I Have Questions...Episode 1

This may end up being a series…let’s wait and see.

I have questions. I always have questions. The more I learn, the more questions I have. I hope I am always inquisitive and seeking answers - it keeps me discovering possibility and purpose.

So here’s my “I have questions” episode 1.

Why do opera/classical resumes include dates, and music theatre resume do not?

Why do dates matter?

This has never made sense. Resumes are an odd construct anyway but that’s a conversation for another time.

Now is this “post-Covid” era or whatever we are calling it - why are dates necessary?

It seems somewhat archaic & frankly gives performers agita if there are “gaps” in their resumes. (Looking at you, opera).

So, in this post-Covid era when EVERYBODY has gaps, including the companies auditioning, could it be time to dismiss the dates?

(I hear the yeah, but already trust me).

Here’s the deal though: couldn’t artists list their credits as a timeline without dates? Especially if their fach changes. Isn’t it easy to see a possible fach change by the timeline? And couldn’t it be a topic of, oh I don’t know, conversation in the audition room to create some humanity and connection?

Call me a dreamer, but what a concept to ask an artist about what is actually ON that resume, instead of assuming.

I’ll let you in on a little secret: everybody has gaps on their resume. It’s called LIFE. It’s called taking a break; making a fach change; mental health; physical health; traveling; getting married; having children; losing someone; trying something new. All of these things are important. All of these things are LIFE. You better have that and it better be implied on your resume. LIFE doesn’t mean “nobody wanted to hire me”. Therefore, “gaps” don’t have to mean it either. You didn’t do anything wrong artists! The industry and gatekeepers know this too. So why not release the unnecessary tension?

You are not “behind” or “lesser than” if your resume is short.

You are not “ahead” or “better than” if your resume is long.

The resume should be a short snapshot of history. YOUR history as a performer and as an artist.

You can sing or you can’t. You are ready to audition for the role/the season, or you aren’t. A historical context is fine and dandy, but what can you reveal now?

Who you are right now, today, is who you present in that audition room. Who is standing there in that room, before that panel, brings with them the history associated with that resume which includes the study, the craft, the roles, the special skills, the networking seen on that piece of paper. It is a snapshot. What is even more important is what that artist brings today. Who stands there today? Who opens their mouth to sing today? How are they singing today? How are they storytelling today? How are they communicating today?

Wouldn’t it be amazing if the resume could simply be a “once upon a time” story to evoke more query and interest? Isn’t that what it should be?

Why should a singer be asked “I see there is no work between 2015 and 2017, what happened?”

Wouldn’t it be more positive to consider “I see you have Mozart’s Susanna and then you move into Countess - was that a decision of fach and how do you feel about that progression?”

I don’t think I am asking too much.

And now, who do we ask permission of, to do this?

Is there a gatekeeper for resume format? Who are they? How did they get that job?

Are you going to “get into trouble” for choosing to present yourself as yourself, and represent yourself and advocate for yourself?

I would love to see the humanity, the personality, the ARTIST on a resume and not just a running list of dates. I would love to see what you’ve done yes, but I would love to see where you are going, what you are dreaming of. I would love to see your interests, and your hobbies, not just the conductors you’ve worked with.

Call me crazy, but seeing you and meeting you as a fully realized human being, allows YOU to share your artistry more authentically and more comfortably in the audition room - and then again in the process of rehearsal and performance.

Isn’t it time to release the “it’s always done like that” enough to see there might, just might be a more authentic way of creating a historic document that has a forward looking approach?

I’d love your thoughts!

with fondness & fierceness,