| 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 current or recent Broadway hits.
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, 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.
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