This is an idea for a shoot genre, called the stretch.
Brace yourself for something different. This may take some getting used to. It would appear in Deviations, and is consistent with the idea of occasionally having fun with something completely out of the ordinary.
It might also do well in a separate site targeted for viewers who like the combination of soft porn, performing arts, and drama.
Definition of a stretch
In general, a “stretch” is an exercise requiring performance beyond one’s own perceived limits, that when completed successfully, expands those limits.
In general, stretch challenges are very diverse. Libraries are full of novels and movies about various challenges that people have faced, and about how they came to terms with their challenge.
But though the challenges are diverse, a common thread underlies them: Person receives an unexpected challenge, struggles with it, wins, and has a story to tell about the experience.
For our purpose, an AW model will be given a stretch challenge in the form of an assignment to perform some kind of skit. The skit will require some combination of acting, singing, and dancing. We may think of other stretch challenges, but for now, I’ll limit consideration to just this.
The skits are diverse. No two skit videos are alike. As with stretches in general, though, a common thread underlies them: An AW model will be faced with a challenge requiring performance beyond her perceived limits, or at least, way outside her comfort zone.
Commercially viable
It has to be explained how making a video about a girl’s skit is a commercially viable proposition.
We have been trying, and will continue trying, to invent other genres, where the scope of the genre is contained within the skit. It would throw this thread off topic to mention anything in particular, but in general, we would attempt to adapt porn to theatre, or adapt some performing art to porn. The potential problems faced in trying to do this include: (1) Depending on how we go about it, the productions might have to be good enough to merit acclaim from professional art critics, [when our models are amateurs] and (2) There aren’t enough members on this site who are avidly interested in performing arts to justify a content section for them. A genre that is up against either of those two problems is probably not viable.
What I am proposing, here, is a kind of “outside the box” approach. If we haven’t found a viable genre with scope limited to the skit, then expand the scope.
It is very important to understand that, for the stretch genre, the story is not about the girl’s skit. It’s about the girl. The genre is real-life drama about a girl who receives a challenge, struggles with it, wins, and grows. In watching the video, we become involved with the girl, and end up cheering likes sports fans for her victory.
By making the story about the girl, the two problems mentioned above are circumvented. (1) We are not expecting a professional-grade performance from a girl who we know is an amateur. Instead, we are cheering for her to hold up under pressure, and to achieve a performance that expands her own limits. (2) There are a lot of viewers who are only minimally interested in the performing arts, but who can appreciate them occasionally, and who are riveted by the girl’s performance in particular, having become involved with her.
As an AW viewer, I typically load the stretch video, looking through a number of videos for something that strikes me as sexy at the moment. The stretch video is not disappointing in that regard, the girl is indeed sexy. But as the video progresses, I become absorbed into the girl’s story, and I am won over by her effort and performance. She might be standing there stark naked, reading poetry, and I am spellbound by her poetry. I replay the stretch video several times, because the girl is so brave, spunky, and lovable. So, the sequence went like this: I looked around for something sexy, which led me to become interested in the girl, which led me to become interested in her skit. Many times I have recorded a televised event intending to watch a girl in a sexy one-piece suit, only to become thoroughly captured by her performance.
So, to answer the question about viability – A skit production at AW that is not commercially viable in its own right, becomes viable in the context of a stretch.
Video sequence
A stretch video has four chapters. The chapters are always in the same sequence, though, some can be omitted. Chapters 1 and 3 are always included. Chapters 2 and 4 are optional.
Chapter 1. Reading the stretch assignment (Always included)
Three stretch assignments are suggested, here, arranged in order of increasing challenge level.
Example 1
Example 2
It has to be explained how skits as elaborate as these can be produced on a reasonable budget.
Melbourne has an exceptionally vibrant arts community, and a city government committed to promoting it. The arts community has resources and ideas for skits. The production cost for AW skits can be kept down by piggybacking on other productions that are already being shown, or that are well along in development. The economy achieved is in making dual use of resources that have already been paid for.
If local performing arts producers knew what you are trying to do, they could think immediately of several ideas for skits. Most of the immediate ideas would be too expensive. But with some waiting, watching, and creativity, low cost opportunities may turn up. I imagine it would go something like the following:
That dance performed by the troupe in Example 3 originally had nothing to do with a civilization dying out and being revitalized. It just happened that the trope had something in their repertoire that sort of looks like it could be interpreted as a power dance in pre-history. The troupe could choreograph, practice, and execute on video a variation of their repertoire, all within about 40 minutes time of being assembled together. They didn’t have to meet specially for this performance, there are times when the troupe assembles anyway. One of the dancers served as a choreographer and coach for the girl. The coach needed to spend about 8 hours, spread over several days, with the girl. When some of the girl’s dance turned out to be too difficult for her, coach and girl re-choreographed it as they went along. The girl didn’t need a costume, other than the head and waist jewelry from a local costume shop. The production split sharply into two parts, and the skit was designed to make it that way. The solo part was the hardest for the girl. Coach and girl worked together until they had a good video of her solo part. With that accomplished, they scheduled time with the troupe for production of the second part, a few weeks later. In the second part, the girl only had to receive some adornment, be carried around on another dancer’s shoulders, and look like she was thrilled. A troupe of about 16 men and 2 women had to be in costume and active in the second part. But all they really had to do was perform a 3-minute variation of a routine that they already knew.
The singing skit in Example 2 was filmed at a time when the band meets for regular practice. It only required the female vocalist to step out for a few minutes while the girl sang in her place, and to then return for the duo. The vocalist served as coach for the girl, and found it a cute change of pace to have an amateur sidekick. The all-male band got enough of a zing out of the girl’s nakedness, that they would do it again for free.
The acting skit in Example 1 required the girl to develop an interpretation of a fairy. Memorizing the poem was easy. Learning how to interpret a fairy wasn’t, but you contacted an acting school, and arranged a couple hours of special coaching.
Auditioning
This genre is supposed to be a stretch for the girl, and it would ruin the effect if it turns out that the girl has unusual talent or special training. That argues for little or no auditioning. If many girls are auditioned, then the one selected is apt to be unusual.
On the other hand, you wouldn’t want to saddle a singing coach with a girl who really can’t sing. You’d lose both the coach and the skit opportunity.
I think a reasonable compromise is to first design the skit, and then send out notices to girls who have already appeared on AW. Tell them that you have a stretch video in mind, and are accepting auditions. You won’t reveal particulars about the skit, only the category (singing) and challenge level (intermediate). That gives your coach some girls to select from, and still assures members that the stretch has not been rigged. If it turns out that an existing AW model is a diamond in the rough, I’d call that fair game. Models may change the genre name from “the stretch” to “the rack”, and refer to it as a rite of passage. But they also covet assignments, because they can see that other models have derived a gift from it. Several models quickly sign up for auditions.
The charm of this genre
It’s true drama. In terms of feeling vulnerable, facing a difficult skit in front of bright lights, cameras, and professional performers ranks right up there with being naked. She will be naked as well. We are seeing the girl at her most vulnerable, and when she stands up to her challenge, at her best.
It’s genuine. AW is actually giving growth experiences to models. The reactions, emotions, and events documented in videos are real.
It’s positive. Models take away from staff, coaches, and others a sense of having been challenged yet supported. Viewers see some of this in videos, and sense the rest. For models and viewers alike, this is a feel-good, thumbs-up experience.
It’s universal. The theme of a girl standing up to a challenge, and growing, resonates with adults of all ages. Even viewers who would not normally watch a performing arts production are captured by the girl’s story in producing it. When the skit is entertaining as well, the video is an instant classic.
.
Brace yourself for something different. This may take some getting used to. It would appear in Deviations, and is consistent with the idea of occasionally having fun with something completely out of the ordinary.
It might also do well in a separate site targeted for viewers who like the combination of soft porn, performing arts, and drama.
Definition of a stretch
In general, a “stretch” is an exercise requiring performance beyond one’s own perceived limits, that when completed successfully, expands those limits.
In general, stretch challenges are very diverse. Libraries are full of novels and movies about various challenges that people have faced, and about how they came to terms with their challenge.
But though the challenges are diverse, a common thread underlies them: Person receives an unexpected challenge, struggles with it, wins, and has a story to tell about the experience.
For our purpose, an AW model will be given a stretch challenge in the form of an assignment to perform some kind of skit. The skit will require some combination of acting, singing, and dancing. We may think of other stretch challenges, but for now, I’ll limit consideration to just this.
The skits are diverse. No two skit videos are alike. As with stretches in general, though, a common thread underlies them: An AW model will be faced with a challenge requiring performance beyond her perceived limits, or at least, way outside her comfort zone.
Commercially viable
It has to be explained how making a video about a girl’s skit is a commercially viable proposition.
We have been trying, and will continue trying, to invent other genres, where the scope of the genre is contained within the skit. It would throw this thread off topic to mention anything in particular, but in general, we would attempt to adapt porn to theatre, or adapt some performing art to porn. The potential problems faced in trying to do this include: (1) Depending on how we go about it, the productions might have to be good enough to merit acclaim from professional art critics, [when our models are amateurs] and (2) There aren’t enough members on this site who are avidly interested in performing arts to justify a content section for them. A genre that is up against either of those two problems is probably not viable.
What I am proposing, here, is a kind of “outside the box” approach. If we haven’t found a viable genre with scope limited to the skit, then expand the scope.
It is very important to understand that, for the stretch genre, the story is not about the girl’s skit. It’s about the girl. The genre is real-life drama about a girl who receives a challenge, struggles with it, wins, and grows. In watching the video, we become involved with the girl, and end up cheering likes sports fans for her victory.
By making the story about the girl, the two problems mentioned above are circumvented. (1) We are not expecting a professional-grade performance from a girl who we know is an amateur. Instead, we are cheering for her to hold up under pressure, and to achieve a performance that expands her own limits. (2) There are a lot of viewers who are only minimally interested in the performing arts, but who can appreciate them occasionally, and who are riveted by the girl’s performance in particular, having become involved with her.
As an AW viewer, I typically load the stretch video, looking through a number of videos for something that strikes me as sexy at the moment. The stretch video is not disappointing in that regard, the girl is indeed sexy. But as the video progresses, I become absorbed into the girl’s story, and I am won over by her effort and performance. She might be standing there stark naked, reading poetry, and I am spellbound by her poetry. I replay the stretch video several times, because the girl is so brave, spunky, and lovable. So, the sequence went like this: I looked around for something sexy, which led me to become interested in the girl, which led me to become interested in her skit. Many times I have recorded a televised event intending to watch a girl in a sexy one-piece suit, only to become thoroughly captured by her performance.
So, to answer the question about viability – A skit production at AW that is not commercially viable in its own right, becomes viable in the context of a stretch.
Video sequence
A stretch video has four chapters. The chapters are always in the same sequence, though, some can be omitted. Chapters 1 and 3 are always included. Chapters 2 and 4 are optional.
Chapter 1. Reading the stretch assignment (Always included)
The model is seated, and a video camera is set to record her genuine reactions. An AW staff member (unseen) reads the assignment to her.
The model usually listens in stunned silence, and then exhibits incredulity, fear, and shock. If she acts like the assignment will be easy, then leave the video camera running until the gravity of her situation sinks in.
Chapter 1 is always included in the video, for two reasons: (1) The viewer needs to hear the assignment in order to understand the skit. And (2) it has to be established with the viewer that the assignment will be difficult for the girl, a true stretch. Showing the girl’s initial reaction to her assignment is the best opportunity to do this.
Chapter 2. Preparation (Optional, most often included)The model usually listens in stunned silence, and then exhibits incredulity, fear, and shock. If she acts like the assignment will be easy, then leave the video camera running until the gravity of her situation sinks in.
Chapter 1 is always included in the video, for two reasons: (1) The viewer needs to hear the assignment in order to understand the skit. And (2) it has to be established with the viewer that the assignment will be difficult for the girl, a true stretch. Showing the girl’s initial reaction to her assignment is the best opportunity to do this.
We see the model learning and practicing her skit. The video records the difficulty she has with it, and her roller coaster of emotions. She makes errors, corrects them, and keeps trying. When she stumbles, her coach picks her up, and they keep going. It is especially touching if the coach has good parenting skills, because the girl will feel age 10 some of the time.
Older adults know that the girl can probably succeed, (though they are secretly glad that they won’t be tested by the girl’s stretch, nor retested by stretches of their own past). The skit has been designed for the girl ahead of time. She has the support of staff. Her coach auditioned her, and believed that she could handle the part.
We might see her in tears, along the way. If staff does find the girl in tears, then grant her the possession of her own feelings, and the time required for those feelings to process through. Rushing in with comfort is apt to distract her from sorting out the very thing that is holding her back. No one said that growth is easy. If the problem has to do with circumstances, you’ll know. Just go to work finding practical solutions. If the problem is that she is struggling with her own limits, then now is a good time to demonstrate that she has earned new respect. Kids need to be picked up and comforted, but this is not a kid. This so-called “girl” is a woman who isn’t finished with what she set out to do. If there are tears of joy after she has her victory, those are tears that weren’t cried while achieving it. For some reason, she was saving them. Be not afraid of tears.
An impulse among some models will be to turn the exercise into silly nonsense, to cut up, and head for the exit. That would be a disappointment to watch, and represents flight, not fight. The skit is intended to be a serious work of art, even if the skit storyline is hilariously funny.
A lesser site than AW would turn the exercise into a lightweight pretext for showcasing girls in skimpy costumes. But then, that is roughly the difference between AW and other sites. The stretch at AW is real.
Chapter 2 is skipped if the challenge level is low. We jump from reading the assignment right to the skit. It is apparent from the skit that the girl prepared. Typically, though, for more challenging assignments, Chapter 2 is the largest chapter.
Chapter 3. The skit (Always included)Older adults know that the girl can probably succeed, (though they are secretly glad that they won’t be tested by the girl’s stretch, nor retested by stretches of their own past). The skit has been designed for the girl ahead of time. She has the support of staff. Her coach auditioned her, and believed that she could handle the part.
We might see her in tears, along the way. If staff does find the girl in tears, then grant her the possession of her own feelings, and the time required for those feelings to process through. Rushing in with comfort is apt to distract her from sorting out the very thing that is holding her back. No one said that growth is easy. If the problem has to do with circumstances, you’ll know. Just go to work finding practical solutions. If the problem is that she is struggling with her own limits, then now is a good time to demonstrate that she has earned new respect. Kids need to be picked up and comforted, but this is not a kid. This so-called “girl” is a woman who isn’t finished with what she set out to do. If there are tears of joy after she has her victory, those are tears that weren’t cried while achieving it. For some reason, she was saving them. Be not afraid of tears.
An impulse among some models will be to turn the exercise into silly nonsense, to cut up, and head for the exit. That would be a disappointment to watch, and represents flight, not fight. The skit is intended to be a serious work of art, even if the skit storyline is hilariously funny.
A lesser site than AW would turn the exercise into a lightweight pretext for showcasing girls in skimpy costumes. But then, that is roughly the difference between AW and other sites. The stretch at AW is real.
Chapter 2 is skipped if the challenge level is low. We jump from reading the assignment right to the skit. It is apparent from the skit that the girl prepared. Typically, though, for more challenging assignments, Chapter 2 is the largest chapter.
The girl executes her skit. She sings, dances, acts, or otherwise completes her assignment.
For the camera crew, this is the most demanding chapter. Other chapters require making a documentary. This chapter is a theatre production, with all the special lights, angles, and zooms that go along with it.
Chapter 4. Elation (Optional, most often omitted)For the camera crew, this is the most demanding chapter. Other chapters require making a documentary. This chapter is a theatre production, with all the special lights, angles, and zooms that go along with it.
Back off stage, after completing her skit, the girl is shown reacting to her success. The purpose of this chapter is to show that the girl has won a major victory, in her own eyes. A good shot here has the girl giving her coach a four-limb hug.
This chapter is usually omitted, for any of several reasons: (1) The camera crew is out on stage, and the girl’s reactions are occurring somewhere else. (2) The skit is filmed in pieces, and finishing the last piece is not climactic. (3) The skit itself had an opportunity to take a bow. (4) Including Chapter 4 would detract from the skit. Or (5) the model is NOT happy about her performance.
If the girl is not happy with her performance, the video skips Chapter 4 rather than end on a down note. The girl talks about her disappointment in her thread, and quickly finds that viewers are much less critical than she is. Most viewers didn’t even notice the flaw that is bothering her.
Example stretch assignmentsThis chapter is usually omitted, for any of several reasons: (1) The camera crew is out on stage, and the girl’s reactions are occurring somewhere else. (2) The skit is filmed in pieces, and finishing the last piece is not climactic. (3) The skit itself had an opportunity to take a bow. (4) Including Chapter 4 would detract from the skit. Or (5) the model is NOT happy about her performance.
If the girl is not happy with her performance, the video skips Chapter 4 rather than end on a down note. The girl talks about her disappointment in her thread, and quickly finds that viewers are much less critical than she is. Most viewers didn’t even notice the flaw that is bothering her.
Three stretch assignments are suggested, here, arranged in order of increasing challenge level.
Example 1
Category: Acting and poetry
Challenge level: Low
“Your assignment, if you choose to accept it, is to be a good and gentle fairy. You will tell us about your fairy world, reciting a poem from memory, and giving us an interpretation of how a fairy would act and speak. You will be photographed in a natural pool of water, wearing naught but fairy wings and your skin. You will enter the scene by materializing out of a burst of sparkles, the reverse of how Olivia exits from the July 31 newsletter. After finishing your poem and interpretation, two more fairies will materialize near you. They have come to tell you that humans are approaching, and that fairies have to clear out of the area to avoid being discovered. The three of you dematerialize into sparkles together.”
Three poems that might work for this stretch are:
Challenge level: Low
“Your assignment, if you choose to accept it, is to be a good and gentle fairy. You will tell us about your fairy world, reciting a poem from memory, and giving us an interpretation of how a fairy would act and speak. You will be photographed in a natural pool of water, wearing naught but fairy wings and your skin. You will enter the scene by materializing out of a burst of sparkles, the reverse of how Olivia exits from the July 31 newsletter. After finishing your poem and interpretation, two more fairies will materialize near you. They have come to tell you that humans are approaching, and that fairies have to clear out of the area to avoid being discovered. The three of you dematerialize into sparkles together.”
Three poems that might work for this stretch are:
- My Enchanted Garden by Ashley Mare Lettice
- The Fairies by Rose Fyleman
- The Fairy Ring by Constance Andrea Keremes
Example 2
Category: Singing
Challenge level: Intermediate
“There is a music group, here in Melbourne. This group has an all-male band, and a female vocalist. Your assignment, if you choose to accept it, is to stand in for the vocalist. You will walk barefoot and naked onto the stage of an empty auditorium, with cameras and lights in front of you, and the band behind you. You will take the microphone, and sing and act the part of the vocalist. After a while, the regular vocalist will come out on stage to join you. She will put an arm around your shoulder, and then you and she will perform a duo together.”
Example 3Challenge level: Intermediate
“There is a music group, here in Melbourne. This group has an all-male band, and a female vocalist. Your assignment, if you choose to accept it, is to stand in for the vocalist. You will walk barefoot and naked onto the stage of an empty auditorium, with cameras and lights in front of you, and the band behind you. You will take the microphone, and sing and act the part of the vocalist. After a while, the regular vocalist will come out on stage to join you. She will put an arm around your shoulder, and then you and she will perform a duo together.”
Category: Dance
Challenge level: High
“There is a dance troupe, here in Melbourne. This troupe has choreographed a story with a lead role for a girl. Your assignment, if you choose to accept it, is to dance the part of the girl.
“In this story, you are a common but gifted girl in a pre-historic civilization. This civilization has been dying out. In a dream, you have had a vision of your civilization being reborn, and of how it can be achieved. You have traveled to the Royal Court, the center of power in the civilization. You will open the skit dancing on the floor of the Court. Through dance, you will tell the Court about your vision, about how it came to you, and what it means. You will tell how your civilization can be revitalized, and what it will be like after that is done. You will dance in silence, barefoot, naked, and alone, except for the accompaniment of a drum. The drum beats slowly and ominously about doom, and doesn’t seem to notice your presence. You will be insistent, though, and continue dancing. At a point, the drum will fade, and will be replaced on the same beat by music of hope. The music will be quiet at first, and then increase in volume as the Court realizes what you are telling them. You will keep dancing.
“At a second point, the music will abruptly stop. There will be a single, very loud drum beat or other percussion. The Court has understood your vision, and has acted upon it decisively. A curtain will open, and the Royal Dance Troupe will be standing behind you. You will turn to face the other dancers, and stand still. Drums, music of power, and men of the Royal Dancers will roar into action around you. Two female dancers will adorn you with waist and head jewelry. They will adopt you as a beloved member of the Royal Court, and will declare a holiday in your name, holding up a stone calendar. You will be allowed to choose from all the male dancers whichever one you want. The one you choose will lift you onto his shoulders for the remainder of the dance. The skit will end with the Royal Dance Trope telling of how your civilization was restored to its former greatness.”
Skit design and resourcesChallenge level: High
“There is a dance troupe, here in Melbourne. This troupe has choreographed a story with a lead role for a girl. Your assignment, if you choose to accept it, is to dance the part of the girl.
“In this story, you are a common but gifted girl in a pre-historic civilization. This civilization has been dying out. In a dream, you have had a vision of your civilization being reborn, and of how it can be achieved. You have traveled to the Royal Court, the center of power in the civilization. You will open the skit dancing on the floor of the Court. Through dance, you will tell the Court about your vision, about how it came to you, and what it means. You will tell how your civilization can be revitalized, and what it will be like after that is done. You will dance in silence, barefoot, naked, and alone, except for the accompaniment of a drum. The drum beats slowly and ominously about doom, and doesn’t seem to notice your presence. You will be insistent, though, and continue dancing. At a point, the drum will fade, and will be replaced on the same beat by music of hope. The music will be quiet at first, and then increase in volume as the Court realizes what you are telling them. You will keep dancing.
“At a second point, the music will abruptly stop. There will be a single, very loud drum beat or other percussion. The Court has understood your vision, and has acted upon it decisively. A curtain will open, and the Royal Dance Troupe will be standing behind you. You will turn to face the other dancers, and stand still. Drums, music of power, and men of the Royal Dancers will roar into action around you. Two female dancers will adorn you with waist and head jewelry. They will adopt you as a beloved member of the Royal Court, and will declare a holiday in your name, holding up a stone calendar. You will be allowed to choose from all the male dancers whichever one you want. The one you choose will lift you onto his shoulders for the remainder of the dance. The skit will end with the Royal Dance Trope telling of how your civilization was restored to its former greatness.”
It has to be explained how skits as elaborate as these can be produced on a reasonable budget.
Melbourne has an exceptionally vibrant arts community, and a city government committed to promoting it. The arts community has resources and ideas for skits. The production cost for AW skits can be kept down by piggybacking on other productions that are already being shown, or that are well along in development. The economy achieved is in making dual use of resources that have already been paid for.
If local performing arts producers knew what you are trying to do, they could think immediately of several ideas for skits. Most of the immediate ideas would be too expensive. But with some waiting, watching, and creativity, low cost opportunities may turn up. I imagine it would go something like the following:
That dance performed by the troupe in Example 3 originally had nothing to do with a civilization dying out and being revitalized. It just happened that the trope had something in their repertoire that sort of looks like it could be interpreted as a power dance in pre-history. The troupe could choreograph, practice, and execute on video a variation of their repertoire, all within about 40 minutes time of being assembled together. They didn’t have to meet specially for this performance, there are times when the troupe assembles anyway. One of the dancers served as a choreographer and coach for the girl. The coach needed to spend about 8 hours, spread over several days, with the girl. When some of the girl’s dance turned out to be too difficult for her, coach and girl re-choreographed it as they went along. The girl didn’t need a costume, other than the head and waist jewelry from a local costume shop. The production split sharply into two parts, and the skit was designed to make it that way. The solo part was the hardest for the girl. Coach and girl worked together until they had a good video of her solo part. With that accomplished, they scheduled time with the troupe for production of the second part, a few weeks later. In the second part, the girl only had to receive some adornment, be carried around on another dancer’s shoulders, and look like she was thrilled. A troupe of about 16 men and 2 women had to be in costume and active in the second part. But all they really had to do was perform a 3-minute variation of a routine that they already knew.
The singing skit in Example 2 was filmed at a time when the band meets for regular practice. It only required the female vocalist to step out for a few minutes while the girl sang in her place, and to then return for the duo. The vocalist served as coach for the girl, and found it a cute change of pace to have an amateur sidekick. The all-male band got enough of a zing out of the girl’s nakedness, that they would do it again for free.
The acting skit in Example 1 required the girl to develop an interpretation of a fairy. Memorizing the poem was easy. Learning how to interpret a fairy wasn’t, but you contacted an acting school, and arranged a couple hours of special coaching.
Auditioning
This genre is supposed to be a stretch for the girl, and it would ruin the effect if it turns out that the girl has unusual talent or special training. That argues for little or no auditioning. If many girls are auditioned, then the one selected is apt to be unusual.
On the other hand, you wouldn’t want to saddle a singing coach with a girl who really can’t sing. You’d lose both the coach and the skit opportunity.
I think a reasonable compromise is to first design the skit, and then send out notices to girls who have already appeared on AW. Tell them that you have a stretch video in mind, and are accepting auditions. You won’t reveal particulars about the skit, only the category (singing) and challenge level (intermediate). That gives your coach some girls to select from, and still assures members that the stretch has not been rigged. If it turns out that an existing AW model is a diamond in the rough, I’d call that fair game. Models may change the genre name from “the stretch” to “the rack”, and refer to it as a rite of passage. But they also covet assignments, because they can see that other models have derived a gift from it. Several models quickly sign up for auditions.
The charm of this genre
It’s true drama. In terms of feeling vulnerable, facing a difficult skit in front of bright lights, cameras, and professional performers ranks right up there with being naked. She will be naked as well. We are seeing the girl at her most vulnerable, and when she stands up to her challenge, at her best.
It’s genuine. AW is actually giving growth experiences to models. The reactions, emotions, and events documented in videos are real.
It’s positive. Models take away from staff, coaches, and others a sense of having been challenged yet supported. Viewers see some of this in videos, and sense the rest. For models and viewers alike, this is a feel-good, thumbs-up experience.
It’s universal. The theme of a girl standing up to a challenge, and growing, resonates with adults of all ages. Even viewers who would not normally watch a performing arts production are captured by the girl’s story in producing it. When the skit is entertaining as well, the video is an instant classic.
.
but then again, what does my opinion matter to you or anyone and maybe after reading the whole post I'll find more to like 
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