Tag Archives: audition

Photo Credit: Grant Mitchell, Creative Commons License

Choosing the Audition Song That Lets YOU Shine

So you’re going to audition for a musical. You’ve got an appointment (or the strength and spirit to wait in line), and you are going to do your best to make your musical theatre dreams come true. You have your headshot and resume all ready to go and now all you need to do is to choose a song. Here are a couple of questions you can ask yourself to help along the way:

What show am I auditioning for?

It’s important to tailor your material to the specific audition at hand. You wouldn’t sing the same song to audition for Carousel as you would for American Idiot, would you? Think about the style of the score and make sure that you are showcasing your voice in a way that shows those casting that your talent would be an asset to this production. Pick out three to four songs in the right style so you have a couple to choose from.

Photo Credit: Grant Mitchell, Creative Commons License.
“You’re a queer one, Julie Jordan.” Maybe more than we’ll ever know. Photo Credit: Grant Mitchell, Creative Commons License.

What question can help you narrow down your three or four songs to one? What character am I auditioning for? Think about the qualities of the character you want to play and figure out which song best brings out those qualities in you. Is this character sexy? Meek? Loud? Quiet? Stylish? Clumsy? For example, if you’re auditioning for an nerdy, meek character, you might sing “Grow for Me” from Little Shop of Horrors. If you’re auditioning for a seductive character, you might sing “Whatever Lola Wants” from Damn Yankees.  Choosing a song that highlights your qualities that liken you to the character will make it easier for the folks behind the table to see you as that character. You can find hundred of audition songs to choose from on the StageAgent Audition Song Database!

Next is a crucial question that many overlook: Do I like this song? If you don’t like the song you won’t want to practice the song and you probably won’t do your best job performing the song. It’s that simple. If you don’t like a song, don’t sing it. Nobody wants to see you feeling bored or uninspired while you’re performing. We want to see you singing your heart out and living your dreams. That’s what inspires someone to hire you and want to collaborate with you to create theatrical magic.

Veronica wants to create theatrical magic with you, but only if you choose your song carefully! She has sequined flowers in her hair which means she is all-knowing.
Veronica wants to create theatrical magic with you, but only if you choose your song carefully! She has sequined flowers in her hair which means she is all-knowing.

So you have a song that you love in the right style that feels like the character for which you’re gunning. Now we come to a more difficult question and that is: Does this song showcase me? If you are a classical soprano and you’ve chosen a to sing a Beyoncé song, you simply aren’t setting yourself up for success. I’m not saying that you shouldn’t work on material that stretches you. It’s great to set goals and to work on broadening one’s skills, but those songs should be in a separate binder from your audition material. Maybe one day you can “Run The World” your way into the audition room, but today is not that day, boo (I can still see your Halo, though).

Just because Ron doesn’t have a halo, doesn’t mean he can’t see yours.
Just because Ron doesn’t have a halo, doesn’t mean he can’t see yours.

Remember that people want to get to know you during an audition. If a song doesn’t quite fit the style or make sense on paper, but you have a gut feeling that it’s the right song and you love it with all your heart, take a chance on that love. Originality and creativity go a long way and have the chance to help you stand out and make a lasting impression.

Casting Director Alison Franck

The National Tour: More Conversations on Casting

Last time around we had an opportunity to hear from Casting Director Bob Kale on the specific challenges of casting a National Tour.  That conversation bled into the much broader topic of auditioning for just about anything, with many more stones to be turned. I reached out to Alison Franck CSA, head of her own casting office (Franck Casting), for another perspective and further conversation on the casting process.

Alison has been casting everything from Broadway, Off-Broadway, Regional Theatre, National Tours, Television, and Film for more than 20 years. She began as an assistant for the legendary casting office Johnson & Liff, where she worked on such modest successes as The Phantom of the Opera, Les Miserables, Cats, and Miss Saigon (insert wry emoticon here). She took her formidable skills to the prestigious Paper Mill Playhouse, where over a span of a decade she cast more than 50 shows, including the Broadway transfer of I’m Not Rappaport starring Judd Hirsch, Anything Goes with Chita Rivera, The Full Monty with Elaine Stritch, and The Importance of Being Earnest with Lynn Redgrave. Her work has been seen on TV in the critical hit Freaks and Geeks, in commercials (as a partner at Liz Lewis Casting), and the children’s TV series Peter Rabbit.

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This series is focused on the National Tour, so we start there. I ask, “What should an actor consider before even auditioning for a tour?”

The main thing is, are they ready to live out of a box, a suitcase. And in my honest opinion, I think women have it tougher than men in this aspect.”

“Do you think it’s harder for women in general to be on a tour?”

It seems to me that guys adapt to tour life easier than girls do, but that’s certainly dependent on the individual. And it’s just my opinion, though I did tour for 2 years when I was still acting.”

“Any advice for people on tour for the first time?”

Go out and explore the area. When I would first get to a town, I would go walking by myself, see what was there, how safe I felt. I would see the country. Then I’d come back and work out, and prepare for the show. I was better about this process on my second tour than I was on my first. I just felt that I should use the tour as a real opportunity to see places I’d never been.”

“Some actors go out on tour, make potentially a substantial amount of money, but come home broke. Were you able to come back from your tours with some savings?”

“I was. I wouldn’t say that I was great with money back then, but I learned quickly. And sometimes you have to be willing to pay for your comfort. Do I need a single room this week? Yes. Yes I do. Sometimes you spend more money than you should, but you need that comfort. I would also say that you need to be aware of what is coming, like an unpaid layoff, which can happen frequently. Don’t let those things catch you by surprise.”

“How often does someone turn down a tour offer?”

“We do a lot of casting in advance, and by nature that results in losing people to other work. So we have to go to our backup files 2, 3, 4 times. Sometimes we need to have more auditions, and occasionally that’s the best thing we can do, get some fresh blood in the room.”

“How do you feel about the current practice of self-taped auditions?”

This is my soapbox moment. You need to know what to do and how to do it. Yes, you can use your iPhone. You shouldn’t do it yourself, however, get a friend to help. Don’t procrastinate, do it when you don’t have a job so you can learn. Take a lot of selfies. Take a class if you need to learn the technology. Find a big, blank space to shoot, don’t do it in front of your messy kitchen. Practice by taking selfies, then videotaping yourself with your phone, to know your best angles and where the best lighting is, then start working with friends, having them shoot you, etc. Our smartphones really are a tool to improve how well we do on tape.”

“For theatre, we want to see a full body shot. For TV and Film, a ¾ shot is normal. And make sure that even your self-taped audition is authentic, that it’s not the fifteenth take and you’re a little too polished.”

“How often do you actually look at websites or reels?”

“A lot. I look at it if I’m not sure who a person is, or what they can do. If you are a singer, have a website with some song clips. If you’re a gymnast, a dancer, same thing. Have a reel with shows you’ve been in, so you can show your work. Reels are important for TV and Film, but I will say you can’t throw commercials on a reel (for rights-related issues). Maybe if it’s a non-union commercial, but you have to be very careful about using them.”

“If you are a writer, and you are interested in creating and producing your own work, then I say go for it. It may not go anywhere, but at least you’ll have some material to show people.”

Casting Director Alison Franck
Casting Director Alison Franck

“What kinds of auditions do you remember most?”

“Auditions that make me laugh or excite me. Also, when people truly make me cry I remember them But I don’t think people should use sad material for everything and it shouldn’t be the starting point, but as a contrast to something that shows humor or joy. Someone just made me cry last week and I was blown away. But she had already wowed me with something legit and fun.”

For more information about Alison, please visit www.franckcasting.com.

homework

Auditioning: The Actual Job of an Actor

Greets, dear reader!

I am of the school of thought that when it comes to being an actor, auditioning is the real work. While I continue to hone this skill, I now recognize that performing is the reward for those seemingly endless hours of work. Rather than approaching them as job interviews, I think of auditions as a unique, albeit brief opportunity to perform for a crowd of few. After all, what more does entertainment require than the actor and audience? Dare to treat them with a touch of levity and you might just find that auditioning can be rewarding and, dare I say, fun.

Preparation

What frays the nerves more than being ill-equipped for an audition? You go up on your lyrics, get that deer-in-the-headlights look, and next thing you know, you’re hearing, “Thank you, that’s all we need to see today.” Nothing is more irksome than blowing a genuinely awesome audition. Preparation is the first step in putting your best foot forward.

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I look for songs that are type-appropriate and written for relatable characters. My go-to piece is “Free” from A Funny Thing Happened on the Way to the Forum. As I identify with the larger-than-life style, the role of Pseudolus is right in my wheelhouse. “Free” is an up-tempo “I am/I want” song that showcases both a wide vocal and comedic range, which is an ideal choice for my type. Alas, being a one-trick pony doesn’t do me any favors, so I’ve got several different songs from various genres to meet my audition needs.

The night before an audition is my time to review. I look over my music, making sure I’ve marked it legibly. I double-check the casting notice to ensure I’ve prepared everything. If there’s the possibility of a dance call, I pack accordingly. And, I always make sure I’ve stapled my headshot and resume. One of my biggest pet peeves is when someone pesters me for a stapler. They are $6 on Amazon, and that includes staples and a remover. If you can afford headshots in New York, you can afford to prepare.

The Holding Room

For the majority of us at the audition, it’s business time. We’re there to work. There’s always one lone goober, though, who gloms on to whoever will placate them, prattling on about what they’ve done, where they’ve been, or who they know. I’m not sure if this is just how some people’s nerves manifest themselves, but this has got to be one of the most annoying things imaginable. It’s all I can do review my materials, calm my own nerves, and focus on the task ahead without dodging a Chatty Cathy.

I won’t argue that a good warm-up is essential to belting your face off, yet here we find another major holding room no-no. In NY, most studios will rent smaller spaces on the cheap, a service I’ve taken advantage of when those extra fifteen minutes of scales make all the difference. It’s ideal because you’re able to warm up in the privacy of your own studio, and everyone else gets to maintain their focus. I believe it was Aretha who said, “R-E-S-P-E-C-T.” And, as I know all too well the trials of the regional/community circuit, you have no better studio in which to belt those last-minute riffs than your car. My go-to method of warming up is a BeltBox, a device that is gaining in popularity amongst performers. As it cuts my volume about thirty decibels, I’m able to warm up full voice in the hall or bathroom without disturbing anyone. Ultimately, it all comes down to taking care of our voices while still respecting the holding room space.

In the Room

Just before I walk in the room, I tell myself, confidence is key. I drop all the mental baggage of the day and am completely open to whatever may occur. After a warm greeting and quick chat with the accompanist, the room is entirely mine for the next minute and a half. The spotlight will never be more yours than it is at this moment.

Photo Credit: Chris & Karen Highland, Creative Commons License
Photo Credit: Chris & Karen Highland, Creative Commons License

Prior to walking in the room, the three questions I ask are: Who am I talking to (relationship)? What do I want? What are the stakes? The more detailed your answers are, the more clarity your performance will have. I try to stick to the “16 bars” rule, but if you’ve an up tempo song like “Free,” you’re allowed to cheat it up a bit. I take a deep breath and ground myself, which is crucial because it establishes the firm foundation on which the rest of the audition is built. Most callbacks will require you to prepare sides, which are great because they add some spontaneity to the process. If given ahead of time, I’ll usually be 90% off book after reviewing them into the ground. The pro: you have the luxury of time to experiment and play with different choices. The con: the more set your choices are, the harder it is to be flexible in the room. With a cold read, you’re lucky if you’ve time enough to read the sides twice beforehand. That said, I prefer these! The pro: cold reads allow for a genuine sense of discovery in which the team and I experience the text together. Trust your gut instincts as they are often the most natural choice. The con: heightened nerves from not having worked the text often lead to rushing and fumbling.

From beginning to end and everything in between, an actor’s greatest asset is confidence. Rather than a cocky bravado, it’s a cool conviction that illuminates your work and holds attention. It’s the confidence that comes from choosing the appropriate material, making informed acting choices, and having fun! Be your best you and the rest is in their hands.

eight bars

Auditions: How to Behave in “The Room”

You’re here at last. You got up at 5:00 AM, showered, dressed, warmed up, annoyed your neighbors and tortured your roommates, stood in line for two hours in the freezing rain to get an early audition time, and it all went according to plan. You find yourself waiting to go into the famed audition room, where you will…what, exactly?

You can act, you can sing, maybe you can even dance, play an instrument, and eat fire, but can you AUDITION? Can you go into the room and present yourself in a professional manner, and not open the door to any unnecessary judgment or questions? I’ve heard many people say that this is a separate skill, and while I don’t know if I completely buy into that theory, I do know that there is one thing an actor will do if given the chance: shoot themselves in the foot. Here’s how not to do that.

Before we go too far, what is “the room?” Exactly what happens in there?

room

Let’s take a moment to assume some of you have yet to attend a professional audition. These auditions are most commonly held in empty studios with little more than a table and some chairs. Often there is a wall-length mirror in the space, which may or may not be covered. Be wary of this mirror, it’s so easy to disconnect with your audience and sing/act to yourself. It’s comfortable, but you aren’t likely to be doing the hiring, so…

Size matters, in the room that is. The auditor (and we’ll get to them in a minute or two) is most likely seated behind a table with stacks of paper and perhaps a computer nearby. Unless otherwise directed, position yourself directly in front of your auditors and a safe distance away from the closest edge of the table. This is a judgment call, and you should know what feels right, but aim for two to three times your height away. This lets the auditor see at least three-quarters of your body while you perform, and also puts some personal space between you both.

Entering the Room

Most of the time, it’s as simple as walking through the doorway. You enter the room, smile, and say hello. In a musical audition, you’ll proceed immediately to the accompanist, present your cleanly and clearly marked music and quickly point out any specific instructions (i.e., don’t double the melody here, please observe the railroad tracks, etc.—this is another article coming later), and finally, give your tempo. Tempo comes last so your accompanist can have it fresh in his or her head, if you give it at the beginning there is a greater chance for fluctuation, especially if you do something popular but in a non-traditional manner. Your entire conversation with the accompanist should take 10-15 seconds, if you can’t explain it in that time, your song might be too complicated. Thank the accompanist and take your place in the room.

eight bars

Often in college, students are taught some variation of this introduction: “Hi, my name is Rob Richardson, and I’ll be singing ‘Hey There‘ from The Pajama Game written by Adler and Ross.” This introduction has value and is often specifically requested at certain combined auditions like SETC, Strawhats, National Dinner Theatre Association (Does that still exist? This is also another article). But it’s NOT necessary in a professional audition. For starters, they have your resume directly in front of them, they should know your name. You CAN quickly tell the auditors what you are singing (or what monologue you are performing, don’t mean to ignore the straight theatre actors) if you desire, and often they will ask you and write it on your resume to help them remember more about you. But a simple, “Hi, this is ‘Hey There’ from the Pajama Game” is enough. Then smile at your accompanist (musical kids) to indicate you are ready to begin. Same goes for monologue auditions, a simple, “Hi this is Tom from The Glass Menagerie will do.  

There are times, maybe not many, when you may want to enter the room in character. It can be very effective, particularly if you are playing a darker, mysterious character, an over-the-top buffoon, or a villain. IT CAN ALSO BE WRONG, WRONG, WRONG. It is risky, for lots of reasons. One, if the casting team doesn’t realize what you are doing, they may be completely confused. Or they could roll their eyes with an “Oh, he’s one of THOSE actors” vibe. Or it may be simply off-putting. BUT! If the situation calls for something bold and dramatic, it might be worth the gamble. Casting directors are always encouraging actors to be brave and take risks, I believe that these are CALCULATED risks. Choose wisely.

Where Do I Look?

Most casting teams, though not all, don’t want direct eye contact while you are performing. They need to feel free to take notes, get a sense of your type and watch your performance without being obligated to be a scene partner. Unless otherwise directed, try to look at space slightly above or beside your audience, just enough to avoid eye contact. There are some directors who prefer you to deliver your work directly to them, I have found they will tell you this beforehand. (Martin Charnin, anyone?) If there is a reader in the room, and you have a scene to read, act with them, that’s what they are there for. For heaven’s sake, don’t give your monologue to an empty chair.

empty chair

In a Film/TV/Commercial audition, if they don’t tell you where to look, it is ALWAYS fair to ask, “Would you like me to deliver to camera or to you or another spot?” (Note:  it’s almost never DIRECTLY into the camera.) Don’t be afraid to ask a five-second question that could save an unnecessary extra take (and 60 seconds).  

I’m Done, Now What?

When you are finished, hold for a beat. Not Act III of Troilus and Cressida, just a beat. Then “drop” whatever character you have created, smile, and say thank you. Then wait for instruction. If the mysterious table people say, “Thanks, Rob, that was great,” then collect your things if you have any, and say goodbye. It’s not the kiss of death, they are just moving on and it should be NO indication of your performance, you may be first on their callback list or you may be headed to the circular file, who knows? But you’ve done your job, time to move on to the rest of your day.

If they ask you to perform something else, be prepared to offer NO MORE than two choices. For singers, if they ask for something specific like a rock-belt, try to give it to them. If they ask, “What else do you have?” then your response should be, “Well, I could either do THIS or I could do THAT, which do you prefer?” It gives the auditor a choice without overwhelming them and without you standing at the piano thumbing through your book saying, “Umm…how about…umm… .” You want to make the casting director’s life easier, not more complicated.  

If you are asked for a second monologue, first of all, have one. Second, unless otherwise requested, aim for a contrasting piece. Now that doesn’t necessarily mean “do the opposite of the first one.” You don’t have to do a tear-jerking cry fest after your Neil Simon comedy classic, just find something different in tone and shape, and generally shorter than your first piece. Being asked for a second piece is a big victory, even if a callback isn’t forthcoming.

When to Do the Opposite

This theatre game is funny—there seems to be a lot of rules we are expected to follow, and yet at the same time, rules are meant to be broken. This goes back to the earlier point of taking a risk. It seems to be the most ambiguous and frightening request of all. For most of my auditioning life, I have tried to present myself in the room as an intelligent, kind, capable actor who can deliver what is required for the job. And while that seems to make a lot of sense, and I guess it’s never hurt me, I can’t help but wonder how different my auditions would be if I were just a bit braver, more unpredictable. Don’t interpret that as license to throw tomatoes at the people behind the table, but every once in a while, mix it up. Don’t show what you’ve always shown, give them something they weren’t expecting. Something useful, of course, but surprising. A little risk could carry you a long, long way.

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Trick-or-Treat on Broadway!

Pratfalls and Other Serious Business 
with Megan Loughran
Many people don’t know that New York City’s Broadway theatres participate in a long-standing tradition of stage door trick-or-treating.
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Come October 31st, anyone can don a Halloween costume and knock on any Broadway stage door, at which point the trick-or-treater will be given a fun-size candy and a quick audition. Here’s what to expect this year:
The treat: Green apple licorice
What to prepare: “Your best 16 bars, with a contrasting selection — if asked.”
The treat: Marshmallow ghosts
To prepare: “Seeking replacements for ensemble singers with ballet skills. Self-choreograph a 30-second ghost dance. Please make sure we can see your feet, even though this is not traditional for ghosts.”
The treat: Edible red sequins
To prepare: “16 bars of ‘Ghouls Just Wanna Have Fun’ or another Cindy Lauper song with a Halloween pun wedged in.”
**Not participating, British people do not have Halloween.**
The treat: Paydays
Looking to see: “16 bars of ‘The Circle of Life’ as sung to a small pumpkin you have carved into Simba.”
The treat: Tony-award shaped popcorn balls
To prepare: “A self-written monologue of 60 seconds or less about the unusual experience of growing up in a funeral home and/or being in a show with so many women on the creative team.”
The treat: Bars of actual gold
To prepare: “Please sing the entire score from start to finish, for we know you can.”
Please note: none of this is real. (I was told I had to add this to prevent people from bringing Simba pumpkins to the Minskoff, or thinking they could digest sequins.)

News, thoughts, opinions and advice for the performing arts community.