Libby Nelson is a well-known shining star on campus. With a self-designed theatre major with a dance emphasis, she’s been taking New York City by storm since graduating this past May. Libby has dreams of being on Broadway, so she is one of our highlighted celebrities this week!
By not taking no for an answer and having courage, Libby is currently in the process of making her dreams come true one audition at a time. Libby is a resident in the Open Jar Residency Program in New York City. This program, according to the Open Jar Institute’s website, is, “geared for the serious musical theatre actor who is moving to New York and wants to get their career started in the right way.” The curriculum was created by Tony-winners Joanna Gleason (Into the Woods), Susan Stroman (The Producers), Lynn Ahrens and Stephen Flaherty (Ragtime), and Jeff Whiting, and is structured to ensure a clear navigation as someone begins their acting career in New York City.
Photo by Popio Stumpf Photography
HC: What was the audition process like for the residency program?
LN: The audition process for the Open Jar Residency Program was two-fold. The first part was an in-person audition that took place in November at Carthage College. Jeff Whiting, founder of the Open Jar Institute, came to Carthage and taught a dance combination and then auditionees had to sing a 32 bar cut for him. I was originally accepted to the week-long summer institute in December, but I was still waiting to hear on the residency program, which is eight weeks. In mid-March, I received an email from Open Jar stating that I was being considered for the residency program and in order to continue to be considered, I had to submit a video of me singing and dancing within two weeks. I reached out to my professors at Carthage for help, and they graciously agreed to help me prepare and film so that I could submit. After submitting the video, I was contacted for an interview with Jeff Whiting where we were able to talk face-to-face and ask questions about the program.
HC: What was your reaction when you found out you had made the cut?
LN: I remember very clearly where I was when I found out I was accepted in the program. I was in the costume shop working with Kim Instenes when I got the email saying I had been accepted. We hugged, I called my parents and sister and I reflected about how earlier in the week I was saying I had no idea what I was going to do with my life after graduation. Funny how life works out when you least expect it to… I was shocked that I had been accepted because they were capping the amount of people at the program to 18 from around the world. It made me think that I can actually be successful pursuing this as a career.
HC: What was it like moving away from home to a new place with new people?
LN: It’s been a big adjustment for me. I lived at home all throughout college so to be moving out of my house and halfway across the country all at the same time was overwhelming. But I have those people that I keep in contact with from home and my roommates and the rest of the residents in the program in New York are supportive, which I am very thankful for. I am a big believer in a support system, especially in this field/career, because sometimes you are going to have awful days where you feel like quitting and giving up, but that’s when those select people will remind you that you are enough.
HC: What is a typical week like in the residency program?
LN: A typical week at the residency consists of voice and repertoire coaching, three- hour acting classes, dance classes from performers and choreographers from Broadway, as well as master classes with industry professionals and mock-auditions. We also see shows on top of our coursework and have weekly mentor meetings to discuss upcoming auditions and any concerns you may have about anything.
HC: What are professional auditions like in New York City?
LN: Auditions are fun! As a performer, you have to learn to love auditioning, because it’s your job. It might be hard to do, but you can’t be desperate to get the job when you walk through the door. Auditioning is just part of the job, and the more you do it, the more comfortable you get while doing it. Auditioning consists of early mornings and lots of waiting in holding rooms. As a non-union performer, I have to wait to be seen until all of the union members have been seen, so I typically bring a book or some music and just hang out until it’s my turn to dance. Sometimes as a non-union performer, I’ll be typed-out of an audition, which means the casting director and whoever else is behind the audition table will look at my headshot and decide if I might fit in their show or if I won’t. Type-casting can feel personal, but you have to remember that it has nothing to do with talent, you just aren’t physically/visually what they are looking for.
The mock-audition portion of the residency program really helps you get into the audition mindset because sometimes it’s the littlest things that get you a callback or not. One of the biggest takeaways I’ve found from the program so far is that success is not measured by whether or not you get a callback. You have to examine yourself, and your performance, and figure out how in your next audition you would change something. Whether that’s a different outfit or hairstyle or a different song, you have to be aware of the brand you are promoting. The brand is you, so you have to put your best self forward— an image that says to the people behind the audition table that you are the star of their show
HC: How long is this program and what are your plans once you’ve completed your residency?
LN: The program is eight weeks long, ending just before Thanksgiving. Right now, my plans after the program are a little bit vague. Before I make any concrete plans, I’m waiting to see what happens with my upcoming auditions and then I’ll move forward from there!
HC: What is your professional goal?
LN: My professional goal for the near future (I have a lot of goals but some will take years to obtain) is to become a Radio City Rockette as well as dance as an ensemble member, or swing, for a Broadway show.