| Welcome.
Whether you have years of experience, none at all, or are somewhere
in between, we hope you will consider sharing your time and
talent with our company.
What is an "Audition?" - The American Heritage
Dictionary defines "audition" as: 1) A trial performance,
as by an actor, dancer, or musician, to demonstrate suitability
or skill, 2) the sense, ability or power of hearing, and 3)
the act of hearing.
At an audition you have the opportunity to demonstrate your
suitability to play a given role, and to demonstrate that
you have the skills required by the role. The auditor (usually
the director or casting director, although sometimes the choreographer
will also be involved) is engaged in the "act of hearing."
How Can I Find Out About Auditions? - Audition notices
for our theatre are posted in the Hayward Area Recreation
and Park District's quarterly Recreation Guide, local newspapers,
here on our web site, in our newsletter, and in Theatre
Bay Area Magazine (to join Theatre Bay Area visit www.theatrebayarea.org.
Who Can Audition? - Anyone can audition for our productions.
You do not need to be a resident of our District. Audition
notices usually specify the age ranges of the characters.
Be sure you fit within the range, or at least look like you
do.
Do I Have to Have a Lot of Experience to Audition?
- The actors who audition for our theatre have a wide range
of backgrounds. Some actors have many years of training and
experience, others are right out of school; still others may
have been active in the theatre at one time and are returning
after a long absence from the stage. Experience is always
a plus, but many of the actors who perform with us have little
or no experience. The Douglas Morrisson Theatre is a great
place to sharpen old skills and acquire new ones.
Are the Actors Paid? - No. The theatre's mission is
to serve the amateur performer; we are after all, a recreation
program. Actors who are members of Actor's Equity (the actor's
union) may not perform with our company. We can however be
an excellent bridge between the world of the amateur and the
professional, by offering career-bound actors with the opportunity
to build their resumes, and expand their training, while providing
them with a high quality product to showcase their talent.
Do I Need an Appointment to Audition? - No. In general,
the auditions are "open calls." This means that
everyone shows up at the call time. Some productions require
appointments, but the need for an appointment will always
be listed in the audition announcement.
What Do I Need to Prepare for the Audition? - The
audition
announcement will specify any material you need to prepare.
The preparation is different depending on whether the audition
is for actors, singers, or dancers. For plays the audition
is usually a cold reading from the script. Prepared monologues
are rarely required. The best preparation for a cold reading
is to obtain a copy of the script and read it before the audition.
Musicals will require singers to prepare a short vocal audition,
usually one verse of a song from the repertory of the musical
theatre. Your song should clearly demonstrate your vocal ability.
Dancers will be asked to come prepared to dance (dance shoes,
and comfortable clothes). The choreographer will teach the
dancers a short dance called a "combination." Dancers
will then perform the "combination" either alone
or in small groups.
What Is a Callback? - The first audition for a show
is the "general call." At this audition the director
and/or casting director is screening all the auditioners for
their suitability for the roles in the show. The "callback"
is a second (sometimes third, fourth or fifth) audition where
the selection process becomes more specific. At a callback
you will be asked to read additional scenes from the show,
prepare music from the score, and learn additional dance combinations.
The callback is also an opportunity for the director to see
and hear different combinations of actors.
How Often Will I Be Rehearsing? - The number of rehearsals
is somewhat dependent upon the size of the role you are performing.
We know your time is valuable and we do everything we can
to call actors in to rehearse only we know they will be needed.
Generally we rehearse Monday through Thursday evenings from
7 to 10 p.m. Dance rehearsals are generally held on Saturday
mornings from 10 a.m. to 1 p.m.
What If I Can't Make All the Rehearsals? - A calendar
with all the possible rehearsal dates and all performances
is located on the back of the "audition form." When
you audition we ask that you place an "X" through
any date that you can't rehearse. We adjust our schedule around
the availability of the actors we cast. Sometimes the availability
of an actor is the final deciding factor in casting. Always
be honest about your availability.
DO avoid overly familiar material, i.e., songs that are performed
continuously. There is a wealth of material from which to
choose without resorting to "Much More," "I
Can't Say No," "All That Jazz," "If I
Were a Bell" or "Tomorrow."
DO avoid songs associated primarily with particular artists.
"New York, New York" is Liza's song, "Don't
Rain on My Parade" is Barbra's and "Over the Rainbow"
is Judy's. Comparisons are inevitable.
DO avoid the current hit from the current Broadway smash
or revival. These songs are simply performed too often at
auditions to work to your advantage and include numbers from
The Phantom of the Opera, Les Miserables, Jekyll
and Hyde, The Scarlet Pimpernel, Beauty and
the Beast and Aida, among others.
DO NOT present a choreographed routine. Dance skills are
evaluated at the dance audition. DO, however, approach the
material with a free body and move whenever appropriate. Body
movement should be relaxed (not casual) and should not "illustrate"
the lyrics.
If you are a young Performer, DO select material suitable
for young performers. Many young performers hide behind over-the-top
"American Idol" voices and mannerisms. Remember
that when we cast a child, we want a "child." We
want to see and hear who you are. DO NOT attempt songs obviously
created for mature characters ("I'm Still Here,"
"Send in the Clowns," "Fifty Percent,"
"Rose's Turn" and almost any Sondheim song).
DO beware of choices that are difficult to perform under
stressful conditions. Many of the patter songs ("If,"
"Another Hundred People," "Funny," "Giants
in the Sky") are notoriously difficult and require careful
coordination between pianist and singer. These songs are hard
to perform without adequate rehearsal and under the naturally
competitive circumstances of an audition.
DO avoid excessively emotional pieces. It is difficult to
build a sentiment quickly and convincingly in 16 bars or one
verse. And consider that selections like the transformation
scene from Jekyll and Hyde without the benefit of costume,
make-up and lighting are often unintentionally hilarious in
the unforgiving light of an audition room.
DO NOT imitate your favorite performers. Don't moonwalk like
Michael, pout like Bernadette or clutch the air like Mandy.
And please don't wear a white half-mask or a lion's head.
DO NOT overstay your welcome, argue if you are cut off in
mid-note, or be evasive about your head voice, chest voice,
legit experience, range or dance expertise. Answer questions
in a straightforward manner that expresses your individuality.
DO bring sheet music in the correct key and with all cuts
or repetitions clearly marked.
DO place your music in a binder or tape the sheets together
for the benefit of the accompanist.
DO speak clearly to the pianist and articulate the tempo
by singing a few phrases. This is preferable to snapping your
fingers or yelling "Faster," "Too fast,"
or "Slow Down" in the middle of "Ol' Man River"
or "Corner of the Sky." And please note that if
we do not feel your songs adequately represent your vocal
range, we may ask you to perform some simple vocal exercises
at the keyboard or present another song.
DO NOT bring taped accompaniment or sing a capella.
We will not hear you without piano accompaniment. And DO NOT
expect the pianist to transpose your music on sight.
DO pay attention to your personal appearance. Look your best.
Dress casually but neatly in clothes that allow freedom of
movement and are flattering to your physique. We suggest two
"outfits"-one for the dance audition and one for
the song and cold reading. For the dance audition, DO invest
in some basic dance wear -- an ensemble that will show your
figure or physique in action. Women should wear character
shoes, jazz shoes or ballet slippers. Men should wear jazz
or ballet shoes. Sneakers are not recommended -- how can you
do a double pirouette when your Nikes keep you nailed to the
floor?
DO consider the impression you make on the production staff.
Your audition begins from the moment you arrive at the audition
to the moment you leave. Be courteous, exude confidence as
you enter the room, say your name with authority, answer questions
in a forthright way, leave with the air of a job well done.
DO be on time.
DO be confident. Like yourself. Be proud of who you are.
In short, make the production team want to work with you.
Arouse their interest through the sheer force of your personality.
Dare to be different -- in other words, true to yourself.
DO ask questions about the production, if you wish. Remember
you are auditioning us, too. The audition runs on both sides
of the auditorium. You need to decide if you want to work
with us, but how shall we say this -- keep the questions logical
and to the point.
(Adapted from an article by Catherine L. Tully)
Don't Take It Personally - There are many reasons
that you might not get a part that you try out for--and not
all of them have do with your acting ability. Take heart,
and take a look at some of the following:
The Wrong Look - Roles often call for a general type
of look. Sometimes you may know this information ahead of
time, but sometimes you might not. There are also situations
where a director may have certain ideas about a character,
but doesn't verbalize them to anyone else. The type they are
looking for is in their head, and you may or may not fit that
idea.
Surprises - Did you know that you were going to have
to sing for that part? Ever been asked to do an impromptu
waltz? Does your character need to yodel? Sometimes you can
be caught off-guard by an audition, not knowing that you have
to draw from more than one skill. Most times these are spelled
out ahead of time, but not always. You can only prepare for
an audition with the information that you have been given.
The rest is improv.
Bad Timing - Even the best of directors can have an
off day--or a bad phone call. At times you may wind up being
the one to suffer. After all, directors are only human, right?
On the flip side, the same can happen to you right before
an audition--either way its no reflection on your acting talent.
Real life sometimes gets in the way.
The Experience Factor - Nobody likes to think of this,
but it does happen. You are clearly the best choice for the
role, but it goes to the person with more experience than
you. Sometimes a director may feel more comfortable working
with someone that they have worked with before, or a director
just doesn't want to take a chance on casting an inexperienced
actor in a large role.
Supply and Demand - There are times that you just
can't land the role--no matter how well you read for it. There
is only one role and you may be one of several actors the
director would be happy to cast. Don't take every rejection
as a reflection on your ability, because sometimes skill just
has nothing to do with it!
George Spelvin
1234 Street Rd
Hayward, CA 94540
Tel: 510-555-1234
Email: gs@hotmail.net
Height: 5'11"
Weight: 160 lbs.
Hair: Brown
Eyes: Brown
Film
Dark Matter Featured Extra, Film Productions, LLC.
Theatre
A Midsummer Night's Dream Theseus, St. Mary's High
School
Hamlet Bernardo, St. Mary's High School
Training
Tony Blair Dramatic Arts St. Mary's High School
Specials Skills
Basketball, Baseball, Golf, Rollerblading, Juggling, Scuba
(PADI certified), Photography. Valid Drivers License and U.S.
Passport.
|
