Auditions From Behind The Table
By Devon Ellington, N2Arts Correspondent
An insider's guide to getting the part
 

he audition process is exhilarating and exhausting from both sides of the table. The exciting part as a writer/director/producer is that auditions introduce me to new performers. Often, if I can’t use someone in the piece which I’m currently casting, I call them three months or six months later for something else. I try to make the process as positive as possible (and I’ve had dozens of phone calls from actors telling me that it was the best audition experience they’ve ever had). 

I work by appointment. I set up 15-20 minute slots. Generally, I ask for a two minute classical monologue, and then I give the actors a side of my writing in order to see how they connect to the material and how they handle the cold reading experience.

Having auditioned several thousand actors over the years, both for my own projects and running casting sessions for other people, I have some tips on how to present yourself in the best possible light, even if something happens during the audition and you’re not word-perfect.

Be on time. I stick to the appointment schedule strictly. If someone is late, she has the time remaining in the appointment. I don’t run late and cut into other actors’ appointments. It is a sign of disrespect to them, as an actor being late for the audition is a sign of disrespect to me. If your previous audition runs late, it is not my problem. If an actor isn’t ready for his slot and another actor is there, I’ll take the actor who is there, and slot in the late actor if I can. If you know you’re going to be late, call the audition space so you can be rescheduled. Don’t come in behaving like you’re doing the production a favor by showing up at all and that we should wait.

Be courteous. The audition monitor may be a future casting director. Be polite to the people in the audition room, even if they’re less than professional themselves. Don’t accept abuse from them or let them talk you into doing anything with which you’re uncomfortable. If they do, simply state that you are not comfortable with the request.  If they insist, leave. Unfortunately, not every audition process is legitimate. Be aware of space and the fourth wall. It’s fine to interact with the people in the room, such as making eye contact.  (I prefer it).  But I once had an actor tear off his shirt and sit in my lap during an audition as part of his monologue. That’s not fearless performance—it’s inappropriate. In this case, it was not supported by the text. It didn’t upset me, but it showed me that he would not fit in with the company.

Be prepared. Have your monologue ready. Know what it is for which you’re auditioning. An actor who walks into the room and says, “What is this project again?” is not someone I’m likely to hire. I won’t think you’re in demand and I should rush to snap you up; I’ll think you’re unreliable. If you make a mistake, try to recoup and move on, even if it means improvising. If you can’t, ask if you can stop and restart. Accept the answer, even if it’s “no.” That might have less to do with you than with the other constraints on the people in the project. When you are handed material for a cold reading, don’t rant that you hate cold readings and aren’t any good at them.  If something in the material is unclear, ask questions. I once had sixteen actors in a row who were afraid to admit that they didn’t know what a “deus ex machina” was, much less how to pronounce it. None of them got the job. The one who asked got a callback.

Be yourself.I like it when an actor researches the project and comes dressed in character. But when the actor refuses to drop who he thinks the character is and talk to me as a real person, I know he won’t fit the company. I want the actor to be a real person in addition to being an actor.

Don’t audition if you already know you can’t do the project. Sometimes you get a better offer in between the audition and the casting. However, if you know ahead of time the project doesn’t fit into your schedule, don’t waste our time. And don’t walk into the audition and state you can’t do it, but wanted to audition anyway. Skip the audition.

The audition process is the beginning of the rapport you set up with the creative team. A good first impression will make for a smoother rehearsal process and a more positive production experience.

Devon Ellington's theatre career spans over 20 years in all its aspects from regional to Broadway. She writes the serials The Widow's Chamber (western) and Tapestry (mystery) for www.keepitcoming.net. Her popular blog on the writing life, "Ink in my Coffee" is at: http://inkinmycoffee.blogspot.com.