I’m going to stay Anon too . . .

I hate to say it but your experience is not unique. I find that I have to take what you say with a grain of salt - there are a lot of self serving statements in your note - probably as a result of your frustrations. Unfortunately, far too many theaters are closed to newcomers. Fortunately, this situation does not last long.

I don’t know which way to go with a answer that will help you.

Do I tell you about auditioning 14 times and NEVER getting cast? Do I tell you about taking classes for years without getting cast? Do I tell you how the instructor and many of my classmates consider me one of the best actors in our community?
Do I tell you how many times I have volunteered to help (even when they don’t have anyone else to do it - like usher or house manage) - but the phone never rings?
Do I tell you how my family made me stop going to auditions because I got so upset and made life for those around me terrible for days on end?

Or do I tell you about theaters which are so inbred that they gradually fall apart?
Do I tell you about theaters which have driven new people away then have no one to replace the old guard when they move on.
Do I tell you about theaters who have driven so many people away their audiences are falling - in some cases by 2/3.
Do I tell you about theaters that have cancelled several productions in a row because they can not cast a show or find a director for it because they have driven even the old guard away?

No, I need to tell you to keep on trying. Remember the rule that says “never let them see you cry”. (Yes, this applies to the guys too.)

Take an HONEST evaluation of you and your theater skills. Talk to a teacher, mentor or friend who will REALLY tell you the truth. My guess is that (1) you are not as good an actor as you might think (and maybe I am not either) or (2) there is something about you that drives people away (arrogance, talk too much when you should be listening, not staying focused, bad attitude).

Assume for now, that there is a reason that you are not cast. Find out what it might be. I can not imagine any director not casting you if you are clearly better than someone else. There is always the comfort level of a director wanting to work with someone he/she has worked with before but every director wants the show to be as good as possible and that means casting the best people.

Now, lets talk about the audition. Some theaters expect prepared monologs, some use cold readings from the script. The prepared monolog is actually the best and easiest - it gives the actor a chance to show what they can do with a piece they have rehearsed and show the actor in a situation more like a performance. If your theater used prepared monologs, work with a coach and prepare a monolog that will knock their socks off. You will likely need two or three monologs for various show types, comedic, dramatic and classical.

It is harder if your theater auditions from cold readings but there are tricks and things you can practice. Make sure you spend time preparing for the audition - get Michael Shurtleff’s book “Audition: Everything an Actor Needs to Know to Get the Part”. It is the bible for those looking to get cast. Read the play. Know what parts you might be considered for: Not the lead!! Close in age. Right physical appearance and so on. Analyze the character(s) you might be considered for. There are any number of books to help you analyze a character. Know when you go into the audition what your character is trying to accomplish (goal, event, objective). If you are thrown a curve and have to read for a part you have not prepared for, make up an event (and make it a life changing event). You won’t get cast if your event is “I think my character probably wants to . . . .” Make your event “I will die unless I get . . . .”. It will make more difference than you think in how you read. Always ask for a few minutes (not more than 5) to read the part before you read it for audition. I don’t want to write a book on auditioning but I have read them all.

Finally, use the opportunity to grow as an actor. If you are not going to get cast, don’t lose sleep over it. Enjoy it!!! You have an advantage at the audition that no one else does: You already know the outcome - so relax. Use the audition as a chance to hone your acting skills. The old guard will lose their hold sooner rather than later and you want to be there when that happens.

Really finally, you want to be pleasant, upbeat, positive and charming. DO NOT WHINE, COMPLAIN OR BITCH. You want people to remember you as that hard working person who is always trying and always fun to be around and willing to do anything. No matter how hard it gets, SMILE

and don’t let them see you cry.

Anonymity not being my strong suit, I figured I'd comment anyway. From your description of the problems, your best bet may be to walk away from this group... if your perceptions are accurate. I suspect there might be more going on here, though without knowing the group, I really can't say for sure. I've run across these problems in a number of groups over the years. While I can't address your group or the problems you've had because I haven't been there, I can address the problem in general.

Without taking sides, I can say that many groups are closed and difficult to get into. Some are impossible, for reasons I don't really understand. With difficult groups, sometimes it's a matter of time... or approach. I've found, in many of these situations, taking the time and making the effort to get involved in the nuts and bolts of the organization and being willing to lend a hand backstage or with the upkeep of the theater can be a big help. There's more to community theater than the glamor of being on stage. Sometimes you have to prove a committment.

Sometimes the group seems closed because of the social dynamic... if you have a bunch of people who have been working together for years, they are going to be more apt to congregate together simply to catch up. No slight is intended, though one may be perceived. Let it roll off and get involved.

As for not getting cast, you can't be right for every part. In addition, some directors are hesitant to take on an unknown in a major role when they can have a known quantity. If that's the case, take the smaller roles and prove your chops. The articles section of this website has a pretty good piece on the Top Ten Reasons You Didn't Get Cast that may offer more insight on this part of your experience.

Of course, if you don't like the people involved, why bother? Community theater is supposed to be fun and part of that fun is enjoying the company of the group. If you're going to be hanging out with a bunch of people you don't like, you could be wasting your time. Try another group.

I realize that this is very difficult for you. I've been there, done that... and moved on sometimes. And a desire to act professionally can sometimes be a drawback in community theater. Some small-minded people perceive that desire as a "superior attitude". Others see it as a lack of committment to the group, especially since many groups depend on a core group willing to put in time to learn the business of community theater and then put in more time running it.

I don't think I've given you anything resembling a true answer, which wasn't my intent. I merely wanted to give you some insight into the group pschology of community theater as I've experienced it, and let you make up your own mind. Whatever you decide, I wish you the best of luck.

Yes, this is a problem in our group, too. It happens on all levels. It causes many hard feelings and has hurt our donation base, our patronage, and the quality of the theatre we are able to present.

I appreciate your replies. With all your advice, I have more of an insight of what is going on and, what I am going to do in the future. I do not know yet if I will immediatly return to that particular group but, I hope that someday I can because, I really do like the people. I just don't fit into the puzzle right now. I know everything will work out for me though. Thanks again....