black. If I'm being totally honest with myself, I am in many ways, an average, generic type. I'm approximately six feet tall, I'm in good physical shape, and have nothing really quirky or different about me...personality aside. Although some may argue, I was perhaps the most generic looking man in the room. Every other actor called in, had a unique physicality or quirkiness about them that could lend itself to the role very nicely. Aside from my salt and pepper hair, I have the kind of look that could still fit easily in to any dance ensemble of any piece of musical theatre out there.
The audition for Billy Elliott was like none I had ever done before. I can honestly say that by the end of the day, I was spent. We learned multiple combinations that we would then do in groups of two. Following that, we were taught Mr. Brathwaite's solo which we would then do as a solo, get notes from the dance supervisor, then do again, with everyone in the room watching...no pressure there. Now I've always been of the firm belief that in an audition, you do exactly what the choreographer gives you, while still bringing your energy, and what makes you special to the table. I had watched numerous actors at that point perform the solo, all bringing their unique self to the role, regardless if they were dancers first or not. When it came time for me to perform, I was energized, precise and totally invested. After getting a couple of minor notes, I went again and was told point blank "You know, you're a wonderful dancer, but I just don't see your passion." At that point, I felt like someone had just slapped me across the face then kicked me to the floor. I thought " can't see my passion...I ooze passion!" But then it hit me, what she was really trying to tell me was that I just wasn't that funny. I didn't look funny, I could execute all the technical elements with ease, and there wasn't anything I did in that particular performance that seperated me from any other ex ballet dancer out there.
We were then asked to improvise a dance style that we would hate to do on stage. Immediately I thought that this could be my chance to redeem myself. I thought "you don't see my passion...just wait!" We were told to do maybe thirty or forty seconds and that the accompanist would improvise along with you. Most people picked pretty standard dance styles, modern, hoe down, ballet...then it was my turn. When asked what I'd like to do I replied "nineteen eighties, mellow dramatic, lyrical." The accompanist began to play and I then proceeded to pull out all the stops. I started by dramatically running around the entire room, stopping in the centre to just lift my head. I then ran to the auditioner's table, slammed my hands down on it, turned my head away, then turned back all the while doing  a side kick layout. I then ran to the back of the room hit the wall, turned back to the panel and proceeded to run and slide on the floor to the dance captain whom was sitting and I grabbed and hugged her legs. My solo went on like this for another minute or so and I can say with full confidence, that when it was all over, I'm pretty certain my passion was no longer in question. I had saved nothing and left it all out on the floor. (I had also garnered applause from the entire room, including the panel.) We were then given more improvisation which did in fact follow with them making a cut...You know...that time in an audition that everyone hates. But for me, on that day, it was good news as they decided that I was to be kept. I can say with great certainty, that had I not left it all out on the floor in my improvised solo,  I most likely would have been done for the day. So, I took a risk, and it payed off.

We were then given a break for lunch and were told that we would be working with the resident director when we returned. We were asked to have our song ready and had also been given sides to do. Upon our return we all went in, one by one this time. Now each person going in, was in the room for a good fifteen minutes, and each time someone came out, they had done something completely different than the person before. So really, no one had any idea what to expect. When it was my turn to go in, everything at first seemed quite standard. I was introduced to the resident director and musical director, I went over my song with the musical director, then sang. It was then that I got a taste of what everyone else had gone through previous. The resident director asked me to sing again, but this time to play the total opposite of the song. All during my song he'd stand two feet away and shout out questions to me about the story I was trying to tell. Once we were done, he made me do the song a third time and demanded even more from me. His energy was relentless and he was determined to get all he could out of me. I was then given a quick dialect test and did a small amount of range testing. The resident director then asked me to perform my monologue which I did. He then gave me some simple direction and I was asked to do it again. Upon completing my monologue the second time, he then informed me that we were going to do some improv where I would do the monologue as written, and he would act as Billy and stop me and ask me questions, in which I would respond while arranging small bits of torn up paper that were" very important" to me. Well what started as a thirty second monologue turned into a five minute improvised scene and truthfully, I felt like I was on fire. The adrenaline rush I got in that five minutes was like nothing I had felt before. I was elated and exhausted all at the same time. When I left that room all I could think of was how satisfying that whole experience was and how much I'd love to work with that director. After that, the rest of the day was filled with more dancing, in which I was made to do the Brathwaite solo three more times followed by doing some simple stage combat. All in all, it was a very full day.
Now...here's the thing.. After all that, I did not book the job. They kept telling me for a week that I was "in the mix," but in the end, it did go to someone else, who truthfully, was far more of a physical character type than myself.  However, in that short amount of time, I was able to show them that although I may not be your "standard character type," I could in fact, be a strong contender for a character driven role. Truth be told, people in our business like to put us in categories. It's neater and easier that way and confuses no one. We even have names for these said categories... leading man, ingenue, character actor, and the list goes on. Once we can break free of those labels, it can open doors to so much more opportunity. But it does require both work and risk on our part. If you want to change people's mind about you, the first mind you need to change is your own.
   Another reason that this was perhaps the most valued audition of my career thus far,(and perhaps the most important thing for me personally), is that this particular audition, was what led to me training at Second City, completing levels A through E in improvisation. Training at Second city was something I had always wanted to do and this particular audition gave me just the push I needed. I treasure the time I spent at Second City and I'm not done yet...I've barely scratched the surface. But I'll save that for my next blog entry.

So go ahead, take a risk...I dare you. I mean really, what's the worst that could happen...You might even discover something wonderful about yourself!                                    
                                                                                            XO Stephen Findlay

                                                                    A.K.A. The Oldest Male Chorus Dancer in Toronto
                                                                                  

I Am The Dance Class Nazi

I love teaching open classes. I especially love teaching them in the summer. In the summer, I meet so many new dancers from different studios and cities, and get to re-connect with former students from various places that I've taught. It's very rewarding and am always so happy to see when people keep up with their training.

Truth be told, I am always on my students about keeping up with their training. At the end of the year at Sheridan College, I usually give a short talk. In this talk I tell them, take a couple weeks off, then get right back at it. If they are close to Toronto, they have many options for drop in classes in which some studios even offer a student discount. Even if you are living somewhere where there isn't an option to take class, you can always do something on your own.There is always a way. Other than being injured, there is really no excuse for not keeping your dance skills sharp.

At one point this past year, when having a discussion about this very thing, somebody refered to me as "The Dance Class Nazi." I thought, "Hmmm...am I really the dance class Nazi?" Let's explore that shall we.
Here's the thing, I have never understood dancers who don't train and keep their skills sharp. Something seems to happen with a lot of dancers where in when they finish at their studio or college, they don't keep up with their training. As a dancer, we are not only artists, but also athletes, and it's important to keep our facility, (our body), in shape, strong, and technically aware. If we don't, we are more susceptible to injury, and the older we get, the quicker we become out of shape. I've had this discussion with many dancers and they often tell me, "well, I've been doing yoga" or, "I haven't been to class, but I've been going to the gym." Now both of these things are great compliments to your dance training. I do both yoga and the gym and love it and I tell my students to do the same. But make no mistake, they are NOT a replacement for dance class. If they were, your average gym person or yoga enthusiast would also be dancers. I also hear many people who make reference to really good dancers who indeed work, and don't train. Well truthfully, a good dancer is more often than not still going to be a good dancer, even if they don't go to class. However, they will not be a great dancer, but more likely a mediocre version of their former great self. I know...it sounds harsh, but it's true. Now for some people...that works. I guess for my personal self, I always want to strive to be the best I can be.
Another thing that tends to happen when we don't train is that we lose our ability to pick up and execute choreography quickly and with intention. Dance is a vocabulary, a language, and when we don't speak it, we lose our fluency. I can not tell you how many wonderfully talented dancers, (dancers that I love and were excited to see), basically crashed and burned in the calls for Wizard Of Oz this past season. When it came time to perform in groups, many dancers didn't have a clue. One reason I'm almost sure of, is that unfortunately, dancers in this country don't have enough audition opportunities so nerves take over. But also, it's because although you may be talented, you haven't taken class in a year so your pick up skills are weak. I don't know how many times I've heard " Well if I just had another chance" or "I could get it in rehearsal if they just gave me time." Well unfortunately, if someone hasn't worked with you, they are not going to know that. They want to see what they are going to get at that moment, right in front of them. It's not personal, they don't hate you, it's just what they want. I heard a lot of the same grumblings after the Cats auditions. But the truth of the matter is, Cats is a very specific show, and one where many of the characters are required to have strong technique and nice lines. If you haven't been to class...chances are that's not going to be you. Now there are always extenuating circumstances to these situations. Rarely is it black and white. Things like height, vocal ability, ethnicity, who you know, past experience...all these things do come in to play. But if you perform well and with confidence in your initial dance call, you're more than half way there.

Even if you are a singer first, it's in your best interest to take classes when you can. One shining example of this is a young actor by the name of Lucas Meeuse. When he entered Sheridan college, he was a beginner dancer in the lowest level, and could not kick past ninety degrees. Through a lot of hard work and training, Lucas now can take a dance class of an intermediate/advanced level and hold his own quite well. The same goes for Tess Benger. Here's a young actor who has for the most part, played leading roles since she graduated from Sheridan. Again when she entered the college she had minimal dance training yet now through a lot of hard work, can fit in well taking classes of an intermediate/advanced level. What both of these artists have done in a short time has been quite incredible and has just made them that much more employable in the world of muscal theatre.

I'm the first to admit that there have been times in my life where I wasn't taking class as often as I should due to finances or work. But if I didn't have the money, I always had the ability to give myself a ballet barre or do a good solid jazz warm up. It's all possible, it just depends on your own self discipline.
So instead of grumbling about why you may have not booked the gig, take that energy and put it to good use. Go take a dance class. If you have no money, give yourself a class or go to Zumba at your gym. At the very least you'll be putting movement together and doing something of value for yourself. Also, if you haven't been to class in a while, don't beat yourself up about it, just go. Everyday is a new beginning with new opportunities. That in itself is exciting!
So I guess it's true...I am "The Dance Class Nazi." See you in class...Hopefully!

                                                                             Stephen Findlay

Hi Everyone. Thanks so much to all of you who have decided to read my blog. So here I am at my second entry. I have decided to publish here, a story that I had written three years ago. When I first wrote it, I sent it to Zoomer magazine with the hopes of getting it published, but that did not happen. However  it was published in the Metro Movement Newsletter and received some wonderful feedback. Three years later, upon re reading the story in it's entirety,  I feel most all of it is still relevant today. So...have a read. Hopefully it will put a smile on your face.

                                         2010-THE SUMMER OF RE-INVENTION

                     A GLIMPSE INTO THE LIFE OF A FORTY SOMETHING DANCER

So, you’re a dancer in your thirties or possibly even in your forties, now what? That’s a question I’ve been asking myself for the better part of fourteen years. Given that I’ve been working in the dance industry for over twenty eight years, it’s been a personal dilemma of mine and no doubt a question any dancer will ask themselves one day if they choose to stay in the entertainment business.

From a very young age I had always felt that as much as I chose to be in this business, that the business had in fact chosen me. From the time I was a small child I knew I had wanted nothing more than to dance. I would spend countless hours in front of the television watching old Gene Kelly and Fred Astaire movies, imagining one day, that would be me, dancing and singing and having a ball! In my childlike imagination I had also become rich doing this. Well…without stating the obvious two out of three ain’t bad. I got out there, trained very hard, overcame numerous obstacles, and became a professional dancer. Now at forty six years of age, I’m still enjoying working in this crazy, wonderful, roller coaster of a business. Never did I think it would last this long. There was a time in my thirties that every time I had entertained the idea of leaving the business, I would book another job. It seemed that no matter what, life was telling me to stay put.

At the age of thirty nine I was auditioning for Stratford Festival’s production of Guys And Dolls. I had always prided myself on keeping up with my training and even at that age was dancing well. At the stage of the audition when the choreographer had asked to see our tricks, (and upon the completion of my double tour’s which I had performed flawlessly), a person on the audition panel had asked my age. ( Please note, it was very clear that I was the oldest dancer auditioning.) Never being one to hold back I replied, “I’m thirty nine and can land my tours any way you’d like.” It was then that the whole room of twenty something dancers erupted in spontaneous applause. Make no mistake, the applause was genuine and at first was flattered…until I realized that it wasn’t my double tours that brought on this unsolicited ovation, it was the fact that I was the age I was, and could still do what I do. I had many young dancers come to me that day and say to me “I hope that when I’m your age I dance as well as you.” Always maintaining a certain amount of ego I thought, “well…you better get to class, because really…most of you don’t dance as well as me now.” (Okay...more ego than neccessary.) It was that moment it hit me, I had become what I’d feared the most. I had become ‘The Oldest Chorus Boy “ in Toronto. Life, always having a way of humbling oneself was telling me it’s time to move on.  It was then I decided that it was time for a change.

At the ripe old age of thirty nine I decided to hang up my dancing shoes and pull myself out of auditioning for musical theatre. Most all of my peers had moved into other areas of the business or had since retired and I felt that maybe it’s time I followed their lead. Given that dancing was my main strength, I realized that I just didn’t fit in with the new crop of dancers coming up. Although I was in good shape, I looked older, danced with a different maturity, and stuck out for all the wrong reasons.

 I had always taught since I was in my teens and began focusing on that. I had enjoyed a high level of success as a teacher in the past and would continue to do so on a more committed level. I still managed to book the odd job in film and television and was enjoying my new direction and the new opportunities that life was presenting to me. I was teaching at two colleges, choreographing main stage shows for both, booking the odd bit of film and television, and had also started to write. An activity that to this day still brings me joy.

Throughout my whole career I had also done what many do in our business. I was a server in a bar/bistro. Although the job had given me a lot of much needed flexibility, I had started to wonder, “Is this it? Life for the most part, was good, but I still felt that something was missing, that a piece of the puzzle, a.k.a. my life, didn’t quite fit. Although these new opportunities were great, they were all very part time and that somehow a piece of me was left back at that fateful audition that for better or worse, had changed the direction of my life.

 Bottom line, I was in a rut, worried that I was going to end up a part time dance teacher and a full time waiter. That life as I knew it was going to end with me serving up mediocre Pad Thai while teaching pirouettes on the side. Noooooooooooooooooo! There had to be more to my life than that? All those years of training and performing, all the knowledge and experience I had garnered couldn’t wind up with me pulling pints at a watering hole for the uninspired. It just couldn’t.

At the age of forty four my agent, (a wonderful man who had stuck with me through thick and thin and the occasional neurotic meltdown), had come to me with a proposition. He had wanted to submit me for Mirvish Production’s The Sound Of Music. They were looking specifically for a dancer who was older to swing the show and to act as dance captain. I thought ‘Why not”, I was in need of a change and change had presented itself. After the initial audition, I was hired quite soon after. (To be honest, it was my teaching skills that had got me the job). I was back! I was once again performing in the theatre, doing what I loved, learning new things, working with wonderful people, and was in a position that I had coveted for a long time. I was one part performer, one part teacher, and one part management. It was for the most part a perfect fit and for the next sixteen months I’d enjoyed the job immensely.

Upon completion of a fabulous run, I was once again faced with the question of “what’s next?” Having closed the show in early January there wasn’t a lot available. Luckily I had been good with my money and was set for a few months. I started teaching part time and decided to book myself adjudicating for numerous dance competitions throughout the country. (Many people find this work tedious, I do not. In fact for me, I find it inspiring. I get to travel the country and see the next generation of dancers who by the way are wonderful and get to watch budding young choreographers who’s ideas are original and awe inspiring).

I had also decided to put myself out there for theatre again. I mean why not? I had just finished a huge mega musical and the doors would no doubt swing wide open welcoming me with open arms. Right? Wrong! It seemed no matter what I auditioned for, or what I had tried to make happen. Once again I wasn’t the right fit. But instead of worrying about it I had decided to take my summer, enjoy it and see what happens. I had saved my adjudicating money so I didn’t have the pressure of getting a full time job. I thought that maybe this was a time to train, to enjoy, and to just throw caution to the wind and see what happens. That decision proved to be one of the best I have ever made. I took tap and singing classes, completed a thirty day Bikram Hot Yoga challenge, along with my teaching at a local drop in studio, taught workshops and master classes for different summer programs, and was quite honestly having the summer of my life. I had even decided to do a small amount of catering which surprisingly I really enjoyed. Although I was busy, balance had some how found a way of creeping it’s way into my life and anxiety had become a thing of the past. For now, my workaholic nature would be put on hold and living in the moment would be my new lifestyle of choice.

At one point I had pulled out my headshots, (an eight by ten photo that acts as a performers calling card), and thought okay…if I’m staying in this business it’s time for new pictures. My old headshot was no longer a true representation of my new self. I didn’t want to be in my forties trying to look like someone in my thirties. I let my gray hair grow in, embraced the new person I was becoming, and headed straight to the photographer. I had had my new shots for maybe a hot five minutes and all of a sudden was being called in for numerous commercial auditions. I had booked a few in my life but had never been “a contender”, so to speak, in that part of the business. The very first commercial call I went out on I booked. I was then put on hold for another as a Dad. Are you kidding me, me a Dad? No way! I then booked another commercial. There I was, just the simple act of getting new headshots put me in a new category and I had in fact become a new face. Out of four auditions I booked two and was on hold for one. I then booked a day on a film. Suddenly it had occurred to me that not booking any summer stock was perhaps the best thing that could have happened to me and that once again I was re inventing myself in the business, going out for different auditions weekly in categories I had never even been considered for. All of a sudden the business I had worked in for all these years, had presented new and different challenges. That’s exciting! Once again the phrase “Everything Happens For A Reason”, (a phrase I love to use but hate to hear), reared its ugly head making me the sole author of a new chapter in my life. Doors did close but windows also opened…it’s just not always the window you think it might be.

So, after twenty eight years of dancing professionally I can tell you with absolute certainty that the dancer I was in my twenties is very different than the dancer I have become in my forties. Bodies change and injuries happen. Simply put, we get older and things that we used to be able to execute with ease do become a challenge. But at this stage of the game would I have it any other way? Absolutely not!

  So instead of questioning every little thing that life hands to me, every job I did or didn’t get, for now I’m just going to accept who I’ve become and to be thankful for all this crazy business has provided me. I will do my very best not to ponder the things that are beyond my control and to fully trust in myself and believe with un wavering certainty, I’m exactly where I should be. I can now say with complete honesty, that after twenty eight years of dancing and singing in everything from Bar Mitzvahs, to musicals, to major motion pictures, I’m happy, grateful, confused, inspired, humbled, and…NEW! Yes! I’m in my forties, still a dancer, and I’m new!

I guess the only question left to ask is… “What will my fifties bring?” But for now, we’ll just leave that one alone.

Stephen Findlay

 So...there you have it. That was three years ago, and believe me, lots has happened since then. So stay tuned because there are a lot of good stories to follow.

Cheers

Stephen Findlay

The Procrastination Has Come To An End

That's right, today's the day. What day you may ask...well it's simple. Today's the day I finally decided to start a blog. I've been thinking of starting a blog for some time now and I thought why not now. That's right, my procrastination has finally come to an end. I also figured that now would be a good time since I find myself with a bit of free time, strong opinions, and have once again found the need to write. In these writings, I  hope to share some words of wisdom, humour, inspiration and maybe even learn something about myself.
And how about that title...enticing isn't it. Truth be told, I will not be confessing that which is personal, but rather share with all of you what it's like to be a dancer who is still dancing well in to his late forties...with fifty right around the corner. Now many of you may think "I know dancers in the city who are older than Stephen Findlay." ( Forty nine with fifty in the not so distant future.) Well...I don't. I mean not really. I guess I use Stelio Calagias's definition of what a dancer is, and that's a dancer who continually trains at his craft, an opinion of which I'm in total agreement. That's right, at forty nine years of age, as well as teaching my own classes, I still train as much as my time will allow. I still kick, jump, turn, and can even still land my double tours.
 (Now please don't get me wrong...I know many wonderful musical theatre artists who are brilliant and can in fact dance pretty well, but they are not really dancers first. I am first and foremost a dancer.)

 Like many of my generation, I started out as a tap dancer, then started jazz a few years later, and shortly after that, ballet. For me, ballet was always something I was made to do. As a young dancer I viewed ballet as a neccessary evil that would help me become a better jazz dancer. Thankfully that all changed when I was seventeen years old and started training at a professional ballet school. From that moment on, life for me as a dancer changed dramatically. Thank you Edmonton School of Ballet! Without the training I received there, I would not have become the dancer that I am today...some thirty two years later. It's been quite a ride and am thankful for all of it, good and bad.

So I guess that after thirty years of working in the business, I feel I have a lot to share. I really do not wish to use this as a forum for negativity. I mean really...that's a complete waste of time. Not that I don't have negative thoughts or feelings at times, (I mean we're all human right.) I just would rather use this forum as a place for positivity and growth. Let's see what happens shall we.
 So there it is...my first blog entry. There will be more to come very shortly.

Cheers everyone!