Submit for everything you can, get responses, build up your resume and your confidence, continue being a happy actor, and doing what you love!
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Frantically searching for sheet music online? Planning to leave your house at 5 am just in case? Fantasising about stepping into the room and the casting director immediately offering you the leading role? Sounds like you’re planning on attending an open audition.
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Pre-Casting sticks in the craws of every unprofessional theatre artist, and probably in a lot of professional ones, too. Spawning drama that makes every stage manager worth their kit roll their eyes into next weekend, pre-casting somehow manages to worm its way into any given conversation about theater.
High school and undergraduate university productions, regional theatres, children’s theatres alike, all seem to struggle with this one concept that actors all loathe somewhat equally. Of course, being pre-cast is flattering, but no actor is happy knowing someone else got a part we were right for, too just because somebody knew somebody else; our egos are too big to allow it. But how do we survive pre-casting and all the evil that comes with it?
By calming down for two seconds, and thinking critically about why it happens.
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As Casting Chair of my local community theater, I think a lot about the process of casting our shows. While the goal is always to find the ideal fit between auditioners and available roles, the reality is that we often have to compromise. Unlike Broadway, we usually don’t have the luxury of picking people who perfectly look the part, fit the age range, and have the exact vocal range suggested by the script or score. So, we make do with what we have. In a sense, casting is like fishing. We cast our line into the water by posting a carefully crafted audition notice. First, we get some “nibbles”; expressions of interest on Facebook. Then we see who we catch on audition day. Many are not “keepers,” and often we have to throw them back (gently) into the pond. But if we keep an open mind, we’ll often be pleasantly surprised by the talent we land.
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Unifieds. For those who have endured through these audition sessions, I tip my hat to you. It’s a stressful and hectic process which proves to be more fruitless than successful. But there are those times when the stars align that a unified audition goes so well, an offer of admission is made.
These are rare but I’ve seen them happen. More often, a student will come in, give a strong audition and that will at the very least, put them on our radar as a strong candidate for admission later on. Then there’s the flip side, when we see a student give a lackluster audition that disqualifies them from consideration. It doesn’t happen in the majority, but it does happen.
While there isn’t a sure-fire blueprint for success to get into every school you audition for, there are definitely things you can do to help your chances in that room.
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Recently, I attended a college audition session where there was constant issues with the accompanist. While they were certainly trying their best, they just weren’t skilled enough to be able to play an audition session at this level. And because of this, it had a negative impact on the students auditioning that day. Each person after the next had some issues; whether it was rhythms, key signature, every student seemed to be off when singing their selections.
Over the course of your performing career, this is going to happen to you. While the majority of accompanists are fantastic, talented and helpful, there will be some who can torpedo your audition with their lack of skill.
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Whenever someone asks me for audition advice, there are two things I mention first:
Know the character and context of your audition material.
Have multiple pieces ready to go.
The first is pretty obvious. It doesn’t matter what monologue or song you’re auditioning with. Know exactly who that character is and what is going on in that moment of the text.
But the second is something you might be surprised more auditionees, especially college bound students, don’t know about.
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Educators and recruiters are certainly looking to see your versatility, but that doesn't mean your audition material needs to contain a ton of expletives or sexual imagery.
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There are so many lists warning you what songs you shouldn't audition with, I thought I'd switch things up and list a few that I'm always glad to hear. Songs not to avoid. But this is just to get your mind going. The best audition song highlights the things you do best, better than others. That's going to be different for every person.
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Over the last year, I've auditioned for at least ten projects. Out of all those auditions, I booked half, an unusually good ratio for me, but then again, I'm not in a super competitive area like NYC. No matter what city you're in though, auditions where you don't get the part start to take a toll on your self-esteem. Your thoughts begin to turn for the worst, and sound something like this: "You were terrible. Of course they didn't give you a callback (part, auditions, etc.)! You'll never make it in this field. Dad was right... I should take advantage of my English degree." And it goes on, and on, and on, and on, and on. You're killing your chances with your negative BS, and I'm here to tell you why you probably didn't get the part:
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