Gayle Seay and Scott Wojcik of wojick|seay casting

As APAC prepares to open The Secret Garden on May 3, it’s always interesting to look back and realize where this process started.

In less than a week a cast of 26 takes the stage.

It all started with 500 people auditioning to be part of this production.

I was able to chat with Scott Wojcik of wojcik|seay casting about the process of finding the right people to bring an ambitious production to life.

WHAT EXCITES YOU MOST ABOUT THE CASTING PROCESS?

I think the fact that every new casting provides an opportunity to everyone involved. Actors get to show their skills, creative teams get to explore a concept or vision and audiences get to benefit from the results of that process.

I also love the environment of collaboration. In the audition room when an actor makes choices that are truly unique or inspired and you feel the energy of the room jump and you see the creative team respond and you know you have a contender for the role!

WHAT’S YOUR ROLE IN BRINGING THIS STORY TO LIFE?

Casting is one part management and one part artistic. APAC provides the opportunity to do both to our office. Some theaters use a casting office to simply schedule for them. While others ask for input on talent choices. Being an active member of the team allows us to collaborate and contribute on artistic conversations, which makes us feel that we are really part of the art of the process.

On the management side, it is important to know the show and the requirements necessary for each role. That knowledge base along with the team’s concept allows us to select the best options to give appointments to. I also think there is an element of hosting involved with casting. Talking to the actors in the lobby before they audition, giving little tips based on what is taking place in the audition room and doing our best to relax the actors so they can be at their best.

WHAT’S BEEN YOUR BIGGEST CHALLENGE CASTING THIS PRODUCTION?

In our current economy the biggest challenge of casting ANY production is finding the highest level of talent that can afford to participate in the production. Adding to that, we continue to battle the perception of the industry that doing showcase work is in some way beneath them or has no value … to the contrary, I am of the opinion that “works begets work” and working actors always do better in auditions.

Each production always has a “hard” role or a few hard roles to cast … usually this occurs in kid’s roles or more mature/senior roles. Coordinating schedules and finding viable options for these roles is sometimes a challenge but that is what casting is about and what our job is … so while challenging, we have always been able to fill each role with great talent and never have to compromise artistry or the director’s vision.

WHAT’S BEEN YOUR FAVORITE THING ABOUT WORKING WITH APAC? 

Working with APAC has provided me with opportunities to meet actors I might not have had a chance to meet otherwise. Being able to offer opportunities to these actors on other projects our office casts is a wonderful bonus to being associated to APAC.

I also think it’s important to remember that quality theater happens in so many places and sometimes working a little harder to get to those places makes the reward of the work even more gratifying.

To continue to have the chance to work with Tom Wojtunik and the different teams he assembles is also amongst the favorite things I like about APAC. Even though I know every show is going to be great, I am always reminded of just how great the quality of the productions are when my guests comment on the level of professionalism and the quality of the talent.

I have also seen actors who work at APAC gain levels of confidence that serves them well in their careers after they leave APAC. Many APAC alumni have moved onto other shows and tours and continue to shine.

Finally, APAC allows talent a place to show their abilities and that leads to getting agents, which is always a goal of actors.

TELL US ABOUT YOUR FAVORITE MOMENT IN THE CASTING PROCESS. 

When an actor transcends the audition room and truly creates magic in their audition. I have been so fortunate to see and hear actors sing, act and dance so well that I am truly humbled by the experience and awed by their abilities.

There is always great joy in arriving at the final casting choices and there is nothing better then when we get to call an actor and tell them they “got the job.” To be part of the validation of all their work and help them achieve goals and dreams is truly the best reward you can have.

Also, to see the fruits of everyone’s labor on opening night, closing night or any night in between, fills me with great pride and makes me very aware of all the work that is done and the sacrifices that are made to get a show from an idea to performance.

—

See The Secret Garden

May 3 – 19, 2012

Good Shepherd United Methodist Church
30-44 Crescent St (@30th Rd)
Astoria, NY 11102

Thursday – Friday at 8pm
Saturday at 2pm & 8pm

Tickets: $18 general
$12 students / seniors

TECH SCHEDULE:

Thu 4/26 & Fri 4/27, 6-11p

Sat 4/28, 2:30-11:00p

Sun 4/29, 3-11p

Tue 5/1, 6-11p

Wed 5/2, 6-11p

PERFORMANCE SCHEDULE:

5/3-5/26

Thu-Sat @ 8p, Sat @ 2p

Brush-Up Rehearsal: Wed 5/9 evening

*During the run, spot op will help with set-up/strike duties on Thursdays at 5:30p, and Saturday evenings after the performance.

Is this position for you?

The right individual will possess a theater background, and the ability to follow direction and solve problems. Will report directly to the PSM. Stipend pay.

For consideration

Please e-mail cover letter and resume with two references that we can call to jobs@apacny.org. No phone calls.

EMAIL SUBJECT LINE SHOULD READ:

The Secret Garden: SPOT OP

For the seventh year, APAC is offering a FREE performance program for Queens residents over the age of 60: SENIOR STARS.

SENIOR STARS Auditions are Wednesday, May 9^th

This year, we’re going to give American Idol and The Voice a run for their money. That’s right – our Senior Stars will become POP STARS.  Five weeks of twice-a-week rehearsals will lead up to two performances of an original show for the public on Saturday, June 23^rd.

WHEN: Wednesday, May 9, 2012. 10:00am-12:00pm sign in. We will see everyone who signs in during those hours on a first come, first served basis.

WHERE: Good Shepherd United Methodist Church, 30-44 Crescent Street at 30^th Road in Astoria. Street Parking Only. Take the N/Q to 30^th Avenue. Walk down 30^th Avenue, turn left on Crescent Street, then right on 30^th Road. The entrance is the second set of red doors on your left.

WHAT TO PREPARE: Sing any song – bring sheet music if you’d like. If you’re not a singer, you can dance or read a poem. No experience required!

PROGRAM SCHEDULE: Be sure that you can make all of these dates! Rehearsals will be Wednesdays and Fridays, May 23^rd-June 22^nd.

SPONSORED BY THE NYC DEPARTMENT FOR THE AGING, THE NYC DEPARTMENT OF CULTURAL AFFAIRS, NYSCA, AND CON EDISON. A MOST SPECIAL THANKS TO COUNCIL MEMBER PETER VALLONE JR.

Tom Wojtunik directs the cast of The Secret Garden at APAC. Photo credit: Lori McFadden

The Secret Garden opens May 3rd at APAC. And rehearsals are well underway.

The director, Tom Wojtunik, took some time tell us about what this story means to him and what it’s been like collaborating with such a talented group on this production.

WHAT IS IT ABOUT THIS STORY THAT MADE YOU WANT TO DIRECT IT?

I’ve always loved the score—it is incomparably romantic and haunting, and to be honest, I can’t think of another musical quite like it. I grew up listening to the original cast album, but (much to my chagrin) never had a chance to see it on stage. Now I’m relieved I didn’t. I love the version of the story I see in my head, and I’m glad to not be influenced by the original production.

The Secret Garden begins incredibly dark and moves towards light—that kind of progression is always satisfying to rehearse, and musicals do it better than any other art form. The characters in the story are weighed down by grief, and I love watching the ripple effect of one little girl’s change in attitude affecting an entire house. The author of the original novel, Frances Hodgson Burnett, was a firm believer in the power of thought, and actually predicted that science would one day catch up with her beliefs. A hundred years after the novel was originally published, she isn’t wrong—advances in quantum physics bring us closer and closer to understanding the connection between the physical and the mental, in a way that can actually be measured. If the power of thought is as strong as Burnett believed, the possibilities for humankind are pretty profound.

And yes, I think all of that is actually in The Secret Garden.

WHAT DO YOU THINK PEOPLE WILL LOVE ABOUT APAC’S PRODUCTION IN PARTICULAR?

If you’re already a fan of the novel or the musical, I know you will love our production—the cast is tremendous and the design elements are breathtaking. If you have no idea what the story is, but the idea of it turns you off (i.e. “isn’t that a novel for little girls with British accents?”), I can tell you that it’s actually a dark psychological study about how we process grief. There’s also a surprising amount of humor in Marsha Norman’s Tony Award-winning book.

WHAT’S IT BEEN LIKE TO BE WORKING WITH THE CREATIVE TEAM AGAIN?

It’s a lot of repeat customers! At this point, Christine O’Grady (musical staging) and Jeffrey Campos (musical direction) are more like other parts of my brain. Our individual skill sets compliment each other ridiculously well. We also have a stupid amount of fun and laugh a lot, which is my favorite part of working with them.The design team reunites some terrific APAC alumni (Michael P. Kramer on set, Dan Jobbins on lights and Ashley Cavadas on props), and it definitely makes the process easier that they already know the challenges of our space and budget. They also know and trust that the quality of what comes out of the rehearsal room will be really good, and worthy of their best efforts on the design elements. And I can trust that they’ll be ready for us in tech. It’s kind of crazy that in the theater some of the most complicated stuff (i.e. technical elements) doesn’t get added until a week before the first audience arrives—it puts a lot of onus on the people responsible for making those elements happen, so it’s nice to work with artists you can rely on.

We’re also working with two designers new to APAC: Colin Whitely is providing the sound design and Ryan J. Moller is designing costumes. I’m super jazzed to have them both on this show, and excited for audiences to see and hear their work.

WHAT’S BEEN THE BIGGEST CHALLENGE WORKING ON THIS MUSICAL?

There’s a lot of theatricality to the piece, which is director catnip. Half of the cast is dead the whole play, so figuring out how to use those ghosts to tell the story in a way that lifts it, and doesn’t confuse the audience, is a big challenge. The show starts with an very montage-y prologue, which really sets the tone for the whole piece, and getting that right has been a major focus of ours. And of course, the story rests on the shoulders of two children—luckily we have two incredibly talented young actors in the roles of Mary and Colin: Hannah Lewis and Sam Poon, both of whom are going to win the audience’s hearts.

WHAT’S BEEN YOUR FAVORITE THING ABOUT WORKING ON THIS PRODUCTION AT APAC?

The cast. They are lords and ladies of musical theater, and it’s an honor to be in a rehearsal room with them. Five hundred actors auditioned for the twenty-two roles in the show (an APAC record!); needless to say, we had a lot of options to choose from. We’ve assembled a group of compassionate, dedicated artists with a genuine affection for and belief in the story. I was a puddle at the end of our read/sing-thru, and would have felt proud charging audiences $18 just to hear that. Plus, they are delightful to be in the rehearsal room with, which can often be harder to find than it should be. Also, one of my favorite things about directing is immersing myself in different worlds. I’ve loved researching this show and the Edwardian time period. APAC’s new Literary Manager, Jennifer Lane, is also serving as our dramaturg, and she’s been invaluable to the process. From early meetings with me, where we discussed all the possibilities for how the ghosts could function (Are they narrators? Are they psychological manifestations of the living characters? Are they spirits with free will?), to daily minutiae questions in the rehearsal reports (What did clothes hangers look like in 1906? Did they have stethoscopes?), she’s been a god-send.

ANYTHING ELSE YOU’D LIKE TO ADD?

APAC’s production is the first fully-staged New York revival of the musical since it’s Broadway premiere in 1991, and people love this show … so don’t wait to get your tickets!

REHEARSAL SCHEDULE:

Mon-Thurs, 6-11pm

Sat, 12-5pm

NOW thru 4/25

TECH SCHEDULE*:

Thu 4/26 & Fri 4/27, 6-11p

Sat 4/28, 2:30-10:30p

Sun 4/29, 3-11p

Tue 5/1, 6-11p

Wed 5/2, 6-11p

*ASM will be expected to arrive early and stay late for set-up and restore during tech and rehearsals.

PERFORMANCE SCHEDULE:

5/3-5/26

Thu-Sat @ 8p, Sat @ 2p

Brush-Up Rehearsal: Wed 5/9 evening

Is this position for you?

The right individual will possess a theater background, attention to detail, the ability to prioritize, and will be a creative thinker with excellent people skills.

ASM (Non-AEA) will be a qualified, well-organized individual, with the ability to follow direction, solve problems and corral large groups of people. Will report directly to the PSM.

Stipend pay.

For consideration

Please e-mail cover letter and resume with two references that we can call to jobs@apacny.org. No phone calls.

EMAIL SUBJECT LINE SHOULD READ:

The Secret Garden: ASM

Yes, you read that correctly.

We’ve teamed up with two of our favorite Astoria restaurants and the next time you order select drinks through the month of May APAC receives a donation.

So you can go out for drinks and support APAC at the same time. How cool is that?

The details

Have a Cocktail at the Astor Room

One of our favorite restaurants, the elegant Astor Room, has created three signature cocktails, inspired by APAC’s productions this season: A Hard Wall at High Speed, Love Trapezoid, and The Secret Garden.

Order one of them during the months of April and May, and a donation will be made to APAC.

The Astor Room is located at Kaufman Astoria Studios (the corner of 36th Street and 35th Avenue in Astoria). P. (718) 255-1947

Enjoy a Glass of Wine at Sac’s Place

Another of our favorite restaurants, Astoria staple Sac’s Place, is offering something special starting this weekend through the end of May.

Buy a glass of Montepulciano d’Abruzzo and half of the proceeds will be donated to APAC. Sac’s Place is located at 25-41 Broadway (on the corner of 29^th Street) in Astoria. P. (718) 204-5002.

So grab some friends

Head out for a night in Astoria with your best pals. Have some drinks and support APAC!

Director: Tom Wojtunik
Musical Director: Jeffrey Campos

Schedule:

The schedule is as follows:
4/15, Time: TBD*: Rehearsal 1
4/22, Time: TBD*: Rehearsal 2
4/24, 7:00 PM – 11:00 PM: Sitzprobe
4/30, 6:00 PM – 9:00 PM: Rehearsal 3, only if we need it.
5/1, 6:00 PM – 11:00 PM: Dress Rehearsal 1
5/2, 6:00 PM – 11:00 PM: Dress Rehearsal 2
5/3, 7:00 PM – 11:00 PM: Press Preview
5/4, 7:00 PM – 11:00 PM: Press Preview
5/5, 8:00 PM: Opening Night
5/10, 8:00 PM: Performance
5/11, 8:00 PM: Performance
5/12, 2:00 PM and 8:00 PM: Performance
5/17, 8:00 PM: Performance
5/18, 8:00 PM: Performance
5/19, 2:00 PM and 8:00 PM: Performance
5/24, 8:00 PM: Performance
5/25, 8:00 PM: Performance
5/26, 2:00 PM and 8:00 PM: Performance

Pay: Stipend

Here’s how to apply:

For consideration please e-mail cover letter and resume to jobs@apacny.org. No phone calls.

EMAIL SUBJECT LINE SHOULD READ:
Secret Garden 2nd Keyboardist

Award-winning Resident Set Designer Michael Kramer has designed a beautiful set, and it’s going to take a lot of hands to get it done!

There are all kinds of tasks – we welcome people of different skill levels.

We will need people to work on weekday evenings and weekend hours starting on March 30th and continuing through the month of April.

If you are interested you can contact Annie Jacobs (APAC’s Production Manager) at annie@apacny.org. She’ll give you specific dates/times.

Help a little or a lot – whatever works for your schedule!

You can direct all of your questions to Annie, or you can call APAC at (718) 706-5750.

Our venue is at Good Shepherd United Methodist Church, 30-44 Crescent Street @ 30th Rd. in Astoria. N/Q to 30th Ave. Walk down 30th Ave. Make a left on Crescent Street (by Mount Sinai Hospital), then right on 30th Rd. Entrance is second set of red doors on your left.

Rehearsals begin 3/29/12 for 5 weeks (evenings and weekends)
Run: 5/3 – 5/26 (Thursday thru Saturday)

Is this position for you?

The right individuals will possess a theater background, attention to detail, the ability to prioritize, and will be a creative thinker with excellent people skills.

ASMs will be qualified, well-organized individuals with the ability to follow direction, solve problems and corral large groups of people. Will report directly to the PSM.

Small travel stipend

For consideration

Director/Choreographer: Christine O’Grady. Musical Director: Mike Pettry.

Schedule:

Pre-Production: meetings TBD in April/early May

Auditions: Wed 5/9 (10a-4p)
Rehearsals: Wednesdays & Fridays 5/23-6/22 (10a-4p)
Tech/Performance/Strike: Sat 6/23 (9a-10p)

Fee: $1200

About the program

Senior Stars is APAC’s annual performance program for Queens seniors, age 60 and older, now in its 7th year. Seniors audition and are then invited to partake in the program, which meets twice a week for five weeks. During that time the seniors work with a director and musical director to create a musical review, which they perform to two sold-out houses on a final performance day.

Is this job for you?

We’re looking for someone with: a theater background, attention to detail, the ability to prioritize, and an ability to think creatively with excellent people skills.

As the Program Coordinator, you will work with APAC staff to coordinate the audition date, put out offer calls and track acceptances and attendance through the process, and maintain all communication with the cast, production team and APAC staff.

You will also coordinate the production end of the final performance, working with designers and APAC staff towards a final production.

This will include traditional stage manager paperwork (recording blocking, contact sheets, rehearsal reports, production meeting agendas, prop lists & management, etc) and opening and lucking up the rehearsal venue for all rehearsals.

Must enjoy being around senior citizens. Genuine warmth, energy, patience and sense of humor required!

Sound like you? Here’s how to apply:

For consideration please e-mail cover letter and resume with two references that we can call to jobs@apacny.org. No phone calls.

Interviews for all positions will be held in March.

EMAIL SUBJECT LINE SHOULD READ:
Senior Stars Program Coordinator.