AUDITIONS

“I have seen many talented actors not get hired simply because of a poor audition. It happens all too frequently in the theatre and in films, too.” – Bob Fosse
“An actor is forever trying to get a part; an actor is forever getting rejected, never knowing why, simply not wanted. An actor’s life is not to be envied. It consists mostly of losing out, of being turned down. Unendurable, such a life, for most of us. I will never know how actors manage to persist.” – Michael Shurtleff, Audition

Before an actor gets to act, the actor must first traverse the rickety swinging bridge over the mind-numbingly deep chasm that is the audition. The audition is the theatrical job interview, replete with all the requisite stress which that implies. In the world of theatre, actors will generally encounter three types of audition situations: memorized monologue, reading, and musical theatre. Here at PSC we do readings, but theatre majors at PSC need to be familiar with all three types.

Memorized monologues – These are especially important in order to achieve professional employment. At the Southeastern Theatre Conference’s two annual auditions, for instance, an actor gets 60 seconds worth of stage time to audition, 90 seconds if they want to act and sing. If the actor gets a callback, the first question asked is often, “Do you have another piece you can do for us?” For that reason, all actors should have two contrasting monologues ready to go at any time.

Contrasting monologues: Contrast can be accomplished in many ways. You can have classic comedy or classic tragedy, such as plays from the Ancient Greeks, Shakespeare, the Restoration, Spanish Golden Age, etc. You can also have contemporary serious or comedic monologues, from plays written in the last 20-50 years. These should be no longer than two minutes in length, with the actor able to do a 60-second or 120-second version at an auditor’s request. Two contrasting monologues are the minimum. An actor truly hungry for a job should have four contrasting monologues ready to go at the drop of a hat: one classic comedy, one classic tragedy, one modern comedy, one modern serious drama. These four should be sufficient to show an auditioning actor’s full range.

Readings – A cold reading is where the actor has no idea about the script and gets the pages only a few minutes, sometimes seconds, before being called onto the stage. That can happen at PSC, but we usually offer warm readings, in that scripts are available for perusal in the main Music and Theatre office before auditions take place. Cold or warm, a reading is exactly what it sounds like: you get pages from the script, you go onstage either alone or with other actors, and you read. There are some important considerations when reading for an audition.

1. Be seen and heard. Make sure you are in the light and not blocked from view by other actors. Speak loudly, clearly and appropriately.
2. Give a full experience of who you are and what you can do. In a reading situation, auditors do not expect a complete and accurate, fully drawn character. Auditors want to see what you look like and sound like on the stage. Be you in whatever situation the characters find themselves.
3. Remember it is a reading and not a performance – welcome the script instead of trying to get rid of it.
4. Dress appropriately – not a costume, but something from your wardrobe analogous to the character you wish the auditor to see you as. If you don’t have a particular role in mind, wear something unobtrusive so that they see you rather than what you are wearing.
5. Stage directions should be ignored in almost all cold readings. You cannot stomp around the stage and read at the same time. Stage directions can be a trap and get you into trouble. Obey them only when they are useful to you.

Musicals – Most musicals have a three-part audition process. First, you must sing, then dance, then read or perform a monologue. At PSC we offer an accompanist, so auditioners should bring either sheet music or recorded music and be prepared to sing. Bring movement clothes in case a dance audition is called for as well.

“The most important element in singing at auditions is not the forming of sound but the creation of a relationship…Most singers don’t, which is why they are dull and lifeless, concerned as they are with making notes and pear-shaped vowel sounds.” – Michael Shurtleff, Audition –

Don’t forget, just because you are singing doesn’t mean you are no longer acting. A song is basically the same thing as a memorized monologue. Can you act and sing at the same time? Yes and the auditors need to see that. Identify the emotions in your song and communicate those feelings. Practical considerations:

1. Show up early. If auditions begin at 7:00 and you show up at 7:00, you are late.
2. Bring pen or pencil, as there are forms to fill out.
3. Bring schedule with you so that you can correctly identify any rehearsal/performance conflicts.
4. All performers in PSC productions must register for a 1-hour credit course. There are no exceptions. Financial aid may be available to those unable to pay this fee.
5. Do a vocal and physical warm-up before auditions begin so that you can show the auditors the best performance possible. Don’t give yourself any more obstacles than absolutely necessary; help yourself achieve success.
6. Not getting a part does not mean you are no good. It just means you weren’t right for the part this time. Next time it may be a completely different story.

Work skills are a MUST in the field of acting — to subsist between jobs. Office work, waiting tables, telephone answering and solicitations, etc., will often help you get by.

Never consider going to New York or Hollywood without enough money to keep you going for six months or more. There are expenses often overlooked by the inexperienced: telephone answering service, pictures, resumes, lessons, and probably one of the published performer’s directories. Costs of clothes, agents, living expenses in general, and transportation can mount rapidly.

An agent does not get jobs — he submits you for them, arranges appointments or interviews, negotiates for your salary and working conditions — then, when you are successful at getting a job, he gets his 10% commission. Some people disagree as to whether an actor needs an agent or not. An actor can often get an interview on his own, but the actor sent by an agent has already secured an interview appointment. In some locations, you cannot pass the security station without an appointment — not even to see the receptionist to get an appointment. But be careful in selecting an agent. Reputable ones are available and are best selected through referrals.

A Manager is usually an agent who has exclusive rights to your career. You can only work through your manager, as opposed to being able to accept appointments through other agents. At the end of your contract term, if you are not satisfied with your manager, you can seek assistance elsewhere.

You don’t have to go to New York or Hollywood to find work. Even local radio and television stations occasionally need new talent. This experience can be invaluable because not only can you gain experience locally, but you can live economically “at home” and save for a future move.

Learning should never stop! Therefore, the more accomplished a performer you are before “turning pro”, the better your chances for work. But even with training in your background, remember that every master carpenter sharpens his tools between jobs, and so should the actor. Reviewing classes in acting skills will keep you on your toes. Expand your studies and experiences in other areas of the theatre to become a more marketable theatre person.

Above all, the desire to perform must be ever constant – not for the money or the glory, but for the aesthetic expression and self-fulfillment you yourself can gain. Without these internal desires, your chances in a highly competitive field may be somewhat dim. The reality of the good and bad, and your personal drive are the things to keep in mind.

Students sometimes ask, “Do you think I have what it takes to make it?” You are the only one who can answer that question. Our advice is this: life is about chasing your dreams. So chase your dreams, and make your life a great one. Live a life full of adventure and love for what you do, and not one of regret and wonderings of “What if…?”

The following is a list of plays Theatre majors should read during their career at PSC in order to prepare them with an adequate vocabulary and knowledge of accepted masterworks in professional and academic theatre programs around the country.