Auditioning Archives - Dramatics Magazine Online

Audition for Community Theatre

Andrew Koch — Wed, 28 Jun 2023 22:31:01 +0000

What are you doing this summer? Your love of theatre doesn’t have to end with the school year (or even with high school graduation). Acting opportunities are all around you—if you know where to look.

If you want something more organized than a backyard performance but less professional than a regional theatre, community theatre troupes might be right for you. Though mostly made up of amateurs, community theatres perform shows for the general public and bring accessible theatre to your city.

Here are five reasons to audition for a local community theatre.

Get more acting experience

Quality may be better than quantity, but you’ll still want several roles on your acting resume. Your school likely has time to do only two or three shows in a year (and may be dormant over the summer). But community theatres can operate year-round, giving you additional chances to hone your craft.

Community theatres can also be a fresh start. You may regularly compete with other students for roles you want, but the pool of actors in your age group might be smaller at a community theatre. And you’ll work with a new director and a wider variety of castmates—including older actors who have valuable experience to share (more on this later).

Acting in community theatres can even open you up to a wider variety of roles. A local community theatre might be able to put on shows that your school can’t. For example, maybe you want to play a role from a show that’s too risque (say, Cabaret) or logistically difficult (say, Phantom of the Opera) for your school to put on, or a show for which the rights aren’t available.

Broaden your theatre knowledge

Many companies are volunteer-led, meaning everyone pitches in. In addition to your acting role, you could take on tech responsibilities that will help you round out your resume.

The troupe I’ve been involved with as an adult performs in a public park’s amphitheater. As part of the agreement between the troupe and park, everything must come down after each rehearsal and performance: lights, sets, props and even backstage tents that the actors sit underneath.

By helping out, I’ve expanded my theatre skill set and developed a greater appreciation for the hard work that goes into a show. Though I’ve only been credited as an actor, I’ve also:

taken down and put up set pieces
hung lights and curtains
edited and formatted programs
worked concessions
set up stands and chairs for the orchestra

You might also have an opportunity to assist with costuming, makeup, or marketing the show, or even direct!

Network with local directors and actors

If you’d like to act professionally, community theatres help you meet key people in the local industry, such as directors and actors. They can give you important feedback and expose you to different styles and techniques, and keep you informed of other opportunities (both educational and professional).

Building these relationships can also “get your foot in the door” for future shows. In addition, directors make helpful references for jobs, and can write letters of recommendation for colleges or scholarship programs.

Don’t forget to ask veteran actors for their advice. Some of my favorite memories of community theatre are killing time backstage by tapping the brains of actors who have been in the business for years, even decades—the different roles they’ve played, how the companies have evolved, and even the “drama” behind the drama.

Give back to your community

Local arts need participants, in addition to patrons! Support the arts by showing up in your community. Your troupe might perform free shows at places like nursing homes and schools, bringing theatre to audiences who otherwise wouldn’t have access to it. Or it might provide opportunities for actors who have disabilities or other life circumstances that prevent them from participating elsewhere.

You can also give back by being the mentor you always wanted. Take other new or young actors under your wing, and share what you’ve learned to help them grow.

Have fun!

Make lifelong friends and keep your love of theatre strong. Find a troupe that’s a good fit for you, and you’ll have a creative outlet that lasts—not just for summer vacation, but also after graduation and throughout your adult life.

For more, check out the American Association of Community Theatre and similar organizations for your region.

Andrew Koch is a writer and editor from Cincinnati. He performed in his first community theatre show at age 24.re

The post Audition for Community Theatre appeared first on Dramatics Magazine Online.

Becoming Scorpius Malfoy

Dylan Malloy — Mon, 08 May 2023 18:31:30 +0000

Becoming Scorpius Malfoy is something this actor can tell you all about. Erik C. Peterson, a young actor (and former Dramatics reader) currently starring as Scorpius Malfoy in the Broadway production of Harry Potter and the Cursed Child, knows a thing or two about magic. He says that, when he was 14 years old and heard about the show for the first time, “I was a Harry Potter fan, so I was like, whoa! That could be me! And of course, it wasn’t for years and years, and now I’m so incredibly fortunate to be in that role.” Peterson landed the breakout role in August 2022 after seven rounds of in-person auditions and two video auditions, and he sat down for an interview with Dramatics the day after completing his 162nd Broadway show. Here are three key tips to acing your next audition.

Control what you can control

While still in high school in Colorado, Peterson looked at approximately 16 colleges and used a combination of 12 different monologues for his auditions. An organized system and over-preparation kept him from getting overwhelmed by the process. “I made a big, old spreadsheet on my computer,” he says, “and I included every school and every audition requirement. I noted what piece I was going to do. What the time limits were. Remember that there are so many things outside of your sphere of control, that being very organized and very methodical and very prepared … is the best thing you can do to set yourself up for success.”

Erik C. Peterson as Scorpius Malfoy (center). Matthew Murphy photo credit.

Peterson carried the same intensity into his auditions years later for Harry Potter and the Cursed Child. After spotting an open call on Playbill in February 2022, he submitted a video audition. As he advanced further, he regularly flew into New York for auditions involving movement and reading sides. He prepared by reading the play over and over. (He’s not sure exactly how many times he read it during the audition process, but estimates it’s in the double digits.)

Peterson also likes to follow a specific ritual before his auditions. He says that, before one of his auditions in New York, “I ate at the Westway Diner in Hell’s Kitchen, and I got a callback. I proceeded to eat at the Westway Diner before almost every audition.” The bottom line? Hard work and preparation are the keys to acing auditions. And having a special pre-audition routine can ground you as you step into a big opportunity.

Trust your instincts

Peterson earned his BFA in acting at the Webster Conservatory and, during the college admissions process, had a strong gut feeling that this school was the right place for him. He describes meeting two faculty members during his audition for the conservatory like this: “We just chatted for about five minutes before I even did my pieces. Just having a good time. It felt like the type of room that I wanted to spend more time in and my instincts told me that was a good sign.” He ended up visiting three different schools and shadowed a current student at Webster for a day. The shadowing experience allowed him to see what real life looked like on campus. However, the memory of that audition room guided him toward making the decision to attend Webster.

Scorpius Malfoy (played by Erik C. Peterson) in the Broadway production of “Harry Potter and the Cursed Child.” Matthew Murphy photo credit.

When you tour colleges, it helps to ask current students what they enjoy most about the program. It’s equally important to pay attention to how you feel when you’re there. If you feel welcome, eager, and calm, then those are positive signs that the school could possibly be the best fit for you.

Learn the classics

Before making his Broadway debut, Peterson performed in numerous Shakespeare plays, including Romeo and Juliet, Othello, and The Tempest. He returns to Shakespeare’s plays because there is “something timeless in the core of those scripts that speaks to the human experience on a grand scale.” He understands that, for a student, approaching these scripts can feel intimidating, but he’s reminded of something said to him about Shakespeare by a professor at the Webster Conservatory: “It’s just English.” Peterson says that “letting those words [in Shakespeare’s plays] hit you in the heart instead of trying to wrap your brain around them is the way to go.” He claims that reading out loud makes it click for him, and “once that kind of connection happens, and you become fluent in Shakespeare, the words and the way they feel and the way they sound are so striking.”

This tip can be applied toward any play you are assigned, classical or contemporary: when you’re studying a play, reading it out loud allows you to hear different dimensions and explore new emotions. Reading Shakespeare can be a bit intimidating at first, but it is just English, which means you can understand it and perform it beautifully.

Now, Peterson performs as Scorpius Malfoy in a sensational Broadway production. He regularly revisits his artist’s statement, which he wrote to define his creative career. His goal is “using storytelling as a catalyst for increasing empathy with an audience and myself.” He does so by working hard to make a magical world come to life.

Dylan Malloy is a regular contributor to Dramatics. Find her on Instagram at @dylan_writes.

The post Becoming Scorpius Malfoy appeared first on Dramatics Magazine Online.

Audition Survival Secrets

Jon Jory — Wed, 23 Dec 2020 16:30:59 +0000

WITH EACH new season of plays, the actor is awash in dreams. Hope fills each Thespian like a nagging allergy. No, that’s not right … Hope fills the air like moths drawn to an open flame! Definitely not it. Anyway, hope fills the air, especially if that season runs the gamut from dear old Hamlet to Jesus Christ Superstar. The actor longs for his or her breakout performance.

Only one problem: the auditions. Preparing for the auditions. Surviving the auditions with your fragile dreams intact.

The script — that’s what we should be looking at, right? How do you get a line on what the director wants? How do you unlock the text so you can enter the nirvana of performance? Here’s the user’s guide.

Step 1: Just read it.

Don’t imagine yourself in it. Don’t salivate over the moment when you go down to the kitchen in the dead of night and find your mother drinking blood out of a teacup and realize she’s a vampire. Just read it and let the story do its work on you.

Good, you did it. Now read it again — same drill — no counting your lines or imagining your costume. This second time you begin to realize how the story works and how it creates its impact. But you’re still not in it. Here’s the bad news: You have to read it once more. OK, take the day off, but definitely do it tomorrow while the first two readings linger in your mind.

The good news is during this third reading you’re allowed to finally possess the role you want. The story is in you. You get the story. Now listen carefully to how your character unfolds and functions. You’re now asking yourself two questions:

Why, story-wise, does my character need to be in the scene?
Does my character win or lose in the scene? Don’t make a big deal of it. Just let the questions sit inside you while you read.

Congratulations. You have finished level one and can move on to level two.

Step 2: Study relationships.

The level of difficulty ramps up a little, right? Now go through the script and pick out your character’s most important relationships with others. A small part probably has one relationship and a large part probably has three to five. What does your character want from each of these relationships? Pull out your trusty bound notebook (the key to all acting success) and write down the key relationships: Hamlet/Ophelia, Hamlet/Gertrude, Hamlet/Claudius, Hamlet/Laertes, Hamlet/Horatio. Write down your answer to the above question. This will be key in your audition. Put a star by it so if they request you to read a Hamlet/Ophelia scene, you have a thought about it. Important: At this stage, don’t just think about your character, think about your character relationships.

Step 3: Identify character traits.

Onward and upward! You’re at level three. Answer this question: What three characteristics are important in this character? Sort of in this vein: He is revengeful, confused, and depressed. She is jealous, shrewd, and funny. He is sexy, dominating, and selfish. She is ambitious, logical, and shy. You get the idea.

You’re not stuck with these characteristics. You could change them tomorrow or add a fourth. But right now, use your top three choices. Next, go through your character’s scenes and see how these characteristics might inform those scenes. The key scenes, mind you — not the one where she feeds her English bulldog.

Surprisingly enough, your creativity is probably engaged by now, and you are beginning to get excited by the possibility of getting the part and doing the role. Good. You need to care about this audition, and caring gives you the energy to keep working. Sidebar: Does all of this seem like too much work? Guess what — there are 40 other people auditioning for the role. Do you want this part or are you simply doing a little fantasizing?

Step 4: Prep your audition piece.

Now get down to work on the audition itself. You’ll find yourself in one of three scenarios: You’ve been given the audition scenes, you’re guessing what they will be, or you’re just supposed to do a general audition piece.

Scenario A: You’re just supposed to do a general audition piece, and the fools will cast from that. Remember where you wrote down three qualities you think the character possesses? Do an audition piece where you can apply those qualities. Does it seem that the pieces you have can’t use those qualities (though you’ll be surprised how many can)? Get a new piece.

Scenario B: You’ve been given the scene they want you to read. Better. Go back to your thoughts about the relationships. Use them in the scene. Have an agenda in the scene: How does my character want this scene to turn out? Does my character win or lose (play that)? Get those three qualities on the stage. And know the lines! If you really want the part, know the lines!

Scenario C: They are going to ask you to audition from the play, but the sadomasochists in charge haven’t told you which scenes. Prepare what you think is the coolest scene your character has. Also prepare your character’s funniest or most emotional scene. Three times out of four, those are the scenes they’ll ask for. If you’ve guessed wrong, be brave, say you’d really like to do a different scene (one you have prepared). Many times, they’ll let you.

Step 5: Read again.

The last necessity. Two days before the audition, go back and read the entire play twice. Yes, twice. Twice in the same day. You are ready to generate ideas that result in good acting. You are really ready. You have enough information about the part and play to come away from these final two readings with great ideas to include in your audition. I guarantee the ideas will come.

I know this is a lot of work, but do you want a part or not? If you haven’t fully prepared, you have no realistic right to feel badly if you aren’t cast. You don’t. Period.

Good auditions are a direct response to the script and role. Let your creative response to the text be the audition. Of course, that means you’ll have to read the text four or five times if you truly, no kidding, no fantasies, no shortcuts, no fooling yourself, want the role.

Hope won’t get you the part, but the text will. Open the play and begin to read.

The post Audition Survival Secrets appeared first on Dramatics Magazine Online.

You Do You

Michelle J. Evans — Wed, 14 Oct 2020 17:53:35 +0000

WHAT’S YOUR TYPE? I’m not talking about your dating preferences but rather your performance profile. Every actor has a few categories they naturally fit. Some are based on physical appearance, others on technical abilities or personality. Though you might have heard terms such as “ingénue,” “leading man,” or “character actor,” actors must be more nuanced when considering their types, especially for college auditions.

With thousands (yes, thousands) of potential students auditioning every year, you must understand and package your type — while remaining authentic — so schools can easily identify and connect with you. If that sounds overwhelming, there are ways to make this part of the process easy and even fun.

So, what exactly is type? First, let’s talk about what it is not. Because auditioning for college is different from auditioning for a show, you’ll have to think about type in a new way. Don’t try to fit into an antiquated box someone else created for you.

Many young actors have a skewed view of their type based on roles they played at school or in local youth theatres. In educational and community theatre, a limited pool of actors must fit all the casting requirements of a show. This means student and community actors occasionally play roles outside their age group or natural acting strengths. For example, you may have fallen into a pattern of playing an elderly person or child, but for a college audition, you should play your natural age. The goal for college auditions is to find who you authentically are as an artist, then craft everything around that. Past roles may help you decide, but they should not be the sole data.

Because there is no lack of talent, programs must narrow thousands of student applicants to a handful of offers. This is where type fits in. If a school has a good sense of who you are and what you bring to the table, the faculty can better assess if you are the right fit for their program. The material you choose should show your personality and allow schools to get to know you.

Brian P. Sage, director of the School of Visual and Performing Arts at Ohio Northern University, thinks the most important consideration when preparing college audition material is that it excites you.

“If you select material you have fun doing, it will inevitably give me insight into who you are as a human being, which is more important than whether you are capable of playing a certain type of character,” Sage said. “Selecting material you think we want you to do is only going to put you in your head rather than in the moment. We want you to be at your best in the audition room, and choosing material that gets you excited will make you exciting to watch.”

You may bend toward a classic type, such as the comedic sidekick or misunderstood antihero. Just because this concept feels dated doesn’t mean you must ignore those traits completely. Use them as a springboard instead of a box. Ask yourself, in 10 years, whom do you want to replace in the industry, or what performers do you feel naturally reflect your “essence.” What are your dream roles? What theatrical character do you feel is most like you as a person? These questions should help you identify what roles naturally fit you.

How can this help with type? Let’s say you feel like a Sutton Foster, meaning you not only share some personality traits but also possess a similar acting style and technical abilities. Now, look at Sutton and the roles she has played during her career. This can help you find material, or at least lead you toward similar material that could work for you. That doesn’t mean you should include only Sutton Foster material in your college audition package; again, don’t place yourself in a box or limit your options.

Joe Deer, who chairs the Wright State University Department of Theatre, Dance, and Motion Pictures, looks for three factors during auditions: “What you do best, what you love to do, and the essence you bring into the room. The first two are a little easier to wrap your mind around, and they’re sometimes different from each other. What you do best are the songs, roles, or monologues you’ve gotten consistently positive feedback on.”

For example, Deer explained, you may absolutely nail “I’m Here” from The Color Purple, moving your audience to tears — but you may not love singing it. Meanwhile, you may love singing “Run Away With Me” from The Mad Ones but not get much of a response. “Your job is to find the songs and monologues that score for you in both areas,” he said.

“The third factor is a little harder to assess on our own,” Deer added. “We’re looking for a sense of who you really are. If you’re a new-styled hippie girl, we want to get that from every aspect of who you are. If you are a super-nerd, calculus brainiac, we want to have a sense of that. If you really are a romantic at heart, we want to sense that.” Deer says the concept of type has evolved, but consistency remains important. “It is very helpful if the big three factors I mentioned above fit together in a comfortable package,” he said.

Now it’s time to find material. It can be hard to find songs and monologues that best showcase your talents. To start, revisit those questions above. Your answers should give you clues. If you relate to Sutton Foster’s acting range and style, look for composers and lyricists who wrote shows Sutton was in. What else have they written? Need Golden Age songs? Who inspired Sutton in her career? What shows did they do?

As for monologues, there’s no magic wand you can wave to find the perfect material. You’re going to have to read plays. Find playwrights with the same style and voice as the shows you identified above. Ask teachers, coaches, and peers if they know shows or characters from shows that fit your personality. Find plays with subject matter that appeals to you. The objective is to find material that fits your type, is appropriate for your age, and with which you connect. Then, make that material your own through character work. You must make the material work for you, not the other way around.

The next step is to ensure you let all the work you’ve done finding your type filter into your audition appearance. Remember, if you use who you are as a person to determine your type, your style should flow from what you naturally would wear.

Be yourself. Girls do not have to wear a dress. Guys don’t need to wear slacks and button-ups. Gone are the days of boring, neutral audition clothes. Instead, focus on individuality. Wear something you feel great in that lets you present your material best. You want your clothes to complement you and your type, but you don’t want to fight your wardrobe for attention. Be yourself but present the best version of yourself. Leave the old T-shirt and ratty joggers at home.

“I think a student should wear something they feel comfortable in, that makes them feel good about themselves,” said Bob Westenberg, professor and coordinator of musical theatre at Missouri State University.

“If a student almost never wears suits or ties and does so for the audition, it can make them behave in a way that is not natural for them. The same is true if someone never wears dresses and does so for an audition. If it’s something you don’t normally wear and that feels slightly foreign to you, don’t wear it. This is especially crucial with footwear. Excessively high heels can completely change your balance, posture, and sense of self. It’s OK to be funky and casual, as long as it is natural for you.”

The most important advice: Be yourself. Take time to discover what kind of actor you are and what roles you feel best playing, then find material that reflects those traits and preferences to colleges. Don’t settle for just any song or monologue, and don’t try to guess what other people want you to be. You deserve material you relate to and love. And if you want to know the secret to what every program wants, it’s this: They want you to be you.

Stock Characters

Stock characters have been around since the beginning of theatre (think commedia dell’arte). These days, many such tropes are considered stereotypes to avoid, from the evil stepmother to the gay best friend or manic pixie dream girl. However, core trends remain.

There’s often a leading man or woman. Comedic scenes frequently involve a noncomedic role to land jokes. Many complex, multilayered characters exhibit unmistakable attributes of the antihero (Jesus Christ Superstar’s Judas Iscariot or Wicked’s Elphaba), grande dame (The Prom’s Dee Dee Allen), or relatable Everyman (Atticus Finch in To Kill a Mockingbird).

As an actor, it helps to be aware of a natural capacity to embody a flirtatious femme fatale or Shakespearean wise fool without letting this awareness define or limit you. Explore different roles, never stop expanding your horizons, and develop what resonates with you.

The post You Do You appeared first on Dramatics Magazine Online.

A Monologue Should Serve You

Cristina Duarte — Fri, 21 Aug 2020 13:27:49 +0000

LOOKING FOR AN AUDITION MONOLOGUE can be tedious. How many times have you gone to the library or bookstore and scanned through every audition book? You read dozens of monologues; some are interesting, a few funny, others powerful — but which one is right for you? Which will get you the lead in next season’s school production or admission to your chosen college? Many young actors look for a monologue they can showcase, but the truth is your job is not to serve a monologue. You should look for a monologue that serves you.

What does this mean? When auditioning, you should find a monologue that showcases your best qualities. In other words, don’t try to find an overly complicated, emotionally intense monologue, the kind you find so challenging you think, “I can scream and cry all in one monologue. This will make me look like a great actor.”

No, it won’t. Keep Clytemnestra, Henry V, and their modern-day counterparts at home. Chances are that intense monologues like theirs will make you look like you’re overacting. Unless you are auditioning for the part of Hamlet or Medea, no one wants to see that level of anguish at a 10:00 a.m. audition. The casting director and director want you to succeed. They are looking for reasons to hire you, to discover all that is unique about you as an individual, expanded and extended into the given circumstances of the play.

You might wonder, “Does this mean the character has to be exactly like me?” No, they can have different life experiences from yours. But whether the character is a drug addict, king, or criminal, the monologue should feel accessible to you. For example, you may relate to both Laura from The Glass Menagerie and to Sophocles’ Antigone. From these works, you could select two contrasting monologues. When you play Laura, you may tap into your shyness, love of family, and internal world of imagination. Whereas, when playing Antigone, you demonstrate conviction, defiance, and stubborn loyalty. Though Laura and Antigone are very different characters, both display a determination to be themselves through personality traits that resonate with you. Each monologue should fit like a comfortable pair of jeans or a cozy sweater; it should feel comfortable to speak the words and perform the actions. The monologue you choose should be both fun and challenging because it demands you make active rather than emotional choices.

When looking for a monologue, be sure the genre and language are appropriate for your audition. Is the director casting a comedy or drama? Is it a contemporary or classical production? If the play is a classical comedy, such as a script by Molière or Shakespeare, bring a comedic monologue that features the complex language and sensibilities of that genre. In a classical production, you are also being cast for your ability to speak the play’s language with ease and understanding. When looking for a classical monologue, be sure the language falls “trippingly on the tongue,” as Shakespeare put it.

Regardless of the style or period of your monologue, compatibility and comfort are key. Does the speech feel overly poetic, complex, stylized, or crude to you? Look for a monologue with an event you understand and language you can speak without faltering. Make sure you know the meaning of every word because ultimately you are speaking ideas, needs, and desires; the speech is just a vehicle to support the character’s intention. Is the monologue age appropriate? Don’t choose a character more than 10 to 15 years older than you. They should have the same generational concerns you have or would have if you lived in a different time and place.

Is the monologue the right length? Most monologues should be no longer than a minute and half, or about 20 to 30 lines, unless you’ve been directed otherwise. Less is almost always more. Your goal is to get the casting director and director to call you back, which they will do only if they are interested in seeing more of you. Most casting directors know whether you are right for the part within 30 seconds of your audition. Many factors come into play, such as physical type, vocal range and fortitude, confidence, and presence. Often colleges and conservatories choose candidates with type and upcoming seasons in mind. They look for talent but also personality, so find material that showcases your skills through your individuality right away.

The monologue may be right for the genre, but does it suit the part you are auditioning for? Does this monologue show a similar character situation or sensibility? For example, if you are auditioning for the role of Beneatha in A Raisin in the Sun, does your monologue reveal strength, passion, and an independent spirit? If you are auditioning to play Tybalt in Romeo and Juliet, does your monologue demonstrate an assertive, strong-willed, self-assured character? Your monologue should showcase the character traits the part requires.

Does the monologue have an interesting point of view? Be sure your monologue demonstrates a compelling perspective on life. It shouldn’t be just clever writing; it has to say something about the character, the event, or the human condition. The playwright stopped the dialogue to include a monologue in the play. This means the monologue has something important to express at that moment. What is the character saying that is evocative, revealing, and urgent? What realizations do they make about the situation, other characters, or themselves? In her exit monologue, Nora of A Doll’s House, finds the conviction to leave her marriage and determine her identity, Starbuck inspires love and dreams in The Rainmaker, and Cory matures into his own man in Fences. Your monologue should have an interesting, poignant, or clear personal perspective from the character’s point of view.

Does the monologue involve conflict? Is that conflict external or internal? In Romeo and Juliet, families and society obstruct the wills of two young lovers, so the conflict is external. Hamlet concerns both internal and external conflict. The Danish prince struggles with internal questions, doubts, and inactions, as well as an external conflict with his uncle, Claudius. The monologue you choose must feature the character’s underlying goal and either internal or external conflict; otherwise the character’s need and actor’s action will be weak.

The conflict should be evident from the character’s choices. In Federico García Lorca’s Blood Wedding, Leonardo’s choice to run off with The Bride ignites social scandal and persecution that end with his and The Groom’s bloody deaths. In Antoinette Nwandu’s recent play Pass Over, Moses’ decision to leave the block perpetuates a continuous cycle of systemic oppression, racism, and police brutality.

Although many Shakespeare and other classical monologues involve characters talking to themselves, contemporary monologues are more often directed to a scene partner. This works to your benefit, so look for a monologue in which you address someone. While, unlike a dialogue, you won’t pause for the invisible scene partner’s lines, your monologue should still feel like part of a longer conversation, complete with reactions from both you and the other character. This will help you develop your action into different tactics, rather than focusing on reciting the words or playing the character.

A monologue, like a scene, is not about you but about the other person. How are you trying to affect them? How are you trying to get them to change in thought, emotion, or understanding? What are the consequences of the monologue, and how do those advance the plot? If you can answer these questions, you will understand the purpose of the monologue. If your action is to persuade, look to see if they are persuaded. If your action is to reveal something personal, do it because you want something from them, perhaps sympathy or solidarity. There may be a piece of the monologue that tells a story or reminisces, but that too should push your character’s point and need.

Like all good plays and scenes, your monologue needs an arc; it starts at point A and ends at point B. This happens during the transition. A transition is a shift in the character’s perspective, attitude, feeling, or point of view. At the beginning of a good audition monologue, the character thinks or feels one way about a situation; by the end, they think or feel another way. A change of perspective has occurred. Without a character transition, your monologue will feel one-noted, boring, and one-dimensional. Note that a transition has nothing to do with action. Your action is playable; the transition is an emotional or psychological result of playing your action. In literary terms, the climax of your text occurs when the character achieves a new perspective.

The following monologue, spoken by the character Mabel Chiltern from Oscar Wilde’s An Ideal Husband, illustrates character arc.

Well, Tommy has proposed to me again. Tommy really does nothing but propose to me. He proposed to me last night in the music room, when I was quite unprotected, as there was an elaborate trio going on. I didn’t dare to make the smallest repartee, I need hardly tell you. If I had, it would have stopped the music at once. Musical people are so absurdly unreasonable. They always want one to be perfectly dumb at the very moment when one is longing to be absolutely deaf. Then he proposed to me in broad daylight this morning, in front of that dreadful statue of Achilles. Really, the things that go on in front of that work of art are quite appalling. The police should interfere. At luncheon I saw by the glare in his eye that he was going to propose again, and I just managed to check him in time by assuring him that I was a bimetallist. Fortunately, I don’t know what bimetallism means. And I don’t believe anybody else does either. But the observation crushed Tommy for 10 minutes. He looked quite shocked. And then Tommy is so annoying in the way he proposes. If he proposed at the top of his voice, I should not mind so much. That might produce some effect on the public. But he does it in a horrid, confidential way. When Tommy wants to be romantic, he talks to one just like a doctor. I am very fond of Tommy, but his methods of proposing are quite out of date. I wish, Gertrude, you would speak to him, and tell him that once a week is quite often enough to propose to anyone, and that it should always be done in a manner that attracts some attention.

At the beginning of the monologue, Mabel’s attitude is one of annoyance at Tommy’s constant proposals. By the end of the monologue, she comes to the realization that if Tommy learns to propose in a more fashionable manner, it could offer the benefit of social attention. By the end of the text, she feels satisfied with her plan. This monologue also portrays a character with an interesting point of view, having a conversation with Gertrude, her friend. Mabel’s action is to coax or persuade Gertrude to instruct Tommy to propose in a manner more suitable to her needs.

There are countless monologues that address scene partners, illustrate character action, and fulfill a compelling transition. In the end, find a monologue you enjoy, one you feel taps into something authentic within you. Professional actors audition more often than they perform. So, remember to have fun, be present, and be yourself. The idea is to find a monologue that serves you, your personality, and your talents.

The post A Monologue Should Serve You appeared first on Dramatics Magazine Online.

Lights, Camera, Audition!

Harper Lee — Tue, 31 Mar 2020 13:08:25 +0000

MORE AND MORE college theatre programs across the country are using video auditions as part of their admissions process. A well-made video will communicate that you are talented and college-ready, as well as professional, organized, and tech savvy. You don’t need thousands of dollars of equipment or years of experience editing footage to make a good impression.

Here you’ll find some helpful tips and suggestions for filming your college audition using just a smartphone or two, a helper, basic software, and inexpensive or free apps.

Preproduction

Before you begin, familiarize yourself with the video audition requirements of the school or schools you are submitting to. Each school has its own set of guidelines. Make sure you adhere to them.

Get the shot

Most HD video is shot in 16:9 orientation. Cell phones also shoot in this aspect ratio. Flip your smartphone so that you’re shooting horizontally.

Set your phone on a tripod. Don’t have one? No problem! You can make one out of five large binder clips.

When you’re positioning the camera, do not point it toward a window or other light source. Schools want to see your face, movement, expression — not a silhouette. Light should be on you and not on your camera lens.

Be aware of your space. Is grandma’s bright orange couch circa 1974 really the right backdrop for your Lady Macbeth monologue? Avoid cluttered and visually loud, unappealing spaces. Don’t be upstaged by the wallpaper. You’re the star.

Audio

When you’ve found a space that’s visually suitable, take 10 minutes and just listen to it. What do you hear: the washing machine upstairs? Does the HVAC system kick on every half hour? Is your little brother watching cartoons in the next room? Ambient noise can spoil a great audition.

You can’t completely soundproof the room you’re working in, but you can minimize extra noise. Turn down the volume on Bugs Bunny, ask your family to hold off on the laundry, and fiddle with the AC while you’re shooting.

If it’s an option, consider recording audio separately on a second phone. Ask someone to help you. For the best possible sound, have your friend hold the second phone just outside the camera frame as you perform. Slate your recording so you can match the two in editing. A hand clap works best.

Take 2, 3, 4, ?

Consider doing multiple takes. In one, concentrate on getting the best possible video; in another, focus on getting the best possible audio.

Also consider getting a variety of shots. Wide shots show your entire body, whereas tighter shots display something you want the viewer to focus on: your face, your tapping feet, your eyes, etc. Note: Remember to closely adhere to the video audition guidelines of each school. Some schools might only want to see one shot instead of multiples.

The cutting room floor

Don’t overedit. You’re not making a full-length feature film with car chases and a green screen. You’re making a short, simple audition video meant to feature you and your theatre skills. Resist adding that cheesy sound effect or fancy transition.

Be you

Look like yourself. Keep your hair and makeup natural and your outfit tidy and neutral. Bright, solid colors work well on top, or black is a good choice for clothing unless you’re standing in front of a black background.

Use PowerPoint or another presentation software to create a slide that includes your name, contact information, and what you’re applying for. Drop the slide into the editing timeline at the beginning and at the end of your video (again, making sure to follow your school’s video audition guidelines).

There’s an app for that

Take advantage of the wealth of inexpensive or free, user-friendly tools out there designed to help you create polished video.

Editing software

iMovie for Mac and Windows Photos: These programs come preloaded on many computers. Both are easy and intuitive editing platforms for the novice film editor.
Avidemux: This open source software does simple editing and takes up very little space on a hard drive.
DaVinci Resolve: Free, compatible with other industry-standard video editing software, and available for download.
YouTube editor: Also open source, this software can make basic cuts to your video. It does not have to be downloaded.

Audio apps

Voice Memos: This iPhone app optimizes the phone’s built-in mic and gets cleaner audio. But users have very little control over a finished recording.
Audio Memos: You can get this iPhone app for $1 in the app store. The normalizing feature allows you to capture audio at a constant, average volume and can be toggled on and off without changing the original file. You can also add compression to prevent clipping or distortion.
Voice Recorder: This app for Android is similar to Apple’s Voice Memos. It is a free, stripped-down app that captures cleaner sound than the built-in mic circuit.
Smart Voice Recorder: Free in the Google Play store, this app allows more advanced users to calibrate and test their mic and to skip or remove unwanted silences in an audio clip.

This story is excerpted from the December 2014 print version of Dramatics. Kevin George contributed.

The post Lights, Camera, Audition! appeared first on Dramatics Magazine Online.

Deadly Sins of College Auditions

Tracey Moore and Amy Rogers — Tue, 05 Nov 2019 17:56:59 +0000

EVERY YEAR, hundreds of hopeful acting and musical theatre students approach the doors of the university and ask to be let in. The process for these young people — most of whom are juniors or seniors in high school — involves some kind of audition. The majority are good citizens who put a lot of thought and effort into preparing. Often, they enlist the help of their high school theatre teachers, seeking them out for advice and coaching.

Over the years, we’ve seen a lot of entrance auditions — some good, some bad — and we’ve become familiar with the basic do’s and don’ts. We call the don’ts the Seven Deadly Sins because it’s entirely possible that one or more of these problems will prevent a student from succeeding in the audition room. Unlike an audition for a show or a three-month summer stock contract, an unsuccessful college audition has implications for the next four years and beyond. It can have consequences for scholarships, access to training, and networking opportunities, all of which will affect subsequent decisions about a career in theatre after graduation.

In this article, we offer our thoughts about what constitutes a Deadly Sin in the undergraduate theatre program audition setting. We share our observations about these sins — and suggest ways to avoid them — in the hope that understanding what the audition committee is thinking will help more students walk through the doors of the college they prefer.

THE FIRST DEADLY SIN: OVER-COACHING

It’s the student who suffers the consequences of all audition-related sinning, but this first one is really the responsibility of the teacher.

Let’s rip the bandage off quickly. One of the main goals of any audition is to let the auditors see the person in front of them as clearly as possible. This is never more true than in the college audition situation, where the folks behind the table are trying to suss whether this student has the basic skills (upon which we can build), the desire to learn (without which we can’t build), and the personality to become a member of a freshman class ensemble that will stay together for four intense years.

When a student is over-coached, decision-makers often can’t see him at all, thanks to an overzealous teacher who has given him planned gestures, planned vocal stylings, planned pauses, and planned emotions. All we see is a plan. No matter how good the coach’s plan is, it’s still the teacher’s, not the student’s. And believe me, we can tell which is which. It’s like a student essay that has been cribbed from the internet or written by a parent. You’d know, right? So do we.

Here’s a metaphor: An auditioning student is like someone standing behind a pane of glass. The pane of glass is the monologue or song. If the glass is clear, I can see the student well. I may be aware of the glass, but it doesn’t stop me from “seeing” the student — in fact, sometimes the glass (the text or music) helps me put the performer in focus, or context. If your fingerprints are all over the glass, I can’t see a thing.

Bottom line: Ease up on the prescriptive coaching. Don’t smudge the glass.

THE SECOND DEADLY SIN: “ALONE IN THE UNIVERSE”

We’ve borrowed a title from Seussical to illustrate a three-part point that auditioning students ignore at their peril: There are always other people in the room (and usually in the material, too).

Part one: the imaginary scene partner
Often students spend so much time worrying about what they are going to do in the audition that they forget there’s supposed to be an imaginary person out there to whom they are speaking or singing.

Sometimes, during the audition, we have an opportunity to work with the applicant. If a student shows promise but seems to have been misdirected (see Sin Number One, above), we’ll take a few minutes to work with her. The first and most frequently asked question we pose is, “Who are you talking to?” Much of the time the student has no idea. Many of them haven’t read or seen the play or show — they found the song or pulled the monologue out of a collection. Sometimes they’ll reply with a character name — Romeo — which isn’t going to mean much unless they’ve studied the play. (A classic example was a Juliet who eagerly answered “Romeo!” but who, when pressed to explain the relationship, said, “Um … brother?”)

Very rarely do we find students who have an understanding that characters are involved in relationships and that relationships have a direct bearing on how a monologue or song unfolds. You would speak differently to a friend than you would to a parent, right? You would deal differently with a police officer than a younger brother. So, the more specific and personal the “imaginary person” is, the more you’ll be able to understand the relationship the character is in and the more you will be able to connect to the piece.

Bottom line: If you’re auditioning, spend as much time choosing or getting to know the imaginary person in your scene or song as you do the character you’re playing.

Part two: the musical partner
In a musical theatre audition, you’ll almost always be provided with an accompanist. So — news flash — you aren’t alone up there. Although it’s a tricky partnership that must be forged on the fly, you need to realize that the accompanist is part of your audition. Don’t ignore what’s coming from the piano. Usually the accompanist is trying to help by playing with rhythmic energy or quiet lyricism. The saddest thing for us, sitting behind the table, is when a student loses the melody and goes out of tune — then proceeds to ignore the pianist, who is pounding out the correct notes to get the student back on track.

Bottom line: Musical theatre students need to show us that they understand they are making music. We’ve given you a musical partner. Work with him.

Part three: Hello, we’re out here too
When you audition, you’re going to be sharing the room with us — sometimes several of us. This doesn’t mean we want you to deliver a song or monologue directly to us, but it does mean that your awareness and consciousness needs to take into consideration that there are other human beings sharing the room with you.

Bottom line: You are not alone. Use the help that’s given. Enjoy the moment.

THE THIRD DEADLY SIN: A BAD FIRST IMPRESSION

This is another multipart sin, because there are so many ways to make a bad first impression. Once made, the first impression is hard to change and can be the kiss of death for an auditioning student. That’s because this is a high-pressure situation for us too: We only have five minutes in a room to figure out who this potential student is, what she is capable of, and whether we want to spend the next four years with her.

Choosing and preparing material
A wonderful recent audition involved a girl who came in dressed really funky — pink hair, a really urban look. The first song she sang was “Out Tonight,” from Rent. She came into the room, saying, in effect, “This is who I am” (her true, funky, urban self) … and then she did something totally different. Her second song was “Infinite Joy” from William Finn’s Elegies.

This song can be interpreted from many perspectives, and she chose to do it in an intimate, personal way that was drastically different from her first song. In a short space of time, she showed the audition committee that she could be her sassy self, or she could take on the life of another person, another character: She understood the importance of being able to transform.

The opposite example would be a recent audition in which a young man presented a monologue from All My Sons side by side with one from Boy’s Life. Fine choices, and lots of room for contrast, but they were (unfortunately) identical presentations — the same gestures, the same inflections, the same energy.

One of the questions we hear frequently is “What should I do for this audition?” A student’s decisions about what to sing or what monologue to present are as basic as deciding who they are and how they wish to be seen. Monologue and song choices are how the students introduce themselves to us.

Black fingernails and piercings may be essential to a student’s sense of identity, but most college theatre programs are looking for a clean palette. Likewise, we must interpret decisions about preparation (not memorizing the words or music well, not reading the play, not following the audition instructions) as part of the student’s work ethic. Actors think nothing of spending six weeks in rehearsal for a production, but many won’t spend six hours preparing for an important audition. It’s a problem.

Bottom line: Present material you know and care about that you can do really well.

Following the rules
Students may not realize that one reason we hold auditions is to see whether they can follow instructions. Following the rules at our audition is an indicator for future success at the university and beyond. College is full of procedures, prerequisites, and responsibilities, and we want to enroll students who have the fortitude to complete a degree program and graduate. The excuse, “I didn’t know it had to be 16 bars,” when that specification was in writing on the website and highlighted in materials mailed to the student’s home, does not bode well for that student’s success in the college classroom.

Recently one of our theatre students lost a four-year, full-ride scholarship because —despite several conversations, numerous phone calls, and emails — he was unable to get a course add form signed and delivered to the registrar’s office within the first three weeks of the semester. Failure to deliver the form meant that he was not enrolled as a full-time student, and therefore ineligible for the scholarship. (This was not our policy, it was the university’s: We, too, must follow the rules.) At auditions, we observe students’ behavior and ask ourselves: Does this student have the potential to manage a show business career that includes a day job, night rehearsals, auditions, acting classes, and the New York City subway system?

Some kids may think it’s cool or different or indicative of an artistic temperament to break the rules. They may think we will remember them more if they stand out from the crowd. We will remember them, but not in the way they hope.

Dress
If you are given instructions about dress for the audition, follow them. If there is a movement portion to the audition, and students have come with tight jeans, short skirts, high heels, flip-flops, or precarious hairdos, despite instructions to the contrary, the audition committee will not be sympathetic. Likewise, formal wear (cocktail dresses, suit jackets) should be eschewed. Wear sensible shoes; nothing is easier to spot than a young girl wearing high heels for the first, uncomfortable time.

A word about costumes: Don’t. A girl recently came in to audition with a boa and a baton tucked into the back of her pants so they couldn’t immediately be seen. In the middle of “Show Off” from The Drowsy Chaperone, she pulled out the boa, then, a little bit later, the baton. This surprised the audition committee and not in a good way. It indicated that she was not savvy, that she had spent her preparation time on the wrong things, and in costuming herself, that she had not followed instructions. It also showed a lack of understanding about how a moment can be accomplished theatrically without the literalness of props.

Bad behavior
It’s been said a million times, but it doesn’t always sink in: An audition begins the moment one sets foot in the building. What you do outside the audition room can be just as crucial as what you do in the five minutes of your audition or interview. Recently, we learned from our student monitor (and, yes, we ask) that an auditionee had been saying unkind things about a nearby theatre program — trashing their audition process and denigrating their students and faculty. As it happened, one of us had taught at this school, had left on good terms, and still had a lot of friends there.

One of our goals as college educators is to create good future citizens of the academic and professional theatre community. If it appears that a student’s personality runs counter to that goal, we will be reluctant to invite them into what is, essentially, a very small, interconnected world.

Bear in mind that top tier schools are vastly competitive. Everything counts. To do well in an audition, you must be the best version of yourself. The audition committee will make note of how you enter the room, your hygiene, whether you are rude or polite to others, how you listen, how you interact in social situations.

Bottom line: The whole five-minute audition is a first impression. If we see problems, it’s hard for us to form a second impression that’s different.

THE FOURTH DEADLY SIN: VOCAL PROBLEMS

Although the problems of Deadly Sin Number Four aren’t all deal breakers for a college auditions committee (after all, we’re not looking for perfection), vocal issues can be red flags or, at the least, can put students into the “wait list” pile. “Stage voice” refers to an actor’s habit of using a different voice when acting than he does when speaking normally. Auditors have similar terms for other bad vocal habits or conditions that have not been checked.

For example, “cry voice” is a term used to describe the practice of pretending to cry by putting a false wobble in the voice or pitching the voice higher to indicate the character is upset. “Cutesy voice” is a silly term for singers and actors whose sound is so bright that they appear younger than they are. “Vocal fry” is the tendency to let the voice dwindle to a raspy whisper at the end of every phrase.

These issues can and will be addressed in college if the university has the voice and diction faculty to do it, but they might prevent a student from making the cut if enough others audition without evidence of these habits. Fortunately, these issues are all something that high school teachers can mitigate — by catching them soon, recommending speech therapy or voice teachers, and being vigilant in rehearsal and performance situations so these bad habits don’t settle in.

Speech impediments can be trickier, since some students may not have had an opportunity or resources to address the problem. Nodes or evidence of damage to the vocal cords are usually a deal breaker for musical theatre programs. This problem, which can be caused by misuse of the voice or a combination of physiological factors, can take months or years to fix, and sometimes even requires surgery. Some of us behind the table are voice teachers, so hearing someone with nodes will be like nails on a chalkboard. The first thing we want to tell these students, is, “Stop singing, stop talking.” No singing and no talking will make it a very short audition.

Bottom line: High school theatre teachers should discuss voice and speech problems with their students and recommend professional treatment where it’s indicated.

THE FIFTH DEADLY SIN: TALKING HEADS

Some young people, accustomed to viewing actors only on television, film, and computer screens, believe acting occurs only from the neck up. Many seem to have forgotten they have a body.

From our perspective behind the table, this sin can come in two varieties: the uptight body and the essence (he thinks) of cool. The uptight body is characterized by stiff gestures, stiff arms, frozen legs, and tense fingers and hands. If this performer makes a gesture, it’s usually a parallel gesture (common in speech and forensics training) in which both hands or arms do the same thing, mirroring each other.

The “cool” variation has a slumped or non-energized body, feet that shuffle or walk more casually than the dramatic moment would warrant, and a nearly closed mouth that allows very little sound to escape. These physical behaviors are indications that the actor is not physically involved in his or her performance.

At some colleges, curriculum may be in place to turn these young people into strong, open, physical actors. But other programs may not have that option. We don’t recommend teachers try to fix this problem with choreography, because the stiff student will do the choreography stiffly, and the cool student will still be cool (and the teacher will be guilty of Deadly Sin Number One). But a teacher can investigate the given circumstances, stakes, and acting choices that these students have established for their songs or monologues and see if there is a greater physical investment or physical life that can be explored. We don’t need to see much, just a glimpse that shows a foundation for physical presence, so we know there is something we can build on.

Bottom line: If students are interested in our theatre programs, we would like to see that they are in touch with their bodies, all the way down to their feet.

THE SIXTH DEADLY SIN: PUSHING

There are students who simply work too hard, all the time. And when onstage pushing is combined with a personality that pushes offstage, too, it can be a deadly brew. Sometimes this isn’t visible in the audition but becomes apparent in the interview. That’s one reason most college auditions include an interview component. It’s worthwhile for a student to spend a few minutes thinking about how they wish to present themselves in an interview. Generally, some form of the questions “Why have you chosen this career?” and “Why have you chosen our school?” will be asked.

We recommend taking a moment to consider how you want to respond. Believe me, we college theatre people are not tyrants. We are aware that getting into the right school can be, for some students, a stressful and traumatic process. We know that auditions cause anxiety and that there is a lot of pressure bearing on a very few minutes. But we also need to see that students are interested in college because they hope to learn something and, ultimately, that they want to become actors. This means we are looking for students who are interested in taking in as much as they are putting out. Many of us are interested in forming a core of ensemble members who will work and grow together. We don’t wish to see an 18-year-old who already knows everything.

Bottom line: A sponge is more attractive than a bulldozer.

THE SEVENTH DEADLY SIN: ABSENCE OF JOY

One of the brightest moments in our day happens when a student comes into the room and seems happy to be there — happy to be sharing this time, this space, and her talent with us. Though we have listed this sin last, please don’t disregard it. This is one of the most important elements of an audition. It is so important that it can sometimes cancel out one of the other sins.

We are looking for students who love to act and sing, and who are genuinely enjoying this opportunity to perform, nerve-wracking though it may be. A performance career has enough hardships as it is, and this audition will be the first of many to come. If the student isn’t enjoying himself now, it does not bode well for his future.

Bottom line: We want students who love the work and show it. We can teach skills, but we can’t teach joy.

This story appeared in the December 2008 print version of Dramatics.

The post Deadly Sins of College Auditions appeared first on Dramatics Magazine Online.

Audition Etiquette

Laura Enstall — Tue, 20 Aug 2019 16:41:10 +0000

AUDITIONING IS A SKILL. As you enter the professional world, it becomes part of your job.

Maybe you are new to the theatre scene and don’t know where to begin, or maybe you’re thinking about college auditions and they seem overwhelming. Though auditions can be nerve-wracking, the good news is that all actors can learn etiquette and preparation techniques that set them up for success.

BEFORE THE AUDITION

When auditioning, it’s important to understand that your work starts before you enter the audition room.

Do your homework
Research the company and find out for whom you’ll be auditioning. See what other shows they’ve directed or cast. You might discover you have something in common, such as previous work at the same theatre or the fact they went to the same college as your parents. Talking points like these can help them remember you following the audition.

Don’t forget to research the show. If possible, read the play or listen to a musical recording. Make sure you know the plot, characters, and, if it’s a musical, the score.

Prepare audition pieces
Read the audition notice carefully to ensure you prepare the correct material. Do you need to perform a monologue, specific production sides, or a song? You want to show the best version of yourself, so don’t throw something together the night before. You won’t feel confident if you scramble.

Audition songs and monologues should be age-appropriate, generally within a few years of your age. Unless specified in the casting notice, it’s best to avoid songs or monologues from the show for which you’re auditioning, though you can choose material in a similar style. You want to let directors decide the roles they see you playing in the production. Instead, choose material you love to perform and that you’ve spent time rehearsing. Avoid material with excessive cursing.

AUDITION DAY

Once the day of your audition arrives, follow these tips to make a good impression.

Arrive early
Remember: Early is on time, on time is late, and late is unacceptable. Arriving early shows you care. It also allows you time to find the location, relax, and collect yourself before you perform. Unless you face a true emergency, never cancel at the last minute or fail to show up without any notification. Directors remember actors who skip auditions.

Act like you’re always auditioning
Your audition begins the minute you arrive. You never know who is around. Maybe the stage manager is holding the door for you, or maybe you run into the choreographer in the hall. It’s important to be aware of your surroundings.

At the same time, be respectful of personal space, especially during dance calls. Make sure you’re not bumping into other dancers. Choreographers will want to see if you are in control physically. Finally, minimize your noise in holding rooms.

Be courteous
Throughout the entire audition process, you should be kind to everyone you meet. Don’t gossip about other auditionees, even if you hear others gossiping. Don’t speak poorly of other theatre companies or actors. The theatre community is very small, and news spreads fast. There’s a good chance the director will ask the holding room monitor or stage manager to report back if anyone was rude or unprofessional.

Dress your best
Dressing for an audition doesn’t mean you have to wear a dress and character shoes or black pants, a button-down shirt, and tie. It does mean you should look as though you’ve put some effort into your appearance for the day.

Choose something that makes you feel confident. A nice pair of jeans or khakis with a collared shirt or a dress or jumpsuit that’s comfortable are great options. Let your personality shine without wearing your favorite jeans with holes in the knees or your sneakers that really should be replaced.

You don’t need to dress like the character you want to play, but you can dress in the style of the show. For example, if you’re auditioning for Oklahoma!, you might wear jeans or a flannel shirt. You should not come in full costume.

Bring headshots and résumés
If you’re starting out, you don’t need to have a professional headshot, just a photo that looks like you against a neutral background. Avoid selfies or images where you’ve cropped out others. For college auditions, investing in professional headshots the summer before your senior year is a good idea.

Bring an artistic résumé for theatre, even if you just have a few shows on it. Your résumé should include a telephone number and a professional email address that’s easy to read and doesn’t feature a long string of numbers: yourname@email.com.

Carry extra copies of your headshot and résumé with you even if you provided them in advance or have submitted them to the same director or casting director before. Never assume your materials have been shared with the team in the room.

Greet your accompanist
If you’re singing, you will have time to speak with your accompanist just before your audition begins. Walk to the piano first, show the accompanist the cut you’ll be performing, quietly sing a few measures of your song in the tempo you’ve set, and thank them. Then, walk center stage and slate your piece.

Nail your slate
Slating gives you the chance to introduce yourself. It is a good idea to rehearse your slate with your audition piece. In general, you’ll want to slowly and clearly state your name, the piece or pieces you’ll be performing, and the shows they’re from. You should also know the playwright and composers in case you’re asked, but you don’t have to slate that information.

A very basic slate might sound like, “Hi. My name is Laura Enstall. I’ll be singing ‘Home’ from Beauty and the Beast.” Say your name loud and proud. And take your time. This is when directors get to see who you are, so smile and be friendly.

Be you
While it may sound cheesy, directors (and colleges) want to get to know you, not the person you think they want you to be. They want you to shine in your audition pieces, and that can’t happen if you’re trying to sing your song exactly how the performer on the cast recording sings it. The same rule applies if you are in a callback with other performers: Don’t try to perform the same side or song cut the same way the person before you performed it. Don’t be afraid to make a bold choice. Directors want to see what you bring to the character.

After the audition, offer a simple “thank you.” This is the time a director may ask you questions about conflicts or a previous role you’ve played. But if there aren’t any questions, it doesn’t mean you didn’t get the part. Before you exit, don’t forget to collect your music from the accompanist.

Auditioning is a learning process. It’s also a performance opportunity, so have fun. You won’t get cast every time, and that’s OK. You will always learn something. Grow to love auditions. Refine your skills, build your repertoire, and you’ll be surprised how much you grow as a performer.

The post Audition Etiquette appeared first on Dramatics Magazine Online.

Focus on What’s Next

Mark Famiglietti — Fri, 19 Jul 2019 13:21:03 +0000

AUDITIONING can be invigorating for performers. More than a mere opportunity, an audition represents hope. Whether auditioning for the newest play, hottest television show, or most fantastic superhero movie yet, an actor’s natural inclination is to imagine playing the part and everything wonderful that goes with it. Almost instantaneously, a fully formed fantasy springs to mind.

That fantasy is wonderful … when you get the part. The reality is that if you’ve chosen performing as your profession, then you must be equally comfortable knowing that, more often than not, someone else will get the role.

Even Academy Award-winning actor Brie Larson spoke of the sting of rejection early in her career. When she read for the part of Toni Collette’s daughter in the Showtime series The United States of Tara, she didn’t get the job. She likened this rejection to being “left at the altar,” because she had come so close. Fortune later found Larson when she was awarded the role after recasting. She points to her time on that series and her connection to Collette with giving her the confidence to continue pursuing her dream of acting.

Let’s not gloss over how Larson landed her role on that series: She had a pre-existing relationship that came into play. Handling rejection gracefully and moving on from it is an important journey all young actors must learn to make.

PUT THE CHARACTER IN YOUR BACK POCKET

To be successful, actors rely on playing similar characters throughout their careers. This might be referred to as someone’s “type.” It stands to reason that, based on your physical appearance and acting range, you will be seen repeatedly for similar parts. In my career, I’ve often been cast in guest-starring roles where I’m seemingly unassuming but nefarious beneath the surface. Let’s just say, I’ve committed many a TV crime over the years.

What those roles have in common is that they have similar beats in the audition scenes. While I would never advocate imitating a previous performance, you can draw from it to craft subsequent auditions.

What does that mean? Building on the example above, let’s use crime dramas, which are prevalent on both broadcast and streaming networks. Imagine you are the main suspect of the case, and the good guys are on your trail. Often, the first audition scene is filled with denial, while the second features a confession. If you’ve successfully auditioned for a similar role, you can apply everything that seemed to work then to the new part. What tools did you use in the denial scene? Did you challenge, persuade, or pacify the people running the interrogation? In the confession scene, did you rely on self-pity or sympathy? Make these tools available to you as you prepare your next audition.

REMEMBER WHO YOU MET

Brie Larson received a call to join the cast of The United States of Tara after originally losing the part. Although the initial audition did not go her way, the network, studio, and producers remembered her when they decided to make a creative change.

When you audition, make note of who is in the room. The core team of the producer, director, and casting director should be your focus. Store this information and remember it when an opportunity arises down the road. For example, I’ve shot episodes of CSI, Grimm, and Without a Trace with the same director because of a positive experience in an initial audition. Mentioning to your representatives or the casting director that you have a prior relationship can lead to an opportunity you might not otherwise receive.

FOLLOW THE PROJECT

You’ll audition for many more projects than you book. While it can be challenging to remain supportive of a project you were not chosen for, it’s important to follow that project closely and see if a new opportunity presents itself. For example, watch the finished film and send congratulatory notes to the creative team expressing your continued interest in working together in the future. If the project was a television show, watch casting announcements for opportunities to fill new roles on the series. Speak with your agents and alert them to your connections. If a casting director brought you in to audition for a show once, they are usually more apt to do so again if reminded.

ASK FOR FEEDBACK

This is a tough but critical lesson. While we would all love to hear that we absolutely nailed every audition and there is nothing we could improve, that is not reality. Reality is that the creative team probably read a lot of actors for the same part. And while some factors that knocked you out of contention are out of your control (such as physical attributes), others — namely, every acting choice you made between the time the director called “action” and “cut” — can be adjusted. Speak to your representatives and ask them to solicit feedback from the casting team about your appointment. While many times you may simply hear “They were great,” every now and then you’ll get useful information that can inform how you approach the next audition.

For example, after a comedy read, you might learn that a choice you made was too big or too broad. You’ll know to temper your choices next time. In drama, you might hear that you were too small or internalized. This is code to make bigger choices. So much of auditioning is getting your point of view across to the creative team. Adjusting the scope and size of your choices can help you achieve better results.

TOMORROW IS ANOTHER DAY

Upon hearing that Netflix canceled his show One Day at a Time, writer and producer Norman Lear said, “I can testify that, at my age, you’re never too old to have your heart broken.” I understand his reaction. If Lear still feels that way in his mid-90s, then the sentiment is, for better or worse, ingrained in the profession.

The bright side is that, unlike other industries where change can be slow or movement inflexible, artists have a new opportunity every day of the year. There is always a new project. Get back out there and find the next audition.

I’ve often said that to be an artist, you need to have a baseball memory. A baseball player never thinks about his last at-bat. He only focuses on the next plate appearance, using skills and knowledge learned from his past and applying them to his next swing.

When you don’t get the part of your dreams, remember these five tenants, get back in the box, and take another swing. You won’t get a hit every time, but if you remain committed to your craft and hone your talents, the law of averages will balance out in the end.

The post Focus on What’s Next appeared first on Dramatics Magazine Online.

Summer (theatre) lovin’

Kate Morgan — Tue, 18 Dec 2018 14:09:49 +0000

SUMMER IS A TIME to relax and unwind, unless, of course, you work in theatre. For aspiring professional actors, singers, dancers, and tech crew, summer is the busiest season of all. Entertainment organizations and summer stock theatres around the country cumulatively mount hundreds — maybe thousands — of performances in the warmer months, and many of their casts land those roles in the spring at a unified audition.

“Our auditions run the gamut from outdoor and repertory theatres to large-scale shows and cruise ships,” says April J’Callahan Marshall, director of professional theatre services at Southeastern Theatre Conference, one of the largest unified auditions in the nation. “To get a slot at our auditions, a college student or recent graduate goes through a prescreening audition, which we host at various locations throughout the winter and spring.” Those who mount that initial hurdle then head to the big show: an event where 3,000 or more people are vying for about 650 jobs.

And they only have 90 seconds to nail it. “They go into the audition room in groups and get up one right after the other,” J’Callahan Marshall explains. “Callbacks with the 60 to 80 companies who are hiring happen that same day. It’s a long day. We run from 8 a.m. to about midnight. America’s Got Talent has nothing on us.”

Kirsti Carnahan, managing director of StrawHat Auditions in New York City, says the callback is important, but that first 90 seconds onstage is vital. “The callback gets you the job, but the 90 seconds gets you the callback,” she says. “If you think about being introduced to someone in a social situation, you exchange maybe a sentence back and forth, and most of the time that’s enough to make a first impression. The 90 seconds you have onstage is your chance to make a good one. For summer stock that typically means, ‘You can trust me to walk onstage, know exactly what I’m doing, and have fun doing it.’ You’re also trying to say, ‘I’m a person you want to spend 11 weeks in a non-air-conditioned barn with. I love doing this, I’m good at it, and you should find out more about me.’”

J’Callahan Marshall agrees. And while it’s important to have your 16-bar song and monologue polished before you hit the stage, she says a performer’s personality is the most important thing casting directors are considering. “You’re there to show them who you are,” she says. “So, you walk onstage as yourself, show a transition into a character, and also show that you’re someone they’ll want to work with. Most of the people who come to us are early in their careers. This is sometimes their first experience at a unified audition. It’s not about having glitz or glamour or even ‘star power,’ so to speak. It’s about getting up there and showing that you can do this and you’re ready to work.”

That’s important, according to Colin Keating, resident music director at New Hampshire’s Weathervane Theatre and an accompanist at the StrawHat Auditions, because summer stock is certainly a lot of work. “With summer stock, the pace at which you work is unlike anywhere else in the business,” he says. “This past year, we put up Joseph and the Amazing Technicolor Dreamcoat in four days of rehearsal and one day of tech. I think putting yourself through paces like that is necessary as a young artist. You need to find the summer program that’s going to make you better. It’s not really about landing a great role; it’s about becoming a better artist.”

Carnahan says summer stock is an invaluable experience for many young artists, who head back to college in the fall with a huge amount of hard-won professional experience under their belts. “You come away from that 10 or 11 weeks with four, five, maybe six shows on your résumé,” she says. “That says, ‘I understand how to do the work.’”

Stephen Walley, 21, has performed for the past two summers with the company at Ohio Light Opera. He was surprised by the level of dedication required, but he also says the experience helped to sharpen his focus on the craft. “It consumes your life while you’re there,” Walley says. “It’s rehearsals and performances every day, and you just have to be up to it. It’s great to be in a professional theatre setting with people who are focused on the same art as you and who really care about it. We did seven shows throughout the summer, with 58 total performances, but everyone wanted to be there for every minute.”

Walley says his success at unified auditions comes from trusting his instincts and performing pieces he feels absolutely confident about. “The most important advice I got is that you should do what you do well,” he says. “Don’t try to tailor yourself to a specific role during the audition. Just do what you know you can do. The most successful auditions for me have been when I’ve gone with my instincts. I’m more confident, and I think that shows.”

Keating agrees wholeheartedly. “I just worked for a theatre that did Joseph and Chicago in the same summer,” he says. “We’re telling a Bible story, and then we’re dancing in our underwear. You have to be able to pull out every trick in your bag: the ability to be sexy, charming, fierce. You have to do it all. So sometimes it stops being about finding the song that says, ‘I’m your Billy Flynn,’ and more about saying, ‘I’m going to sing this, because I’m at my most genuine when I sing it.’ Young actors have to trust their instincts. There are way too many who think, ‘I don’t know if that’s right, does this cut work?’ Just sing the darn song, because your first instinct is probably right.”

While some unified auditions don’t require actors to prepare a monologue, Keating says going without one is a faux pas. “It’s inexcusable for a young actor to come to an audition like this and say they don’t have a monologue. That happens so much more than you’d think,” he says. “You have to demonstrate that you can stand onstage and talk, especially in those first 90 seconds. You have to say something that’s not your name.”

Once you’re in the callback room, Keating adds, you should take the opportunity to demonstrate that you’re not only talented but also likeable. “I want to know you’re a real human being,” he says. “We call it the kitchen table test. We’re going to be spending 11 weeks together in the mountains in New Hampshire. When the show’s over, are you someone we want to sit around the kitchen table and chat with?”

Weathervane Theatre's Joseph and the Amazing Technicolor Dreamcoat was performed after only four days of rehearsal. Photo by David Swatling.

Thespian alum Evan Benjamin (second from right) with cast members from a summer children's show at Idlewild theme park. Photo by Carlos Avilas.

Evan Benjamin, a 22-year-old actor who first honed his skills in Thespian Troupe 2204 in Centerville, Ohio, says unified auditions can be a bit overwhelming. In a sea of equally talented competition, it’s important to stand out. “I’m primarily a comedic actor,” he says. “I’m capable of doing the leading man or the male ingénue, but what I do best is dorky boy. So, I go in with my comedic song, and most of the time I’m targeting the theatres doing seasons with comedic shows. I also list things on my résumé like the fact that I know how to use a bullwhip.”

In fact, Keating says the special skills section of a résumé is one of the first things he’ll look at, and it’s the perfect way to catch a casting director’s attention. “Recently, we had someone say they could impersonate a dinosaur being hatched from an egg,” he says. “Of course, we had him do it. It was the funniest thing. He got cast, and I’d hire him again in a second. You can set yourself up to have a conversation and get people laughing.”

Funny sells. As Benjamin says, “These summer programs are generally doing commercial theatre, so doing a monologue from some depressing play probably isn’t going to showcase the skills you need to do a season that’s Hairspray and Mamma Mia. Keep it light, and show what you can do that other people can’t. If you can find a song that’s active, funny, has a money note, and showcases who you are, then you’ve hit the jackpot.”

Last summer, Benjamin worked with a large company that casts actors for theme parks. He says the biggest benefit is the connections he made over the course of the summer. “The job opportunities with just that one company are endless,” he says. “Now, I have that connection to people there who know what I can do and what my experience is.”

J’Callahan Marshall says the actors who audition at SETC know what they want out of a career and are ready to demonstrate their dedication to people who matter in the theatre community. “We have a niche market, and it’s primarily the first-timer, the early-career actor who hasn’t quite become a professional yet,” she says. “During the school year, you learn the craft; during the summer, you learn the business. You learn how to sell yourself, to follow up, to not screw up, and to make those connections.”

A network is the most valuable thing an actor can have, says Carnahan, and for young professionals just starting out, summer stock and unified auditions are good places to begin building one. “Typically in a summer season, it’s not just one person directing all these shows,” she says. “In a season with five shows, you might work with three or more different directors. Some of them might be working somewhere else the next summer, and they’ll remember you. You’re beginning your industry network. You’re also learning from your peers, making friends, and gaining skills that will last you a lifetime.”

This story appeared in the December 2018 print issue of Dramatics. Subscribe today to our print magazine.

The post Summer (theatre) lovin’ appeared first on Dramatics Magazine Online.