I was told there is an annual "making the move to LA" issue.

Is that true? And if so, when does it hit news stands?

Gracias!

I would imagine it hits the newsstands this Thursday.

Yes, the 17th. In light of that, here's something I wrote for the 2006 edition to get you started. Hope it helps!

TEN STEPS TO MAKE L.A. YOUR PROFESSIONAL HOME
Originally published in Back Stage newspaper January 26th, 2006

By Jackie Apodaca

Maybe you’ve just arrived in Los Angeles and have yet to fully unpack. Or you’ve been here for months or – gulp – years, but still feel like a newbie. Either way, the hurdles you are facing in pursuit of an actor’s life can seem overwhelming. There is so much to do that it’s hard to know what to do first. Let’s take the worry and wonder out of your pursuit. Try following this simple, do-able checklist.

There is no recipe for success in this field, but if you complete these ten steps you will be well on your way to making L.A. your professional home. While you don’t have to go step by step in exact order, avoid jumping to # 6 or #8 right off the bat.
Tear out the checklist and tape it to your bathroom mirror or above your desk - somewhere you will see it often and can take pleasure in your mounting accomplishments.


1. Stock Your Library
Step one is as easy as a trip to the bookstore. There are tons of career guides out there and you can benefit from owning your share. Books I recommend include: Thomas Mill’s “L.A. from A to Z” and Tony Martinez’s “An Agent Tells All,” but there are many great titles to choose from. Take a trip to Samuel French Bookstore – there are stores in both Hollywood and Studio City (samuelfrench.com). Plan to stay at least an hour and browse. Pick up at least one L.A. specific acting career guide. If you want something on the craft, check out Ivana Chubbuck’s, “The Power of the Actor,” Larry Moss’s, “The Intent to Live,” and be sure you own a copy of that old standby, “Audition” by Michael Shurtleff – which no actor should be without.

Continue to add to your acting library as your budget allows. You should be savvy on classics and new material alike. Many used bookstores sell “pre-owned” plays and screenplays for a pittance. As far as trades go: Back Stage West is your best bet. Other offerings such as “The Hollywood Reporter” and “Variety” target more business savvy clientele. Yes, industry news, major trends, and union politics are covered, but if you are living on a budget you can forego those for now.

Once you begin submitting yourself to talent reps or casting directors, you will need reliable contact information. Take a look at the local ‘zine-like directories of agents, casting directors, managers, and teachers offered at acting bookstores. These are constantly updated, so be sure to get the most recent copy. I like the ones published by Acting World Books. “The Ross Reports,” also provide listing information and if you plan to subscribe to backstage.com you can get a good combination deal.


2. Get Into Class
Even those of you that just graduated with an MFA from Yale should be in a class. Or more than one. Besides honing your craft, a class offers the invaluable opportunity of networking with fellow artists. Though you may be dripping with natural talent, you are not excused from the serious pursuit of acting technique.
Start with an acting intensive with a reputable teacher and add complimentary classes as your pocketbook allows. Choose classes to fit your career goals. Local offerings are extensive: cold reading, voiceover, commercial, sitcom, scene study, improv, comedy, and so on.

The best way to find a good class is through referrals. Ask your previous teachers and any L.A. actors you know for their picks. BSW publishes a tri-annual Acting Teachers and Coaches,” spotlight issue, which lists local teachers and their specialties and contact information – the next one comes out on March 16, 2006 – or you can order a back issue of our most recent version (see sidebar). No matter where you find a teacher’s name, be it in a guide, through a friend, or from an ad, you should audit the class before signing up. Auditing is the process of “sitting in” on a class to get a better idea of what it’s like. Most acting teachers provide free audits, although they may limit numbers and have a waiting list. Some, unfortunately, ask a fee or do not provide audits at all and a few of the “big” acting teachers let their reputation speak for them. Perhaps there will come a time when you have such strong respect for a particular teacher that you will be able to make a decision without meeting him or her. But for your first time out, better to sign on with someone you can investigate. Audit at least 3 classes before making a decision.

Admittance to some classes require auditions, which can be a good thing. This means a teacher is looking to focus on actors of a certain caliber or trying to create a balanced ensemble. Don’t let the prospect of a class audition turn you off. You will be auditioning a lot this year, you may as well get started.

As you look for classes, you will no doubt come across advertisements for workshops. These, despite their ads, are not usually classes in the traditional sense – but function more like mini-showcases with industry guests. There is a complex debate about the legality – and morality – of such workshops that you should investigate. Proponents argue the workshops are educational and a necessary means for actors to meet casting directors, producers, and directors. Some actors swear by them and the workshop sites boast of numerous actor successes through their programs. Detractors say they are money-makers for the guests and workshop companies, at the expense of actors – who should not be asked to pay for what amounts to a job interview. The state of CA attempted to regulate the workshops to stop what critics call, “pay for play,” but the largely un-enforced measures don’t seem to have made a dent in the debate. Check out donotpay.org for a detailed timeline. SAG members can avail themselves of free workshops through the Casting Access Project. See sagfoundation.org. If you decide to do workshops, they should be in addition to, not instead of, your intensive acting classes.


3. Create Professional-grade Materials
If your headshot was taken by a photography student or your brother, it may be time to upgrade. In a world this competitive, you can’t afford to hope agents and casting folk see the rugged charm in your badly framed picture. Finding a qualified headshot photographer is easy – the city is lousy with them. Finding one that “gets” you, with a style – and a price tag –you admire, will take a little work. Some consistent actor favorites include Sara Corwin, Melinda Kelley, Greg Crowder, and Mark Atteberry, but there are countless others to choose from. Your best bet is to make the rounds. Get referrals and keep your eyes open for appealing ads and websites. Some headshot printing companies have in-house samples or websites with links to popular photographers. The high quality photo labs and printers Reproductions and Isgo-Lepejian have photographer links on their websites at reproductions.com and isgophoto.com.

Set up appointments to meet about 5 photographers and view their books. Use the time to get a feel for the photographer and his or her studio. Ask questions about their sessions. Do they shoot film or digital? Black and white or color? Is there a time limit? Can you see the shots right away in a digital format? Does the price include a make-up/hair stylist or should you provide your own? As for the color vs. black and white debate? Color is in – go with it.

Your resume should be clear and concise – colored resume paper and fancy envelopes are expensive and unnecessary. Unless you are very young, there should be no reference to high school experience on your resume. Do not list extra – or background – work. Separate your experience into categories. I suggest making several versions of your resume for use in different circumstances. Perhaps one begins with theatre and lists all of your classical roles, while another begins with TV and Film and minimizes theatre. Think like a salesman - create resumes that fit the market in which you’ll deliver them. As for special skills: don’t knock yourself out. If you speak fluent Spanish and played Varsity Soccer, go ahead and include that. No one cares, however, that you took two years of high school French and like mud-pie.


4. Join a Theatre Company
“But I want to do film!” It doesn’t matter. A theatre company can be a place to create – which you need to constantly be doing – but also a place to network and recharge your artistic batteries amongst likeminded artists. You can relax, knowing fellow company members – unlike the general public – won’t say things like, “What have I seen you in?” or “Why don’t you do a part on ‘The West Wing?’” You will meet collaborators, comrades, and mentors. You will get acquainted with people that can refer you to their agents/managers/ industry friends. All this, and you get to act!

BSW publishes a spotlight issue on local theatre companies – the next one will run May 18th, or you can backorder our last one which ran Dec. 29th. Use this listing as a starting off point. Again, get referrals and do plenty of footwork before joining a company. Read theatre reviews. Find 5 or 6 companies that seem interesting - and are somewhat near your apartment - and see one of their productions. For many of L.A.’s AEA waiver productions (plays at small venues with 99 seats or less, given a special contract by AEA), money is so tight that company members, the stage manager, even the director or artistic director will be pouring coffee during intermission. If you like what you see, ask about the company and how you might get involved.

Don’t be surprised if you find that several of the companies you’re interested in require members to pay dues, but be sure to ask plenty of questions before you write that check. Where does the money go? Do dues earn you access to rehearsal space? Are there monthly or weekly meetings or workshops? Are members guaranteed first shot at roles? Dues usually run in the $40 - $60 per month range.

Some worthy companies that spring to mind are: Circle X, Open Fist, Pacific Resident Theatre, Sacred Fools, Elephant Stage Works, Son of Semele, and Troubador, but the community is wide and varied. Find a group doing work that speaks to you.


5. Get Online
The internet hosts wonderful tools for actors. Backstage.com, Lacasting.com, Nowcasting.com, and ActorsAccess.com all facilitate online submissions to a variety of projects. Each has its merits, so you will have to spend some time figuring out which sites best fit your needs. Since several charge for usage, and there can be fees for extras - such as uploading your demo reel, you may not be able to join all of the sites - at least not right away. Fortunately, many of the casting notices are put on more than one board. In time, managing your online submissions will take you just a few minutes a day. It beats licking envelopes. Use extra caution for audition information found on general sites, such as craigslist.org. Check out the company or individual that posted the notice before sending in your picture.

Remember to follow the instructions for all email submissions. Generally, its best to send a polite email (which functions as your cover letter) and provide a link to your headshots and resume on one of the aforementioned sites or on your own website. Most recipients do not want to download your headshot and many will automatically delete emails with attachments. Get used to researching online. Its shocking how much you can find out about a person or organization a la google. Look up anything you are unclear about – from a manager or production company to an unfamiliar term.

Here are a few links you might find useful: backstage.com, sag.org, aftra.org, actorsequity.org, imdb.com, findfilm.org, agentassociation.com, castingsociety.com, talentmanagers.org, ncopm.com, showfax.com, hollywoodreporter.com, variety.com. theatrela.org, and tcg.org. During an agency search, be sure to boomark the California Division of Labor Standards Enforcement talent agency database at: dir.ca.gov/databases/dlselr/Talag.html. You can also call 415-703-4810. California talent agencies are required to be licensed with the state, and any you consider should show up on this database. If it doesn’t – walk away.

For online actor conversations, check out: backstage.com’s, “community” link, more.showfax.com, sagactor.com, and celluloidcurtain.com. Using these message boards is a great way to interact with your peers and, more usefully, learn from those just beyond your experience level.


6. Audition
Yes, this is way down the list at number 6. While its not a bad thing to arrive in L.A. and go to your first audition straight from the airport, it’s quite sane to take a more measured approach. You shouldn’t begin looking for work until you can do the work you find. If you are homeless, jobless, or headshot-less you aren’t likely to have a really great experience. Besides, you only get one chance at a first impression. CDs and directors aren’t likely to bring you in again if you seem frazzled and confused the first time around.

Once you get your house in order, you’ll find plenty of auditions that are open to self-submission. Look through Back Stage West, and check the reputable internet sites listed above. Don’t waste energy submitting to projects that are clearly not right for you on the off chance the director will want to “go a different way.” Target projects you see yourself excelling in. Include brief cover letters clarifying why you would be a great fit for the project and stressing your interest in the work. Casting folks are inundated with submissions, and sometimes little things can make the difference between your resume landing in the “see” pile or the trash.

But don’t rely on submissions alone. Each week, there are plenty of open calls. This is when casting folks list a time and place, and you just show up, wait in line, and audition. Many student filmmakers and theatre companies don’t want to bother with sorting submissions and setting appointments, preferring to meet as many actors as they can. Additionally, many AEA (Actors Equity Association) productions are required to hold open calls for members. Non-union actors can “crash” these calls. Check in with the monitor, politely ask to audition if there is time, and usually you will be allowed to squeeze in – once all the AEA members have been seen or during a lull.

Self-submit to at least 10 projects and go to at least 1 open call per week. Notice my use of the words “at least.” More is better. Set ambitious, but reachable, goals. You can’t control whether you are cast, but you can make sure you are considered.


7. Network
If you’ve followed through on steps 1-6, number 7 should be a breeze. Your acting class, your theatre company, and any project you’re lucky enough to be cast in will provide you with networking opportunities. Don’t make the mistake of thinking that successful networking requires you to hobnob with people in high places. Networking is something you’ll do over the long-haul of your career. Your scene partner today may be working with a director you admire tomorrow. That annoying stage manager might soon become a casting assistant on a show you love. I don’t mean to suggest that you approach your world with a “what can you do for me” attitude. Just remember that you are part of a tempestuous and tiny industry. People prefer to work with actors they know and like. Your future opportunities will rely on your present day behavior. That goes as much – if not more - for your attitude as your acting skill. You too will someday be in a position to help your present day peers.

There is no limit to the number of networking opportunities you can create for yourself. Did you major in acting or graduate from an MFA program? Set up a casual monthly get-together where you and former classmates can reconnect. Are you SAG? Take advantage of its members only offerings. Attend BSW reader events, such as screenings and panel discussions. Check out local film festivals and independent film. You don’t need to go to Sundance to see great new films – and to be in the company of burgeoning talents. The Palm Springs International Film Festival begins today and runs through January 16th. The month of April hosts The Malibu, Beverly Hills, San Diego International, and San Francisco International Film Fests. The Los Angeles Film Festival is held in June, while the LA International Shorts Film Festival (LA Shorts) happens in September. The list goes on. While film festivals are organized to serve filmmakers, not actors, there is plenty that can be learned by attending panel discussions and screenings. Think of it as a vibrant classroom, keep your eyes open for others eager to meet and greet, and bring along a few headshots - just in case.

L.A. theatre is abundant. And while there are numerous shows playing on a nightly basis, many struggle to get audience members to fill the seats. Supply simply outweighs demand. Take advantage of this to secure discount tickets to shows you are curious about. Try goldstarevents.com or theatrela.org for discounts of 50% or more. Some theatre companies will provide comps in exchange for ushering or box office help. Never be afraid to ask about getting involved with a company, and always take the time to compliment work you admire. Most importantly, be sure to observe the “three block rule” – never say anything bad about a show until you are at least 3 blocks away from the theatre. At most shows your fellow audience members will be other actors or relatives of the cast.

Check out The Actors Network (actors-network.com), a performer’s business information and education organization. Members have access to monthly events and workshops, as well as networking opportunities with fellow members and guest speakers. This is a determined, knowledgeable bunch – full of industry know how and motivational techniques. The company’s motto, “Help us, help you…help all of us,” similar to the Three Musketeer’s storied “All for one and one for all,” is a call for actor unity and progress. Its an apt slogan for the progressive organization.


8. Do A Mailing
Known for it’s sheer largess and lack of quantifiable results, the mass mailing has gotten a bad rap over the years. But I think every newbie owes it to him or herself to do one genuine mass mailing. Usually targeted towards gaining representation, although possibly extending to the casting society, a mass mailing is sort of like a general introduction to the town. Sure, many people will throw your sealed envelope in the trash, but a few will open it and its quite possible that one or two will call you in for a meeting. Think of it as a rite of passage. Put yourself out there, and see what comes back.

Target agents. Include your newly revamped headshot and resume – complete with any recent work you’ve gotten yourself through self-submissions or at your theatre company. Write a brief – half a page – cover letter. Play up the fact that you are new in town, but take it easy on the self-comparisons to stars. Most folks don’t care that you think you’re the new Robert DeNiro. Your letter should highlight things like successful completion of acting school, Spanish fluency, and the intriguing fact that you’ve just arrived in L.A. This reminds them that they haven’t gotten your headshot 15 times already. You haven’t been “passed over” by other reps. You are discoverable.

After you finish up this first mailing and as you educate yourself and get referrals, begin a series of targeted mailings. Choose 20 or 30 representatives that are reputable and seem like a good fit for you – focus on those. Address your envelope to the agent you are targeting – not the agency in general. Add managers and casting directors to the list. Research who is casting the shows you fit and send an introduction, then a follow up. Mailings are going to be a part of your life for some time to come. It behooves you to create a system you can stick to. For the truly organized, a spreadsheet might come in handy – but even the organizationally-challenged should note whom was submitted to when. You are marketing yourself and repetition creates familiarity which creates opportunity.

Don’t rely on a book published in 1998 for contact information – you need up to date listings. The Acting World Books “Agencies” booklet features a helpful “Agencies Tips” section covering what “some agencies are looking for right now.” You can also find current information on many reps and CDs online, but be sure you use a reliable site. Try: For agents: sag.com and agentassociation.com. For managers: talentmanagers.org and ncopm.com. For casting directors: castingsociety.com. Back Stage West’s weekly, “Production Charts” are also a great resource.


9. Give It Away
Internships are a great way to further your industry education and meet other professionals. Many agencies, managers, and casting offices employ interns to help out with day to day tasks. Most appreciate hard work and don’t mind occasional questions, but few are open to the intern-turned-client scenario. You can be up-front about your acting ambitions, but don’t ask to audition – if they’re interested they’ll ask you. Interning is about learning the ropes. You’ll get to see the casting process first hand and learn valuable, timesaving, lessons. Studio or production company internships are other ways to go. Many of the major studios such as Warner Brothers, Universal, and Fox host organized internship programs – and smaller companies often welcome help.

Choose an internship that appeals both to your career aspirations and your temperament. Perhaps you’d love to bring coffee to a major TV producer, or would prefer to sort headshots for a young CD. The arrangements are varied – some offices expect greater commitments than others. Look for something that fits your schedule that can be completed within a reasonable timeframe. Be aware that some internships require applicants to be registered students, but details vary.

Larger organizations will post information on their websites, but smaller companies may require a little more work on your behalf. You can send a letter of interest along with your resume to any promising company or individual. Address letters to organizations to the “Internship Coordinator.” The Casting Society of America (CSA) provides a registration form on its website, castingsociety.com, for those interested in interning with its members. This will save you the time of contacting each CD individually. You can also check out entertainmentcareers.net, as well as craigslist.org, and artsearch at tcg.org. Actors Network members have access to an in-house database. One word of caution: actors with agents or managers should generally not intern for their own representatives. This arrangement can get pretty tricky.

Another way to get valuable, on-set experience is by doing a few days of background work. While you won’t be rubbing elbows with the creative team, you will get to see how a set works – first hand. You will even get paid. Register with a reputable background organization, such as Central Casting (entertainmentpartners.com).

Don’t pay to intern or be “placed” in an internship. You may be asked to pay a small fee (around $25) when you register with a background casting company, but you shouldn’t pay for access to specific jobs.

Finally, you can network, utilize your gifts, and get your focus off yourself and your career through volunteering. Choose from the numerous L.A. based arts related volunteer organizations including those found at: createnow.org, hopeandunion.org, virginiaavenueproject.org, theunusualsuspects.org, insideoutca.org, artsharela.org, and lasbest.org. SAG members should check out Bookpals at bookpals.net.


10. Avoid scams
That guy in the mall that said you have a “great look” and wants to photograph you at his studio tonight at 10pm? The manager that takes 30%, requires a $200 registration fee, and sets you up a special deal with a “world renowned” photographer, if you pay today – in cash? Skip them. Most scams aren’t quite this easy to identify, but many share common themes: money or sex. You should not be asked to pay for representation or auditions. You should have to put up with offensive jokes or unwanted passes. No, most photographers/managers/casting people do not hit on the actors they serve. You should not be told to patronize a certain photographer or printing house. You should never pay for anything like a “registration” or “processing” or “website” fee when signing with a representative. Take a look at SAG’s helpful, “Tips and Tools” webpage for more information on self-preservation. Go to sag.org and scroll down the “Resources” menu to “Tips and Tools.”

Protecting yourself and your pocketbook requires your common sense and self-preservation instincts to come into play. But you can also rely on your newfound colleagues. Bounce things off your classmates, company-mates, and castmates. Use your combined knowledge. Read. Use the internet. Use your trade resources. Don’t be afraid, but don’t be afraid to ask questions.



Final words of advice:
If you’re still feeling overwhelmed, take stock of your aspirations. You may be shooting for too many results all at one time. The clearer you are about exactly what you are after, the better you will be able to go and get it. While acting in any venue is valuable for you at this early stage, too many goals can derail your progress altogether. Pick a focus, like “sitcoms,” or “regional theatre,” or “independent film.” Focus everything in that direction. Your classes, theatre company, mailings, networking – everything should flow out of this number one goal. And don’t worry about choosing the “right” focus. You don’t have to stick with something that loses appeal – you can change it as you see fit.

Remember, being new in town is nothing to be ashamed of. You are without experience and representation, but you are also without preconception and fatigue. You are a genuinely new. Fresh. At the beginning. Enjoy it!

...and I believe I have an article in this week's edition about how to connect with LA actors when you're new in town.

Link it up when it comes online!
Or dare to post pre-edited!?!

Hell...I'm not afraid. Here it is, pre-editing!


The Transplant’s Guide to Meeting L.A. Actors
BY MICHAEL KOSTROFF
bsweditorial@backstage.com

Hey there, new in town? Moving to L.A. can be a challenging transition for an actor. It can be even more challenging without help from those who know the lay of the land. So, after finding an apartment, a car, a day job, your supermarket, your Starbucks, and all the other basic necessities, one of your next top priorities will be to build a network of fellow actors--for the camaraderie and for the connections. Your new showbiz neighbors can guide you to local opportunities, connect you with contacts, and provide the kind of support that can only come from those who are on the same path.

But how do you connect? Because L.A. has a car culture, meeting peers can be a challenge. Here are suggestions for places where you can make a start.

Company Policy
Joining a theatre company offers multiple benefits. You make friends, which is of no small value when you’ve recently arrived and don’t know a lot of people. Your fellow members—professional performers, like you—will know more about the L.A. acting scene and can fill you in. You get to keep your chops up by working on plays. And if it’s a respected company, you’ll start having opportunities to be seen by casting people. What’s more, being accepted to a theatre company is a form of approval, letting you know that you haven’t made a terrible mistake by moving here.

Classy Connections
In addition to the obvious benefits of training, acting classes are great places to get to know fellow actors. Meeting at a party is one thing, but when actors study together, they bond in a deeper and more substantial way. What’s more, if you’re agent-hunting, a fellow actor is far more likely to recommend you if he or she has seen your work in class. (See our related article, “How to Choose a Teacher.”)

Uniting Through the Unions
Our actors’ unions offer wonderful programs, workshops, and seminars, which are well worth attending for their own merits. But an added advantage is that these events facilitate gatherings of actors, and they do so in an atmosphere of learning and solidarity. The SAG Foundation (www.sagfoundation.org) offers Conversations, “a national speaker series inviting high-profile industry professionals to share their experiences in the industry with an audience of actors,” and LifeRaft, “a professional development program that provides insight into the business of acting; giving SAG members practical industry skills and knowledge to help guide their careers and make informed decisions.” AFTRA also offers a series of classes and seminars for members, listed at www.aftra.com/locals/losangeles/membereducation.html, as does the Actors’ Equity Association. Information about Equity’s Education and Outreach program can be found at www.actorsequity.org/EducationOutreach/edoutreachhome.asp. Union educational events are nearly always offered without charge. (See our related article, “How to Join the Unions.”)

Meeting Under Protest
For better or worse, performing arts’ unions have had their share of strikes lately. On the up side, there’s no better place than a picket line to literally rub elbows with your peers. And there’s plenty of time to chat about the business—or lack thereof—as you tote your sign back and forth. Membership meetings are also good places to enhance your circle while staying actively involved with your unions.

Park It
When I moved from New York, I had a pretty snobby attitude about theme parks. That was before I learned that lots of performers with major Broadway and regional theatre credits work at places like Disneyland and Universal Studios Hollywood. I did too, for years, and they were some of the best support jobs I ever had. I made a living performing, and I made friends and contacts—lots of them, many of whom I’m still in touch with. And the schedule is such that you have substantial breaks between shows. It’s a great time for hanging out and getting to know your new cohorts.

Site Search
Many actors stay in touch via websites like MySpace and Facebook, where you can join groups, communicate with peers, ask for advice, promote shows you’re in, organize gatherings, read reviews, and get information on classes, teachers, theatre companies, and just about any other actor-related topic you can think of.

Some actors choose to commune away from their professional settings. Here are a few of those places.

At Your Service
If you’re spiritually inclined, why not choose a house of worship where you can attend alongside fellow thesps? Agape, described on its website, www.agapelive.com, as a “transdenominational spiritual community,” seems to be a popular actors’ church, frequented even by those who don’t consider themselves religious. The Synagogue for the Performing Arts, www.sftpa.com, speaks for itself, and Valley Beth Shalom, www.vbs.org, attracts industry types as well. There’s also InterMission Hollywood, www.inter-mission.net, an interdenominational organization for Christians in the entertainment industry. Several Christian churches cater to the industry as well, such as Ecclesia Hollywood (ecclesiahollywood.org), and Mosaic (mosaic.org).

Get With the Program
You really want to meet actors? Go to a 12-step program. That’s not a joke, a recommendation, or a judgment. We’re just saying that if you choose to go, you’ll find comrades there. And because of the nature of these groups, 12-steppers also tend to be more supportive than competitive, and willing to help you get acclimated.

Helping Helps
You know what they say: If you want something, give something…or something like that. Volunteering is good for the soul, good for the world and a good way to connect. And since here, two out of every three people seem to be actors, you’re bound to meet some along the way.

Hangouts and Habitats
When not working on their careers, actors are often found at the gym, at the coffee house, or engaged in what is apparently our favorite pastime: eating and talking. The short stretch of shops and restaurants on Franklin Avenue, between Tamarind and Bronson, is an actors’ mecca, as is the 101 Coffee Shop a few blocks west. The hike at Runyon Canyon seems designed for reunions, as you’ll rarely get to the top without stopping to swap war stories with a contemporary. Some gravitate toward the Farmers Market on Fairfax, some gather at the Aroma Café in Studio City. The point is, you’ll meet more of your fellow artistes if you leave your house.

So welcome to L.A. It’s a strange place. But by connecting early on with your new showbiz comrades, you’ll find it a lot easier to navigate.

How would I go about getting a copy of this issue since I'm not in LA and don't have a subscription? Are there certain bookstores they also distribute to?

Thanks!

And also... wow, those articles are a whole boat load of help! You guys are great... very much appreciated!

Thanks for the all the info!

Jackie, when was the last spotlight issue on local theatre companies? I must have missed it.

Thanks!

I wrote this a whlie back so I don't know when the most recent one was....lemme ask.