An audition is your chance to showcase your talents to a panel of production team members who will determine whether you get cast or cut in a show. If they do choose to cast you, they'll also be deciding which role you fit into a show. Preparing for an audition can be nerve wracking, even for professionals. Chances are if you're auditioning for a show, there is a particular role you have in mind that you would prefer to play. Maybe you’ll only accept lead roles? Maybe you want to be in the chorus? Whatever the case may be...when you’re going up against a bunch of other talented individuals who are also trying out for the same role, the pressure is on!
Sometimes, you may be so nervous that you actually space out when they call you into the room. It’s important to stay focused and conscientious of what you’re doing when it’s time to start. You have to forget about the outside world and focus on giving everything you’ve got just like how you’ve practiced all week. You only get one audition; one lasting first impression on the panel. It’s your goal to demonstrate what you can offer to the production to the best of your ability and impress the casting director or production team.
What are some key components directors look for in an auditioner? I took that question to some local directors to find out what they look for, like, dislike, and advise against in an audition. I noticed a majority of those I interviewed had similar preferences and animosities. To help you prepare for your next audition, here are some things you most definitely should not do.
1. Don’t be distracting.
Not all auditions are done privately with just you and the panel in the room. There’s a chance they could be conducted in small or large groups. Some companies may give their auditioners numbers and call 1-5 or 1-20 into the room at one time. It’s extremely important that you are courteous and respectful to the other auditioners, not just because it’s polite, but because the casting panel is paying close attention to your behavior as well. They don’t want to work with someone who is disrespectful or rude to their fellow cast members. Stay quiet, still, and patient until it’s your turn.
2. Don’t be too shy or meek.
Local high school drama club director Sarah Cadieux, quotes “Above all else, when I am behind the table looking to cast a show, I'm looking for confidence and friendliness. While there is obviously a need to showcase talent, I'm sure enough of my directing skills to get what I want out of an actor. What I can't teach is the ability to trust yourself (confidence) and the ability to be pleasant to work with (friendliness)”. Contrary to popular belief, not all performers are outgoing, loud extroverts. Some are genuinely shy, timid, and quiet off of the stage. As an actor, you are not performing as yourself but as a another being. You need to demonstrate to the panel that you are comfortable and confident in transforming into another character.
3. Don’t be too aggressive.
If you’ve been involved in the performing arts for as long as I have, I’m sure you’re familiar with “these types of people”. Don’t be that person. Be kind in the waiting area. Encourage and lift up the other auditioners before it’s their turn. Being social actually helps ease the nerves believe it or not. It gets your mind off what’s to come. Cadieux also states that “If you seem meek, snobby, careless, jerky or entitled, I don't care how talented you are, I'm much less likely to cast you”. Theatre is a collaborative art form meaning it’s not developed and created by just one person which means you need to be easy to work with. The production team’s job is difficult enough without all of the divas.
4. Don’t fake your availability.
“Be honest about your availability. No one wants to be blindsided by someone who all of a sudden cannot attend multiple rehearsals” says another local director (who wished to remain anonymous). Some companies put shows together in just a few short weeks with limited rehearsal time so it’s imperative that everyone is available for every rehearsal. A few conflicts are okay but make sure you let the team know ahead of time so they can plan accordingly. Sometimes you just need to accept that a show just doesn’t fit in your current schedule.
5. Don’t make excuses.
Education specialist at Florida Children’s Theatre, Melissa Sheffield, recommends to “never apologize or make excuses”. Don’t be apologetic about your performance. If it’s not your best work, that’s unfortunate but the director’s don’t need to hear that. If you’re cast in a lot of shows with the same company with the same production team, you have the upperhand because the panel already knows what you are capable of if and when you are sick or have a poor audition. Not every audition will be your best..Some are better than others. Have confidence that you sparked at least some interest.
6. Don’t come unprepared.
When choosing an audition piece, make sure it’s something that fits the style of the show you’re auditioning for as well as something you feel great about. Sing what you love and what you’re good at. Choose a monologue that you have a connection with. Also, it’s best to come prepared with more than one piece. Your audition material should consist of sheet music for a few ballads and upbeat songs along with some classic, contemporary, and different genre monologues. You never know when the casting panel may ask you to present something else. You don’t want to disappoint them.
7. Don’t quit.
If you mess up, that’s okay, it happens! Keep going. You also demonstrate a level of professionalism when you continue without hesitation after you’ve made a mistake. This is how a mistake should be handled onstage in front of a live audience. If you don’t draw attention to your faults, they either won’t be noticed or will be forgotten. Don’t stop and ask to start again because normally, the panel is on a tight schedule and they don’t want to be there any later than they have to be. It’s unfair to give one auditioner multiple chances while everyone else only gets one.
8. Don’t waste time.
You don’t need to shake hands or kiss cheeks with the panel before you leave. They have your resume and if you succeeded, they’ll remember you from your audition. No proper introduction is necessary. There are multiple people waiting outside for their chance to perform. Trying to start small talk on your way in or out is a kiss-ass move that experienced directors see right through. Don’t pull this rookie move.
9. Don’t make faces once you finish.
If this audition wasn’t your best work, as stated earlier, that’s okay. Some auditions are better than others. No director wants to see you with a big puss on your face. Showing a bad attitude after an audition is like a billboard sign of immaturity. Say thank you and exit. Save the tears for the car ride home.
10. Don’t audition with something cliche or overdone.
Avoid the overdone songs. You don’t want to sing a song you think other people would be singing. Your objective is to stand out among the crowd. Avoid songs done by mainstream Broadway stars or songs from newly opened shows. I had a high school chorus teacher would always use the example of singing Somewhere Over The Rainbow. No one will live up to the expectations of Judy Garland’s interpretation. You’re not and won’t every be Judy. So why not choose something you can make your own? Same thing goes for monologues. Don’t do something basic like I Ate the Divorce Papers. It’s been done already. Find something you have a personal connection with.
11. Be original.
Once you’ve chosen your audition material, take some time to make it your own. Director’s are looking to see YOUR version and interpretation of the piece you chose. Don’t try and mimic what the famous or previous artist has done with it. Try something new. What phrases stand out to you? Emphasise them. How do you feel when singing the piece? Show it. You shouldn’t have the same intonation, inflection, and exact vibrato as the last person or another recording. If it’s a monologue, try changing up the blocking or adding different pauses where you feel necessary. Play with it until it’s perfect for you!
12. Don’t be oblivious to your character range.
Again, if you’ve been in the performing arts for as long as I have, you definitely know “this person”. The person who thinks they can pull off every single character. Some people are more versatile than others. Actors should take the time to analyze their strengths and weaknesses. If you can’t belt, maybe you shouldn’t be auditioning for the belty alto role. If you’re awkward and timid onstage, you probably shouldn’t audition for the risque bombshell role. Know your limits and audition for roles that flatter your talent. It’s okay to have weaknesses. Not everyone is perfect at every type of role. A local director quotes “ I would recommend that actors know their ‘type’ or generally understand what parts they are or aren’t meant to play”. For example, I’m a smaller sized caucasian female. You wouldn’t see me auditioning for Tracy Turnblad, Motormouth Maybelle, or Link Larkin in Hairspray.
13. Don’t sing a song from the show!
Unless otherwise told to by the production team, definitely don’t sing a song from the musical. Some directors may prefer songs from the show (this is rare) or may not mind it, but if it’s not clear in the audition announcement, it’s safe to assume that you should choose a fresh audition piece. When writing this final “what not to do” tip, I realized that I hadn’t ever known why not to sing a song from the musical you’re auditioning for. Cadieux described the rule as a “personal choice”. When asked why not, Cadieux responded with “Educationally, I want to broaden my student's horizons and force them to research other work. Personally, I also want to make sure that people audition with what showcases them best. Also personally, I don't want to hear people sing the same song over and over because there's generally only 2 or 3 good audition songs from each musical”. Find something that has a similar style or theme to the show instead of something from it directly. Choosing these fresh options “...helps you stand out, and identifies you as someone who not only knows their voice but also knows musical theatre” (Cadieux). Choosing a monologue from the show is similar in choosing a song from show. Expand your horizons and be confident enough to stand out and be remembered by the panel.
Now that you have finished this list of “What Not To Dos”, how many of these have you done before? I know I’ve done a few! Auditioning is a learning process and this list has showed myself how I’ve grown as an actor over the years. Take these tips and apply them to your next audition. Impress them with your professionalism whether it be a school play or professional production.
Also, a special thanks to the local directors who were able to take time out of their busy schedules to answer a few questions and enhance my research and prior knowledge on the subject. Not one “sorry I can’t right now, I have rehearsal” response. Bahaha
