This article is a combination of comments from Production teams from recent BTG productions, we hope it helps you understand the auditioning process better, and helps you prepare for your next audition.
Some say that "half of directing is in the casting... if you get it right you're half way there (to a great show)". Hence auditioning is one of the most complicated tasks of the director especially in the amateur arena, where there is a constant shortage of men and an over abundance of women. Matching a group of actors to specific parts, (acting, dance and voice abilities, physicality, personality, and any other specific skill) can be a nightmare. Furthermore the looks, heights and abilities of the cast need to be balanced.
It would be fair to say that most directors would have specific people in mind for parts prior to auditions (not to do so would be foolish - as you may choose a show that can't be cast!) However it is fun to eagerly await the wonderous surprises that await us at auditions and remain open to casting the absolute best cast possible. Most directors come away from auditions thoroughly confused with many things to weigh up. ie. This one can act the best, this one can dance the best but this one sings the best. It is refreshing and rare to find someone who is an "all rounder". The initial auditions usually give insight into where peoples talents lie and then we rely on call backs to make more specific casting choices.
There are so many factors to a successful audition: the look, the look with the rest of the cast, the interaction with other possible cast members - all contribute to a successful audition. This is why call backs happen. How do you look together, do you work together, the ability to take direction all contribute to the final decision.
Directors use auditions to see who can quickly follow directions, e.g. when they have a prepared piece it is useful to ask them to present it again with a twist, maybe as an eighty year old or as a three year old this shows quickly whether they will do what the director requires movement audition again shows the director as well as the choreographer how well they follow direction. Many directors really enjoy workingwithraw material and blank canvasses.
In casting, the director’s choice is law. The director is guided by the musical director and the choreographer. The decisions are never lightly made, the final list can take 6 to 12 hours of discussion.
Auditions and your success rate are NOT personal, they are decided on the presentation of talent, the contrast to other cast members, the ability of an actor to take direction in audition, and the mix of people needed for the show. IT IS NOT PERSONAL.
Auditionees should look at lessons in voice, acting, and dance in order to improve their presentation. We all know improvement doesn’t happen by magic, if you have a weakness work on it.
Factors that influence an audition: Is the piece prepared? Memory is the best way to present songs and monologues, Next best presentation is with a script or a score, but still well enough prepared that it is only referred to occasionally. Glued to the script or score, no eye contact, many stumbles, no attempt at characterisation show your commitment to the audition and ultimately to the show.

Your audition is your time to sell what you can do.

Preparation and lots of energy are the keys to succeeding at auditions. If the director asks for a 1 minute prepared dialogue and an actor turns up without one, this not only disadvantages the actor (because they are not able to showcase their abilities) but it also tells the director that the actor really isn’t very interested or else lazy. Secondly, get to know something about the show for which you are auditioning, learn some of the songs and the storyline, know which characters are in your age group and of interest to you - show the production team that you are really keen. If you prepare a song or dance come with music to accompany you. Most often you will be asked to sing some scales to demonstrate your vocal range, and dance a piece that the choreographer has prepared. This levels the playing field and clearly shows who has natural abilities in these areas. Come prepared in clothes and shoes to dance in. The auditioning panel can only make its decisions on what it is presented with, we cannot know what you can do if you don’t show it to them.

If you have an appointment time for your audition. DON'T BE LATE!!!
Know the work being auditioned. Copies of scripts are usually readily available if not from BTG, libraries are a good source.
All directors, musical directors and choreographers have read the script many times before audition day. They may be looking for types, don’t be afraid toask if you are suitable.
Be sure to audition in your age range.
Be prepared to stay to the end, or as long as you are needed. If you are interested in a part remember, if the production team don’t know you, others arewilling to stay and pull out all the stops. The team are looking for talent, dedication and a willingness to try. When a director asks you to try different things it doesn’t matter if you do it perfectly- only that you try. If after several attempts the director finds you cannot take direction it will adversely affect your success.
If you are interested in a principal role only, be very sure you have the talent to back up your demands. If not, be prepared to learn.
Prepare, prepare, prepare - the difference between professional and non-professional auditionees is:
- Non-professionals often just pop along and have a bit of a sing.
- Professionals [attitude] practice until they can’t get it wrong.
If you know you don’t audition well, prepare a piece from the play and offer it as your audition piece. If you have trouble with singing, acting or dancing don’t just give up. A willingness to work and improve will be viewed as a desirable quality. Most directors can see through willingness to work hard and cooperate even through a not so great audition. These people will always be more successful in auditions.
If you are a dancer, general movement in time and a cooperative attitude will make for a more successful audition.
Being a competent singer will not get you a role if the play is basically a drama, as acting and a command of the English language are equally important.

Lastly jump in and have a go, there is nothing more frustrating than trying to coax a reluctant auditioner into having a go... the director knows that this spells HARD WORK, if they take this one on!!
REMEMBER: Everyone wants you to do well - there is nothing worse than watching a poor audition, we empathise with the auditionees.
N.B. Read your own publicity, but never believe it - you’re only as good as the last time you were seen. -

DON’T ASSUME

On reviewing these directors comments, I see a common theme coming through,
PREPARE, PREPARE, PREPARE,
HAVE A GO, BE WILLING TO WORK HARD AND SHOW YOUR COMMITMENT TO THE PRODUCTION.

GOOD LUCK AT YOUR NEXT AUDITION!

At a later date, we hope to be able to offer an ‘Auditioning workshop’, watch this space for more information.

Created on 06/02/2007 02:50 AM by GregHeath
Updated on 03/07/2008 02:33 AM by GregHeath

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