Why does a performer have to audition? Because, at least for now, no one has come up with a better way to cast. Michael Shurtleff, a renowned casting director and teacher offers valuable insights in his book Audition: Everything on Actor Needs to Know to Get the Part. Mr. Shurtleff noted that "Being an actor takes 24 hours of each day, and over half of that is spent in trying to get a job rather than in performing it." Preparation for getting the job is what his book is about.
Auditions for plays are usually held on a bare stage in an empty theatre, with the director, producer, casting director, choreographer, dramatist, or whoever else is concerned sitting out front, usually in the dark. Probably not all these people will be present for the first reading. When the field of competition is narrowed down, those actors still in contention are called back, sometimes several times.
Most often you will be asked to read opposite the stage manager or an assistant or someone not even remotely similar to the character called for in the script. Sometimes (but not often) you will be asked to read "cold" (with no opportunity to look at the script in advance). Don't hesitate to ask-politely but firmly-for a chance to study the scene privately for a few minutes before reading for any part.
These conditions are generally true of readings for television and films as well, except that, in all probability, your audition will take place in the office of the casting director, with the participants seated in chairs, rather than standing in the center of a bare stage. In the old days of motion pictures, screen tests were common practice-that is, the person under consideration would actually be filmed playing a scene with other actors (complete with sets, props, and costumes) and the film would be seen by the producer and director in the studio projection room before the part was cast. There are three reasons why this is seldom done anymore: it is too expensive; with the current realistic trend in films, physical features that photograph flawlessly are no longer a requisite, and actors whose abilities are unknown are not usually engaged for important parts in films or television.
When you are called to audition and are not given a script or other prepared material, plan to use interesting or new material. Emily's speeches from Our Town and the death scene from St. Joan both have been done before. Keep it new, keep it simple, and keep away from Shakespeare-at least for auditioning.
Casting directors get bored hearing the same material over and over. One prominent casting director has said that as a rule of thumb if you know two other people who are doing the same monologue as you- don't do it.
It is suggested, too, that the performer announce the passage and cite the play being used for the audition. One casting director recently admitted that sometimes he is so busy trying to figure out where the monologue is from that he doesn't pay much attention to how it is being performed.
When you audition with prepared material, here are some hints to consider. Take your time; relax. Don't let nerves get the best of you and force you to speed up the pace. There's nothing as effective as a pause. Listen to the person you are reading with and make eye contact whenever possible.
If you are auditioning for a musical, know the key you sing in so that you can pass along that information to the accompanist. Here, too, try to use new or original material. Have two numbers prepared, in case you are lucky enough to be given time for two. One should be a "belt" selection and the other a ballad, both designed to show your versatility and range.
Back Stage, the New York casting newspaper, interviewed the casting directors of Broadway's leading musicals and published their advice. This is a summary of what they had to say:
If possible, be familiar with the show and which specific role you might be right for. If it's a revival, at least listen to the cast album, if there is one.
Don't go to an audition for a role that you're not right for. You're not only wasting the casting director's time, but you're leaving him with a negative impression of you.
Choose audition material that's right for you and shows off your talents best.
Try to avoid material that's too obscure. While there is always a danger in doing material that is overdone, you must also not use material for a musical audition that a pianist will have trouble playing.
Don't be too friendly and don't talk too much. Everyone at an audition is there to do a job--not make friends. And time is always limited.
You can't expect to be a star overnight. Working as a performer is about building a career. "You work your way up," says Broadway director/choreographer Rob Marshall. "It's a natural progression. Look at it as building blocks. All of your experiences are important and they will lead up to something. But, absolutely the most important thing is to keep working and keep trying to be better at your craft."
Here is what some prominent actors have to say about auditioning:
Celeste Holm: "It is important to do your homework and to come for the audition in the right clothes, makeup, and with full knowledge of the play and the role."
Raul Julia: "Don't be afraid to make a fool of yourself. Take risks. You get results by your own efforts, continuing effort, relaxed concentration, and gearing everything you do to your goal. Persistence pays off."
Fritz Weaver: "You must take risks at auditions. Producers usually appreciate risk-taking because they often don't know what they want."
Maureen Stapleton: "You can never have enough confidence at auditions. You must sell yourself. The people hiring you want to be assured that they are making the right decision. If you're likeable and have a rapport, that's half the battle. A reading gives an actor a limited time to sell something, so you must know exactly what it is you are selling."
Shirley Knight: "It is important to be self-confident. Remember that they need someone to cast in the role. Don't think about being judged. Always think to yourself, "they should be so lucky to have someone as wonderful as me.' In order to act, you need a strong sense of yourself, innate talent, and the stamina to go on."
Uta Hagen advises always to have something else prepared to do after your original audition. If they ask to see something else and you lose out because you have nothing to show, then it's your fault. Also, when you do a prepared audition, you stand a better chance with material they aren't familiar with and don't hear all day long.
When auditioning for a television program, you are not as likely to have to read as often as you do for a play. Some useful information about auditioning for television programs appeared in Stand By! the magazine published by the New York Local of AFTRA. (It's one of the things you get for your dues.) An actress, Paulette Attie, wrote a series of articles based on interviews she conducted with producers, directors, and casting directors working on daytime TV serials.
A TV casting director in New York, when asked by Ms. Attie about the kind of audition material an actor should choose, said: "Anything current. Nothing belonging to a certain period or that requires special makeup and costumes..."
A TV director told Ms. Attie that "in auditioning for a part, an actor should show some interest and enthusiasm about working. And, if it's not asking too much, he should please be neat and come to appointments on time."
When asked, "What ultimately wins the part for an actor in your show?" The director answered: "The casting ultimately ends with the actor doing something his own way. From the casting point of view, it's individualism that gets one actor a job over another. Talent, of course, is assumed. 'You're lucky I'm here,' is a helpful attitude for the actor who is auditioning. The actor must be able to see himself in the role."
What are the important attributes for an actor in dramatic television? Director Ned Stark replied: "A point of view, attitude, and facility. He has to do things without always finding motivation for them. There is a degree of arbitrariness involved. It takes discipline and professionalism to work within the conventions that television imposes. A facile knack, also, for remembering lines and an ability to use a teleprompter help."
Agnes Nixon, creator, packager, and writer of some of the most successful long-running daytime TV series, volunteered this word to the wise for actors auditioning for a show: "They should ask questions if they don't understand. Convey to the people that they're cooperative and interested in doing the job. Sometimes, people are wrong for the part, but they do a very interesting audition. Many times they will be called back for other things, even though they weren't right for the part."
Auditioning for a television commercial (as opposed to a dramatic program) imposes very special requirements. This, too, is almost always done in the office of the network or the advertising agency (usually in New York, Los Angeles, or Chicago), where the agencies have their main offices. But with the advent of videotape and VCRs your audition probably will be taped and either played back instantly or shown later to the client (the sponsor of a commercial) and the producer. In all likelihood, your audition for a commercial will be done for the casting director with no frills or flattering lights.
There are two types of work on TV commercials: "on camera" and "off camera." On camera means just what it says. You are in front of the camera, and if your commercial is one of those that actually gets on the air, your picture is seen on the TV screen. Off-camera work constitutes only the use of your voice. You narrate the commercial (do a "voice-over") while the picture of stampeding cattle or a dripping sinus is shown on the tube.
Just as important as a photo and resume for today's actor who hopes to do commercials (and everybody does!) is an audition tape of your voice, on which you read a short series of imagined (or better yet, real) commercials. These should be prepared in consultation with an agent (if you work through one) or with the advice of fellow actors who have already cut their tapes.
A busy voice-over agent had this to say to Back Stage West/Drama-Logue about breaking into voice-overs:
In the area of voice-over talent development, workshops are very important. Taking classes is one of the only means by which you can get the education necessary for this kind of work. They provide content and context; do's and don'ts practice on real copy, and help prepare you for the kind of demo tape that is a requisite part of this business. There are specifics that need to be communicated through that tape since it is the major tangible representation of your voice-over talent. I feel that class-work is critical throughout an actor's experience. It informs the beginner of the basics and it provides the working professional with a forum in which to practice and develop the skills they use on a daily basis. I often make the analogy to physical workouts in that a person can go to the gym for the rest of their lives and never be "finished" working out. Similarly, a person's talent is an ever-evolving organism that can always benefit from fresh ideas and continued practice.
You can't get anywhere without a decent voice-over tape. Since they cost about $700 to $1,200 and more, it's best to do it right. Use a reliable studio. Also talk to others who have a tape and get referrals.
Theatrical stage auditions for singers and dancers are somewhat different, and even more difficult. The average Broadway musical uses anywhere from 12 to 30 chorus performers-singers and dancers. (Others-the actors who speak and play parts-are called "principals.") Each category (i.e., male dancers, male singers, female dancers, and female singers) is auditioned separately.
At a typical audition for female dancers that I recently witnessed in New York, 300 dancers showed up. They gained entrance to the theatre, and changed into their dancing clothes if they hadn't worn them to begin with. They were ushered onto the stage in groups often and lined up for the "typing out." This means that all dancers whose physical appearance did not suit the requirements of that particular script (too tall, too thin, or what have you) were dismissed immediately, regardless of their dancing abilities.
After the "typing out" was over, less than half the dancers were left. The others might have been better dancers, or their appearance might have been ideally suited to another play, but they were immediately out of contention for this particular production.
The remaining dancers were given numbers and shown a combination of dance steps, executed by the assistant choreographer. Each was asked to repeat the combination in turn, and as she left the stage, the choreographer called "wait" or "go" to her. When this phase of the audition ended, about 60 were left. Another combination was demonstrated, and the remaining dancers repeated it. Soon there were only 30 dancers remaining. These were the finalists. They would be called back on another day.
At the finals, the winnowing down continued and many of the dancers were also asked to sing. Finally, twelve dancers were chosen, five of whom had worked with the choreographer before.
It was the same with the male dancers, male singers and female singers, except that most of the singers were also asked to dance before they got the jobs.
Myron Sanft, an industrial show producer whose advice appeared earlier, offered these guidelines for musical auditions:
If, after your audition, they say "thank you," don't act as if you've been slapped. It doesn't mean they are not considering you. It might mean only that they have more people to see before they make a comparative decision.
Don't clear your throat ostentatiously.
Don't say you have a cold or bronchial pneumonia, or whatever.
If you sing or dance to the accompaniment of their pianist, work out the tempo and the music in advance, and keep it simple and short.
Don't use the verse to songs.
Don't hand the pianist the score for a Wagner opera and take three or four minutes explaining which sections to play.
Back Stage, the weekly newspaper for the performing arts, recently published quotes that had been gathered from producers of summer theatres around the country about what they look for at auditions. Here's a sample of what some producers had to say:
- "I look for a natural stage presence and sincerity more than acting technique. Is the person comfortable on the stage? Does he or she make eye contact with me and acknowledge my presence as 'the audience'? Part of the magic of theatre, I think, is the opportunity it affords for the performers and the audience to connect."
- "Come prepared for your audition. Most people I see are very well prepared to interview, but they haven't put nearly enough thought into the audition itself. You see too many people at auditions whose presence, honesty, and believability on the stage are about a negative 2, but if you talk to those same people at callbacks, you find they are intelligent and capable individuals."
- "Make your performance short and powerful. Remember, with auditions, it is always a long day, both for the actors and the casting people."
- "We are looking for warmth-audiences, actors, even producers. You look for warmth in people and are attracted by it. Warmth establishes a contact between us which is all too rare, unforgettable and electric."
- "I strongly object to 'shock value' audition pieces, simply because after the fifth or sixth time, the shock value is gone, and there's nothing there. It gets very boring."
- "I like to see a person do something they can do, and not overreach their grasp, and not put on a big show. All this business of starting with your back to the audience, lowering your head, and 'getting into your character' is just a big show. I look for honesty in a performance. When I see a 19-year old walk out and recite a soliloquy from Hamlet, I may learn something about that person's ego, but I don't learn a thing about his ability as an actor. Shakespeare takes years. Acting is not glitter; it's guts. I want to see people laboring honestly at their task."
- "People shouldn't do something vastly out of their age range. A 20-year-old college student can never be a believable King Lear, no matter how good he is."
- "Whether you do a classical or contemporary audition piece, choose something that displays your vocal range, your stage presence, and your versatility as an actor."
- "Wear appropriate clothes. If you have one lump in the wrong place, forget leotards. Don't dress like a hooker, gypsy, bag lady, unless you are looking to be cast as one. Do a piece that has something to do with your age and ability. Stop swearing. I have heard all those words, and they are boring. They no longer shock or amuse. They only show immaturity and a lack of taste."
- "Bring copies of your resume with you, and pay attention to details on the resume like phone number and address. You'd be surprised how many resumes I see that lack that basic information."
- "If you want to 'act only' in summer theatre, forget it. Most producers want a well-rounded cast who can perform willingly any task assigned."
- "Please introduce yourself and tell me what you are going to do; just the title and character, not the whole plot. Please smile (easy, but everyone forgets). Don't telegraph mistakes or your own personal review or evaluation of your audition. Let me decide for myself. Look like you are glad to be on that stage-or else why should I hire you?"
The prospect of auditions never ends; the competition is so intense that featured players with years of experience may still be required to audition or read. One of the most discouraging aspects of the whole procedure is that you are seldom told that you didn't get the part. The chorus performer, at least, knows that being dismissed after the "finals" means that he or she is no longer being considered. But when the principal is told, "Thank you, we'll let you know," even after a third reading, no conclusions can be safely drawn one way or the other, except that notification will be made if he or she has been hired.
When your audition or reading is over, don't loiter backstage waiting for news, or ask, "How did I do?" Nobody will tell you anyway, and your anxiety will not help you get the job-if an agent has submitted you for a reading, he or she can often find out where you stand when you can't. One other thing: as soon as the audition or reading is over, forget it; concentrate on the next. There's nothing more discouraging or useless than sitting around wondering why you didn't get the part. It is important to understand that there are many factors that influence casting over which you have absolutely no control. Don't torture yourself over it; just continue to do your best. Remember that each script has peculiar demands; each producer and director has idiosyncrasies and preferences.
Auditioning is a discouraging business and full of rejection, but don't allow the discouragement to trap you into trying to duplicate the personality of some established star. In the final analysis, your individuality is the only thing you have to sell; if you can retain that, you'll be better able to fulfill yourself and your assignment when opportunity does come.
Some Final Hints
Recently, I interviewed more than 40 people in the industry-agents, casting directors, producers and directors, people who are familiar with the hiring process-for an article for AFTRA Magazine, the official publication of the American Federation of Television and Radio Artists. Here's what some of them had to say:
Sending unsolicited tapes to anybody is a waste of money. If someone, after seeing your picture and resume and meeting you, wants to see a tape, they'll say so. Just be sure they know you have one and are willing to part with it.
Casting directors will often ask an actor to do a scene, and make a tape of the audition to show the director and producer. Even if you're not often asked for a tape, it's a good idea to have one. Hollywood casting director Marvin Paige says, "Be sure it's of good quality. Just to sit on a bench and have someone feed you lines is no good, and if the lighting is bad, it doesn't help you. It's not easy or inexpensive to get a decent tape."
"Having a tape is a major asset," Los Angeles agent Lynn Stalmaster believes. "An actor's tape should run about seven minutes," says agent Hal Stalmaster. "And it should consist of the best scenes from whatever professional work you've done. Don't go into an empty room with a scene and have yourself videotaped."
"An actor should be seen in something and preferably something on the stage," says long-time Hollywood agent, Meyer Mishkin.
Most casting directors and agents advise actors not to sit back and wait for the agent to make the big break for them. People should try to get into a showcase, and then invite directors, casting directors, and producers. Send out response cards for people to check when someone from their office can come to see them.
Obviously, too, when you're cast in a television show, or anything else worth watching, you get the word out in similar ways: notify everybody you can think of and try to get them to see it.
So far so good. You've got a great headshot, a brief resume that tells where you've been, and an impressive seven-minute tape. Now what?
You've got an audition or interview. How do you dress? The consensus is that if the script doesn't call for it; don't show up in a torn T-shirt or jeans.
"Be prepared" is more than the Boy Scout motto; it's the unanimous advice of everybody in the business. If you're going for a specific role, find out as much about it and the project as possible. Most important, is "being professional, being prepared." If you're doing a monologue, do something that's right for you. Don't do Shakespeare unless you're interviewing for a Shakespeare Festival. "That's a mistake many actors make," says Hal Stalmaster, "picking a scene that's not right for them, something that's too much of a stretch in terms of character or age."
"In attacking a scene, I think actors have to be confident," says Lisa Freiberger of CBS. "People should come as prepared as they can be," says New York casting director Caroline Sinclair. "It irritates me when people don't show up with a resume and photo, and say, 'Oh, I thought my agent sent it to you.' It also irritates me when you know you've faxed people sides and they claim they never got them, and they're not prepared for the scene."
The single quality that most favorably impresses everybody when they meet an actor is confidence. You want to give the impression that you are the best person for the job, and not convey desperation. Desperation turns people off.
