Tag Archives: accent

Accent on Louisiana

This morning a friend of mine sent me a link to this video in which Louisiana singer-songwriter Drew Landry shares his perspective on the BP oil spill with The National Oil Spill Commission.

The video has gone viral, and with good reason.  As you watch it, you can’t help but think about all of the hundreds of thousands of people (and animals) who have suffered  in Louisiana in recent years due to extreme weather conditions and chemical spills (the current BP spill, and the hundreds of other smaller ‘accidents’ that have routinely taken place in the waterways for decades).

I’ve felt a little helpless as I’ve watched these ugly events unfold. I’m not a physician, scientist, construction worker, or counselor. I don’t know how to mend the wounded or rebuild a city. Today though, thanks to hearing Mr. Landry sing,  I suddenly understand what I can do for Louisiana.

With this blog, I can invite the world to really listen to the people of Louisiana.

I invite you to listen.

Louisiana is one of only a handful of areas of this county blessed with such an extraordinary wealth of ethnicities, cultures, traditions, languages and dialects. In this forum, I can’t possibly begin to share with you all the riches of Louisiana. So instead of trying, I will stick to my path as a dialect consultant and share with you clips that demonstrate a few of the many dialects and languages of Louisiana. Please see the end of this post for further links to other aspects of Louisiana life. I encourage you to add your own favorite Louisiana links in the comments section.

And if any of these clips resonate with you, I encourage you to share them on Facebook, MySpace, Twitter or your own blog.

We save what we love.

We love what we know.

Get to know Louisiana.

First some words about craft from New Orleans native Wynton Marsalis

Here’s a link to a report about how the Atakapa residents of town Grand Bayou are coping with the current oil spill.

Next is Lionel Le Blanc of New Iberia, LA in the Academy Award Nominated, BAFTA Award winning film Louisiana Story.

Here is a clip from the language documentary American Tongues featuring a French Cajun Couple.

A little Cajun music, food and French Cajun language:

Here is Louisiana resident Lenis Guillot describing a crime scene:

Here is a clip from the documentary Canarians of the Mississippi: The Canary Islanders In Louisiana

And finally a clip from the film Yeah You Rite! (1985) where New Orlean residents discuss their own accents and the accents of their neighbors. (Please note the opinions expressed in this video are solely those of the participants.)

MORE LINKS:

For more about Louisiana, you might start with this article from Louisianafolklife.org.

For a look at Louisiana’s relationship with the oil industry, please watch Josh Tickell’s documentary FUEL. (Right now, it’s available on instant view at Netflix for no extra charge above your regular subscription.)

Here are two videos that explain the impact of Hurricane Gustav (2008) on several Louisiana Native American tribes. Here is Part One. And here is Part Two. (Did you know that not all Native American tribes are recognized by the US gov’t? I didn’t until I began to write this post.)

For links to information about Native American tribes http://www.native-languages.org/louisiana.htm

YouTube has many interesting links if you search for ‘Native American Louisiana’ ‘African American Louisiana’ ‘Cajun American Louisiana’ etc/

For an article about Cajun English, try this Wikipedia entry.

Here’s a Wikipedia entry on the Louisiana Creole people.

The International Dialects of English Archive shows only three dialect donor recordings for Louisiana.  If you are in Louisiana and would like to contribute to this archive by recording Louisiana residents, please go here to learn about how to become an associate editor.

Okay, I’ll leave you to find your own gems…

If any of these links don’t work, please let me know at dialect411@gmail (dot) com.


Speech Class– An Exercise in Listening

I promise this will only take a minute:

Grab your iPhone, computer or any semi-decent recording device, head to a quiet corner, and record yourself saying the following words. Speak them as you normally would…just be sure to take your time and leave some space in between each of the words. (Read aloud the titles of each list too.)

List One

Something — Some King — Something — Some King

Nothing — A Thing — Nothing — A Thing

Humming — It’s a Ming — Humming — It’s a Ming

Mooning — Mood Ring — Mooning — Mood Ring

Drawing– A Wing — Drawing– A Wing

List Two

Fleece — Fleas — Fleece — Fleas

decrease — decrees– decrease — decrees

faces — phases — faces — phases

peace — peas — peace — peas

List Three

Slaw — slot — Slavic

Walk — Wok — Wasabi

Sawed — Sod — Facade

Tall — Tom — Taco

Excellent! If you’ve recorded these, I invite you to read on. If you haven’t recorded these yet, then I invite you to stop reading now and do so. I know it’s hard to resist reading onward, but trust me, it’ll be worth it to wait until you’ve recorded the word lists.

(No peeking if you haven’t finished recording the lists…)

Once you’ve recorded these lists, the next step is to play the recordings you just made and listen for the specific sounds I suggest here:

For List One — Close your eyes and listen. Do all of the words that happen to be spelled with an   -ing sound the same during the -ing part? Or for you is there a slight difference between the way you pronounced the ‘ing in ‘something‘ vs. the way you pronounced it in  ‘some king‘?  If so, what is that difference? How are you physically creating that sound difference? What is your tongue doing? Which part of your tongue is doing it? The front? Middle? Back? If you happened to pronounce all of these words using the same final sound, can you remember hearing someone else pronounce these word sets using two different pronunciations for the -ing parts? Can you smoothly copy that way of speaking? Make it your own? If you used two different sounds, what would it be like to apply one of those sounds to both words in each set? And then apply the other sound?

For List Two — Pay particular attention to the way you pronounced the final sounds of these words.  Do all of the words on the list end with the same sound? Or is something else happening? Can you find a pattern? Does the first word in each pair end with an ‘s’ sort of sound, and the second word in each pair end with a ‘z’ sort of sound? If so, is the ‘z’ fully voiced and really buzzing or is it kind of a soft ‘z’ sound? What happens if you play around with the amount of voicing you give to the final s/z sound in ‘fleas’ ‘decrees’ ‘fazes’ and ‘peas’? How many subtle variations can you find in there?

For List Three — Closing your eyes may really help with this one– For this list, I want you to focus on listening carefully to the vowel sounds in each of the words. When you said ‘slaw’ did it have the exact same vowel sound as when you said ‘slot’? How about  when you said ‘Slavic?’  Do all of these words contain the same vowel sound? Or for you are there 3 different vowel sounds in these sets? Are there two? Can you figure out how you are actually creating each of those sounds? During each of these vowel sounds, what is your tongue doing? Your jaw? Your lips? If you used more than one vowel sound for these words, see what happens if you try saying all of the words using only the vowel sound you used in ‘Slavic’ and ‘Facade.’

At this point I’m getting the feeling that you might want me to quit yakking and just get to the point and tell you which way is the ‘right’ way of speaking each of these word sets, so you can get to work ‘fixing’ any problems.

I can’t.

Don’t get me wrong, I understand the desire. After all, most of us would like the security of being ‘right’–it feels good.  Keep in mind though, that as an actor, it is more useful to you to adopt the mindset that there is no ‘right’ or ‘wrong’ way of speaking. Leave all general judgements aside. As an actor,  how ‘best’ to speak a word will be entirely dependent on the project you are in and on the character you are playing. (Remember a while back I mentioned that good speech is simply speech that gets you what you want?)

Exercises such as the one above are not intended to endorse a particular way of speaking, but rather to sharpen your observational skills so that when you are called upon to speak in a manner other than your own, the path from where you are to where you want to be will be easy to see and enjoyable to traverse.

Questions? Send ’em in. I’m here to help!

Finding a Dialect Donor

Back on April 15th I suggested that one way to improve your casting opportunities would be to determine which of the world’s dialects would be a nice fit for your particular acting career. Whether you used the how-to steps I provided in that post, or whether you consulted with a dialect coach who specializes in dialect fittings, you might now find yourself ready for the next step: shopping for or recording your own dialect resource materials.

You can always hire a qualified dialect coach to record and edit materials for you, but if you would like the satisfaction of doing it yourself, here are a few ideas about where to find pre-recorded materials and/or people that you can interview and record on your own. (I promise to share with you the secrets of how to approach and interview a dialect donor in an upcoming post!)

1) The Internet— Dialect collection and preservation sites such as IDEA and the British Library offer a wide variety of recordings of people from around the world, all speaking English. (Caveat: Using such a site to find a pre-recorded sample that suits your needs can save you time, but in doing so you may have to sacrifice the flexibility and control that you would have had if you took the time to find and interview a subject yourself.) As I mentioned in my last post, if you’re mindful YouTube can yield some relevant resources and some contacts to boot. Googling around for particular language names or dialect names can also sometimes yield a useful dialect or language contact or two.

2) Clubs and Organizations— There are clubs devoted to celebrating nearly every ethnic background on the planet. In addition, certain clubs may attract people who hail from certain locations. A club dedicated to Japanese flower arranging for instance,  may have at least a few members from Japan. A trick riding club may yield some Montanan, or Texan members. Not everyone in a ‘We Love Switzerland’ club will be Swiss, but you can bet someone in the club knows someone from Switzerland and can put you in touch with them.

3) Places of Worship— The Roman Catholic church can be a great place to find dialect donors, as priests are often brought in from faraway places -(Ireland, Africa, and Mexico to name a few).  Synagogues will sometimes yield donors with Russian, German, Yiddish or New York dialects. Buddhist temples can help you locate speakers with many different dialects such as Thai, Chinese, or Japanese. Certain mosques might be able to lead you to donors with Egyptian, Saudi Arabian, Jordanian, Sudanese, or many other Middle Eastern and Northern African accents. When approaching places of worship, be sure to do some mindful research about beliefs and customs, so that you don’t unintentionally offend anyone.

4) Colleges— Check your local college faculty listings for potential donors from around the world. In addition to faculty members, you may be able to connect with the foreign student advisor and let them know you are looking for help with a certain dialect. They may permit you to post a ‘wanted’ sign, or even put you in touch directly with just the donor you are looking for.

5) Museums— If you have a local museum that specializes in the art and culture of a particular region, you may be able to find contacts through one of their curators, or you may even meet someone at a special event. A night of plays written by Native American playwrights might mean that there’s a chance someone from the Crow Nation will be in attendance. At the very least, your program will be filled with potential Native American contacts who might help you with your search.

6) Festivals— Festivals such as Irish, Indian, Greek, or Polynesian draw enormous crowds of people and performers, some of  whom may have just the sound you’re looking for. You just have to be outgoing and connect with them!

7) Towns within Towns-— Little Armenia, Chinatown, Little Africa, Korea Town etc. Most larger cities have areas a block or two wide where there are businesses devoted to the goods from certain geographical locations. Often the shopkeepers in these stores are good potential interviewees or can put in touch with someone.

8 ) Foreign Consulates— Foreign consulates can be very helpful if you’ve searched everywhere and are coming up empty-handed. Simply call a consulate, let them know you are preparing to play a role and find out if there’s someone there who might like to volunteer to help you for an hour or so.

9) Everywhere— This method takes a little longer, and I admit it is pretty random, but you may wish to consider keeping dialect and language notes on all of your new personal contacts. If you keep your contact information in a searchable database (such as Mac’s Address Book), jotting a few notes like ‘her mother is from Mongolia’ or ‘he was born and raised on the Nisqually Indian Reservation can help you later find the person you need for a project with only a few keystrokes.  Very handy.

I hope these ideas will give you a place to begin your next dialect adventure.

Do you have other ideas to share? Leave a comment below! (I love comments!)

Myth Du Jour: Your Dialect Coach is Judging You…

MYTH: Dialect coaches are constantly judging others on the way they speak.

TRUTH: Probably not. Here’s why: The amount of energy and focus involved in listening to every single sound that an actor utters and analyzing those sounds in light of some particular dialect goal is enormous. Trust me, it’s intense work! If a coach were to try to judge every sound every person in their vicinity spoke every day, they’d burn out quickly. (I just read this blog aloud–including this sentence- and it clocked in at 44 seconds, during which time over 400 individual sounds were uttered. That’s around ten sounds per second…Intense, yes?)

So relax! If you see your coach somewhere and they aren’t ‘on the clock’ they are probably listening to what you are saying rather than how you are saying it.

Real Housewives of New Jersey

Yesterday there was so much hubbub on Twitter about little Gia’s accent on ‘The Real Housewives of New Jersey’ that I Hulu’d (Hulu.com) the show (Season 2, Episode 6) this morning to see for myself what all the fuss was about.

Now I’m hoping that you will do the same because regardless of your opinion of the show, there’s a scene that as an actor, agent, manager or dialect coach, you simply need to see. I’ll explain a bit here, but truly you will get more from watching 90 seconds of this show than my words alone can ever reveal.

Starting at 16 minutes into the show, housewife Teresa takes her young daughter to visit with the child’s manager and the manager explains “There’s a couple of areas that we need to improve right now, um… the main focus being the Jersey Accent. She’s got it. You’ve got it. I’ve got it. We all have it. She is not booking things. For instance, you know…the Christian Slater movie, she didn’t book that. I think she could do better, you know if this situation is remedied at this point.”

She then goes on to request that the child pronounce the word ‘dog’ and when she does, the manager criticizes her pronunciation and states that ‘in reality’ it’s pronounced differently than Gia is pronouncing it. You can see the discomfort on both Gia and Teresa’s faces as they contemplate their need to be ‘remedied.’ They are then sent to work with a dialect coach who continues in a similar vein.

This 90 second clip is wonderful, as it clearly illustrates a difficult situation that plays out every day in the entertainment industry.

***An agent or manager wants to help their client book more jobs, and they see that adding a dialect might help, only their personal bias regarding dialects coupled with a lack of effective wording inadvertently leaves the client feeling attacked.

***The client also wants to book more jobs, but upon hearing that they need to be ‘remedied,’ becomes closed and defensive. Even if they do seek the help of a competent dialect professional, they will not be in a very good frame of mind for adding a new dialect to their skill set.

***The dialect coach approaches the target dialect piecemeal, teaching a sound here, a word there, in whatever order the coach decides might be effective. The client can’t ‘hear’ what they are trying to teach and becomes frustrated.

Clearly, this system is broken.

Everyone wants the same thing–They want the actor to book more jobs–but the means being used to try to reach the goal are ineffective and even counterproductive.

Change is clearly needed.

Personally, I am a firm believer that change starts with the individual. I believe that each of us who can see a problem, must contribute to a solution if we expect to actually reach one. For today’s problem, my contribution is to continue to write this blog, and to network like crazy in order to make sure that every single day at least one more actor, agent, manager, casting director or director reads it and learns something that helps their career run more smoothly. My absolute dream is that every actor in SAG has a subscription to Dialect411.com and learns all they need to know about how dialect work fits into their career, as well as how to prepare to work with a dialect professional privately or on set, so that every production has an even better chance of becoming a true work of cinematic genius than it does today.

If you too would like to contribute to improving communication and outcome in the arena of voice and dialect work, but don’t know what you can do to help, here are some suggestions:

If you are an agent, manager or casting director: When you suspect that an actor might benefit from learning a General American (or any other) accent, resolve to use positive words to express this to them. Keep in mind that ‘losing’ or ‘permanently modifying’ an accent is generally not a lucrative move, and that General American speech is not superior to any other dialect on this planet. The manager on ‘Housewives’ would have done better to say something like “The reason I brought you in today is because I realized that we can make Gia eligible for more roles if she learns a General American accent in addition to her fabulous New Jersey accent. What do you think of that idea?” (I am quite confident that if the manager would have used words similar to these, the result would have been an excited young actress, rather than the sullen one we see in the show.)

If you are an actor: First, my advice is to make an effort to become educated about dialects, because they will almost surely come into play in your career at some point. Of course if you are making time to read this blog twice a week, you’re off to a good start. In addition, work at developing a long-term relationship with a qualified dialect coach(My May 4, 2010 post will help you know what to look for). Lastly, learn to ‘translate’ for the people (agents, managers, casting directors and directors) that may be well meaning, but might phrase things a bit negatively. Work hard not to take it personally. Try to look past the unfortunate choice of words and hear that these people are just trying to help you.

If you are a dialect coach: Remember that a normative approach to speech does not serve the acting community. You may personally prefer a particular dialect, but that doesn’t mean that that dialect will necessarily suit a particular actor’s career.  As I discussed in last Thursday’s blog post, there really is no single ‘right’ way to speak. Good speech is simply speech that gets you what you want. In addition, when working with a client who may have had an experience similar to the one this young actress had on ‘Housewives,’ be mindful that they might be arriving to you a little emotionally ‘beat up’ and they may have the idea that something is wrong with them. Help your client to be as creative and responsive to the dialect sessions as possible by always being clear that you are teaching them to add a skill rather than to remove a problem. It can also help to be very mindful of your coaching language. I go so far as to try to avoid using the word ‘right’ when giving a client feedback on their pronunciation attempts. I endeavor to say ‘good match’ instead, just so there is no question about one dialect being superior to another.

To all of you who are willing to pitch in to make this part of our industry run more smoothly– thank you, thank you, thank you!!! If you have more ideas that you think might help, please post them in the comments section!

Lastly, I never imagined I would be saying this, but ‘Thank you, Real Housewives of New Jersey! You really gave me something to think about!’

******** Oh! Remember that each week in June I’m giving away complimentary dialect fittings to three lucky subscribers! To be eligible, all you need to do is subscribe via e-mail (see subscription button at upper right of screen.) For more details, go here.*********

The Truth

Everyone tells you. Your acting coach. Your publicist. Your agent. Your manager.

Don’t lie on your resume because a lie will eventually come back to haunt you.

It’s very good advice, and if you’re a working actor, you probably took this advice to heart long ago.

But here’s the thing—What if you don’t realize that there’s a lie on your resume? What if, for instance, you have listed in your skills section ‘Dialects: British RP, Cockney, American Southern, New York, Irish’ because six years ago you were enrolled in a respected acting conservatory where those dialects were taught as part of the curriculum?

And you got an ‘A’ in the class?

And your instructor told you that you were ‘really good with accents?’

That sounds fantastic!

But —

When was the last time you actually tested any of these skills?

When was the last time you recorded yourself acting while using your New York dialect and had that recording analyzed by a professional dialect coach?

When did you last walk into an Irish bar and successfully convince the Irish patrons that you were from Kilkenny?

If you want to be a competitive actor, any skill (dialect or otherwise) that isn’t performance ready today should be removed from your resume until you have given it a thorough tune-up and put it to the test…

…because even an accidental lie will eventually come back to haunt you.

How To Learn Any Dialect

Many people have questions about the steps involved in mastering a dialect for use in performance, so today I am going to explain at the most essential level, the steps involved in this somewhat complex but highly rewarding process. The steps occur roughly in the following order, but please note that during steps one through five there will be some overlap. Additionally, it is important to remember that to be successful, one’s focus must be on detail and precision, while at the same time remaining in a creative and playful mindset.

THE DIALECT ACQUISITION PROCESS

1) HEAR THE TARGET-– The first step in the process is to truly be able to hear all of the individual sounds of the dialect you are learning. This step is the foundation of all the others. If you can’t actually hear a sound, the likelihood of you reproducing it accurately is very low indeed. I must note here that by ‘hearing’ I mean recognizing not only the sounds that your own dialect shares with the target dialect, but also the sounds that are quite different from any sounds you utter in your own life. This step of the process is often the longest. It is also the step that many people attempt to rush through, only later to find themselves really struggling. Take your time here. Simple repeated exposure to a ‘new’ sound will eventually cause your brain to recognize that sound, and when it does, you are ready for the next step.

2) PHYSICALLY DUPLICATE THE INDIVIDUAL SOUNDS — As you listen to an audio sample of the target dialect, you may find that you hear certain sounds but you are not automatically able to physically reproduce them. This is normal. Here’s why: As you speak in your own language and dialect every day you are actually ‘working out’ the muscles of your face, lips, tongue, jaw and soft palate. As you do this, these articulators become strong and flexible in very specific ways. Your target dialect may require a different type of flexibility and strength than you currently have, and you are going to have to do some work to acquire the agility necessary for the task. Please note that it is absolutely normal to feel awkward and and a bit clumsy during this part of the process. It really does happen to everyone.

3) COMBINE INDIVIDUAL SOUNDS– During this phase of the process, you combine the individual sounds of the target dialect (aka phonemes) to create words and phrases as well as non-sense words and phrases. There are many ways to go about this, and a qualified dialect coach can help you find the process that works best for you.

4) APPLY THE SOUNDS TO A PRE-DETERMINED TEXT– This is the step where you apply what you’ve learned about the target dialect to your script or any other pre-determined text. To do this, you must be able to recognize the pronunciation patterns involved in the dialect. This part of the process is often referred to as ‘using substitutions.’  Actors familiar with the IPA (International Phonetic Alphabet) can easily mark their scripts with the necessary sound changes. Those without this skill must find alternative means such as comprehensive word lists. (If you aren’t familiar with the IPA, or had a ‘bad experience’ with it in the past, please don’t let this stop you from working with dialects. A good dialect coach can help you find a way to succeed.)

5) EXTEMPORIZE– Once you can accurately and consistently reproduce the sounds of the target dialect in scripted speech, it is time to begin practicing speaking off the cuff.  As you embark on this step you will likely notice that your dialect work seems to take a step or two backwards. You’ll make mistakes and fall out of the dialect. Don’t panic. Keep in mind that it’s a complicated task to try to quickly translate your own thoughts into the target dialect. Even if you consider yourself to be ‘good with dialects’ this stage of the process can reveal shortcomings. Stick with it, be mindful and specific, listen to the advice your dialect coach offers you, and you’ll get there.

6) INTEGRATE– Once you are able to remain accurate and consistent with the target dialect while using scripted material and while speaking your own thoughts aloud, you are ready to integrate the dialect into your acting process. This of course involves being able to think and speak the thoughts of another person (the character), pursue the actions of another person (the character) while remaining easily and comfortably within the confines of the target accent. If you’ve taken the time and made the effort necessary to master the first five steps, this part of the process will be quite enjoyable.  You’ll find that you are quickly able to ‘just do your job’ and act. There may be high-stakes moments in the script where remaining in dialect is a challenge, but a good on-set dialect coach can help you through those little glitches.

Hey! You made it through! I’m guessing that today’s topic may have sparked some questions. I love questions! Ask yours here in the comments section, or by writing to me at dialect411 (at) gmail (dot) com.

Dialect Myth Du Jour: I’ll Add The Dialect Later

Myth: It’s better to get the lines and blocking down first, and then add the dialect once you’re comfortable with everything else…

Truth: In film and TV this isn’t even an option. Rehearsals are limited and every minute on set costs the studio money, so it’s essential that you are 100% performance-ready with any dialect (or other skills you might need) the moment you first arrive on set. Actually, if you aren’t performance-ready with your dialect well before you even audition, you probably will be passed up for the role entirely.

As for theatre productions, it’s important to keep in mind that the very sounds you utter onstage are a significant part of your character’s life moment to moment. If your dialect is ‘in-progress’ during rehearsals, you will never be free to really connect with other actors and rehearse.  Half of your mind will be always be elsewhere thinking ‘Whoops! That was a dialect mistake!’ or ‘Yes! Got that one right!’

Truthfully, if your dialect is not ready for integration at the first read-through, the entire rehearsal process is going to feel awkward and uncomfortable. Of course, it is this discomfort that makes it tempting to want to put off the dialect work in the first place, but actors who choose that route find themselves in the 11th hour suddenly forgetting blocking, dropping lines and never really being able to just let go and act.

In a production where the dialect work has not been incorporated on time,  the result is most often that an inconsistent and distracting attempt at the dialect diminishes what would otherwise be a solid show. Even if the production manages to escape earning a scathing review, you won’t find audiences rushing to see it.


Theatre Companies: Put Your Money Where The Mouths Are

Word of mouth is the single biggest contributor to a play’s success. Nothing gets people into seats faster than a good personal recommendation. No well-designed postcard or billboard can begin to compete. People want to hear about your play from someone they trust—a friend, co-worker, or even a respected theatre reviewer.

A metropolitan city such as Los Angeles may have a dozen or more union theatres and many dozens of equity waiver venues for an audience member to choose from on any given night. Without exception, great productions draw great audiences. Good ones on the other hand, can leave a theatre struggling for revenue.

When the historic Pasadena Playhouse closed it’s doors earlier this year, many venues began to re-think their product and practices. After all, if a ‘good’ theatre such as this was forced to consider Chapter 11, what danger would the other venues be facing? It became glaringly obvious that theatre-goers were going to be very judicious with their funds and that theatres would have to try harder to remain in business.

Recently, in order to create more value for theatre patrons, lobbies have been spruced up, houses have been made more comfortable with seating repairs and air-conditioning overhauls, and special events have been planned in conjunction with performances. I’m also noticing that restrooms are being kept cleaner and made as welcoming as possible with flowers and flattering light. Even snack bars are seeing an upgrade. Alongside box-store water and nacho chips, one can now find the likes of Metro Mint Water and Bumble Bars. All of these details have been honed in an effort to bring superb value to the theatre patron, and to inspire positive word of mouth.

There’s one tactic though, that so far only a few venues have had the savvy to pursue— that is to modify casting and rehearsal practices in order to achieve a higher quality product overall, especially when it comes to integrating dialect into performance. The changes these select venues are making are simple, extremely cost effective and can boost a production from ‘good’ to ‘great.’ Personally, I think everyone should know about them.

Here are the practices those at the leading edge are adopting:

1) Keeping a dialect consultant on staff to review the theatre’s entire season of scripts and to alert the production team of voice and speech challenges they may be facing in mounting certain plays. In this context, the dialect consultant typically provides detailed reports and custom written and recorded dialect acquisition materials.

2) Including a dialect consultant as a central part of the casting process. (A dialect consultant can quickly determine an actor’s dialect abilities and help save a theatre from casting an actor whose limited skills might negatively affect the rehearsal process or prompt a bad review.)

3) Providing actors with MP3’s of the target dialect along with the audition sides, so those who audition can properly prepare.

4) Casting only the actors who accurately present the target dialect during auditions, or barring that, planning adequate time between casting and the first read-through for actors to master the dialect with the help of the production’s dialect coach. (Learning a dialect takes time, no matter what an actor’s skill level is. Not even dialect maven Meryl Streep walks onto a set without substantial preparation.)

5) Membership companies are making training a central part of their mission.  For instance, if a play requires a Baton Rouge accent, the entire company is given access to group dialect classes months in advance of auditions. (This not only creates value for the theatre patrons in the form of a better show, but it also creates value for the company members in the form of new skills for their resumes.)

Final note: I love Metro Mint Water, comfy seats, and after-show soirees, but I feel it deeply in my bones that these lovely gestures alone will not be enough to keep audiences buzzing about live theatre. Only exceptional work onstage  can inspire this kind of response.

Competing With ‘The Real Deal’

Recently someone said to me “I can’t really see the point in learning dialects. I mean there are so many actors from all parts of the world. Aren’t those actors going to book all of the dialect jobs anyway? Scottish guys will play Scottish guys, and South Africans, South Africans, right?”

Before I started working as a dialect coach well over a decade ago, I would have been tempted to agree, but here are two valuable things I’ve learned over the years through first-hand experience:

1) Many times, casting directors are really hoping to hire a particular actor (because they seem perfect for a role), but can’t end up recommending them because the actor’s attempt at the target dialect was such a disaster during the audition process. There are actors I see sitting in coffee shops today that should have been in some pretty great projects…

2) An actor who happens to already speak in the target dialect may indeed bring with them a 100% authentic sound, but that doesn’t necessarily mean that this actor’s performance will ever end up being intelligible to the target audience. Nor does it mean that they possess the personal awareness and skills necessary to make the specific pronunciation or pacing modifications that may be vital for particular sections of a film or play’s text.

A trained dialect actor will often as not, beat ‘the real deal.’