The "Jeremy Brett" transition

Here I am practicing a fun interstitial in preparation for filming my one woman show- "The Campaign", written for me by writer/director Stephen Mitchell.

IS THAT EVEN A THING?! Ep. #3 "Ups & Downs"

Here is Episode 3 of "Is That Even a Thing?!"- "Ups & Downs"! Enjoy :)

IS THAT EVEN A THING?! Ep. #2 "Sex & Relationships"

Here is Episode 2 of "Is That Even a Thing?!"- "Sex & Relationships"! Enjoy :)

Samantha Bogach talks about "Is That Even a Thing?!"

Samantha Bogach

talks about 

"Is That Even a Thing?!"

Q: Is that even a thing is an unusual title for anything, much less for a TV show. How would you describe it? 

S: The title is self defining and self explanatory. The show is my life delivered in five minute segments without lead in build up or follow up.

Q: So are you presenting yourself as yourself or as an alter ego? 

S: That depends on how you define yourself. I’m inclined to say neither one or the other but both in a desultory fashion. It’s like that Harley Davidson t-shirt that says, "If I have to explain it to you, you wouldn’t understand."

Q: Does the fact that you're an actress in LA creep into the subject matter? 

S: That is the subject matter. It influences every aspect of the physical and spiritual universe as it is experienced by a young woman in LA who knows how to act.

Q: Where can we see it? 

S: I’ll give you the link to the first episode- https://youtu.be/W1Oh1z81Xt8

For further information, contact

615-945-7062

and/or

samanthabogach@gmail.com 

https://youtu.be/W1Oh1z81Xt8

Another reenactment show??

As actors, we go through many trials and tribulations before coming to a point where we actually care about what we are auditioning for. I know I know, "How dare she?". Well I'm saying it! The stuff we want to be auditioning for couldn't be farther from the crap roles we get handed day to day as moderately credited actors/actresses in Hollywood. "Blonde groupie", "Disgruntled barista", or my favorite, "girl 1, 2, 3"- that's one name for 3 SEPARATE people. Let's be honest it can't get worse than that.

Oh wait it can! You'd cross rivers, valleys, low enough, high enough, (see what I did?) just to get seen for "girl 1, 2, 3"! And if you booked that role?? You'd be so high on your horse no landslide could bring you down! (oh come on that was good) you'd feel unstoppable for about 5 days and then it's back to black, (done) BUT STILL. You will forever have the glory that comes with being..."girl 1, 2, 3". No one can take that away from you. Except editor #17 who cut your one line and hair flip. DRATS. Is there no end to this torment that is being a moderately credited actor/actress in Hollywood?

Alas!
CUE THE TRUMPETS

There is a bright light at the end of this smoggy, tunnel. Or at least somewhere in the middle of it! It's a place where people come to watch sad, traumatic, bizarre, and strangely true situations reenacted by other people. You've guessed it! Probably because I used the word reenactment (damnit!)- REENACTMENT SHOWS. I know it could be conceived to be some form of reality television, but to us actors and actresses in Hollywood making that ever so slow transition to being a consistently working actor/actress, it is heaven. HEAVEN.

"You mean I get to be the star of a television show?"
"well a reenact-"
"The star?? really??"

We just want to do it! As much as acting class is fun and helpful in many ways, what we crave is emoting as a means to produce a specific end result. Not just emoting for the heck of it. As much as we like to think of ourselves as supernatural beings with emotional super powers, we're simply people who look to create a reaction. We get these little spurts of happiness from knowing we made people, for the most part strangers, feel something. You laugh? We practically jiz in our pants. You cry?  Well just roll me over with a steam roller because...I don't know why, I'm so happy I can't care to think of a less corny saying...is that even a saying?

The point is, we do this for that very specific ever fleeting reason. And we do not get complete satisfaction from performing in a class, or alone in a room, or even with friends. It's that mass connection, that grand scale of emoting that gets us to our happy place.

Reenactment shows give us the opportunity to do just that. They allow us actors/actresses with less credits or experience to feel the fire for a moment; See a glimpse of what we're fighting for. Because of reenactment shows I've gotten to showcase some of my strongest talents on camera in just a few short years. Due to extreme situations being played out, I've had the opportunity to cry on camera, be brutally beaten, murder someone, be bipolar, and the list goes on. Those are some intense scenes to have on your reel, and due to that I landed a recurring guest star on DAYS OF OUR LIVES in which I portrayed a traumatized rape victim.

I'm not saying don't take "girl 1, 2, 3". Take it! Own "girl 1, 2, 3"! Whichever one you play! Brag about it on FB! Sure you'll lose some followers but you still got "girl 1, 3"! Just don't make the mistake of skipping those reenactment show auditions. The people you work with on those projects are right there with you, waiting to make the next step. Those are directors and producers who could be anywhere within the next 5-10 years. Let them see what you can do! They're they ones who are actually watching you! Plus you'll get exposure and hopefully something great for your reel.

Rant done!

The Importance of Interstitials

Here I am practicing interstitials via skype with writer/director Stephen Mitchell.

Adding interstitials to a monologue and/or scene is vital to a well rounded and compelling performance. Life is moving and our emotions are constantly changing every second. Without interstitials we can't give a proper example of how humans interact in real life, which is the whole point of our job is it not?

Watch the video above for an example of an extreme interstitial within a monologue.

Auditioning at CBS-Radford studios

You get a call from your agent. You have a super last minute audition for ABC Family's new procedural drama STITCHERS at CBS-Radford studios. You will be reading for casting director Michael Testa, whom you've never met, in three hours. You are at another audition waiting to go in and have another one to get to in an hour. Both of these roles call for a "girl next door". But WAIT. This super important last minute audition at CBS-Radford studios calls for a "research assistant." You look down at you're bright red sun dress and wedges and start to panic. You didn't even bring you're "smart person" glasses! "Why me??!" you silently yell to the heavens. "Why now??!". Your robot "actor" self kicks into gear as the assistant calls your name to come read for..."wait what am I reading for??!". You smile politely and walk in the room. It's a blur, who knows what went down. All you know is you look way too cute to be a 28 year old research assistant who's life revolves around work!

CHAOS ENSUES, as if every half hour sitcom pilot happens to you all at once. Sure three things in one day doesn't seem like a lot but matched with traffic and the universes' burning desire to ruin your life, you barely make it you're 5:15pm appointment at CBS-Radford studios in Studio City. The security guard sees you and greets you with a smile. You start to pull out your id (a requirement to get in) and you look up to see that he has already printed your pass out due to recognizing you. You smile gratefully "I'm important!". He then shows you where to go on the map since you've never auditioned for this particular office on the lot before. You exchange a look. "Run" he says. You run, more like skip walk, all the way to the other end of the lot. There are people driving past you on golf carts and several of them call out "break a leg". You thank them while still skip walking awkwardly to your destination.

You've made it! You know this because there's a piece of paper taped to the door that says "STITCHERS CASTING". You take a deep breath and enter. You sign your name after "Alicia Something-or-another" and see that she is auditioning for the same role as you. You see a young brunette woman dressed like a research assistant studying lines. "Alicia." You try really hard not to concentrate on her. Thank god she gets called in right away. You focus on your lines. At this point there are three of you waiting to read. The door opens and everyone turns to see Alicia exit with Michael Testa, the casting director, right behind her. Michael stops in front of the three of you and asks you to give him a minute. He then steps five feet from you to talk to another Casting Director Lisa Ystrom (YOUNG AND HUNGRY) about pilot season. The three of you still waiting exchange looks. "You guys know a reading is still an audition right?". The three of you look up suddenly. "Was he talking to us?". Michael repeats the question and the four of you wind up having a lovely conversation about the film industry for about fifteen minutes. The energy seems to be shifting. You don't feel like you have to go to the bathroom. You feel comfortable with what you're wearing. The lines on the page suddenly don't look so scary. Michael finishes the conversation and goes back to auditioning you as if nothing happened. He calls your name and you enter the room with an easy smile. After all you just had a whole conversation with the guy! You're glad to know that Michael will be reading with you himself while his assistant operates the camera. You don't even have to take a breath before you start reading. It all flows well. Michael gives you a small note on the second scene. You make the adjustment and he compliments you on how well you take direction. He thanks you profusely for coming into read last minute and you thank him for the opportunity. You leave knowing that you'll be back in that office soon.

Every time I'm at CBS-Radford Studios, whether it's auditioning or filming, I have a great experience like this one. I wish every audition could be like the one I had for Michael Testa. Why? Because he simply created a safe environment for us to do great work. He wasn't a casting director and we weren't actors; We were simply artists of different nature. He listened to us. He had a conversation with us! I was able to do my best, and isn't that the purpose of auditions? To show the casting director/director/producers the best of what you have? I think more casting directors should be dedicated to creating a safe environment for us to be vulnerable in, if of course the point is to see great work.