Guest Blogger: Alison Aten, member of the Blue Umbrella board, and publicity professional

I think I lucked out being the volunteer stage manager for call backs for Where the Girls Are--as opposed to my predecessors who had the job of greeting and signing in the actors on audition days. They had to stay out in the theatre's cold lobby, while I had the pleasure of checking everyone in at once and directing them to the theatre for call backs. This meant no frigid lobby, and hours of great performances for me (well, okay, the directors too, I guess!).

For a theatre novice like me, there are some new terms to learn. First off the "call backs" didn't involve telephone calls—the women who made the call back cut were informed of this before they departed from their audition. No torturous days waiting by the phone for these actors! My stint as stage manager really just incorporated greeting the actors and pushing the Steinway piano (score!) we lucked out on getting in the audition space! Even I know what a Steinway is!

The beginning of the call backs was like the first night of a new yoga class. The activities began with Dana the director leading the actors in some gentle warm-up stretches—it was hard for me to sit still and watch—I wanted to join the class! I was delighted to see a group of women of diverse ages and styles.

Then the vocal work began! The musical director, Joan, led the actors in group vocal exercises—again, I'm not a singer, but I wanted to chime in—that desire swiftly passed as soon as I heard these women sing solo! Wow—some fantastic voices! Joan continued with the vocal exercises pairing groups of women together—I could tell she was working some sort of musical and mathematical genius, but I'm not sure I can always tell a soprano from a baritone, honestly. Next, the women sang specific songs from the show—sometimes solo, sometimes as a group, and sometimes in groups of three. Dana also had the women read from the script—that I felt like I had an opinion on—listening to how voices project, vocal tone, and overall speech patterns, was interesting—I've never attended an audition, and reading aloud is certainly not as simple as it sounded to me!

When I snuck out of the theatre with our costume director to greet a late arriving actor, it was fun to try to figure out who was singing when I couldn't see them—I wasn't very good at that, but it was fun to try to put a voice with a face.

There were breaks on and off, and while the directors/producer klatched, Carol Ann, the costumer, and I had a few moments to talk with the group. I was glad I didn't have to be part of the decision making process because to me the women were all fabulous—both personally and professionally from what I could tell. In the end, four women were asked to stay for one more round. I thought this indicated a narrowing of the field, but wasn't sure at that point. My favorite quote for the night came from Joan who asked some of the singers to give her a little more "growl' with the song!

Without getting in to specific discussion on the actors, let's just say that overall my picks matched those of the directors!

I'm so excited for the show—the vocalists are awesome—I can't wait until opening night!