1. Audition Technique

2. Your Audition Pieces The standard performance for a theatrical audition is two one-minute contrasting monologues. If it’s for a musical, you’ll likely sing 16 or 32 bars, but know the entire song in case.

3. Your Audition Pieces Try to have your monologues contrast in as many ways as possible: Drama/comedy Classical/modern Personality of characters Energy level Physicality Choose a song that fits your age and personality.

4. Your Audition Pieces Why? Because you want to show your versatility. One hopes that between the two different performances, you will show the casting director what he/she is looking for. Failing that, you’re showing that you can do almost anything.

5. Your Audition Pieces Avoid well-worn territory. Hamlet (you know the one) DOAS Our Town Basically, anything you might have read in High School If possible, find out what the production company has done in the last couple of years, and AVOID it. They’ve got their own ideas about how it should look/sound, and might be sick of it.

6. Obvious (I hope) Don’ts Don’t take a monologue/song into an audition without being able to recite it in your sleep. Don’t make changes to the text/music. Don’t write your own. (An audition isn’t the place to showcase your writing.) Don’t dress up as your character. (they have imaginations, and you’ll just look like a crazy person.) Don’t try to sing a cappella. (they will have an accompanist; have sheet music.)

7. The Other Side… Auditioning is an interesting, but very long process. The casting director may see over a hundred performers in a day. (Those common audition pieces will show up several times and get tiring quickly.) is looking for a few very particular types. Have to match up all the actors into a cohesive cast. ( You might be right for the character, but not for the actor playing the character’s love interest or parent, etc.)

8. The Other Side… Is not just auditioning characters, but also coworkers. (this is a job interview! You’ll be spending a lot of time around these people.) Has little time. (if you make a mistake, power through it. Don’t restart. You’ll also show them that you can handle pressure well.) Wants you to do well. They’re rooting for you to wow them and solve their casting problems. (Nerves happen, but don’t let the reactions of the casting directors worry you.)

9. Image Get a head shot. 8X10 color photograph Head and shoulders shot, unless you’re a dancer. They’re expensive, but they’re an investment. (If at all possible, get a digital copy and get your own prints.) Put your resume on the back.

10. Good Headshots

11. Bad Headshots

12. What to Wear Business casual, with adjustments for special considerations specific to your audition pieces. What are those considerations?

13. Preparation Always have headshots with you in case of an audition on short notice. (When you get a car, keep them there.) Have sheet music for your piece. Keep working on your audition pieces, even in a lull or dry spell.

14. Preparation Slate yourself. Your name The character you will be playing The name of the play The song (if applicable) The author

15. Beginning Come up with a strong opening image. Do not say “scene.” Why not, Mr. Noble? Saying “scene” verbally tells the audience out of character that you are now in character; it is inherently a lie. If you need to say scene to indicate that the scene has started, you have not created a strong opening. Ending a scene with “scene” takes the audience prematurely out of the moment, detracting from the work you’ve just done.

16. Beginning When speaking, do not direct your attention to the casting directors. (It makes the objectivity necessary to assess performances almost impossible. It’s also just plain uncomfortable.) In a film audition, you may be asked to read with a casting director. Then it’s okay to interact with that individual.

17. In the Performance It’s all you. Do your homework. Read the play Know your lines Stay in shape Make choices/make the piece your own. If you make a mistake, roll through it. Know how to cover. (The casting director probably won’t notice the mistake unless you highlight it by asking to start again, stopping, pausing, making a face, etc.)

18. Finishing Find a strong final moment. (Hold the emotion of the end of the piece in silence for a moment. If you need to, count out two to three seconds.) Thank the casting director or panel.

19. Finishing You may be asked to make an adjustment. This can be done for a number of reasons. They want to see how well you take direction. They want to see you portray a different type of character. It’s possible they are considering you for a specific role. They want to give you another chance to improve. Do your best to change. Nobody wants an inflexible actor. Wait and keep auditioning.

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