The Problem with Auditioning

Getting cast. Ok. Well. It's not really a problem "It's not a problem it's a challenge - it's what I wanted..." (L5Y). I know I haven't been posting. When you get cast, and you work, and you have friends and you have a spouse - well - I know EXCUSES! But I'm back! I have noticed from the traffic reports that the good ol basics are getting used so YAY! We are moving into Musical Theatre Auditions. Having recently been cast in some musicals - I'll pass on what I knew before going in - and what I know now. "And I know things now many wonderful things" (Into The Woods). I'm excited to jump into this world with you. It's one of my faves! Joining us at some point will be some more guest bloggers - Zach Ortz, Tammis Doyle and many more!

What's been in the way?  I just finished playing Matron Mama Morton in Chicago. This week I was cast as the Drowsy Chaperon in - you guessed it - The Drowsy Chaperon.  Learning to balance my writing life with my acting life - well - I'm here to tell you that "I'm not going" (Dream Girls). So my commitment to you - at least 3 posts a week.I hope you will continue to check back.

Happy Holidays! Talk to you next week!

The Callback-Part 2- Bold Choices

Sometimes you only have one shot. One chance to read, one chance to sing, one chance to dance. Make the most of of it. How do you do that?

• First - What is your objective? Always first and foremost what do you want?
• How are you going to get it? Tactics! These will lead you to bold choices.
• MAKE A BOLD CHOICE - go for it!
• Has the director given you any direction? Told you what she's going for?
• If yes - do it - try to give her/him what they want
• If no- it's up to you. They want to see you interpret the role. If you've done your research this is easier - because you have already thought of choices, maybe even tried them out. At home, while you prepping. Read previous blog posts. Just saying.
• Listen to your scene partner
• React to your scene partner
• Give to your scene partner
• Take from your scene partner - what they are giving you.
• Remember when it's not just about you, the scene is better.
• When you are pursing an objective, the scene is better.
• Don't push
• Have fun.

Have you made a strong, definitive, bold choice rooted in emotional honesty? Then no matter what the outcome - you just had a good callback!

The Callback-Part 1- You get to perform today!

The Callback - Part 1

I thought this was appropriate today since - I have a call back today! I'll be Dancing, Singing and Reading for Matron Mama Mortan in Chicago. So - I'll share with you what I did between my original audition and today.

• Listened to Chicago once all the way through. I know the show - or I would have listened a lot more
• Listened to Mama's songs
• Sang through Mama's songs
• Read the script.  Read through all Mama's scenes a couple of times, a couple of different ways with different objectives. OUTLOUD!
• Read scenes with somone else, got their feedback, tried it on for size, kept some ideas, threw other's away.
• Came up with questions - if given the opportunity - to ask at the callback

This morning - I got up early, Drank water, started warming up, ate a good breakfast with some protein, drank coffee - drank more water to make up for the coffee, stretched out, practiced the few dance moves I know, warmed up my voice a little more. Petted the dog.

Now - I will hop into the shower, get dressed for the dance call, take a change of clothes for after the dance call, make sure I have water - lots of it! Pack some protien and BREATH.

The most important thing I can do today and that anyone can do at a callback - after you've done your research of course - is to have fun. Even if I never get to perform the role for an audience with this company - I do today. TODAY I am Mama Morton - TODAY I have a captive audience. TODAY I get to have fun - act, sing, dance PLAY, try different things with different people. TODAY I get to do what I love - Perform. That was true with my original audition and it is true today. If one starts looking at auditions as performance opportunities - the audition process becomes a lot easier. 

HAVE FUN! You get to perform today!

Know Your Material-Beyond Memorization

Know your Material!

Do not memorize your monologue the night before the audition. Know your monologue backwards and forwards. Now - this does not mean - know-your-monologue-so-you-can-do- it- the-exact-same-way- every -time-therefore-I-can't-do-it-any-other-way. Refer to Hedda Example.

If the director has time they may ask you to try something new - Hedda as a cheerleader. Or they may ask you to start from a particular section and do it again. Maybe with no change. Focus on your objective and your tactic. However if you've only ever done the monologue from the beginning AND if you've only ever done it one way - this request will not be easy - even if that haven't given you a direction.

So - when memorizing a piece:

• don't always start from the beginning
• try singing it
• do it with different "voices"
• Say it out loud - not just in your head
• have people talk to you while you are trying to do the monologue
• do it in a park where there are distractions (um - if it is appropriate...)
• have friends try to distract you
• Say it out loud
• do it with t.v., radio, dog in the room, playing with the cat
• Move your body while you speak out loud
• Did I mention SPEAK OUT LOUD - not just in your head!

 Let the words live in your body. In other words really KNOW the piece. Don't just memorize it.

Don't be rude

A friend of mine who is a Producer/Director was recently holding auditions. He was producing this particular show but decided to hang around the auditions, not in the audition room. A guy came in who had changed his appointment but showed up at his "original" time. The producer tried to engage this actor in conversation saying - "Have I seen you somewhere before?" The actor replied -"I don't know, have you?" When the guy came out of the audition room he said "she wanted a character analysis" and stormed out. Producer found out the director had asked "who is your character talking to? He answered "I don't know, I don't have time for this shit" - and left.

2 morals of this story:
1st- know your character, know who you are talking to and be ready to answer questions!
THEN -
 I tell my Hedda Gabler example in every audition class I teach.
         In an audition if a director ask you to play Hedda Gabler like a cheerleader - DO IT. They are just trying to see if you can take direction. 99.9 % of them do not believe Hedda is a cheerleader!

2nd - Don't be rude. Answer questions politely, make conversation if someone engages you, and as long as it is a reasonable request -  do what your asked! (Not resonable -don't jump off buildings or take your clothes off in front of a camera in some "producer's" basement!  )

Off The Grid

Off the gird for a couple of days. While I'm gone - check out the amazing Dennis Schebetta. Truly one of my favorite playwrights. I love his writing. Read just the first couple lines of one blog entry you'll be hooked - and inspired! See you Monday!


http://fightingthevoid.blogspot.com/

Practice Your Slate

Practice your Slate


Although we are not “In The Room” yet – we will be soon – it’s never too early to start practicing your slate.

What’s a Slate? Glad you asked.

Greeting, Your Name, Your pieces

Greeting – take your pick – Good morning, hello, good afternoon – etc

Your name. It’s your name. You know it really well. But they DON’T – Slow down.

Enunciate.

Put a space between your first and your last name. Don’t run it together like it’s one word.

Bradetta Vines not Bradettavines

Start practicing now.

Vacaction is Over!

Vacation is over!

Well -almost! Posting starts again on Tuesday. Have you started following publically yet? If not - you should. This month - Guest Blogger Dennis Schebetta, Interviews with local directors and input from many music directors! See you on the boards!

Also - local actor Shanga Parker was just in Leverage - check it out!

Vacation Audition?

Ok - Sometimes when you are on vacation - you could schedule an audition - or two! I call that a working vacation. You might also update your blog.....

So - I am on vacation! The next full audition post will happen on my return (Active Audition Book Part II). For now - when I have a chance I will post links and updates about theatre.
We are headed to The Oregon Shakespeare Festival. We are seeing Pride & Prejudice and She Loves Me (musically directed by the Wonderful Darcy Danielson!)

Check out the link. The Festival is amazing!

Active Audition Book

Active Audition Book


Your audition book is different from your “storage book”. Your storage book is just that – a place where you store material. My monologue storage book looks like this

Front panel – Clear so I can slip in the title page and a different color binder than my Active Audition Book .

Title Page – Bradetta’s Audition Material –( Name this anything you want – except Active Audition Book).

• 1st Tab – Comic 
• divided classic and modern - in all 5 sections
•  2nd Tab – Dramatic 
• 3rd Tab – Serio-comic
•  4th Tab – cross gender 
• 5th Tab – for others

These may be monos I liked, grabbed, stuck in, noted the source and forget about until I am looking for something specific. I don't know exactly what I have in storage until I look through it.
I have a separate storage book for Music. I copy the entire song and note somewhere in the book the source especially if the music was hard to come by.

I do the same tabs – My title pages says Audition Songs – it’s the same color binder as the other storage – because these stay in the house I don’t panic about confusing them

My Active Audition book I don't divide these into classic/modern monologues- beacuse I know them, I'm familair with all. They are Monologues are  that: -

• I know cold and after a focus exercise I could do right now – Performance Level

– I currently have 8 of those 

•  I could do if I ran through it in my head a couple of times – Performance Level -

– I currently have 6 of those

•  I have done my work, I have memorized them – I may have even done them before in an audition but I need to look it over, remind myself who the character is, maybe go over a couple lines I have forgotten- Performance level – IF I HAD TO

- I have 6 of these

• Monologues I want to use in the future – I don’t have them memorized, I have read the play, I have started character worked – they are nowhere near performance level -

-I have 6 of those –

The tabs are thus – Performance Level – Take A Moment – Take Two Moments - Soon

This shorthand works for me - do what works for you.

That is my monologue book. We’ll talk about songs in another post. Here is also what I keep in my Active book before the tabs start- Blank sheets of Audition Reflections, This includes a Mileage Log. I also have a pocket for any parking receipts or any other expenses I might have encountered on my outing. I do this later part for tax purposes. Take a look at the Audition Reflections. After I fill them out I put these in a three ring binder named – you guessed it – Audition Reflections.

More on that in the next post!

Choosing a Monologue Part 4: The Right Fit - a long one folks!

So now you know what to look for in a monologue. It should be:

• An active monologue
• Have a clear objective
• 
  
  Have the opportunity for different tactics so you can pursue you objective (and show off your versatility in a short performance!)

The above is just the tip of the iceberg. We'll talk more about Working the Monologue a little later. Right now – you have a piece and you are searching for more. It meets the above requirements. Let's add some more to that above bullet point list.

 What are you auditioning for? A General (Like Theatre Puget Sound General Auditions), a theatre season, a specific show, or a college? 

For all of these auditions – Do your research! Know what you are auditioning for. This helps you choose your monologue – or two. If you are singing it helps you choose your song.

 The General Audition – Multiple theatres.
These are my favorite. You get to pick a monologue or two that show you off. This/these should be a monologue(s) that play to your strengths. Are you funny? Find a great comic piece. Do you excel at Shakespeare – great! Quirky, lovable, dramatic, vulnerable? Great! Find a piece that serves this purpose. The world is your oyster!

The Season Audition

Let's say a local musical theatre company is holding their season auditions. Their season is Damn Yankees, Guys and Dolls, and The Sound of Music. Choose something by one of the writers from these shows if possible BUT – not from one of these shows. Do not walk in with A Jason Robert Brown song. I might also suggest a comic piece. You could do drama – but David Mamet or dropping the F bomb throughout the monologue (um yes Mamet and F bomb do go together –quite often) is probably not a good choice to audition for this particular season. If you can't find something from another show by the playwright, lyricist or composer try to find something similar to the shows you are auditioning for. Do your research! KNOW the material you are auditioning for.

 With the season audition you may become a little more specific in your selection. The Non-Musical Theatre Company A has announced their season. 

Eleemosynary by Lee Blessing, Doubt by John Patrick Shanley, Trust by Stephen Dietz and Spike Heels by Theresa Rebeck - Some of my favorite playwrights and favorite plays – I am so lucky! J

There are many character clumps I could make but I'll focus on the young women for this post. Don't worry above 30 year old gals and all guys – I'll get to you eventually.

 Eleemosynary has a teenage girl – smart, quirky, different; Doubt a young 20 something nun, Trust a 20 year old hip, sexy funny gal, and Spike Heels a 20 something girl with very little education – but street smart. These are all different young women that if you fall into the age category you may be called back. So how do you choose a piece?

Research – read the plays. Identify the character type in which you are normally cast.

• 
  
  Pick a monologue from another play that has a similar character
• 
  
  Hopefully the character has similar objectives, vulnerabilities or other character traits.
• 
  
  If  you get to do two monologues - pick two very different pieces that show your range – if you have that range! If not – stick to what shows you off the best.
• 
  
  If you don't have the range to play all these women then get some more training so you can increase your range – but I digress….

A Specific Show

When I am auditioning for a particular role I do the same thing I listed in the research section under Season Audition above. I pick a monologue or a song that is similar to the role I think I may be cast in. This can be tricky. Theatre is subjective. You have no idea how a director sees a certain character. But you can make an educated guess. That is about all you can do. So make a choice, make it big and go for it. See if the director has written anything or done an interview that may give you clues to what she/ he is thinking about this particular show. Don't trust gossip.

 Personal example: 

I was 23 and way too young for any of the roles I thought I might be considered for "Type" wise in Falsettos by William Finn at The Group Theatre. At that time I didn't feel I had the vocal range to play the character that I was probably old enough for. Still…I wanted to audition. I was in love with the show. In my dream world I wanted to play Doctor Charlotte. I picked a monologue from another show. The character was a lesbian, more on the butch side. That is how I saw Doc Charlotte. I picked a song that felt like Trina who is a housewife that has lost her husband – to another man. She also discovers new love during the course of the play. I picked a section of the song Life Story from Closer Than Ever. The character in this song has also lost her husband but to another, younger, woman. She has also discovered new love – a lot. So I did the song – with two small twists. There was a lyric that referred to a young male lovers and one that referred to being 49. Now – I did and always have looked older than my age- but I was 23! Not 30 something and now where near 49. So I was breaking the age range rule – but new I felt older than my actual age. I changed the lyric to reflect young female lovers, even though it was a Trina feeling song regarding circumstance and objective. I changed 49 to 39. I was told by the director that I could not have chosen better pieces. In his words "they were perfect".  In my mind I was way too young to play Dr. Charlotte or Trina– but he called me back. He cast me as the understudy for Doctor Charlotte – I went on – it was an amazing experience.

Now – I could have talked myself out of auditioning. I could have stopped myself from choosing pieces with any sort of direction or specificity in mind. If I had – the seed would not have been planted in his head that I could play older. Or maybe he decided Doc Charlotte didn't need to be much older than I felt. Who knows?  Also – he was casting other shows in the area that year. This gave him an opportunity to see me audition. I was also planting ME as a seed in his head!

 Help your auditor. Help them see what you THINK they may be looking for. You might be wrong-  but – If you have picked strong pieces that you do well – that is ok. In the end auditors are looking for actors who know how to act, great to work with and take direction well. The first audition should show them that you are a Great Actor!

Alright- I recommend you try to find pieces in your age range or type range….obviously I broke that "Guideline" More on that later! Onto the end of this blog post!

College Auditions

 I teach at the college level. I have coached High School and Transfer students for over 10 years when they are preparing for their college auditions. There is so much information for this section that there are blogs and websites dedicated to only this. I teach a workshops, I coach privately – contact me if you are interested. Although I will post more info on this subject, for now and to keep it short I will say:

1. 
   
    Look at the requirements the school publishes
2. 
   
   Follow the requirements the school publishes

This is the most important thing you can do. It kills me how many people fudge or want to fudge the requirements the school requests. Just Say NO! If they want a song written after 1960 do not do one written in 1959. Just don't do it! You get the idea.

Tomorrow: Building Your Book

Choosing a Monologue Part 3: What's The Quick and Easy Way To Find A Monolouge?

What is the quick and easy way to find a great Monologue?

There isn’t one. Ok – there might be one –if happen to know an amazing playwright, who writes plays that happen to have amazing monologues in them. As much as I’d like to claim Dennis Schebetta as my private playwright….sigh…I have to share him with all of you.

The best way to find great monologues is to READ PLAYS. Skim them if you have to. Look for chunks of text – paragraphs to start. They are out there. Keep reading (plays...and this post!)

Sometimes you can “Piece” a monologue together. This can be tricky.*note below.

The following is an example of piecing:

Original Text:

Queen Christina

(lots more text before )….. I am allowed to bring forth in unimaginable pain, a vegetable a dwarf, a monster or if I’m supremely fortunate – another creature such as myself.

Oxenstierna

Ordinary women do this daily.

QC

I am not ordinary! If there is one thing you have taught me since the moment I could hear it is the specialness of me! (lots more texts after this)

The Piecing –

Queen Christina

(lots more text before )….. I am allowed to bring forth in unimaginable pain, a vegetable a dwarf, a monster or if I’m supremely fortunate – another creature such as myself. Now, ordinary women do this daily. But I am not ordinary! If there is one thing you have taught me since the moment I could hear it is the specialness of me! (lots more texts after this)

I added two words to make the transition. Sometimes you can cut a line. Example – there may be one or two words from another character like “What?” but the monologue makes since if the character you are looking at just keeps going.

On the permanent pages you will find a list of playwrights. I love the work of these playwrights’s. These plays are a good place to start. I don’t guarantee you will find a great monologue – but it’s a good bet that some of you will find one you are drawn to and that works for you.Not to mention - it's time well spent. Did I mention they have written plays I LOVE! I am sure there are wonderful playwrights I have left out – please feel free to comment and add your own to this list!

*Disclaimer – when you piece a monologue you may be changing the playwright’s words. If you do this try not to change the playwright’s intent. Some playwright’s would be totally fine with this for auditions – some not so much. Most – not in the room. I say this with great respect knowing and loving many playwrights.

Choosing a Monolgue Part 2. Why an Active Monologue?

Why an Active Monologue?

Simply put and active monologue has an active objective. You -the character -want something right now. This means that -right now- you are pursuing an objective, varying your tactics and hopefully your stakes are high. That is what you want to show an auditor. You know how to make e a choice, you know how to go after it. Hopefully you know more than one way to pursue what you want. If it’s a good monologue it may have more than one objective and it DEFINILTY has more than one tactic.

I only recommend using a memory monologue when you are auditioning for a play that uses memory storytelling as the main modality. i.e. The Exonerated, Juvie, Runawys, A Chorus Line, The Weir, Still Life etc. The objectives in story monologues are not always clear, they are more about telling a story and sometimes you reveal your main intent at the end of the monologue. Memory monologues can also become self-indulgent – but let’s save that for another post!

This doesn’t mean M&Ms don’t elicit emotions. They are often entertaining and moving. Paul’s monologue in A Chorus Line is one of the most powerful moments of theatre I’ve experienced. Ruined has several memory storytelling moments that brought me to tears. In my opinion they are better suited for performance, not for auditioning.

Choosing a Monologue Part 1 -Active vs. Memory

Choosing a Monologue Part 1

If you don’t have one already now is the time to get a three ring binder. Start Building Your Audition Book.

The audition determines the type of monologue and the length. Read the requirements and follow them! If it says prepare a 2 minute monologue don’t walk in with a 2 minute and 15 second monologue. If they ask for comic piece don’t walk in with a dramatic one. If they ask for a Modern piece don’t bring in Shakespeare. But...."Let's start at the very beginning..."

I give examples of published work below. I have not included the entire text but I have provided enough information for you to find the text if you so desire.

Find an Active Monologue – this means a monologue that happens in the now not a Memory Monologue. A Memory Monologue (or M&M) is when you are telling a story, something that happened in the past.

Examples:

An M&M might start something like this:

When I was a little girl I went into the abandoned coal mine. At first everything was fine but then I went deeper and there was a big bang. Everything came tumbling down…

Below is a couple of lines from The play “Lardo Weeping” by Terry Galloway

Dinah has a monologue that begins:

“There was only one time in my life…. –and ends- …..just not quite ruthless.

This is an M&M

An Active Monologue (AM) might start something like this:

I don’t understand you. I give and I give but you know what, I’m through giving. Get out. Right now! Go into the bedroom, pack your bags and get out! No – don’t talk. You know why? Because I’m through listening!

Below is a couple of lines from The play “Four Corners” by Wendkos and Bond

The character Jimmy has a monologue that begins:

Look, you know how dogs begin to look like their owners….. -and ends - ….couldn’t I turn into her?

This is an AM.

Professional, College Auditions, Educational settings

As you begin your audition journey you will notice different requirements for different auditions. This is why you create an *Audition Book with options.

Being prepared is your strongest asset in every setting.

As I post Tips I will differentiate between settings when necessary. Feel free to ask questions about your specific situation.

*Denotes coming or published post

Introduction - How to use this blog

When I tell people I’m an actress and that I teach theatre a burning question inevitably finds a place in our conversation: How does one audition?

This blog shares my personal knowledge and experience with the audition process in the Seattle area. Please read my short philosophy before you dive in and start to comment.

Check the Archives. The titles will guide you.

Theatre is subjective. Therefore, everything I say is right- and wrong - for someone.

However, I have had a lot of experiences with a lot of directors, producers, actors and musicians. Although I will never (never say never) say there is an "industry standard" (see my post on that!) I would say there are some practices and guidlines that 95% of the theatre community follow. I will share these practices within each section from Choosing a Monologue to Walking into the Audition Room.

Enjoy and may you find success. When you do – I am more than happy to accept my 10%! J Serioulsy, I would love to hear how you are doing and what helps the most! Please post.

Happy Auditioning!