Feature: FAME: THE MUSICAL at Crown Theatre

The hit FAME: THE MUSICAL is ready to arrive at Crown Theatre in April, with giant of Australian entertainment Rachael Beck attached to direct. Fittingly for a show about the trials and tribulation of performing arts, I was invited for a behind the scenes look at the audition process, and learned the perspectives of some hopeful performers, as well as Rachael Beck and producer Marina Del Basso.

Around 50 theatre hopefuls filled the Crown Theatre foyer, stretching, chatting, and generally quite relaxed considering. There was in fact a sense of excitement around for the opportunity for these performers to ply their trade in the first place. "It's just amazing to be able to do this," said Cameron Etherington, an established performer, dancer, and instructor. "Zoom was our saviour during lockdowns so we were able to keep practicing and doing classes, but to think that there's not many places in the world holding face to face auditions with this many people is nice. The energy here is amazing and I think we all appreciate just having the opportunity." Producer Marina Del Basso is aware of the part that HAMA Productions and other production companies have in this. "I've been a fan of performing since I was about four," she said. "There's people around the world having to give up on their dreams because there's no industry to work in, so to be able to support performers in the local scene is a nice feeling. I hate seeing performers leaving for greater opportunities, but it's even worse to see performers giving up because there's nothing for them. I may not usually want to open a new show so quickly after one closes [The Wizard of Oz is still running when auditions are taking place] but the opportunity was there and the talent is available so we were happy to take it."

The energy amongst the hopefuls is clear from when they walk into the theatre. They audition on the Crown Theatre stage at the chance to again grace the stage as part of the company for FAME in April. Rather than a bundle of nerves, though, they are a bundle of energy. They chat and pump each other up before going on stage, and when they're separated into smaller groups to run through the dance piece (that they learnt in five minutes after only two run throughs, no less), those waiting side of stage immediately begin cheering those on stage whilst the director, producers, and choreographers watch on. Friendship amongst the group is an obvious theme throughout the process, with no hint of rivalry despite the fact they are all vying for a limited number of spots. "Theatre is very much a community," says Claudia Haines Cappeau, a veteran of several major shows and a noted performer in her own right. "There's the obvious connection, because a lot of us either went to the same dance school or have been in the same shows, but creatives have a way of gravitating towards each other. We all know there's limited spots, but we'd all rather build each other up than put each other down. Besides, you never know who might be running the next auditions you do!"

With so many amazing performers on stage, it's hard to know what exactly will separate the performers. Almost immediately some are adding their own flair to the choreography, and none of them need a second invitation to improvise a few moves at the end of the piece they've learnt. "There's often very little that separate them technically. No one would be here if they weren't technically good dancers," muses Shenae White, another veteran of several major shows. Indeed, not one dancer betrays the fact they're performing a high tempo dance that they only just learnt. "We can assume what they might be looking for but at the end of the day it's about who has the pizzazz that fits the show." Sure enough, the thirty or so people auditioning is soon reduced to nineteen, with Marina Del Basso calling out the numbers of those who are successful for this portion. "I've seen the process from every side during my time and it never get easier," she says. That much is evident in the fact Marina is given the task because no one else wants to do it. "They're all wonderful dancers but some just don't fit this show right now, which is not at all to say they won't fit another show in the future." The performers who didn't make it leave, however none look too disappointed, and many go out of their way to thank the creatives for the opportunity, as well as congratulating those who were asked to stay.

Being such a big show there are several people auditioning who are well known lead performers, and indeed several leave early to begin getting ready for a performance of The Wizard of Oz that night. "I already know the talent of a lot of these people, but at the same time there's a lot of them I don't know," says Del Basso as she surveys the remaining performers. "It would be unfair to the performers and the show to go into these auditions thinking anyone is an automatic inclusion. You may think before the auditions that someone is perfect for a part, but you must be open to the idea that the perfect person is yet to appear. Preconceptions corrupt the process. Every audition and every show should be a clean slate." The tough process of auditioning is a major part of FAME and seems to be what attracted several of the creatives in the first place. "That's why we love the movie and the musical; it's the story of us," says Tory Kendrick, another performer with experience in big shows. "It shows a lot of the hard work that performers have to put in that people just don't see. It really speaks to us and that's why I jumped at the chance to audition."

The hard work is something that director Rachael Beck wants to highlight in the show. "I feel a lot of people lost sight of what goes into performing in the last couple of years," she said. "A lot of people undervalued the arts industry, even though the value is clear right now. There's so much hard work that performers do, and they were without work for a long time. It's a good time to remind the public of how important artists are and the hard work they all do."

FAME is set in 80s and is well known for the 80s vibe it has in its costumes and music. However, the 80s wasn't necessarily a good time for performers, and the show illustrates and accentuate some poor attitudes to performers, as well as unfair prejudices and stereotypes. Many of these performers, however, know better conditions. "We really are a community," says Sebastian Coe, another established dancer and singer. "I find a lot of performers have the confidence to stand up for themselves, but we stand up for each other, too. I don't think that necessarily used to be the way things were done." Rachael Beck is more than happy to confront the realities that FAME paints though, even if they don't necessarily ring true now. "It's still tough and still ruthless and there's no point avoiding that. Rather than pretending it doesn't happen, it's good to show the many things that make up performing, good and bad. There's so much that goes into make performing what it is and there's lots that influences who performers are." The

Whilst today is the only day for auditions, no one is entirely sure when the cast will find out who made it and who didn't. Many of us are familiar with the nervous wait for a phone to ring, and those on stage give this their all today but don't know if they'll get the call tomorrow.

In no time at all, a more technical set has been added to the dance piece they learnt and those auditioning are ready to run through it. Those who pull it off will get called back later to demonstrate their singing abilities, with the roles available demanding genuine triple threats. It seems it takes a great deal of time to be good at either dancing or singing or acting, so to be good at all three demands particular skill and dedication. Rachael Beck is summoned back to help decide which of the performers are deserving of the chance to go on. "It's your time to shine," someone says to her, and Beck surveys the remaining auditionees. "I've been there before. It's their time to shine," she says, wisely but matter-of-factly.

We, and indeed the performers, will have to wait to find out who makes the final cut from here. Whoever makes the cast; whoever gets to live forever; whoever learns how to fly; whoever gets the Fame of appearing in the musical will surely have earnt it. Whilst we'll be in awe of the skills that go into the singing and dancing to be seen in FAME: THE MUSICAL (or in any show for that matter), perhaps we can spare a thought for all the hard work it took from so many more people than just those on stage to get to that point.

FAME: THE MUSICAL is at Crown Theatre from April 16th through 24th. Tickets and more information at Crown Perth

Images thanks to HAMA Productions

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