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chelserin
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bullet Posted: 11/25/08 at 7:41pm
When the props are set, do not touch unless it is your prop and you are taking it onstage. When you are done with a prop put it back in it's place.
Always check your own props are set. Don't just "trust" that they'll be there. (I've got a thing about props. When in "Fantastiks" I was the mute, one night I was running late and my friend set my props for me. During the show I looked in and didn't see one I would need in the next scene. Internal freak out, had to figure out a way to get off stage to get it. Turns out it was in the trunk, but not were I usually put it. Moral: I was never late again and always made sure to check my own props. Now I'm known at our theatre as the prop nazi. "No prop for you!")
 
When auditioning, if the director asks you to try something different with a reading, do it. They are not only looking at your acting, but if you can take direction.
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Linda S
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bullet Posted: 11/26/08 at 12:59pm
I've always wanted to put up a big sign that reads,"Your audition starts the minute you walk through  the door." I just didn't cast someone who gave a brilliant audition because she was condesending and rude to everyone but me. I wonder if she thought I couldn't see or hear her talking to other people, or that they wouldn't say something?
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pdavis69
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bullet Posted: 11/26/08 at 1:38pm
One suggestion that I always tell people who are not well known in the group for which you are auditioning is to wear the same outfit if there are more than one audition date.  This helps the casting group (who may not know you) remember who you are from night to night.  Of course if you really stank the first night, maybe you should change.
Patrick L. Davis
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GElliott
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bullet Posted: 11/28/08 at 5:58pm

One major one for me is actor’s nervousness and bad attitudes.  Sometimes actors come into auditions with a chip on their shoulder.  I think they feel like they are being negatively criticized.  I never believed it from theatre veterans when they would tell me this, but the directors and producers DO want you to do well.  They are sitting there cheering you on, hoping for your best.  Once I got on the other side of that table it would kill me to see actors come in with a self defeatist attitude.  On the other hand, when actors come in with a smile, have confidence, and genuinely have a good time, those are the guys you want to cast and work with.  Remember, you’re not only auditioning for the part in the show, you are asking to be hired to work with the company.  If you come off as being moody or having an attitude, you are probably not going to get the part. 

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23cal
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bullet Posted: 1/04/09 at 9:17am
One of the things considered good etiquette at our theatre is that EVERYBODY participates in set srike and theater clean-up after a show.  Very bad form to put yourself above doing your fair share;  clean-up is just part of the package.
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Nikki Adams
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bullet Posted: 1/09/09 at 8:16pm
As for how to behave at rehearsals ... Here's something I've used over and over and over again, every show I direct has this as the cornerstone of the first rehearsal. Actors in my area know my by reputation, which is pretty good, so I have that going for me as far as their listening as I read this. The vibe in the room sometimes goes a little quiet (and gets quieter when I assign their required reading, etc!), but I can tell you that there has only been one time in a dozen shows, since using this document, that I had any issues that it addresses. I had one actor under-directing me in one production, and I did exactly what I promised I would do, and the under-direction stopped dead with no attitude repercussions from the actor in question. It works! If anyone wants a soft copy of this, drop me an email and I'll send it right to you! president@bcfootlighters.com

(If anybody comes up with something I missed, drop me a line, so I can add it!)


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... “GREAT EXPECTATIONS”...

 

TO THE CAST: An ounce of prevention equals a pound of cure, so here's an outline of what we'll expect from you and what you can expect from us.

 

Come to every rehearsal you are scheduled for prepared to work - physically, mentally and emotionally. Bring your script and bring a pencil. Write down all of your blocking and the notes we give you after rehearsals.

 

Be prompt. We will start without you if you are late. If you know you will be late or must unavoidably miss a rehearsal, contact me. If you are consistently late or absent we may not be able to continue to work together.

 

When we’ve stopped a rehearsal to fix a line or a piece of business or blocking, begin again by repeating the cue line or lines just before the one(s) corrected so the change can be rehearsed.

 

When you are given blocking it is meant to feel and look natural. Feel free to counter cross and dress the stage without being told!

 

Stay in character throughout rehearsals. If you forget a line, remain in character and call "line". Lines will not be prompted unless you call for it.

 

If you are given a direction that you do not understand, stop us and ASK. It's imperative that you are comfortable and feel an ownership of your blocking and business.

 

Rehearsals are a safe place for you to try ANYTHING and EVERYTHING. We don't expect a finished product until the end of the last performance, so make and try lots of choices in the rehearsal process, and when we open, don't "can it" ... keep it fresh. Each audience sees the show for the first time - you have to play it each time as though you've never played it before.

 

NEVER give direction to another actor. If you feel a scene can be improved we are always happy to listen to your suggestions after rehearsal or on a break. Similarly, if we give you movement or change a direction, please don't debate it on the spot. If you have a question that we can address quickly, ask it immediately. If you have an in-depth question, or you disagree, please wait until after rehearsal, on a break, or before the next rehearsal.

 

We want your input, and your ideas. They are important to the production. We will spend time at several rehearsals discussing the show and characterization. If you feel we aren't doing enough of that, we want to know!

 

Learn your lines precisely and give cues consistently. Do NOT paraphrase, make contractions where there are none; DO pay attention to periods, commas, exclamations and ... . The author has given us great words ... let's use his! (You'll find that I'm rather obsessive about this, so we'll save time if you comply early on!)

 

If you are currently working on other shows, please DO NOT work on them during any rehearsal or performance of this show. Your complete focus is expected for each rehearsal and each performance!

 

Please don’t invite any friends or family to watch rehearsals unless you've cleared it with the director, and of course, don’t EVER have ANY friends or family backstage before or during a performance.

 

 

Protect your health, particularly if you are overtired. DO NOT come to rehearsal if you are running a fever above 100 degrees. (But call so we know you're not coming!) Of course, we'll expect you at performances even if you're dying!

 

Always acknowledge fellow actors and production staff when you feel they've gone out of their way for you. Remember that you're not the only one who needs positive reinforcement.

 

SAY THANK YOU loudly and often to your crew. Without them you'd be naked, propless and in the dark on a flat, bare, soundless stage!

 

Don't EVER gossip or spread rumors about other cast members, the production staff or anyone else involved in this show. Join us in being dedicated to creating an ensemble. Good productions demand team work: consider everyone as part of our team.

 

Follow the rules of the Box Office when purchasing/reserving tickets for friends and family. Don't ask for special treatment because you’re in the cast!

 

FROM YOUR PRODUCTION STAFF YOU CAN EXPECT:

 

Respect for your time within the constraints of the rehearsal schedule.

 

Respect for your talent.

 

We will be prepared and on time for rehearsals.

 

Your Team will be available to you for whatever you may need, during rehearsals and any other time you may need us. Don’t be afraid to ask questions, or for feedback, about anything. Feel free to email us or call us at anytime.

 

If you feel you need extra one-on-one time to run lines, for character development, to work on difficult monologues, please let us know. We’ll do whatever we can to reasonably accommodate you.

 

You can expect your props, costumes, and tech will work with you and for you, not against you. Don't be shy about telling us if something is NOT working. This extends to characterization and blocking.

 

 

We will work best when we work together to create excellence in theatre.

You can count as much on our dedication as we are counting on yours!

 

 


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Nyria
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bullet Posted: 1/13/09 at 1:36am
Do not eat the props - especially if they have been covered in glaze. ;) 
 
And to repeat the last post - DO NOT GIVE NOTES TO OTHER ACTORS!!!!!
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Nikki Adams
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bullet Posted: 1/14/09 at 2:15pm
Of all of the things that make me happily nuts when I direct it's under-directing by other actors. Does not make me happily nuts. Makes me downright angry. The reason that made it into my Great Expectations is that I found out after a play closed that there was an actor in the cast that was giving notes to other actors IN BLACKOUTS AND IN BETWEEN SCENES!!! Because I'd never talked about under-directing, none of the other actors knew what to do, so they just took it and tried to ignore it.

During one of the last plays I directed, when I did use GE, I had an actor come to me in private to tell me there was an actor giving them character notes after rehearsals. I went to the under-directing actor and told her in no uncertain terms that, as warned in our first rehearsal, I would not tolerate it, period. I allow plenty of rehearsal time for character work and group talk, and always encourage suggestions from every actor about anything in the play, and told this actor that if they had something to say they felt would improve the work, I wanted to hear it - but only in group discussions or in private to me directly.

The under-directing stopped, the actor in question treated me with much more respect, and all of the other actors in the play immediately relaxed. It was a real lesson for me - and I'll never direct another play without talking about this specific issue in the first rehearsal.

Actors - ugh! (Just kidding, I'm an actor too!)




Originally posted by Nyria

Do not eat the props - especially if they have been covered in glaze. ;) 
 
And to repeat the last post - DO NOT GIVE NOTES TO OTHER ACTORS!!!!!
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SpenceKenzer
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bullet Posted: 2/12/09 at 2:07pm
Have a 1-page resume or CV that you can leave with the director and/or stage manager, that briefly outlines your recent and/or notable theatrical experiences and training, if any.
(If you don't know what should go on one, find someone who has good one and mimic theirs.)

If you can afford it, have a black-and-white 8x10 inch head shot photo that you can leave with the director and/or stage manager.

In fact, have your head shot printed on the back of your CV!  One sheet only -- saves trees!

I know that some CT's don't require these things from auditioners.  That's fine.  However, the director and/or stage manager is more likely to remember you if you create a bit of an "I'm eagerly serious about this" impression by providing a CV and head shot.

If your audition is set to start at a fixed time, BE THERE 15 MINUTES EARLY.  Late-comers leave a very bad first impression!
A wise SM once told me:  If you're 15 minutes early, you're on time.  If you're on time, you're LATE!

If you know the part for which you're auditioning, dress for the part as much as you can.

At the most basic level, I think that what a director wants most is to hear your voice (volume, timbre), and see your face, to find a combination of voices and faces that fit the director's concept of the cast.  If you can demonstrate acting skill or performance varitety, so much the better.

As a CT director, given amateur actors, I always remind myself:
ALWAYS presume that what I get from an auditioner at the audition MAY BE all I'm going to get during the performance
SO if I cast someone I'd better be minimally satisfied that his/her audition could be a passable final product.

--------------------<*>
Saludos, my dahlinks, and you know who you are ... !
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whitebat
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bullet Posted: 2/23/09 at 9:54pm
Don't audition at all if you have serious doubts that you'll be available for the show (working 2 jobs, basketball or softball is more important...). 
 
If you have to drop out of the show for some reason after you've been cast or after rehearsals start, let the director know ASAP.  CT's usually don't have understudies.
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