Everything you wanted to know about the audition and callback process in theater arts from a director’s perspective. I’ve posted before about audition tips which you can search for on my site.
THE FINE PRINT: I need to say that the insights and opinions expressed here are mine alone and not to be inferred as applicable to any other production personnel. The purpose of this information is to give auditioners more information and tools. Hopefully these tools will make them stronger at auditions and able to land more parts.
“Wow, this is incredible, I had no idea”, was the comment someone made who sat in on our auditions and callbacks for the latest show. They said they would never have the heart to run a process like that. BUT, I said, it’s more enjoyable for directors because we have a vision in our head of the finished product. The audition and callback process is part of making that vision come alive. So for a director it’s extremely exciting…..and gut wrenching at times.
So here’s the process from a Director’s point of view. I think actors will find some info here useful for future auditions.
PRODUCER AUDITION PREP
The Producers are responsible for making sure the directors have everything they need for a successful show. Make no mistake about it; Producing is the most difficult job of every production and subject to a high burnout rate. Producers need to make sure tickets are sold, vendors contacted, obtain financial backing and keep a bird’s eye view of the rehearsal process to make sure everything is running smoothly. By the time auditions have started a good producer has already done quite a bit of leg work. Making sure word gets out about auditions, securing a rehearsal location, negotiating contracts with paid personnel, etc. All the yucky non-artistic stuff. And most challenging of all, a producer has to relate well to artist AND business type people. Not easy.
Let’s say the producer has done their job – you now have an audition location that’s been well advertised to attract the talent you need for your production. A good director will have thought this through to clearly give the producer all the information they need to make this happen; and a good producer will make sure they get that from the director.
DIRECTOR AUDITION PREP
The director needs to have an understanding of the theater work in order to know what he’s looking for at auditions. Sound obvious? The depth of knowledge a director needs at this point is whatever he needs to run auditions. I usually work in music; so as Music Director (MD) I need to know pitch ranges of each character, the sound needed for each character and ideas to find those things out during auditions. The general director needs not only a firm understanding of character motivations, but also the chemistry possibilities between characters. To know this the director needs a good understanding of the script and plots. I consider this a fairly difficult task. The better grasp a director has of the theater piece to be performed, the better judgement they will have at audition time.
A strong director will meet with production personnel before auditions to see if there’s anything needed to make the audition process successful.
AUDITION TIME
The directors aren’t nervous if they’ve done they’re homework and know what they are looking for. What? Directors nervous? Maybe stressful would be a better word. Directors only have a set number of hours to field auditioners, and they do NOT want to make a mistake and overlook any gems. The director’s mind is going into overdrive thinking of all the possible role combinations for each auditioner. A good producer will have staff on hand to assist with the audition sign-in process. The directors need to focus 100% on the auditioners without distraction.
As musical director I might hear someone sing for 20 seconds and know they fit a certain part so I cut them off. Or they sing for 20 seconds and I keep hoping they will sing better so I don’t cut them off. Or they are perfect for a role but I need to hear a certain note I know is coming up in a piece, so I wait for that note. In other words, how long you sing really has no reflection on how well you did. As MD I’m fielding people for callbacks. Callbacks is where I’ll get more detailed.
Now I’ve just cut them off from the piece and I’m waiting for the monologue. If the auditioner is nervous it’s not a consideration to me, I just want to hear the next piece they are doing. During the monologue I might be listening for pronunciation and projection while the director might be looking for acting ability, charisma and all those thespian traits The auditioner is seen in a different light by each production personell depending on the job.
Something auditioners should understand is that strong production personnel really understand their niche very well. For instance, I may only need to hear 20 seconds of someone singing to know what I need to know. That’s because it’s what I do. So when auditioning really keep this in mind: you are only up there as long as the directors need to know what they need to know.
AUDITION TIP: Do not sing a song or read a monologue from the production you are auditioning for. It pidgeon-holes the directors view of you, and often auditioners pick the wrong role to select material from. A good trick is to find the role you want, then pick a monologue or song from a different work that’s similiar to the role you’d like.
ROUND ONE
Auditions are over now. Production personnel need to go through all auditioners and start creating possible role lists. Round one is lean and only cuts out auditioners that all production personnel agree are not right for the current production. Production team talks in detail about each auditioner and what they saw in them. This is the first time the production team has to go at a leisurely pace and “get to know” each thespian. Everyone gives their input as the director takes it all in, creating a well-rounded view of each auditioner from all the perspectives given.
ROUND TWO – Callbacks
(Added at request of commenters)
You are probably being called back by request of the director, choreographer and/or music director for one of these reasons:
- You are being considered (or already cast) for a particular role and they want to see you do short excerpts of the requirements for that part (dance, music, acting, etc.)
- You had a very strong audition and are being considered for multiple parts.
- They need to see you paired with other people that are being considered for roles you will interact with for pairing.
- You had a very weak audition, but somebody in casting saw something in you they liked and wants to see a second chance.
- There’s something political going on and people want you to think you’re being considered.
Wow! So yes, there could be a multitude of reasons you’re being called back. But know this: You are being called back because someone out there thinks you are an important possibility for the show. (Even if it’s political, this still holds true).
So how can you prepare? I almost hesitate to say this, but in many ways you can’t. I have often found that when people are auditioning for a particular part, it’s likely the directors are considering casting you for a different part than the one you think you’re perfect for. Not always because of YOU, but because of the person you’re being paired up with. Many roles need a certain interaction between characters.
My advice would be to read up a bit on the character you think (or know) you’re being called back for. If you ABSOLUTELY will only consider a certain role, then make that known to the directors. But be warned that this doesn’t always go over well. Everyone wants to work with a team player.
MY ROLE: When I work as music director, my role is to check the vocal requirements for each character and then give a list of possible candidates to the director. Usually the director makes the final decision. I will usually check the music excerpts with the highest and lowest ranges, and also any sections that require a specific style (for example a blues run, an improvised section, a high floating classical lyric line, a belted mid range brassy section, etc.) – I’ll get a feel for whether the person can already do it, or is capable of learning it. Often I will give people a short series of instructions on what to change in their presentation to see how well they are at following directions. I think this process is similiar for choreography and directors too.
Your past reputation – yes, it will follow you. I had one particular show where I pushed strongly for a particular lead who was cast. They were absolutely horrible to work with and took no direction. I found out later everyone knew they were difficult to work with from other shows. So I am careful to check on performance history now. What’s the advice in this? If you’re in a show and things are going poorly – just keep a cool head. In the long run people will forget about the show – but they will LONG remember how you handled yourself in the process. This is the single best piece of advice I can offer any artist.
What if you DID screw up and cause problems in the past? Let that be known and that you are working on changing. You may be cast for a smaller part while people check you out. But everyone loves someone who is working on being a better team player and performer. Within a couple shows I bet you will see your reputation come around. A painful process but worth it.
So learn a bit about the part and see if you can bring the qualities of that character to the callback. Be yourself! You are being called back because you have something to offer to the director. If they ask you to do something, jump in and do it! If you need clarification, don’t be shy about asking for more direction before you make each presentation at callbacks.
REMEMBER – People are often cast or not cast based on the person their character has to be paired up with. This is a biggie. Often there is a role someone has hands down, but there’s a pairing that doesn’t work so someone else is cast.
Be nice. Have fun. Be yourself.
