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Auditions are the theatrical equivalent of a job interview. Unlike most
interviews, they are not one-on-one. Performers sometimes face
potential humiliation in front of a room filled with people. Talk about the
"valley of the shadow of death!"
This process is also nerve wracking for the decision makers.
Casting can make or break any musical, amateur productions
included. And with only so many roles to go around, no matter who
is chosen or how the process is handled, any number of people will be
disappointed with the results. However, no better means of
casting has been found in the last few thousand years, so audition we
must. It helps if you manage the casting process with some compassion
and civility. The guidelines below will help.
Announce early
Set auditions about three weeks before the first rehearsal – this
will give you time for callbacks, etc. This is also the time to call for
crew members. You may be surprised at the number of people who will be
interested in working behind the scenes on lights, sound, costumes, etc.
Your announcement should include the time, location and requirements for
auditions. Give everyone at least ten days to prepare, and be clear about
what sort of material you want the performers to present – a song, a
memorized scene they select, or some lines you will give them. Do not
require them to prepare material from the show in question. It can be a real
hassle to get sheet music from certain shows, and you will get tired of hearing
the same number massacred several dozen times. Let your hopefuls focus their
energies on presentation, not research. Provide an
accompanist. Otherwise, you will face a parade of energetic relatives
"lending a hand." Another way of handling this is to have a capella
auditions – but I think this is a last resort. Let your hopefuls audition with
accompaniment if you possibly can
Have performers make specific audition appointments. Five to ten minutes per
person is plenty. Place a sign-up sheet in a supervised location – office,
local business, etc. – and check it periodically. If you have no takers, you
may have to drum up talent. On the other hand, if all your slots are reserved way
in advance, schedule more auditions.
From announcement time onwards, make it clear that this
show will demand a total commitment from cast and crew members --
you can't repeat this point too often.
If a spotlight operator or one of the leads keeps missing rehearsals,
you will have a major problem on your hands. Ask everyone who wants to
get involved in the show if they have obligations to a job, sports
team or other activity. Good intentions (you know, the things that pave
the road to hell?) will amount to nothing if someone has to choose
between your show and a playoff game.
Run Humane Auditions
Auditioning in front of an audience of peers is a nightmare,
especially for amateurs. My college stage director
and musical director had aspiring performers gather in the auditorium,
where each of us had to get up on stage and sing. Almost everyone loathed this
approach! As a director, I recommend taking a more professional approach. Have the
performers in a supervised waiting area, from which they can be shepherded
into a separate audition room. They perform for the decision makers
and no one else. Performers will still be nervous, but their
potential for humiliation is reduced. This also makes it
impossible for the "I saw everyone who auditioned and you were
robbed" gossips from spreading bad feeling. (These rats lurk in every
community, including yours.) Your decision makers can include the director,
musical director and choreographer. Keep the number small.
No matter what you do, disgruntled people who don't get starring roles
will grumble that your casting was fixed or unfair – which makes
it all the more crucial that your auditions always maintain the spirit
and appearance of fairness. Treat all performers with equal tact
and courtesy. Make it clear that everyone is expected to show up on
time. Those who show up late for their appointment must wait until there
is a break in the line-up, or until everyone else is finished. Be sure someone
in authority (stage manager, assistant director, etc.) is in the waiting area
to maintain order, sooth nerves, and see that the schedule is followed. This
person can also make sure you have accurate contact information for every
performer.
When performers enter the audition space, greet them in a polite,
formal manner and let them present whatever they have. If they have nothing
prepared, have them read a scene and/or sing a song they know. When I
ran auditions for elementary school productions, I found that even the
most terrified child could be persuaded to sing "Happy Birthday,"
a good belt number. Maintain an upbeat, encouraging attitude. Each performer
is taking an emotional risk appearing before you, so be supportive –
even if their singing is so off key that it lands in another state. You are
not expecting a finished performance . . . you are looking for potential. Be
prepared to coax things along and offer suggestions. But stick to your schedule.
If you are not sure about an individual, you can have them audition again.
Callbacks
Initial auditions often leave you with a few question marks. There may be
two or more people who would be right for a particular role, or you may
just want to see if certain performers were quite as good (or bad) as they
seemed in the first go round. For callbacks, performers may be given specific
songs or scenes from the play to prepare. Contact each of the performers in
question, and arrange for them return for another audition within one to three
days. Use the same two room system, with only decision makers witnessing the
auditions.
Making the Decisions
If it is any consolation, professional producers and directors loathe this
step as much as you do. Some helpful hints –
- Please do not gossip with anyone about your decision process. Word
gets around, and people will be sensitive enough as it is.
- Even when you have certain people pegged for major roles, stay
open minded. You never know which surprise talents will be unveiled
during auditions. The most unlikely people can be sensational. Many
a class pariah has blossomed as a stage comedian or villain.
- In
selecting leads, do not cast individuals with other major commitments. Never
put the star of a sports team in the position of
choosing between your show and a playoff game. You will either lose
a star, or win the lasting enmity of the sports coaches.
- If more than one performer would do justice to a major role,
keep the full context of the show in mind. Let me explain . . .
When my college group presented
Camelot, the director found himself with three actors who could play
King Arthur – one of them was yours truly. For the callback,
we had to memorize Arthur's opening number and the soliloquy explaining how
he became king. The director and conductor ran each of us through the
material, making suggestions and seeing how we responded.
So how was a decision made? The director later told me that he was stumped until he
looked beyond the one role and considered the full picture. Two of us would clearly be
the most effective choices for other roles. The young man cast as Arthur had to
work like hell on that complex character. He gave a marvelous
performance, but I wouldn't have traded places with him for anything.
Playing Mordred, I had the time of my life -- as did the
talented fellow who played Merlin.
Post the Cast List
As soon as your decisions are made, post your final cast list. Do not make
a physical announcement – save the drama for show time. Just tack a
list on an appropriate bulletin board or website, with instructions where
and when to report for first rehearsal.
Most disappointed performers will keep their feelings to themselves.
Occasionally, someone will react badly, or you may have to deal with unhappy
friends or relatives.
You may want a private chat with individuals who are upset -- use your
best judgment. Do what you can to reassure them, and try not to take
their statements personally. Let them vent a bit, but if anyone gets abusive,
walk away. I've rarely seen it reach that point, but it can happen. Hell hath
no fury like a parent who's little angel is not cast as Annie!
With casting done, catch your breath and enjoy your final few days of
freedom. Once rehearsals begin, free hours will become as rare as true
platinum blondes.
On to Rehearsals
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