{"id":2866,"date":"2017-04-04T19:28:04","date_gmt":"2017-04-04T19:28:04","guid":{"rendered":"https:\/\/performerstuff.com\/mgs\/?p=2866"},"modified":"2017-09-25T14:31:15","modified_gmt":"2017-09-25T14:31:15","slug":"10-tips-for-auditioning-for-a-regional-theatres-season","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/10-tips-for-auditioning-for-a-regional-theatres-season\/","title":{"rendered":"10 Tips for Auditioning for a Regional Theatre\u2019s Season"},"content":{"rendered":"

10 Tips for Auditioning for a Regional Theatre\u2019s Season<\/h3>\n \"\"<\/a><\/span>

Written by\u00a0Meghan Mitchell<\/p>\n

April 3, 2017<\/p>\n<\/font>

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Whether you’re going to a season audition for the first time or the 20th<\/sup> time, there are always new things to keep in mind when prepping for your audition. Whether a season contains Shakespeare, a one-woman show, or a musical you\u2019re unfamiliar with, there are always new works to discover when preparing your audition cuts.\u00a0 It\u2019s never an easy task to encompass an entire season in only 16-bars<\/strong><\/span><\/a> of a song and one minute of a monologue<\/span><\/strong><\/span><\/a>; how can you possibly show the depth of your talent in such a limited capacity!?\u00a0 It\u2019s most important to remember that no matter what you\u2019re auditioning for, and what shows are being produced, YOU are the person they are hiring for one, two, or even seven different shows through this one audition experience.<\/p>\n

1. Research, research, research\u2026<\/h4>\n
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It should go without saying, but you should always research the plays and\/or musicals<\/strong><\/span><\/a><\/span> that the company will be doing.\u00a0 What are you going to need to gear your audition towards based on their season?\u00a0 Then, research the company itself; do they allow for EMC points<\/a><\/strong><\/span><\/span>\u00a0(part of Actor’s Equity<\/strong><\/span><\/a><\/span>)? \u00a0Do they only use non-equity for TYA (theatre for young audiences) productions?\u00a0 How are they allowed to cast their productions with equity\/non-equity rules?\u00a0 It is best to research every play and musical in the season and know how the company might cast in order to accurately pick your audition pieces and what shows you should gear your audition towards. \u00a0Doing an Ahrens and Flaherty musical and Shakespeare?\u00a0 Find a song and monologue that are in the same vein of what you are auditioning for; it behooves you to show the director how you would fit into their season with your audition pieces right off the bat.<\/p>\n

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2. Look through your book.<\/h4>\n
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Stressing over having a certain \u2018type\u2019 of song for a certain musical?\u00a0 Look at what you have (especially in a time crunch) and find how you make it work for the season you\u2019re auditioning for.\u00a0 As long as you\u2019re comfortable with your pieces, it will show through in your audition.\u00a0 And YOU are the person they are casting, not your specific 16-bar cut<\/span><\/strong><\/a><\/span> or minute monologue<\/strong><\/span><\/a><\/span>.\u00a0 You should always know what you have on hand in your book at any point in time\u2014work on keeping your book fresh and new.\u00a0 Rotate stale pieces with newer ones, and always know what you have on hand at any point in time.<\/p>\n

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3. Shakespeare or no Shakespeare?<\/h4>\n
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Sometimes with season auditions, you are only allowed one monologue for an entire season\u2014and what if that season has Shakespeare in it?\u00a0 First, know your <\/strong><\/span><\/a>theatre<\/strong><\/a>.<\/strong><\/span><\/span>\u00a0 Is there a specific role you could play?\u00a0 Do they use primarily interns or graduate students for smaller roles in all of their Shakespeare shows?\u00a0 All I can say is that you have to use your best judgement when you are only allowed one monologue or song instead of contrasting pieces.\u00a0 Are you more comfortable with Shakespeare than modern American realism?\u00a0 Or vice versa?\u00a0 Would you rather do a Chekhov piece?\u00a0 Honestly, it\u2019s all up to you!\u00a0\u00a0 I\u2019ll keep coming back to the same theme; you want to showcase YOU.\u00a0 And however you can do that, then THAT is what you should do for your audition.<\/p>\n

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4.\u00a0You want 16 bars of\u2026 what?<\/h4>\n
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Look into the season; if your options are Secret Garden<\/em> and Pinkalicious<\/em>, you would want to determine whether your stronger wheelhouse is classical musical theatre or pop\/contemporary musical theatre.\u00a0 Again, pick an appropriate selection<\/strong><\/span><\/a><\/span> that showcases what you do best.\u00a0 If they want another selection, they will ask you for it in the room.\u00a0 Better yet, you will be invited to a callback to sing or read for a specific role!\u00a0 The director can look at your resume and see what you are capable of.\u00a0 You\u2019re not going to be able to do pop\/rock and Light in the Piazza<\/em> and Kander and Ebb all in one song\u2014it\u2019s not physically possible, and that\u2019s okay!\u00a0 And don\u2019t feel bad about that!\u00a0 At the end of the day, I\u2019ll keep coming back to the same point\u2026<\/p>\n

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5. Showcase YOU.<\/h4>\n
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You are the one auditioning, so you should be the one to choose the correct audition pieces<\/strong><\/span><\/a><\/span> for YOU. \u00a0If your sound is more classical, gear it towards that.\u00a0 If you\u2019re uncomfortable with Shakespeare, use your Neil LaBute monologue.\u00a0 Just because a season has a certain musical in it and you\u2019re uncomfortable with the genre, don\u2019t go for the genre and then have your audition fall flat.\u00a0 At the end of the day, showcase what you do best.\u00a0 After all, you are getting hired as the performer you are for what you bring to the audition.\u00a0 Don\u2019t make yourself uncomfortable singing Rodger and Hammerstein when you are a Pasek and Paul gal\/guy.\u00a0 As the old adage says, always \u2018showcase your strengths hide your weaknesses<\/em>.\u2019<\/p>\n

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6.\u00a0Have things in your back pocket.<\/h4>\n
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I cannot tell you how many times I have been in an audition where I have heard the words, \u201cWell, do you have anything more pop sounding?\u201d\u00a0 Or (after a monologue only audition) \u201cYou sing\u2026 right?\u00a0 Did you have something to sing?\u201d\u00a0 Always be warmed up and ready for anything in your book or in your back pocket of monologues.\u00a0 You may not know that a director is considering you for a musical or play along the pipeline that hasn\u2019t been announced in the season yet.\u00a0 I would recommend always having (at the very least) 16-bar cuts of both up-tempo and ballad, one pop\/rock song, both a comedic and dramatic monologue, and to be really prepared, a Shakespeare piece as well.\u00a0 It sounds like a lot, I know! And that is intimidating, but even just saying to the director\/producer \u201cI have ______, I just need a minute to look over it,\u201d and then taking a moment to prepare and have something for them to see reflects so well on your preparedness and professionalism. They will usually give you a minute, even send you out of the room and then call you back inside, so that you can have some time to refresh something that may not be so fresh at that precise moment.\u00a0 Having multiple options of pieces is never ever a bad thing for any actor\/singer to have.<\/p>\n

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7. Find a comfortability in your pieces.<\/h4>\n
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After using your pieces for multiple auditions, you can find a sense of comfort in knowing the ins and outs of your songs and monologues.\u00a0 \u00a0I like to find songs and monologues that are multi-purpose\u2014like a contemporary musical theatre piece that also has a classic dynamic build, that also sounds pop, that also has powerful high notes and lyrical phrasing.\u00a0 Once you can use your pieces for multiple auditions, you can find true comfort and power in your pieces.\u00a0 Everything sounds great in the shower, or in the car, but the more and more you practice just the art of auditioning itself, the more comfortable you will be with the whole process.\u00a0 Everyone has those songs or pieces they\u2019ve used where you cracked on a high note, or froze and \u2018up\u2019ed\u2019 on your next line, and we are terrified to go back to them.\u00a0 All I can recommend is practice, practice, practice.\u00a0 As Julie Andrews once said, \u201cAmateurs practice until they get it right; professionals practice until they can\u2019t get it wrong.\u201d<\/p>\n

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8. Know your audience.<\/h4>\n
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Has your director recently played a key role in a previous season?\u00a0 Are you bringing in a piece from a production he\/she knows quite well and has a certain interpretation they are fond of?\u00a0 In general, it\u2019s best to find the more obscure pieces so that you are not left with this dilemma when auditioning.\u00a0 Of course, there are only a finite amount of Shakespeare monologues in the world, and I\u2019m sure every director has heard every single Kander and Ebb song known to mankind at this point, but there are still ways to stand out while focusing your audition on specific shows.\u00a0 Auditioning for Jesus Christ Superstar<\/em>?\u00a0 Find another Webber musical that matches the character you\u2019re auditioning for but is lesser known.\u00a0 Better yet, sing a pop\/rock song everyone knows and loves from the radio!\u00a0 Think outside the box!\u00a0 Know who you\u2019re auditioning for, what they might expect of you, and find the balance of comfortability and showcasing what you know they will be looking for in your audition.<\/p>\n

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9. Know your type.<\/h4>\n
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Planning on singing an aria when you are more of a character actor?\u00a0 Trying to do a character piece when you look like an ing\u00e9nue?\u00a0 Know your type and what directors and producers will look for in you when you first step foot into the room, especially when auditioning for an entire season.\u00a0\u00a0 As actors\/singers\/dancers, we are \u2018typed\u2019 the minute we walk in the room.\u00a0 Decorum, how you dress, how you carry yourself are always factors when auditioning.\u00a0 If you know that you can absolutely nail a Bottom monologue (Midsummer<\/em>),\u00a0then by all means, go for it!\u00a0 If you can pull off the nerdy look and want to sing from Honk! <\/em>the musical, do it!\u00a0 And let them see your type!\u00a0 This harkens back to the old saying \u2018be comfortable with your pieces,\u2019 but make sure that those pieces match what you look like to the casting team.\u00a0 In college, we had an assignment to go up to 100 strangers and ask them how old they thought we were and what we did for a living.\u00a0 You\u2019d be surprised how quickly you can find your type just by what you\u2019re wearing and how you present yourself when you walk in the room at any audition.<\/p>\n

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10. No news is good news\u2026 Right?<\/h4>\n
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Like all auditions, you must forget about your audition the second you walk out of the room.\u00a0 Especially for season auditions, when callbacks may be MONTHS from when the initial cattle call happens\u2014they could easily cast closer to the show itself instead of nearly (in some cases) a year in advance.\u00a0 You may come back in for a callback, or you may just be sent an offer weeks or months later\u2026 who knows!\u00a0 But you can\u2019t let that worry you on either account.\u00a0 The best thing you can do after any audition is to move on with your day, keep auditioning, go to class, carry on, and when the right project and the right offer comes along, it will at the right time for the right reasons.<\/p>\n
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Need some advice? We\u2019ve got you covered.<\/h3>\n