How to conduct auditions?
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Acting
Forum Discription: Q&A about auditions, character development and other aspects of the craft
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=3090
Printed Date: 5/16/24 at 1:55am
Software Version: Web Wiz Forums 8.05 - http://www.webwizforums.com
Topic: How to conduct auditions?
Posted By: Firace
Subject: How to conduct auditions?
Date Posted: 4/01/08 at 3:08pm
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Ok all my homies out there. I need your help. I am about to launch a musical I just wrote. Since I am a neophyte at this..HELP!!!!!
I will tell you what I intend on doing and let me have it whether or not you think it is a good idea...be brutally honest!!! Here goes:
I am going to put the audition times and place on our email as well as local papers. Giving the details of what I am looking for, asking people to bring a song to perform, a script to recite and making it by appointment only. They can call my number and I will call them back and let them know what time to be at the audition.
I am giving each performer a half hour to audition which includes an overview of the play.
The audition if possible is going to be held at this real artsy coffee shop. The guy is letting us use it free to drum up business. Please give me any other advice you can think of... |
Replies:
Posted By: Nanette
Date Posted: 4/01/08 at 3:20pm
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You might want to also ask them to bring a resume and headshot along. Be sure, too, to specifiy what time of monologue you want (dramatic/comedic/classic/comtemporary) and length.
Good luck! ------------- In a world of margarine, be butter! |
Posted By: jayzehr
Date Posted: 4/01/08 at 5:51pm
| Is the coffee shop going to be open for business while you're doing this? If I was thinking of auditioning for something that would make me feel uncomfortable. |
Posted By: B-M-D
Date Posted: 4/01/08 at 8:42pm
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Ok an audition in a public location with customers coming and going? If I'm understanding this correctly then this is not very considerate towards the auditioners. And do you really need to give each auditioner a 1/2 hour to determine if they're right or not. Way too much time devoted to each person. So if you have 20 people audition that's 10 hours!!!
And as a personal preferance I don't like private auditions or auditions closed to other auditioners. ------------- BD 
"Dying is easy, comedy is hard." |
Posted By: Carol
Date Posted: 4/01/08 at 11:57pm
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If you are looking to get people out for auditions who have experience with other CTs, you also have to look at how they conduct auditions.
For example, I know that in this area, no other CT asks people to come with a monologue prepared. Almost all the CTs use sides from the script for auditions for straight acting parts. For musicals, they may request a song, but it is often done acapella. If we asked for monologues, or a prepared script, the turnout would be VERY small.
But whatever you do with actors, whether sides, or monologues, try to direct them. Ask them to do it differently - let them know that what you are asking may not be the best way to do it, but you REALLY need to see if they can take direction.
The play that I am STILL directing ( cast in October, performance in Feb, selected for festival in March, and won festival and will be perfoming in May) has a very young, relatively inexperienced lead actress ( 18). At the first audition she didn't read the part as well as another girl. BUT I watched how each took direction. The girl I cast took direction - her performance improved and continued to improve. She just won best actress in Western Ontario Drama League with only her second major role - because she can listen, and work on things - she thinks, she makes it her own. All of this did not come out in just a cold reading. Find out if your cast can grow!!
As a second aside, I'm not in favour of public auditions. I don't think that you want an audience, since you are looking to ask people to take chances, move to an uncomfortable space. I'm also not in favour of public rehearsals for the same reason. I'm actually OK with having other auditioners there, but not just general public or a peanut gallery - which often happens with community theatre in this area.
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Posted By: max_fischer
Date Posted: 4/02/08 at 12:33am
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I am a new director, but I just held audtions and felt they went fairly well. I am also an actor and know what I like at audtions. If you want a lot of people to show up, you hold an open call with requirements. Such as, be prepared to sing, dance, ect. It really depends on what kind of people you are trying to attract. It almost sounds like you are looking for professional types rather than community theatre people. Most non professionals do not have headshots, monologues, or songs prepared. Professionals do. If you are willing to teach a song or have them move regardless, that is quite different. Since it is a musical your first order should be to see if they can sing. If there is dancing and movement, this should be held as a group audtion to see how well they pick up steps or if they have experience. Having sides prepared is essential for non professional work. Monologues are ok, but can be extremely tedious, and time consuming. Having a song prepared is ok, but I think you will attract more people if you have an accompanist and some familiar show tunes. Also, do you have time for callbacks? Just my thoughts. max |
Posted By: jayzehr
Date Posted: 4/02/08 at 2:12am
Same here. |
Posted By: Nanette
Date Posted: 4/02/08 at 9:28am
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I beg to differ ... I live in a very small town (less than 500), and the fewest we've had turn out for an audition is 20 kids. For those who don't have something prepared I always have sides available, but it's often painful to watch them try and read, so I'll often have them recite poetry or tell a story.
As far as the headshot goes, it doesn't have to be professionally done. A photograph works well. I'll also bring along a digital camera and take pix of those who didn't bring a photo.
Same goes for the resume ... I'll have blank forms available for them to complete if they don't have something prepared.
I've never had a complaint ... yet! ;) ------------- In a world of margarine, be butter! |
Posted By: Gaafa
Date Posted: 4/02/08 at 10:24am
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Actually I never require a monologue, party piece or anything prepared. Other than getting them to fill out the normal information sheet.
I posted this article sometime ago;-
Audition the actor, not the part;- http://www.aact.org/documents/AUD1.pdf - http://www.aact.org/documents/AUD1.pdf Which is more in line with what I do & what we are about.
This is even for musicals & large cast productions.
I take all that has fronted up on mass or in large groups.
With smaller shows I audition them all together, or ask each in turn to enter to DSC & state thier name & exit the stage, I glean a lot from this!
I hate the allotted time slots & don't follow the usual formula's of most other groups, with ridged procedures, thought up to mimic proeatre.
------------- Joe Western Gondawandaland turn right @ Perth. Hear the light & see the sound. Toi Toi Toi Chookas {{"chook [chicken] it is"} May you always play to a full house} |
Posted By: pdavis69
Date Posted: 4/02/08 at 10:24am
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I dislike private auditions because I only get to see what that one person is doing. I like to see how they interact with other potential cast members. I have seen instances where a person one on one does very well however they do not mesh as well as someone else. I realy need to see them reading with someone else. I want married characters to work well together. ------------- Patrick L. Davis Fort Findlay Playhouse |
Posted By: Linda S
Date Posted: 4/02/08 at 10:36am
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I agree that a half hour is a really long time for a private audition. I do work at theater that has always done private auditions. For that theater it is expected that there will be prepared music and memorized monologues. I do ten minutes which seems to be fine. Getting people to audition is not a problem. For call backs I do have everyone come at the same time, and I let them know how long I think they are going to be there.
At the smaller theaters I work at, I do open auditions. I ask them to bring a prepared song and I have sides available. I give them plenty of time to go over the sides and I make it as informal and fun as possile. I do get a lot of first time auditioners at the smaller theaters. If they don't have a song prepared, I have them sing happy birthday. I run callbacks the same way in both places.
I am going to side with those people who think that holding auditions in a public place is bad idea.
Linda
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Posted By: jayzehr
Date Posted: 4/02/08 at 12:48pm
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Posted By: bbpchick
Date Posted: 4/02/08 at 2:12pm
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We have group auditions. As was said before, I also want to see how people interact with each other. Another thing to think about in Community Theater is that you do get a lot of first timers, and if they cannot get up on stage with people they might be acting with for auditions, how are they going to get up on stage in front of an audience? We don't ask for resumes or head shots, we have a basic audition form to fill out and then take a picture of them at the audition. We don't do musicals very often, so it's mostly cold reading for most of our plays. However if someone does bring a prepared monologue, we let them do it. ------------- Kendra http://www.murphysblackbartplayer.com - www.murphysblackbartplayers.com You are NEVER too old to dress up! |
Posted By: Nanette
Date Posted: 4/02/08 at 5:27pm
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We're a children's theatre, so we only get the kiddies. However, we've had a lot of requests to open up auditions to the adults, too. I hesitate to do so, though, as I think kids are easier to work with than adults most of the time. LOL ------------- In a world of margarine, be butter! |
Posted By: whitebat
Date Posted: 4/05/08 at 10:54pm
| When we auditioned "Christmas Carol", we had board members act as "readers", and read the other role(s) in the scene one actor was auditioning for. If we had enough actors (and we never do), we might do a callback, and see how promising actors work together. For a musical, the actor is expected to bring a song and sing a capella (usually they don't sing as well with piano, although we had an accompanist). I think having someone to play off (reader) helped people audition, and the director did not have to focus on more than one person at a time (our directors are not very experienced). Our only dud casting choice was an actress who could not project (we auditioned in a rehearsal hall). |
Posted By: Firace
Date Posted: 4/08/08 at 12:25pm
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I would like to pick up on your comments,,,what are sides? So accompanist is for the people who do not want to sing acapella? There is no dance.
I asume by call backs you mean have them back a second time? That was not the intent as we would make up our mind after all auditions are complete and call them on the phone to let them know...
not a good idea???
THANKS!!!
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Posted By: Linda S
Date Posted: 4/08/08 at 2:42pm
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Sides are cuttings from the script. They should show the character's range. I usually have two scenes for each character. One where they control the scene and one where they support the scene. I have the sides available for actors to look at before auditons start.
I would hold off on making a decision about callbacks until after you have seen everyone audition. You might need to see some of the actors together. In thirty years I have never cast without having callbacks. I truly believe that the hardest thing that I do is audition and cast a show. If I get the cast right the rest of my job is easy. My advice is take your time and make sure you are making the best decision.
I have never had people audition for a musical without providing an accompanist. Sometimes they choose to sing a capella. If you are going to have everyone sing a capella, make sure they know that ahead of time.
Good luck with your auditions.
Linda
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Posted By: jayzehr
Date Posted: 4/08/08 at 4:04pm
| I would guess that if you ask someone to sing with an accompanist you'll find out more about their musical training and abilities than if you just have them sing a capella--such as their ability to stay in time with accompaniment. |
Posted By: Topper
Date Posted: 4/08/08 at 4:07pm
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In my opinion, Callbacks are indispensable.
At first read, actors can be nervous, distracted, etc. Maybe they had trouble finding the theater or parking and didn't get to spend as much time reading the audition piece. Maybe they were frazzled from a long day at work, or just had a fight with their spouse -- maybe they forgot their reading glasses or their medication. There are a million reasons why a single audition isn't a satisfactory example of an actor's abilities. A callback gives those concerned a second chance. Plus, the idea is not to call back EVERYBODY (that would be a waste of time), but only the strongest contenders for the meatiest roles. In my city, we are never short for actors so the first audition is merely to winnow out those that just aren't right for the script -- too old, too young, too tall, too short -- whatever. It also tends to weed out the wannabe's and loose screws who are enamored with the "glamour" of acting, but don't realize it takes LOTS of rehearsal and hard work to get there. ("You mean I have to come to EVERY rehearsal?!" and "I don't want a costume that will make me look ugly!" are two favorite quotes overheard at the AUDITION!) Callbacks also give the director a chance to mix and match actors -- to see who has "chemistry" with each other; to see who can work together without overpowering each other; and more simply, who just "looks right" together. It also gives the director a chance to see which actors can take direction -- a skill that is immensely desired. Musical auditions are to separate the "Actors who sing" from the "Singers who act" and, frankly, to learn who does neither. In many of the theaters in my town (both community and professional) it is not uncommon to hold the singing auditions FIRST. The actors who CAN'T sing aren't even called back to read for parts. This is to insure the entire cast is populated with strong voices. Many actors (myself included) don't even bother auditioning for musicals because they know they'll never it make it past the first cut. I agree with Linda S. Casting is the hardest part of a show. It's like buying seeds through the mail. The package looks right and they promise to deliver on time, but you never know what's gonna sprout until the harvest. ------------- "None of us really grow up. All we ever do is learn how to behave in public." -- Keith Johnstone |
Posted By: Firace
Date Posted: 4/11/08 at 12:12pm
| Thank you all for the advice...You really helped me alot and I feel I can now move forward.... |
Posted By: MacThespian
Date Posted: 5/19/08 at 12:21am
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I can't imagine asking someone to sing a cappella in an audition for a musical. You get absolutely no idea if they can sing on key, which to my mind is essential. You also have little idea about whether they have a decent sense of timing; there's a lot more liberty they can take when they don't have to interact with an accompanist.
You also have to watch the range of the singer, and where his/her voice lies. When I do specify a song, I specify it for each role in the show. On one occasion, we had an auditionee who learned about the show too late to learn the given song, so we just let her sing a song of her own choosing. She had a nice voice, and delivered it well, and was cast in the show. It was only when we well into rehearsals that we realized her two main arias lay right around her break; had we realized that at auditions, we likely would have cast someone else in the role. Personally, I dislike cattle call auditions, though I agree that this seems to bring out the most people. It's harder for me to concentrate on what people can do, and if there are a lot of people I'm not familiar with it becomes more difficult for me to remember them after the auditions. I prefer to do small groups by appointment--about 6 to 10 people in an hour and a half slot. This gives sufficient time for dancing, singing, and acting segments of the audition, and also gives me sufficient time to pay attention to each auditionee. |