Voice-Over

Spring Training

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Happy Spring Break!


I'm offering individual coaching sessions via Zoom from Monday March 16th to Friday April 3rd.

As well, I have a small number of in-person session times available in Vancouver, B.C. (with heightened hygiene practices, no handshake greetings, etc, for public health reasons).

Audition coaching, voice training, text analysis...your time, your choice. We have the technology - let's keep working!

Just reply here to let me know you're interested, and I'll send you details about rates and scheduling.

See you in the virtual studio!
Alison

Cold Read, Warm Heart

Reading aloud with Ian Raffel & Gerry Trentham at Canada’s National Voice Intensive, U.B.C., 2009 (photo credit: Marcus Wu)

Reading aloud with Ian Raffel & Gerry Trentham at Canada’s National Voice Intensive, U.B.C., 2009 (photo credit: Marcus Wu)

When I was growing up, my family used to have a holiday tradition of a reading of Charles Dickens’s ‘A Christmas Carol’. At some point in the afternoon on Christmas Day, grandparents, aunts, uncles, and cousins would arrive, and, as my father cooked the Christmas feast, we would gather in the living room with copies of the story, all taking parts and reading it aloud. My father liked taking the role of Marley’s ghost, especially when he discovered he could enhance his performance by bashing cooking utensils and pots for sound effects. “I WEAR THE CHAIN I FORGED IN LIFE!!!” he shrieked from the kitchen, nearly giving my grandfather a heart-attack.

At the time, I just saw it as part of our weird English family’s old-fashioned ways - like the carols we always sang together while my mother accompanied us on the old upright piano.

But those readings have done more for my career than I knew or appreciated at the time. Any actor worth their training knows the value of good cold-reading skills for tv, film, or theatre auditions. And they are essential for voice-over work. When you get called to the studio for a voice-over audition, you may or may not get the script or copy in advance. Mostly you just show up, head into the booth, and fire away. In these situations, you’ll make faster friends with the engineer and director if you don’t waste time stumbling through long passages or struggling to grasp the sense of a phrase.

As a coach, I advise actors to develop this skill by, you guessed it, practicing. The simple and obvious truth is that if you read aloud every day, you get better at reading anything aloud. It doesn’t have to be painful, you don’t have to make it a race – like the novelist Donna Tartt says, “if you’re not enjoying something, it’s almost always because you’re doing it too fast.” And let’s not get mired in questions about talent or artistry. As the plié is to the mover, so reading aloud is to the speaker. It’s your barre work. Read Charles Dickens, read Toni Morrison, read Marie Clements, read any writing you love…just read good words and speak them out loud.

Do it every day, so that it becomes as natural as breathing.

Don't They Realize I'm An Artist?

Today I read an op-ed article by a voice-over artist describing, with weary condescension, a “pitch” recording session.  In Canada we call these demos -- rough versions of commercials recorded on spec for a client who will decide if the spots should be made for real.  If it’s a yes, the same voice artist may be brought back, or the job may be re-cast, but the original artist is paid for their time regardless.

In this instance, it seems the agency executives were too focused on their phones, they didn’t give the right kind of direction...the artist felt under-appreciated. 

I get it.  It’s not always easy to relate to the people on the other side of the glass.  Often I’m twice the age of the agency creatives (they’re mostly millennials).  And sure, we all like to joke about the kind of direction we’re given in sessions:  I do, my colleagues do, and so does Joe Cipriano in the movie “In a World”.  But we do it with respect, I believe.  And appreciation -- most important, appreciation.  I’m grateful to be able to earn a living on the mic.  In my work as a voice artist, I have not only been challenged and supported, I’ve also learned more about acting, about the human voice, and about listening than I could have imagined. 

I hate the cynical attitude.  I know not every session is ideal.  The people you work for sometimes seem disengaged.  I know it’s advertising, and it’s hard not to feel cynical about that sometimes, even when you have chosen to work in this industry (and there are many people out there who’d love to get work in this industry).  And we are talking about a job that pays well above minimum wage for work that involves no more heavy labour than lifting a pencil.  It’s not a huge hardship.

The Unbreakable Kimmy Schmidt says you can bear anything by taking it in ten-second increments.  “Just count to ten.  And when you’re done, start over and count to ten again.” 

I know that’s what I did when I finished reading the article, and it seemed to help.  

The Beast is Back

Years ago, I was hired to tag some radio and tv spots for Playland, the Vancouver amusement park. Rethink had taken over the account, and they wanted to try something new for this well-loved summer family tradition. Instead of a cheerful, friendly announcer voice inviting listeners to come and enjoy fun rides, these ads featured the Cranky Megaphone Lady. She was tired, bored, fed up. With an irritated sigh, she gave the information ("Playland, now open daily"), but she really did not give a... you know.

I thought this would be a one-off, I really did, but the campaign was a hit.  Rethink was ahead of the curve, anticipating the shift away from "perky". Cranky Megaphone Lady was an early-days version of what's now the ubiquitous "anti-announcer" read.  And she has returned every summer to (sigh...) remind you to check out new rides, like The Hellavator, The Beast... We recently recorded the 2016 campaign, and the guys at the studio and I were counting how many years it's been. I think we're at 14 now, right, John? Which, in advertising, is what's called a campaign with legs.

Poor Megaphone Lady will be working a longer shift this year.  The Beast is back, she's got legs, and she knows how to use them.