How Do You Score Your Auditions
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=5315
Printed Date: 5/03/24 at 10:12am
Software Version: Web Wiz Forums 8.05 - http://www.webwizforums.com
Topic: How Do You Score Your Auditions
Posted By: colugino
Subject: How Do You Score Your Auditions
Date Posted: 5/21/12 at 3:30am
Hi all,
I am just looking to get some other director's opinions on how you handle scoring and casting in auditions. My theatre company tries to try and teach our members (primarily kids and teens) what it's really like in the theatre world. What to expect if they move on from our stage to someone else's. I mean, we do explain that EVERY director is different so we can't prepare them for everything.
What I am basically looking for is others insight on a few questions. If possible, picture the person(s) auditioning in the 16 - 25 age ranges:
1) When you are doing auditions for a show, do you prefer that the people audition with a song from the show you are casting or something different?
2) How strict are you to people coming in and reading from a script (for monologue) and/or sheet music for their song? Meaning do you severely penalize someone who reads from a paper rather than having it memorized?
3) What would you do if someone walked into an audition and said "I don't have a song" or "I don't have a monologue" when you asked for them to have one prepared?
4) Do you penalize repeat actors who use the same monologue / song for every audition?
5) When you cast an actor who has worked with you before (they were constantly late for rehearsals, , do you give them a clean slate and judge just on their audition or do you judge them on their previous behavior? If possible, in 3 parts - a) within a month of working with them, b) within a year of working with them, c) within 2 - 3 years of working with them.
6) When you cast someone in a part and you see them post on Facebook trashing your choice of roles for them and/or trashing your theatre company, how would it affect the cast member in your current show and future shows?
7) Are there any quirks (for lack of a better word) that you have when watching an audition? Example: I worked with a director who could not stand when people would twirl their hair with their finger (unless it was called for) and would deduct a point off the person's score every time she saw someone do it.
Thanks in advance for any insight you can provide. I am hoping to use any responses to show our cast what other directors look for in auditions - I will NOT use anyone's name that responds to this. I much appreciate any responses!
|
Replies:
Posted By: edh915
Date Posted: 5/21/12 at 2:39pm
ANSWERS:
1. I don't want to hear songs from the show - and I will say so in the audition announcement. I do want to hear songs that are similar in style to what's in the show I'm directing. For instance: if I'm auditioning for "Godspell" it's okay to sing something from "Pippin" or "Cats", but don't try giving me something from "Sweeney Todd", "The Sound of Music" or "Die Fledermaus".
2. I don't require songs to be memorized. If I've asked for a monologue, I expect it to be memorized. If the actor has not memorized his/her monologue, I let them read what they brought; but then I ask for it a second time without script, asking to paraphrase as necessary to get through it. I do that because I want to see them act - not just read. I may deduct a few points, but it's not a deal-breaker.
3. I keep songs available for unprepared singers. I give them a choice of five or six, give them time to get comfortable, then ask them to sing. For a monologue, I do as mentioned above in #2 - I give them a monologue, let them study it, then ask them to read it, then paraphrase for meaning. Again, I don't deduct a ton of points - that would only be counter-productive.
4. No penalty - but I might give them a second song to sing, or a second monologue to read. (See procedure in #3.)
5. a, b, and c are all the same answer. I let them read free of any prejudice. If they are suitable for one of the roles and I want to cast them, then I have to face our previous history. At that point, I would tell them my concerns and ask for an explanation of their previous behavior. If the answers are convincing, I will cast the person. I will always give someone a second chance - not always a third chance.
6. All my cast members sign a behavioral expectation agreement. It involves conduct on and off stage, in and out of rehearsals. Everyone is required to be on time, ready to work, and to show mutual respect to cast, crew, theatre group, follow rehearsal space smoking regulations, no drugs, no drinking, no cell phones on during rehearsals, etc., etc., etc. Any deviation subjects that person to dismissal. I once went so far as to dump someone during tech week (there were extraordinary circumstances); and in case of dismissal, it would be highly unlikely that I would work with that person on any future productions.
7. If I see someone doing something (like the hair twirling, nail biting, slouching, the inability to stand still, mumbling, bad posture, etc.), and if it bothers me, I ask the person to stop doing it. It would not be the bad habit that's the deal-breaker, it would be the actor's inability to stop it that would lose them major points. - As for the auditioning process itself, I insist that the people waiting to read remain silent and respectful of the people currently reading. I'm very big on the mutual respect angle.
|
Posted By: jayzehr
Date Posted: 5/21/12 at 4:07pm
Originally posted by colugino
Hi all,
6) When you cast someone in a part and you see them post on Facebook trashing your choice of roles for them and/or trashing your theatre company, how would it affect the cast member in your current show and future shows?
|
Hadn't thought about that before. I don't see any other option besides replacing them ASAP.
|
Posted By: bronco1pat
Date Posted: 5/22/12 at 12:44pm
1) I prefer to see someting different, it shows the actor does their homework and understands what type of show they are auditioning for, although sometimes I have just asked for a song from the show, or the composer (you have to know they can sing Sondheim)
2) Would you come into a job interview underprepared, I believe an audition is just that, while I will allow them to audition, it tells me they don't really care too much about the audition and are not taking it seriously.
3) see above.. but I would just have them cold read and maybe sing happy birthday.. I mean if they just showed up because they came with a friend or just moved to town that is undertandable.
4) Not per se' but I do get bored with actors that I see the same monologue or song from over and over and over
5) I take that into serious consideration, if an actor is consistentaly late I know that if I cast them, that is no going to change, I live by the rule, fool me once shame on you, fool me twice shame on me..
6) I have never had that happen, I think a talk would be in order
7) Every actor espicially in an audition scenario will have their quirks, just watch for them and figure out if it is something that will stick around and if so can you use it.
|
Posted By: Amos Hart
Date Posted: 5/24/12 at 11:44am
1) When you are doing auditions for a show, do you prefer that the people audition with a song from the show you are casting or something different?
I leave that up to the music director.
2) How strict are you to people coming in and reading from a script (for monologue) and/or sheet music for their song? Meaning do you severely penalize someone who reads from a paper rather than having it memorized?
I don't do monologues. I'm looking for what chemistry they have with other people.
3) What would you do if someone walked into an audition and said "I don't have a song" or "I don't have a monologue" when you asked for them to have one prepared?
The music director would have them sing something to check their voice. I don't do monologues, but I always post the sides online - so if it's obvious they didn't take the time to read them in advance, it counts against them.
4) Do you penalize repeat actors who use the same monologue / song for every audition?
I couldn't care less. I just want to see if they're talented.
5) When you cast an actor who has worked with you before (they were constantly late for rehearsals, , do you give them a clean slate and judge just on their audition or do you judge them on their previous behavior? If possible, in 3 parts - a) within a month of working with them, b) within a year of working with them, c) within 2 - 3 years of working with them.
Never say never. My preference would be to cast somebody who shows up on time. But if there's a shortage of people and I have to use them (and if they're good), I will. They would, however, be given a limit on how many times they can show up late before I fire them.
6) When you cast someone in a part and you see them post on Facebook trashing your choice of roles for them and/or trashing your theatre company, how would it affect the cast member in your current show and future shows?
I would speak to them about the non-wisdom of doing this. Morale is important. If they didn't shape up, I would refrain from using them again. If they seriously affected the progress of the show, I would fire them.
7) Are there any quirks (for lack of a better word) that you have when watching an audition? Example: I worked with a director who could not stand when people would twirl their hair with their finger (unless it was called for) and would deduct a point off the person's score every time she saw someone do it.
Well, first off, I don't do Scores or Points. I look for talent and chemistry. But to answer the question: I once had an actor who was really surprised that I cast her because I hadn't looked at her while she was reading. I didn't even realize I did this. But I don't need more than a glance at actors when they are up there. I was listening to her intently. So don't get thrown by something like that.
|
Posted By: Amos Hart
Date Posted: 5/24/12 at 11:54am
|
Whoops -- misinterpreted the "quirks" question.
People with long hair: keep it out of your face. If I am looking at you, I want to see your face.
Project. I want to see energy, and the physical act of strengthening your volume informs your energy.
Don't touch anybody else or kiss them or have sex with them, even if the sides call for it. You may be lifelong friends with the person you're acting with, but I don't necessarily know that and I become concerned for the personal space of the person you're acting with. That takes you out of the moment.
|
Posted By: colugino
Date Posted: 6/20/12 at 10:30pm
|
Thanks for the replies! I appreciate you taking the time to answer these. Will come in handy next time we do a workshop with our group!
|
Posted By: colugino
Date Posted: 6/20/12 at 10:38pm
|
Also to add, glad to see that I am on the same page with most of what was responded and the rest gave me some thinking to do about future rehearsals! Thank you all again!
|
Posted By: avcastner
Date Posted: 11/12/12 at 7:52pm
1) Either, but whatever it is, it MUST BE WELL-PREPARED--not just on key, but bringing out the emotion of the song. Whatever they choose to sing must have emotional moments that lends to the character they are auditioning for.
2) Mmm. If I want monologues, I want them memorized. If they can't memorize a page of monologue, how can I be sure they can memorize an entire script? Also, those who memorize their audition pieces generally have a better ability to become the character and act better overall--of course, as you memorize something, it becomes part of you. For sides, if they have had it at least a few days, I want it memorized. If it's a cold reading, of course not.
3) "I assume you are trying out for one of the bit parts then, or would you prefer a non-singing, non-speaking role?"
4) If the monologue is suitable for the character(s) he is auditioning for, no. But if he uses the same monologue to audition for Hamlet and Peter Pan, there is a problem called laziness.
5) If I don't know he is auditioning before the auditions, I will not cast him in a role that requires attendance at every rehearsal. I will also tell him that this is one chance to prove to me that he can be responsible and be on time. If punctuality continues to be a problem, he won't be cast at all next time.
6) First, I would contact the cast member after he has cooled off. He is upset that he didn't get the role he wanted--understandable--and still to immature to keep it off a public forum. He's looking for commiseration and pity from his frineds. Once his ire has died down, I would ask him if there is a problem with his being loyal to the company he has just joined. If so, I would let him go immediately, so his morale does not damage the rest of the cast.
7) If I'm doing open auditions (like the last few) where the auditionees all got to watch each other audition, then I really have a problem with people talking while the audition is progressing or I'm writing comments. I also have a problem with people coming up to my desk to see what I'm writing. Privacy people!
-------------
|
|