AUDITION TIPS
by Al Franklin
First let me say that, in my opinion, the audition process as we know and practice it, is among the worst possible ways to cast a play. Spending these few minutes with an actor, inviting them to prove that they are the right person for a particular role, is a ridiculously inadequate method of gleaning whether or not this person will have the desired overall communication skills, the intuitive understanding of the character’s goals, the empathy and energy needed to establish this character and whether or not the actor will be able to work effectively with the director and the other actors cast in the play. If we’re talking about a musical you can add the difficulties of singing, dancing, performance style and a completely different kind of energy. Given my belief that at least 75% of a director’s job is in the casting of a show, how then can a director ever do a good job?
We all know that directors do accomplish this task, and occasionally accomplish it well. When I hold auditions I try desperately to open my eyes and ears to each actor’s ability, and to open my mind to every possible tell tale clue as to this particular actor’s effort and process. For me, casting is a balance of observation and intuition. Sometimes I am less effective, sometimes more, but the following items are what I look for when casting a show.
*
BE FAMILIAR WITH THE PLAY.* Go to the library, borrow the script from a friend, see the movie, even buy the script. A theatre library in your home will only add to the richness of your life. Do whatever it takes, but make the effort and know the play. You are about to spend the next six to eight weeks focused on every nook and cranny of this play and this character. Spend a couple of hours knowing what you are committing to before you arrive.*
USE STRONG TECHNICAL SKILLS.* I must be able to hear and understand you. Your voice must be strong and your enunciation and diction must be clear. If you choose to use an accent, be sure it sounds effortless to me. A poor accent detracts from your audition. Do not simply read the words from the page, rather, say them like you are speaking to someone; like you are a living person bringing these words to life. Do not stand and read to me. People are vital, physical beings. Actions are connected to words and emotions. Do not simply pace back and forth, but use your body to help communicate and underline your feelings. We all do this in life, and in an effective audition you must use every tool available to you. The actors who are animated, without overdoing it, are the most interesting to watch.*
BE WILLING TO RISK.* Take risks and make choices in your audition; whatever character you are reading must be a fully rounded human being. This character has moods, experiences and a point of view. Each character is unique. You must be able to decide for yourself what the emotional basis is for the scene you are reading. What was the character doing prior to this scene? What is the character trying to accomplish in the scene? Who is this character interacting with and what is their relationship? And how do all these things impact the way you read the scene? The choices you make do not have to be the choices you would use in a production of the play, but if you give nothing emotionally, how is the director supposed to know that you can? Take the risk and develop your character.*
BE FLEXIBLE.* If you have read the script thoroughly and have made your emotional choices for the scene, but cannot make adjustments when requested by the director, you are basically undirectable. An undirectable actor is not castable. So do your homework, make your choices, and then open up. Listen carefully to the director. Keep your mind and your imagination active. And continue to take risks.*
BE POSITIVE.* This is perhaps the most difficult issue because it crosses so many boundaries. Your reading should have a positive ring and direction to it. Rather than making choices that would bring your character down, find ways to bring it up. Even the most tragic scenes of the most tragic play need to be theatrical and positive. Also, you need to show a positive attitude toward your work in the audition, toward any comments the director might make, and toward your fellow actors. All this adds up to my intuitive understanding of how you might work in an ensemble of actors in a play.*
UNDERSTAND THE PROCESS.* The bottom line of casting a play is that you are not the only actor being considered for a particular role. In every audition there are excellent actors who do not get cast in the play. Because a play has a set number of characters, only so many actors can be cast. Further, not every actor can effectively play every character, so no matter how badly you want be in the play or think you are right for it, you can’t do them all. It is helpful for actors to understand that casting a play is a relative process. Once I’ve determined (in my opinion) who the most qualified actors are for a play, I must mix and match, eliminating even qualified actors, until I have a complete cast. This process is often the most difficult for me and the one in which my opinion and intuition are hardest at work. The greatest understanding an actor can have is that casting is an ongoing process; if you are not cast in this play, come to the next audition. I will be more familiar with your work and your chances of being cast are improved. Especially if you are one of those wonderful actors I’ve had to eliminate for one reason or another from some previous play.*
DON’T BE A THEATRE STRANGER.* If you want to act, then act. Go anywhere and everywhere to audition. Take classes. Attend performances. Read scripts. Improve yourself constantly. Accept any role you are offered. A small role in a good play can teach you much about your craft. And come to every audition. It will deepen your understanding of what a good audition is, and open your spirit to possibilities for yourself. The art of performance is like any other art form, it is only achieved through the doing of it. Practice your craft in your high school, your church, your college, other community theatres, anywhere and everywhere. And don’t sit around waiting for "the perfect role." You will only be disappointed when you don’t get it.Finally, contact local theatres and ask them about their casting process. Each one is a little different and, as an actor, you should familiarize yourself with all of us. At the Fort Wayne Fort Wayne Civic Theatre you can get on a mailing list of actors simply by asking. A notice of casting information will be mailed to you prior to each scheduled audition. You will be asked to call the theatre to set an audition appointment. And usually scripts are available for you to borrow.
So good luck in the future. I look forward to seeing you at the next audition!
Click to subscribe to greenroom
