The directions say it right there:
“…young, hip, urban sounding male with attitude. No announcery. Casual & conversational, like you’re talking to friends on the street…”
Let’s say for the sake of my example, that you hit the gender being requested, but you’re about 20 years North of the age and attitude requirements.
The rest of those directions — we all know — don’t amount to a hill of beans, ’cause they really don’t even know what they mean by conversational, and besides the copy looks like it’s written for Don Pardo.
So there you are in your booth, trying to sound like Dave Fennoy or Donovan Corneetz, when really, your groove is more like George Clooney.
Does it really pay to audition for parts that are outside your sweet-spot?
The argument for includes:
- everybody needs to stretch their talent to find their creative best
- nothing ventured, nothing gained
- I’m working on new genres
- my age does not limit my ability
- my background does not limit my sound
But let’s face it, there are only so many hours in the day, therefore only so many auditions you can do.
Sure, you can approximate a fairly good 20-something urban sound with attitude, but will it beat the other 35 talent auditioning for this role, who really ARE 20-something, have attitude, and hit the “urban” mark?
Far be it from me to tell you not to send in that audition. I do it from time to time as well, but more often than not, I’m saying “no” to the roles that are outside my wheelhouse.
“Ah…so there’s the point, Dave…*I* have a BIG wheelhouse!”
Really? Or is it actually a big, fat, over-inflated ego?
There are a handful of top talent who are chameleon-like enough to convincingly carry-off everything from Jim Dale to Lisa Biggs…but not many.
Wouldn’t it make more sense to be selective with your auditions? To maximize your talent AND your time?
When you’ve got YOU down, then move on to 20-something urban with attitude.