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GUEST AUTHOR ::: Muriel Kenderdine, editor and publisher of CAST & CREW, a theater newsletter serving the State of Maine and parts of New Hampshire. Posted Jan. 22, 2008

Tips for Auditioning

PREPARE. If there’s a script, get hold of it and get familiar with it. Look at the character(s) you’re interested in and make a choice about where the person is coming from and how you will present him/her. If monologues will be required (frequently two contrasting monologues are requested for professional theater and sometimes for community theater if you’re new to the group), have them solidly in your mind – don’t just pick out something the day before. If there’s a time limit, usually two minutes each, cut your monologue to what is essential and time it. Casting people can often tell if you could be what they’re looking for in the first half minute, so you won’t do yourself any favors by prolonging it! In choosing a monologue it’s best to stay away from anything blood curdling and/or with a lot of yelling and four-letter words – these need building up to in a complete performance. Also, choose a character in your own age group. If you’re auditioning for a specific play or season and a monologue is required, some casting people would like you to present a monologue from a play in the season or at least one that is something close to a role you think would be appropriate for you.

MEMORIZE - When a monologue is required, that means it should be MEMORIZED! Casting people do not want you to stand there and read it! If you are serious about acting, you should plan to have several short memorized monologues in your repertoire. Obviously at least two of them should be contrasting, one comedic, one dramatic or thought provoking. Professional actors frequently have 15 – 20 monologues on tap. In choosing a monologue, beware of the ones that are overdone; that is, the ones that are chosen by so many actors that casting people are sick of hearing them. Check out www.monologueaudition.com -- Karen Kohlhaas has surveyed many directors and casting people and come up with lists of overdone monologues. There are three lists: Women’s, Men’s. and Shakespeare. Finding monologues that are right for you means lots of reading – this is part of an actor’s homework!

BE ON TIME if you have a specific appointment – better yet, be early. This will give you time to get settled in your mind and hopefully relax instead of being frazzled by rushing through traffic or because the drawbridge is up or getting lost (find out where you’re going beforehand if it’s an unfamiliar location – do a “dry run” if necessary).

WARM-UP For a brief warm-up or to relax (before you’re called in, of course), try taking a deep breath in, then bending over and letting your arms dangle; finally uncurl up slowly, breathing out slowly and evenly, with your head last. If you know Yoga at all, you know how important breathing is, so you can use that here, too – breathe! If you have vocal warm-ups from classes you’ve taken, do those in the car on the way to the audition unless you know there’s a place to do that privately at the location (in NYC actors and singers have been known to do this on the subway on the platforms between cars!).

FOCUS – Actors/singers ask what they should do about this – should they look at the casting person(s) or not? Generally it’s best to focus on what would be the last row or just above the last row of seats in the theater or room. Many casting people are uncomfortable if you “deliver” directly to them. However, there are some, especially if this is for film, who want you to play to them. You may have to ask which would be preferred.

BE NICE. Be polite, follow directions, don’t be unnerved by the director asking you to do something different in your monologue or script reading. Be someone they would like to work with some time, if not this time. Say “thank you” when it’s over. (A note here from someone who has been on both sides of “the table” – it’s not easy being casting people either. They want you to do well. They want to enjoy your monologues or script readings. They want to get good actors for the open roles. Also, if your impression is a good one, even if this is not the right opportunity for you, they may actually remember you when something comes up later and give you a call. It has happened. On the other hand, you have no way of knowing what all casting people really have in mind or what their personal biases might be! In this case, there’s nothing you can do about it anyway, so just do your best and accept the outcome!)

CALLBACK - If you have a callback after a cattle call audition or an audition with any other large group of people and/or in front of casting people who were strangers to you, it’s a good idea to try to wear the same outfit you wore the first time – the better for them to remember you and why they liked you the first time. (Have you ever met someone on the street whom you usually have seen at the grocery checkout or at the doctor’s office and can’t place the person because it’s a different environment?)

CONFLICTS - If you have scheduling conflicts, be up front about it when you’re asked. Don’t assume it will be okay if you tell the director/stage manager/producer about it AFTER you get the part. This is not fair to them and won’t win you any “Brownie” points for the future.

DON’T FALL APART if you don’t get the role. There will always be another time, and if you weren’t quite right for this one, maybe you will be for the next one. No doubt about it, rejection is a big part of wanting to do theater. So just remember, this is not the only audition of your life if you intend to keep on acting. Think of it as part of a PROCESS as you mature in your craft. Keep on honing your skills, take classes, polish your monologues and your scene studies. Actress Ruth Gordon said it (I love this quote!): “If you’re thinking of becoming an actor, learn to keep going. Keep going till you get a part, keep going in a scene, keep going in a quick change.” Key words here – keep going!

Muriel Kenderdine, an actor whose professional credits include the Maine Playwrights Festival, Penobscot Theatre, and The Theater at Monmouth, is the editor and publisher of CAST & CREW, a theater newsletter serving the State of Maine and parts of New Hampshire. FMI visit www.castandcrew.org; email: castandcrewnewsletter@yahoo.com.