Sofia
How does the auditioning process go?
I'm curious as to how a person gets chosen for a role in a play/musical. I know the audition process,(go in, sing/perform/recite, answer some questions, then leave.) but how do casting directors choose which person they want as the character? Does every auditionee have to go through call backs? How do they contact you? #music #acting #theatre #theater #musical-theatre #musicals
2 answers
Kenneth Smith
Kenneth’s Answer
Hi Sofia,
The process directors go through to choose their actors changes greatly from one director to another. Some directors look for the most skilled people, some directors look for people who fit what they have in mind for the character, some directors might use some other more personal and subjective means of determining, and some directors use some mixture of the above. Because the directors all use such different means to choose their cast, you pretty much just have to do the best you can and hope it's what the director wanted. You can certainly do things to improve your chances of being picked, by making sure your audition piece is refined and by choosing a piece that fits the character you're auditioning for. Ultimately though it's out of your hands and you can't feel bad if you're not what the director was looking for.
Usually you'll fill in an audition sheet that they'll give you before you audition. You'll be asked to give contact information on that sheet and they'll contact you based on that information.
Not everyone goes through callbacks, though you have to make sure you're available to go through callbacks if they ask you too. Sometimes a director will already know where they want to cast you (or that they don't want to cast you) and won't require you at callbacks. Callbacks is where they do more pointed exercises and/or cold reads to help them finalize any parts they weren't sure about after the initial auditions.
Hope that helps,
Kenneth
Megan Sumpter
Megan’s Answer
1. Paperwork
1.a. Demographics are often a part of casting. It is often necessary that some roles are filled by a certain sex, age, and ethnicity for realism (it would be strange for a 5'1" actor to play Goliath in a David production!). Sometimes, frugal productions also need to look for those who would fit the costumes they already have.
1.b. Resumes of past productions is often a plus. Having been in a show might not mean you are a good character artist, but it means you understand the basic principles of the craft (and will likely not cause the show to go up in flames). Nevertheless, everyone has a first production--a benevolent (or desperate) director will be gracious (and overjoyed) to have some newbies in his ensemble.
2. Preparation
2.a. Monologues are a great way to showcase your comfort in performing in front of others in a foreign space. Most auditions will allow prospective cast members to select their own monologue; and those that do not will have several options at the audition to peruse and prepare. Not everyone is necessarily a fan of the spotlight-style that is the monologue; yet, it is the easiest way to see how someone adapts to and embodies a character.
2.b. Musicals require a prepared section of music to be sung. Most allow for a capella demonstrations (my preference, as I am not reliant on an accompanist to match my pace nor sight-read my piece). Very few auditions allow recorded music accompaniment, so be sure to pick a piece you know well and fits your range when you are sick (so as not to overwork your voice on the off chance you audition sick).
3. Presentation
3.a. From the moment you walk into the audition room, you are being watched. The panel of observers (Director, as well as Assistant Director, Music Director, Choreographer, and perhaps even Stage Manager) will be as neutral in expression and feedback as possible, so do not look to them for validation or reprimand. Think of them as a spelling test panel or debate monitor panel. On audition day, what they think does not change how you perform. Anything they request is merely out of interest--bending and stretching your capabilities.*
3.b. There are 7 character traits that any director worth their salt looks for in an actor:
Confidence, Preparedness, Adaptation, Charisma, Reputation, Conduct, and Talent. == Order of Importance
Reputation, Conduct, Charisma, Confidence, Preparedness, Adaptation, Talent. == Order of Observation
Directors need reliable, social, and driven cast and crew to put on a show. Like the captain of a ship, the director is the guide and leader of the crew with power to command those around him; yet, he also requires a crew that knows how to man the ship and get their sea legs.
3.c. Musicals will often separate potential cast members into groups for a choreography lesson. Cast learns about 32 bars of a song (same as any piece of a song that must be sung for the Music Director) and performs it in front of the Director. Remain confident even if you miss a step. It's not a dance you worked on for three months, but for an hour. Yes, those who are quick to memorize the steps have an edge of getting into the show--but that does not mean they have the makings of a lead. If it is a character piece, do the moves as much as that kind of character would.
If you proceed to the Callbacks of auditions, you will likely repeat the same endeavor but with some changes:
1. Monologues become Dialogues--usually two actors at a time, but sometimes more. Keep physical boundaries in mind, but do not be afraid to do something if it is ethically acceptable and your character would do it.
2. Music pieces become Show Music--you'll be tasked with singing several different songs. If it is a sad song, do not pretend to cry as you sing. It will likely come across as instability rather than emotion. Be sad in clarity, not wavering.
3. Dancing is not likely to be repeated, but if the show involves intense choreography (more intense than most shows) for some reason, be prepared to up your game as they up the ante.
In the end, there is only so much an actor can do. The sad truth about acting is many factors affect selection:
Those who have more past performances, especially with the theater or director, are known and likely a fond, dependable source.
Those who have more time available have more time to perfect their character, which makes for a better show.
Those who have more range of conscience for uncomfortable things (i.e., kissing) will likely play the leads in any show with a romantic main plot.
Those who have more demographics aligned with the character will provide realism as well as avoid ethnic repercussions with the audience.
Those who have more comprehension of dance moves and vocal technique will allow the director to have more fine-tuning to perfect his show.
Those who have more demonstrated talent during the audition (few play the part that showcases their abilities best) will likely be cast.
Those who have more connections to the crew will likely be cast.
As for film auditions, I can only add what is obvious:
Do you look good on camera? Theatre focuses on the body; Film focuses on the face. Theatre focuses on the ostentatious; Film focuses on the subtle.
Do you replicate your performance exactly? Film is more permanent and more widely distributed than theatre, so it matters more to get the right shot on the right take. This may take days of filming to achieve, and the actors must do their performance the same way every time (barring any feedback from the director). Theatre moves forward regardless of quality; Film moves forward only when time, budget, or director's patience is short.
I hope this helps. Break a leg!
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