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Now I'd like to say a few words about the author, Michael Shurtleff. After all, isn't a business interview an audition in a way? Isn't a first date? In today's world everything seems like some sort of long audition to me. Not important, you say? Oh, no? Well, read on.Īlthough the book is directed to helping actors audition successfully (by that I mean gain employment-get the part-something which is extremely difficult in today's market is it 80 or 90 percent of Actor's Equity who are unemployed?), I began to think that with a little imagination, a little transcribing in the reader's mind, how useful this book can be to people outside the theatre.
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Most importantly, he explains clearly how to deal with them. Michael explains to the reader all the possible situations and predicaments an actor might expect. It happens all too frequently in the theatre and in films, too. I have seen many talented actors not get hired simply because of a poor audition. God knows there have been a goodly supply of books written about acting and the theatre, but none that I've read are so usefully straightforward and practical as this one. There is NO book of which I am aware that gives an actor such first-rate, clear-cut, no-nonsense advice. The foreword writer would swing a left obscure verb to the jaw and shortly follow with a seven syllable adjective-one that would immediately send me running to the nearest fat dictionary.įeeling I wanted nothing to do with any of these approaches, I was forced to do my own thinking (something I try to postpone as long as possible) about what I would like to say about Michael Shurtleff and this book.įirst off, I would like to go on record as saying that I consider this book to be absolutely indispensable to any aspiring, or even mildly ambitious, actor. It was a little like a five-round preliminary writing bout. On the contrary, I found most of them too long, too academic, or, in some cases, as if the writer of the foreword was in competition with the writer of the book and was trying to out-write him-so to speak. Therefore, I read a few forewords to several How To books and even to some novels. Of course, you can only expect that from your closest friends. I always tend to feel my friends are misleading me-or at least telling me only part of what I should know. That sounds reasonable enough, but I sensed it was incomplete.
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I called a few of my more literate friends and asked them: Exactly what should a foreword accomplish? Their general consensus was that it should predict in some way or other a little of what the reader might expect to follow. I have never written a foreword before, so I have no knowledge of its purpose. My thanks go to two remarkable Broadway producers, Stuart Ostrow and David Merrick, for their belief in me and for the inimitable opportunities they gave me to learn. Scott and Cicely Tyson, "East Side/West Side" (1963), and the brilliant casting of Dustin Hoffman as the lead in the film "The Graduate" (1975).
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He also cast the critically acclaimed television series starring George C. In addition to casting the films "All the Way Home" (1963), "The Sound of Music" (1965), "The Sand Pebbles" (1966), and the film version of "Jesus Christ, Superstar" (1973), Shurtleff wrote screenplays and directed "Call Me by My Rightful Name" (stage 1963, film 1973). Shurtleff served on Broadway as casting director on David Merrick Productions including "Gypsy" (1959), "Irma La Douce," "A Taste of Honey," "Becket," and "Do Re Me" (1960), "Carnival!" (1961), "Stop the World I Want to Get Off" (1962), "Oliver!" (1963), "1776" (1969), "Jesus Christ, Superstar" (1971), "Pippin" (1972), and "Chicago" (1975). Then, he started work in the theater as a casting director and production assistant for William Hammerstein in 1957 through 1960, working on musicals for the New York City Center. Michael Shurtleff graduated from the Yale University School of Drama, where he earned his Master of Fine Arts degree.