The Audition
For the performer—whether actor, singer, or dancer—auditions are a mainstay of theatre. And I believe that not enough training actually focuses on how to audition. That’s a shame really.
Because…
Our world *is* rejection.
You cannot be in this discipline without becoming intimately acquainted with rejection. You have to arm yourself against rejection and learn how to take it gracefully. And that can be really hard when you set your hopes on a particular role.
Men on Boats by Jaclyn Backhaus has some unorthodox casting requirements, and I love it. Directed by Samantha Pettigrew. Pictured are Stephanie Barajas as William Dunn, Emory Lambert as George Young Bradley, Elaina Berry as Andrew Hall, and Kelley Malin as John Colton Sumner.
I’ve learned some hard and valuable lessons along the way as both a performer and auditor. And a great many of these cross over into the work force, personal relationships, and other situations where we might face rejection. So let me explain these lessons in terms of the audition, and you can relate them to your own life experience, whatever that may be.
Your self-worth is not dependent upon any particular audition. Decide this now. Though you may face 287 rejections in a row, never let it affect your self-worth. Do let it affect how you prepare for an audition, the roles you pursue, and the classes you enroll in. Take initiative, learn, grow, and try again, but never, ever consider it a reflection of your individual value as a person.
If you didn’t get a role, it doesn’t necessarily mean you didn’t give a good audition. There are so many factors that could have made someone else a better choice. But if you left a favorable impression, they are more likely to remember and consider you the next time you audition.
Just because you played the lead role with a company or organization does not guarantee you future opportunities. That’s just the way it works. However, it is important to be dependable, likable, and professional in each job. Because the connections and friendships you make in any production *can* lead to future opportunities down the road.
Always view the audition in a positive light. Know that those actual human beings (with feelings) sitting in the dark need a solution to their problem. You might just be that solution! One of the best pieces of advice I ever received from a working actress was this: “When I audition for a role, I always view it as a performance. For those few minutes, I am the character. It’s thrilling. And I thank the directors for the opportunity.” So I have learned to be grateful for the experience and to enjoy the moment.
The auditors will often make their decision within the first few seconds of your audition. How you enter the room, how you introduce yourself, how you acknowledge others… all of this goes into the audition. They are judging you from the beginning to figure out if they want to work with you. If you enter sheepishly or aggressively, they will most certainly read your body language. If you stumble over introductions, that will be noted too. Think positively, believing in yourself. You *will* make a good impression to someone.
Never, ever, ever go in unprepared. Research the play, the people, the organization. Memorize your audition pieces backwards, forwards, sideways, and diagonally. Have multiple monologues prepared. Multiple songs. Whatever the production or company demands, make sure you are equipped to present a professionally prepared audition.
You will get conflicting stories. No two auditions will be alike. One auditor may tell you you’re a romantic lead, while another calls you a character actor. Know yourself, and do not let a one-time critique upset your goals.
If you receive a part, accept it with grace and treasure the experience. Remember that your joy may be some else’s grief. And if the experience is less than stellar, be careful who you choose to confide or complain to. The industry is a smaller world than you think.
If you are not cast, do not belittle or slander the individual who did. That is more a reflection of who you are, than a reflection of their talent. Rather, congratulate those individuals and, if possible, find a way to support their work behind the scenes or from the audience.
As for our own department, since we are small (but mighty), we choose to open our auditions up to anyone interested—students in other majors, faculty, staff, community members—so that we might enrich our experience through others who wish to contribute to our work.
To that end, I would like to explain how we make the casting decisions at our university. We base our choices on the following:
The quality of the audition
Chemistry with other actors
The individual’s suitability for a role (i.e. physical appearance)
Specific performance skills required by a role
Experience
Availability
Dependability
Academic standing
Specific course or degree requirements
Hopefully, we reach a decision that everyone feels confident about. We create a company of actors whom we trust to bring the work to life.
And then?
Then the journey begins.
-Traci Ledford