You have my sympathy and empathy. The same thing has happened to me (as far as losing a part to someone who didn't even audition, although I did get another part in the show).

I did stay with the show, however, met some wonderful people, got a good response with the part I did play, and even enjoyed the audience's response to the role and the wonderful lines I got to deliver.

Welcome to the wacky world of theatre where a director's whims and wheedlings sometimes are a burden to bear.  While the aforementioned play made me very cautious when working with that director (which we have done many times since, often with great results), I've got some good memories, lessons, and contacts from the experience.

Now you know why actors have to have thick skins, and must try constantly not to have thick heads.

Enjoy and  survive.

Very unfair and totally innappropriate for a community theatre production.

There are far too many people out there that behave in community theatre as though it were professional theatre. (I would imagine most who are guilty of this are those who are bitter that they never made it professional.) There is a reason why it is called community theatre, and pre-casting really should not take place unless there are literally not enough people auditioning to cover every role in the play being produced.

Different strokes indeed.

There is something very improper with pre-casting in the community level, if you bother having auditions at all. It is in very bad form, and shows no desire to be truly community based. If people want to cast their friends and such, they really should foot the bill themselves and rent a hall. Otherwise, why put on the charade to call it community theatre? What community, other than the director's personal circle, is being served by that?

That to me is no different than announcing community theatre auditions, and casting a show, only to provide free meals to the person with the most lines, at the expense of the theatre, or something like that. It is pandering and catering, and it should not be done. People pay money to see community based actors on the stage, not to see who the favorites of John Q. Director are, without giving anyone else a shot.

Those are the sort of things, it seems to me, that turn people away from trying theatre. They know they can never see their name in lights in New York or something, and yet they get treated just as much like a piece of garbage in Sioux City, Iowa, or whatever community theatre area it happens to be.

Announce your intentions from the beginning, at the amateur level. If you do not, and let people audition, you do not have any respect for the community part of the "community theatre."

Community theatre should be equitable, or it just should not call itself such.

Granted.

The OP didn't say one word about precasting.  That's another topic.

Consider that Theatrebrat, no matter how talented she is, may have been simply wrong for the role, at least as the director envisions it.

Ty, haven't you ever heard one of the most famous phrases in the theatre?  Namely:

"That was the best audition we'll ever see for that role.  Too bad we can't use her."

Are you suggesting that the people who audition should be cast, regardless of their talent, availability, suitability for the role, and so on?

For example:

Our local theatre is doing A Few Good Men right now.  Let's say that I had auditioned for Kaffee.  Some other guy gets cast.  Now, for reasons beyond everyone's control, they have to move him over to play Sam.  Should I automatically be cast as Kaffee?  Would it change your mind if I mentioned that I'm about 20 years too old and at least 75 pounds too heavy to even be considered for the role?  Should the director cast me, just because I auditioned (and I guarantee, I would give a great audition for the role!), or should he look outside the auditions for somebody who could actually be accepted by the audience in the role?

What if I audition for the lead in Fences?  I'm a bit too white to pull that one off.

I understand the concern that the community (of actors) be served by the company.  However, I think the director's responsibility, primarily, is to present the play as best he can.  The director in the OP must have felt s/he couldn't do that with Theatrebrat in Role A.  Now, s/he might be right, or might be wrong.  But I don't think it's inherently wrong to cast someone who didn't audition in preference to someone who did.

Yes, someone who auditions gets points for wanting to do the show.

No, that shouldn't be the only factor.

PS to Theatrebrat:

I do feel bad for you.  I would be mad too.  I have no idea if you're right or wrong for the role; I'm just discussing generalities here.

You'll get 'em next time, kid.

There are far too many people out there that behave in community theatre as though it were professional theatre. (I would imagine most who are guilty of this are those who are bitter that they never made it professional.)

I second Shatcher's comments.

Just because a theater's professional doesn't mean they automatically produce great works.  I've seen some truly wretched professional productions, and I've seen (and occasionally been involved with) some community productions that were truly inspiring and brought an impressive new life to a script.

I've been in the situation as a director where I had to replace someone during rehearsals, and I've always gone with the person who could pick up the role the best.  Sometimes it's been a matter of "promoting" a cast member or auditionee, but sometimes I've gone to someone who, for one reason or another, didn't audition, but was the best actor available to me.  It's a nice concept in theory to "give everyone a chance," but it's a much nicer concept in practice to have a great show.

tristanrobin: I knew there was a reason I liked you!!!

Heres to great art! after all what make a theatre pro? because they pay people? Money isn't everything...it helps but no true artist(of any type) is in it for the money...if they are...is it the $$ they love or the Art? For me its gotta be the art, sometimes there isn't enough $$ in the world to make up for the blood sweat and tears I put in, but somehow the roar of the opening night crowd is always enough!

Wow.... Great post.. Wish you guys hadn't used up all the really good stuff already.. But seriously, like gaffa said, you always precast in your head.  You would be a fool not to. IMHO a board or play reading committee would be crazy not to do a little of that brand of mental math before selecting a show. i.e. "Do we have "THAT" kind of actor avaiable.  Heck, I can't even read a book or play for pleasure without casting it in my head.. But I think the important thing, as many have already mentioned, is to keep an open mind for the talent that walks through the door. Yet again POB14's quote (which I have never heard but will definitely be using in the future) puts in all in perspective.

We have no idea what "math" was being used to make these decisions. And there are always so many variables.  i.e. "Does that group really look like a family.." "Gee that part demands a thin person (fat can be faked)" "Ohhh my god, look at the conflict sheet".. Or in fact, the person may not even have auditioned well. Or may have a history in reliability problems..

Now in no way am I implying any or all of these to be the case in the opening of this post.. But there is no way for us to fathom the director?s mind in a particular case..  And yes, I get way ticked when I think I was better for a part or get bumped by a ringer... But that too is part of the game..

Bottom line that one hopes for in all productions is that the director is ultimately doing what he/she thinks is in the best interest of a quality show.