Audition Tips
So I had my first night of auditions for the Durang doublebill I'm directing, and I thought I'd share some (hopefully) helpful tips for actors when trying to make a good impression. I'm no seasoned casting director, and Lord knows, I've had my bad experiences on the other side of that table, but here are some suggestions for what they are worth.
1. Don't wear flip flops. You aren't at the beach; you're trying to get a job. I know it's summer and it's hot, but I don't want to look at your feet. And please, oh please, if you're going to wear them, don't take them off. Unless you're doing a Caliban monologue, bare feet should be discouraged.
2. When you walk in and are asked, 'So what will you be doing for us tonight?' Please don't respond, 'What? You don't want to talk first or something?' If someone wants to talk to you, they will. Otherwise, launch right in.
3. The Handshake. Honestly, I think it's fine. Nice way to say, 'Hi, my name is...' Just as long as I don't have to stand up, I'm cool with it. Our table was on the way to the stage, so actors walked right by us. I can imagine if the casting people are all the way across the room, you might want to just wave. But definitely say 'Hello' and who you are.
4. Stand still. If you've blocked your monologue and go from point A to point B to point C - great. If you shuffle around in some kind of awkward dance - not so great. Grounding is very important. Feet firmly on the ground, knees slightly bent, hands and arms at your sides, deep breath and go.
5. Know who you are talking to. If you are doing the piece to another character in the play (on stage or the back of the house), pick a spot and lock it in. If your focus is all over the place, your monologue is less effective. And if you're going to look at the casting directors (which I think is fine), be consistent. Don't pick us and then switch to an imaginary person.
6. Doing the Playwright. If you are going to audition with a monologue from the writer being produced (especially if it's from the play itself), you'd better nail it. I think it's a ballsy move, but if you can pull it off, I think it's worth it.
7. Paul Rudnick bores me. Believe me, it's not the most fabulous story ever told. And his 'Shouts & Murmurs' in The New Yorker aren't funny.
8. My God! What is with all these flip flops? To be flip or not to be flop. That is flip the question flop.
9. Dressing up is never a bad thing, but be careful that your outfit doesn't upstage you. If all we can remember about you is that you had 'a pretty blue skirt' (actual quote from the producer), it doesn’t bode well for getting called back.
10. And finally, when you're finished with your monologue, don't say 'Scene'. First of all, it's not a scene, and secondly of all, if we don't know it's the end, you're probably not doing that good of a job in the first place.
1. Don't wear flip flops. You aren't at the beach; you're trying to get a job. I know it's summer and it's hot, but I don't want to look at your feet. And please, oh please, if you're going to wear them, don't take them off. Unless you're doing a Caliban monologue, bare feet should be discouraged.
2. When you walk in and are asked, 'So what will you be doing for us tonight?' Please don't respond, 'What? You don't want to talk first or something?' If someone wants to talk to you, they will. Otherwise, launch right in.
3. The Handshake. Honestly, I think it's fine. Nice way to say, 'Hi, my name is...' Just as long as I don't have to stand up, I'm cool with it. Our table was on the way to the stage, so actors walked right by us. I can imagine if the casting people are all the way across the room, you might want to just wave. But definitely say 'Hello' and who you are.
4. Stand still. If you've blocked your monologue and go from point A to point B to point C - great. If you shuffle around in some kind of awkward dance - not so great. Grounding is very important. Feet firmly on the ground, knees slightly bent, hands and arms at your sides, deep breath and go.
5. Know who you are talking to. If you are doing the piece to another character in the play (on stage or the back of the house), pick a spot and lock it in. If your focus is all over the place, your monologue is less effective. And if you're going to look at the casting directors (which I think is fine), be consistent. Don't pick us and then switch to an imaginary person.
6. Doing the Playwright. If you are going to audition with a monologue from the writer being produced (especially if it's from the play itself), you'd better nail it. I think it's a ballsy move, but if you can pull it off, I think it's worth it.
7. Paul Rudnick bores me. Believe me, it's not the most fabulous story ever told. And his 'Shouts & Murmurs' in The New Yorker aren't funny.
8. My God! What is with all these flip flops? To be flip or not to be flop. That is flip the question flop.
9. Dressing up is never a bad thing, but be careful that your outfit doesn't upstage you. If all we can remember about you is that you had 'a pretty blue skirt' (actual quote from the producer), it doesn’t bode well for getting called back.
10. And finally, when you're finished with your monologue, don't say 'Scene'. First of all, it's not a scene, and secondly of all, if we don't know it's the end, you're probably not doing that good of a job in the first place.
posted by THALATTA! Theatre International at 10:38 AM
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