As much as actors would like to believe that talent is the only thing that matters at an audition, most will acknowledge that's rarely the case. "Too fat," "too thin," "too casual," "too formal," "bad makeup," "bad hair," "bald" -- from the moment you step in front of a casting director, you're being judged on your appearance. Not just in terms of your appropriateness for a particular role, but in what your self-presentation says about your professionalism and work ethic as a performer. There's no denying it: In show business, appearances matter. And when you're racing from one audition to the next (before racing off to your day job or class or rehearsal), keeping up your appearance is not always easy.
So Back Stage selected a dozen readers who sent us their appearance-related problems -- in the categories of makeup, hair, wardrobe, exercise, and weight loss -- and paired them up with five experienced professionals: a makeup artist, a hairstylist, a costume designer, a personal trainer, and a nutritionist. Here's what the experts had to say to our actors in search of makeover advice.
A Method to Your Makeup
Lauren Snyder -- Simplicity Serves
When it comes to makeup, actor-comedian Lauren Snyder likes to keep it simple. As an actor on the go, she wants something she can maintain without feeling overdone.
"It's very easy to put on all the makeup in the wintertime. But when you're auditioning in the summertime and you're running, going on the subway, and your face is melting off, what's the minimum that you can get away with?" she asks. "What kind of makeup, just so you have something on your face but don't have to worry about the heat?"
"You will naturally get shiny in the summertime," says Emmy Award-winning makeup artist Anette Lian-Williams, who works on the soap opera "As the World Turns." "Most of the cosmetic lines carry a tinted moisturizer; it can be an oil-free tinted moisturizer for a person like you. That way, it's not going to build up and separate on your face."
She adds, "Have either blotting powder or blotting paper. Blotting paper is great to have in your purse. That way, you won't build up or cake up the makeup. Minimize in the summertime."
A simple and effective way to accentuate the face is to play on the eyes, says Lian-Williams, and to leave the heavy makeup for the stage or film set.
"One time I had my makeup done and somebody tried to correct the fact that my eyes went down by doing this crazy makeup, but it didn't look like me at all," recalls Snyder.
That, Lian-Williams says, should be done only with theatrical makeup. Makeup can be used to change the features on anybody, but for the everyday audition, you want to look like yourself.
"I'm not working on changing the eye shape -- that's not the purpose," she says. "Lauren's eyes tend to go down, so you don't want to use eyeliner underneath the eye because that will pull them further down. You work on the top."
For Lauren, she begins with concealer on the lid and applies MAC Sweet Lust pink eye shadow and MAC Swiss Chocolate into the crease. Using MAC Teddy eyeliner, she starts off thin and ends thicker at the outer corner of the eye. She avoids liquid eyeliner because it is too harsh, and she uses a brush to smudge the pencil and soften the line.
"I think eyebrows are important," says Lian-Williams, using white underneath the brow bone and coloring in the eyebrows with Mahogany eye shadow from Bobbi Brown.
"Anybody who curls their eyelashes should use Shu Uemera," she advises. Snyder, who used to use plastic curlers, agrees. "Go in for a light squeeze first before going for it," instructs Lian-Williams. "People are often intimidated by eyelash curlers because it's so easy for skin to get caught."
Using Max Factor 2000 Calorie No. 3 mascara, she prefers to apply two coats: "I like to roll the mascara from the top first. That way the lashes get kind of wet, and then I push up from underneath."
Lian-Williams blends MAC Hyper Real SPF 15 foundation onto the face by using her fingers -- rather than sponges -- to get a natural look: "I find I don't get that many streaks when I'm using my hands." A touch of translucent powder takes off the shine and sets the foundation. Lips are done with Precocious by MAC.
"When using lip-gloss, I don't like to use lip pencil, because the lip-gloss wears off and you're going to end up with just the line. I think it looks too heavy and the whole purpose of using the gloss is to look fresh."
For any person doing makeup at home, says Lian-Williams, it should not take more than 15 minutes. Certain products, such as lip-gloss and eyeliner, can be bought more cheaply in drugstores, but Lian-Williams recommends investing in quality makeup: "The better eyeliners are a little softer and not too oily. If it's too oily, it's going to run. I would spend more money on the foundation that goes on your skin. If the eye shadow is too cheap, it tends not to stick on the eye and will not blend easily."
But for headshots, Lian-Williams advises getting a professional makeup artist. For black-and-white photos, more contouring is needed to make the face stand out. "It doesn't matter what type of face you have," she insists. "Everybody needs contouring in a black-and-white shot."
She suggests getting the whole package if a photographer also has a makeup artist on staff: "They work together as a team. They know the light and how much contouring is to be used. If you go in and say, 'No, I'm going to save myself that $150 and do it myself,' then you can end up looking washed out, no contouring, and look too flat." Or you can go to a department store and ask if any of the makeover artists do freelance work.
Roetta Black -- Age-Appropriate Advice
Having just entered her 50s, actor Roetta Black finds it a challenge to upgrade her look to reflect her age, which is mature but still young at heart.
To prepare for an audition, Lian-Williams suggests paying attention to eyes and lips, the areas where older women usually make mistakes in color choice and application.
"I think that when you're past 40, you should not go so heavy on the eyes. A little softer is better. Stay away from lining black eyeliner all the way around the eyes. That's definitely a mistake a lot of people make," she warns.
Lips should not be too red or too bright a color: "Another mistake a lot of women make is that they feel they need brightness. They may put on a lot of harsh lipstick that will actually do the opposite. It's going to make them look older."
Instead, she recommends subtle or neutral tones, like a warm, glossy lip color.
Lian-Williams notes that African-American women have skin with yellow or red undertones that can make a difference when choosing a lip color. "I don't think the picture is bad-looking to me," she says of Black's headshot. "If you really want to wear red, go for a burnt red."
As for foundation, she advises not to cake on too much powder but to go lighter and use a hydrating makeup foundation. But when getting a headshot taken, she recommends using a professional makeup artist who can apply matte foundation correctly, because it can cake up and make a person look wrinkled.
-- Grace Yen
Hair Today, Job Tomorrow?
Karen Berzanski -- To Straighten or Not to Straighten
When it comes to mastering the curls in her hair, actor Karen Berzanski has tried it long, short, and straight. "Nobody knows how to handle curly hair. I don't think I have ever left the salon and not gone immediately home to wash my hair and style it myself," she says. Concerned that curly hair might be a turnoff for casting directors, she wants a style that is both manageable and sexy.
To the rescue comes Matt Yeandle. An Emmy Award-winning hairstylist ("As the World Turns"), Yeandle, who works in film and television, travels internationally and is currently developing a spa in West Palm Beach, Fla. (You can check out his website at www.beautybymatt.com.)
"When I look at her picture, the first thing that comes to my mind is it's an excellent headshot because of the composition. But the first thing about the hair is that it's sexier long," says Yeandle, comparing the shoulder-length style in Berzanski's headshot to the short hair she is currently sporting. "In my opinion, the longer is more for a soap opera or a drama. I don't mind the short hair, but I think that it's a little outdated.
"I think the curls are pretty. I love hair that has a lot of body because you can always flatten it out. Karen has the best of both worlds because she can have it straight and still have volume." To bring out the sex appeal and to accentuate her face, he recommends a more polished look by growing her hair, styling it with layers, and making the brown color a little less light.
While curls are commercially acceptable, relaxing the hair can make it more manageable. "If you decide to grow it longer, you might want to consider Japanese hair straightening or thermal reconditioning," says Yeandle. "It's for Caucasian hair. It doesn't work well on African Americans. What I recommend for you is to not make your hair bone straight, but to have it done where the curls are looser. It can loosen your hair partially without doing the full process with the iron." While making the hair bone straight usually costs $500, getting it only body straight would be around $300.
To transform Berzanski's untamed locks, he uses a blow dryer and a brush to stretch out her hair the way Japanese hair straightening would in order to show her the look he envisions for her.
While stylists can style dry hair with some silicone applied, he advises to always start with wet hair: "If you start with wet hair, the cuticles will get smoother and you won't get frizz."
Yeandle also suggests investing in quality equipment: "You can get an excellent curling iron for very little money and they're very similar. The flat irons are another story." Flat irons differ in terms of heat, materials, and heating coils. Yeandle prefers ceramic flat irons.
The right shampoo can also help. For Karen, who uses Pantene and L'Oreal, he recommends trying Matrix Curl Life and Matrix Sleek Look for straight hair.
He also recommends that she have more than one headshot. "That's a good thing about her hair. She should have a curly look and a straight look," says Yeandle. "She would go in the way she looks in the picture. They always want to see that you look like the picture."
When getting the headshot done, he suggests using a professional hairstylist. If you don't like the one the photographer uses, then work out an arrangement to bring your own:
"Photographers are just like any other artist and they want to project a certain image. So their concern is that if you don't get somebody good, they don't get a great picture for their portfolio. Allow the photographer to see the person's work, whether it be a website or headshot.
"I think the key is to look as natural as you can. If you're contrived, they know damn well that you're not going to be an easy time in the makeup and hair room," warns Yeandle. "Keep your hair in order. They're going to love working with you. Because their time is money, and your time could be money. It matters."
Selena Williams -- The Long and Short of It
"My headshots show my hair short, but I have since let it grow out and now my hair is about an inch past my shoulders," writes Selena Williams, who has been acting in New York for two years. "It's thick and long and I know it could look very nice, except that I don't really know how to style it. I feel longer hair looks better on me, but I fear I will have to cut it again if I can't get it to behave."
"She's gorgeous," says Yeandle of Selena's headshot. "Because her hair is so exotic, it's so pretty. I don't mind her hair like that, but it may be difficult to get a job on TV. She might get film work because they use so many wigs that it doesn't even matter."
About the new length she is trying now, Yeandle comments: "I love it. It would be much more appealing to casting directors. I like fullness on her hair. I think she's somebody who looks better with some fullness rather than flat -- not that she wouldn't look fabulous. She would look amazing with a flat style. She could wear flat or full."
While some African-American actors try hair straightening, Yeandle advises caution: "As a hairstylist, I would have to see the texture and integrity of her hair. Because when you put those chemicals on black hair, the hair breaks very easily. I think it looks very pretty when it's straightened, and it's a lot more manageable for a stylist in general for any job. I would only suggest it provided her hair can take it."
Abe Mendel -- Getting Rid of Gray
Actor Abe Mendel wants advice on what to do to prevent his hair from turning gray, but he does not want to use harsh dyes that can cause hair loss and irritate the skin.
"In reference to the gray," says Yeandle, "use a temporary color that washes out. That will not destroy his hair. And it will tone down the gray but won't make it look fake. I would use a temporary rinse. And believe it or not, Grecian Formula is excellent to bring back the natural color and get rid of the gray. For some reason, it's so gradual and so natural and not unhealthy for the hair. I recommend combing the Grecian Formula through the gray areas and leaving a little gray. Don't make it solid. You want to make it natural."
While some male actors may try wigs or toupees to hide balding, Yeandle believes that is not always the best way to go. Having worked on a television show with a male actor who wore a wig, Yeandle knows that they're uncomfortable and can make some actors look worse. If the actor is a hunk, says Yeandle, then maybe it would be a benefit. But for those who work as character actors, he advises them to be natural: "Be the way you are."
-- Grace Yen
Putting Your Best Look Forward
Beau Hauser -- Classical vs. Contemporary Looks
Beau Hauser, a New York–based actor, wrote: "I'm always at a loss on how to dress for an audition. Should I stand out in a crowd? Should I dress for the role, or will that hurt me if the casting people are looking for a different character or type? Are there hard and fast rules for men? And what about all the guys wearing jeans at EPAs?"
To his Back Stage meeting with Carol Brys, a costume designer based in New York, Hauser wore pleated pants and a matching shirt, which Brys says are well-coordinated and classic. But the look might not work if he "were auditioning for a role where a younger actor might be wanted."
Hauser, who has performed in New York theatre ("1776" and "The Dark at the Top of the Stairs," Spotlight Theatre), regional stock ("Oklahoma!" and "Shenandoah" at the Carousel Music Theatre), and film ("What He Wants" and "Boulevard"), takes notes as Brys suggests that he visit men's clothing stores -- from Hugo Boss and Joseph Abboud to the Gap and Banana Republic -- for accessories and ideas about what's "in" right now and how looks are put together. Another suggestion: "Watch Carson on 'Queer Eye' for what works," she advises. "Actors need classical looks, too, and Hauser's look today is classical. But for a more contemporary look, no pleats and perhaps chino pants might be appropriate."
Brys, who consulted with several directors and casting directors before the meeting, emphasizes that "everything must fit well, not tight or loose. Your look needs to be flattering and appropriate for the role. This does not mean coming in costume. Directors, however, need visual cues to see you as the character they're casting. You don't want them to be distracted. Remember, you want to show that you respect the audition process and the job."
Hauser is particularly concerned about what to wear for summer-stock auditions "when I'm not auditioning for one particular role but several." Brys suggests that Hauser bring some accessories to change his look as he sees necessary. "A sweater, a colored T-shirt, tie, or sports jacket can be helpful. You might also want to dress in layers."
Hauser, like many actors, wonders if wearing jeans would be a plus or minus at an audition.
Brys says, "There are times when wearing jeans is indeed appropriate, particularly when the role is for someone young who would be wearing them. I wouldn't want you to feel conflicted about wearing them when it's the right thing to wear. It is also very possible to wear jeans with a nice shirt and blazer, for instance, for a kind of downtown feel that is in no way disrespectful. In general, when we speak about wearing jeans to auditions, I'm concerned about actors wearing them thoughtlessly, with no heed given to the role in question. I think of people wearing them as sort of a default outfit, as it were, because they can't think of anything else to wear."
She adds, "You can and should wear them as appropriate, but always give your choices thought and avoid dressing in jeans because you can't think of what else to wear. There's a world of stuff you can wear that's casual and hip and will help you stand out among your peers."
Daria Hardeman -- Flexibility Through Accessorizing
Daria Hardeman, a hip and busy actor with Broadway ("The Full Monty") and Off-Broadway ("Bat Boy") credits and a recurring role as Shalike White on TV's "Third Watch," visits Back Stage's offices dressed in a simple but flattering black wrap over a tight-knit, formfitting white T-shirt and jeans.
She wrote: "I've been just winging it. I've lucked out a few times. Gotten some good credits, but I really have no idea what I should be doing. I show up to auditions and all the girls are in their little audition outfits. And I'm thinking, 'They must know something I don't know.' And I wonder who's passing out the secrets. I'm constantly kicking myself at auditions, thinking, 'Man, I should've worn something else!' or 'Did I talk too much in the audition?' With all the training I've had, I've never been taught the details about what to do in the room -- other than to sing/act my butt off, of course."
Brys notes that Hardeman comes off as having a lot of pizzazz and fashion sense, but the actor is nonetheless concerned about what she should do when she has several unrelated auditions on the same day.
"Dressing in layers, like you're dressed now, with the knit white tee capped by the black surplice knit top, shows flexibility and can work well. You can slip things on and off from one audition to the next one later in the day. Another suggestion: Carry a jacket or sweater you can wear over your shoulders or maybe tie around your waist. This can work for men, too. Select accessories that give you flexibility. That flexibility is critical in creating the right look for you."
Hardeman says she often comes to auditions wearing a large, funky coat, which Brys believes can work in her favor, showcasing her strong sense of style and who she is.
The actor is well aware of the importance of taking into account what the casting people are seeking and making necessary adjustments. Hardeman tells Brys that not long ago, she went to an audition for a commercial. She was taken aback when a "clueless" director called her the following day, noting that she would be fine for the role "but didn't think I would work out because of my hair. 'Could you change your hair?' he asked. Of course I could -- and would -- straighten it for the commercial."
Jessica Knutson -- Looking Good on a Budget
Jessica Knutson, who's new to the business, is studying acting at the Lee Strasberg Institute and recently began attending auditions she learns about at school or from the casting notices in Back Stage.
Like many newbies, Knutson has lots of questions regarding auditioning and wants to know if the comments made by her instructors (that directors can make up their minds in the first 10 seconds after you walk into the room, for example) are true. Brys answers with an emphatic yes.
Knutson says she often wears the same outfit to auditions, usually simple black pants and a soft long-sleeve T-shirt, similar to what she is wearing on her visit to Back Stage.
Brys emphasizes the importance of finding oneself and one's sense of style: "You need to accentuate your assets and learn to conceal flaws with clothing. Wear what is appropriate for the role you're auditioning for."
She adds, "Clothes should bolster your confidence. Dress to feel comfortable."
Knutson had been wearing pants to auditions, but Brys says that skirts "accentuating your long legs would be fine, especially in the summer. Shoes should be stylish but don't have to be expensive. You can find appropriate footwear in Payless, Daffy's, or Old Navy."
For many actors, especially those just starting out, budget constraints can play havoc with what they might want to wear to look their best at an audition. Brys suggests H&M for hip, inexpensive clothes that would work well at many auditions: "You need to have fun with your wardrobe."
She also advises Knutson to "look for accessories that create your distinct look. Give yourself flexibility. You might want to wear your hair differently. Find out who you are and dress that way for the audition."
-- Claudia Caruana
Working Out the Kinks
Douglas MacKrell and Ronald De Suze -- Finding Their Outer Superman
Douglas MacKrell is a 24-year-old actor who recently lost almost 50 pounds through a change of diet. He was touring and, due to the rigorous schedule, found himself eating less. He also made a practice of running up and down the stairs of the various hotels along the tour route. He wrote to us with a specific fitness goal in mind: "Recently I was hired by the New York Renaissance Faire to be a part of their 'Wet Dirt Show.' As a Mud Man, I will be performing four very physical shows a day, every weekend this coming summer. It is an honor being chosen for my acting and improv strengths, but the show requires great physical strength as well, and I will be shirtless in the mud, in front of thousands of people! I am unembarrassed enough to say that I am not ready for it.
"I have seven months until we open and five months before we start rehearsing. I wouldn't say that I'm fat, but I'm certainly not toned. I'd like to increase my strength and stamina and lose that last bit of pudge that makes me want to keep my shirt on." He was also concerned about putting the weight back on, as he gets free meals as part of his job at the Jekyll and Hyde restaurant.
Ronald De Suze had a similar problem. "With all the rigors of trying to make ends meet as an actor," he wrote, "we tend to ignore our bodies. I have definitely done that and am now making it a priority to improve it, especially to flatten my stomach and oblique regions. I also need some exercises that would give me a toned back; a bigger, more toned chest; and more-defined shoulders and arms. Already I avoid auditions that demand a physically fit appearance, as I fear my physique is lacking. My biggest fear is getting turned down for a role because I'm not toned enough."
With the aim of giving these two actors a practical workout regimen that can be adapted for locations such as hotels and small apartments, Back Stage brought them to the New York Health & Racquet Club for a session with trainer Jeff Monfleury.
"You should always start out with a warm-up," Monfleury explains. "You can't just start out exercising or you'll get hurt. You should do about 10 minutes on an exercise bike -- just enough to break a sweat. If you don't have an exercise bike, you can do jumping jacks."
After MacKrell and De Suze warm up, we adjourn to a large open studio for abdominal work. Monfleury proceeds to show them a series of exercises that require no equipment other than a towel or mat. The first exercise is a modified crunch in which you lie on your back, hold one leg straight up in the air, and then, as in a normal sit-up, bring your head and shoulder up to meet the extended leg. "This works your core," Monfleury says, "which is your lower back, abs, and hip flexors." Each exercise should be done in three sets of 10-15 movements each.
Up on their feet, the actors are shown jumping lunges that have them starting in a lunge position and then jumping up and switching legs. This works the quads and calves.
Monfleury then targets De Suze's problem area: the obliques. While lying on your side, rest on your elbow and place your opposite hand on your head, then lift your upper leg.
For the chest, triceps, and anterior deltoid (front of the shoulder), Monfleury recommends a modified version of the traditional pushup called a "diamond-up." For those who don't remember (or dread) them from gym class, in a traditional pushup you begin by lying on the floor face-down with your palms flat at your sides, then you push yourself up by straightening your arms. In this version, instead of your hands being at your sides, you form a diamond shape with your two hands and press up from there.
We then move into the weight room to work the machines. Most gyms will have a choice of free weights -- dumbbells and barbells -- or weight machines. "Machines are good for beginners," Monfleury points out, "because you have a free range of motion and more control than with free weights, which are much harder to control." De Suze and MacKrell begin with the chest press machine. Monfleury demonstrates a movement meant to work the entire chest, alternating between pressing the weight out from his body and extending his arms or "flying" the weight to his sides. "This works two muscle groups at once," he says. "The flying motion is good for the inner pecs and the press works the medial or outer area of the pecs." If you can't afford a gym membership, you can perform these exercises with a pair of dumbbells at home.
After MacKrell and De Suze perform their sets with the chest press, we advance to the cable cross machine, a versatile apparatus with which you can perform over a dozen different movements. It consists of a base and two weighted cables that are set several feet apart. The idea is to pull the cables together, receiving resistance from two different directions. Our two actors are shown a cross motion in which you crisscross the cables in front of your chest. You then alternate the crossing motion with a shoulder raise to work the rear deltoids. You can also use the machine to perform squats (raising and lowering your body by bending only your knees and keeping your back straight). Monfleury calls squats "the perfect leg exercise because it uses every group in them, plus it works your glutes."
The final piece of exercise equipment employed is the Roman chair, a device in which you place your legs at an angle and, starting from a bent-over position and with your hands crossed in front of you, perform reverse sit-ups by raising your torso. This way, the stress is entirely on your abdominals rather than your legs. Monfleury offers an alternative, called a "Superman," for those who do not have a Roman chair. You lie flat on your stomach with your hands stretched out in front of you like the Man of Steel in midflight, then lift your arms and legs as if you are about to take off.
Both MacKrell and De Suze feel like potential Clark Kents after their workout and vow to stick to it.
-- David Sheward
What's the Secret to Losing Weight?
Mark J. Paynter -- Changing What You Eat
"Dr. Shari is going to fix you right up," says nutritionist Shari Lieberman to Mark J. Paynter, a dancer who recently gained 45 pounds and wants desperately to lose it. "About a year ago, I was diagnosed with an anxiety disorder and acid reflux," explains Paynter, "and the only way I could feel better was to keep my stomach full, so I gained a lot of weight. As a dancer, this is a big problem."
Back Stage arranged for Paynter to speak with Dr. Lieberman in order to obtain sensible, healthy weight-loss advice. Lieberman has a Ph.D. in clinical nutrition and exercise physiology and is a best-selling author on nutritional topics. "What I do now," Paynter tells her, "and I'm probably going to get scolded for this, is I have an Atkins shake in the morning, yogurt and an Atkins bar in the afternoon, and then a semi-sensible meal in the evening. And that's starting to work, but I find I don't have enough energy for my auditions."
Lieberman assures Paynter that his case is not a difficult one, but she admits that he is challenged by the fact that some of the medications he has to take may cause weight gain. "But what you're also doing," she tells him, "is cutting your calories so drastically that you're actually slowing down your metabolism, perhaps as much as 10% to 15%. Now the problem with this is, as soon as you go back to eating a normal amount of calories, not only are you going to gain the weight back but you're going to gain it back as body fat."
The weight-loss plan that Lieberman recommends for Paynter -- and for almost anybody trying to lose extra pounds -- doesn't focus so narrowly on counting calories, but involves changing one's approach to choosing what kinds of foods to eat. Lieberman's method is based on the "glycemic index," which, she explains, "is a measurement of the impact that a particular food has on your blood sugar. Sugar has a high glycemic index. So do white bread, cookies, cake, rice, and even baked potatoes." Eating foods with a high glycemic index causes one's blood sugar to rise "in a flash," says Lieberman, "and then bam! You throw a metabolic switch which causes your body to say 'Store body fat.' "
Foods that have a low glycemic index include all proteins, virtually all vegetables, and most fruits (with the exception of a very ripe banana, melons, and grapes). However, Lieberman cautions against fruit juices because with the fiber removed from the fruit, they wind up having a high glycemic index. "The fiber actually slows the absorption of the sugar," she explains. "It's the foods that are high in starch, not necessarily carbohydrates, that are the problem. For example, beans and lentils have a lot of carbohydrates in them, but the carbs are mostly fiber so they don't raise your blood sugar."
Lieberman is critical of the Atkins diet because it advises people to eat far fewer carbohydrates than they need. "Your body needs carbohydrates, and sugar as well," she insists. "It's not that sugar's bad. Your brain runs on sugar, your cells run on sugar, you produce energy from sugar. The problem is, when you're taking in mass amounts of it, you end up throwing this metabolic switch." Lieberman advises eating complex carbohydrates, such as beans, lentils, yams, or "really good-quality whole-grain bread that has maybe four grams of fiber per slice -- you know the kind I mean, that German health bread that's so heavy you can use it as a hand weight or a weapon. Or you can eat it." These are "time-release" carbohydrates that will sustain your energy levels throughout the day. "Eating the way you're eating," she tells Paynter, "taking in so few calories, you're probably exhausted all the time."
Reba W. Holley -- No Fad Diets
Actor-singer Reba W. Holley is another performer who contacted Back Stage in search of weight-loss advice. "I have been very successful over the years in losing the same 30 pounds over and over again," she says. "Each time I go off the incredibly restrictive, expensive diets I've been on, I gain all the weight back again." Lieberman feels that Holley, like many people, has been misguided in putting herself on restrictive diets that promise quick weight loss.
According to Lieberman, "You cannot lose body fat fast." If you're losing weight quickly, you're generally losing muscle. "And muscle dictates metabolism," she tells Holley. "So what's happened with this yo-yoing you've been doing is this: By going on a very restrictive diet, you slowed down your metabolism and lost muscle weight. Then you gained the weight back as body fat. Then you lost muscle weight again, and again gained it back as more body fat."
"So the net result," Holley interjects, "is that I'm just getting flabbier and flabbier."
"Correct," says Lieberman. "But," the nutritionist quickly adds, "that doesn't mean there's anything wrong with you. There's nothing wrong with you. There's something wrong with all those diets. They don't work for anyone." Lieberman cites research studies published in respected medical journals that support her claim that most of the popular fad diets really don't work. "That kind of dieting is something that no one should ever do," she states emphatically, "and it saddens me that all this crap is promoted to the public."
Lieberman's goal is to get people to stop "dieting" and to eat the right way and adopt a healthy lifestyle. She has designed what she calls her Transitions Lifestyle System, a weight-management plan that includes a manual of dietary advice accompanied by vitamin supplements. Lieberman graciously agreed to send the manual and introductory samples to Paynter and Holley. She is confident that, as performers who've developed a strong sense of personal discipline and who are physically active on a regular basis, they will both achieve their weight-loss goals easily, permanently, and in a healthy fashion if they follow her program.
-- Lisa Jo Sagolla