Audition Guide

Preparing for an Acting Audition

This is a job interview. Treat it accordingly.

10 Quick Steps to a Successful Audition

1. Read the Audition Announcement Carefully
2. Find a Monologue and a Song
3. Research the Theatre Company
4. Rehearse, Plan, Prepare
5. Bring a Resume and Headshot
6. Be Early
7. Be Flexible
8. Be Positive
9. Be Confident
10. Close the Deal Follow up!

As a director, I look for actors who will show me how they work, their process, rather than attempt to
give a perfect or finished performance.
~ Robert Barry Fleming, Director
Theatre Arts Program

Prepared by Carrie Klewin

University of San Diego
Theatre Arts Program
Spring 2009

Reading The Audition Announcement

Sample Audition Announcement #1
The Rep Theatre announces general auditions for the 20092010 season May 8 and May 9, 2009 by appointment only. The
Rep is seeking Equity and non-Equity Actors over the age of 18. No one under the age of 18 will be seen at this audition.
Auditions will be three (3) minutes total. Actors may prepare any combination of the following:
Actors can prepare a monologue from a contemporary play.
Actors may also prepare one song from a musical not to exceed 32 bars. An accompanist will be provided. Please
bring music in your key. (No recorded music)
Actors may prepare scene to be read from any of the shows in the season. Sides will be provided by The Rep. For
actors reading a scene a reader will be provided by The Rep.
Actors are responsible for choosing their sides from those provided. Rep staff will not choose for you.
Auditions are by appointment only. To schedule an appointment and arrange for sides call Katie at [blank] after 11:00 am
on April 14, 2009. Phone calls will be accepted thereafter from 10 am until 5 pm Monday through Friday only.
Audition appointments will be scheduled for the following times:
Friday, May 8, 2009
10 am1 pm: Non-singers
2 pm5 pm: Singers

Saturday, May 9, 2009

10 am1 pm: Non-singers
2 pm5 pm: Singers
5:30 pm: Callbacks as needed.

Auditions will be held at The Reps rehearsal hall, 17 South Old Orchard (next to Ben Franklin).
Please bring three headshots and rsums. Plan to arrive for your audition 20 minutes prior to your scheduled appt.
Casting authority for these auditions is Steven Woolf, artistic director. The Rep operates under a LORT (B+/D) contract
with AEA. The Rep is an Equal Opportunity Employer.
The Repertory Theatre 20092010 Season
Amadeus
by Peter Shaffer
Directed by Paul Mason Barnes
First Rehearsal: 8-18-09
Opens: 9-11-09 Closes: 10-4-09
The roles of Mozart and Salieri have been cast.

A Christmas Story
by Philip Grecian
Directed by John McCluggage
First Rehearsal: 11-10-09
Opens: 12-4-09
Closes: 12-27-09

Sleuth
by Anthony Shaffer
Directed by Michael Evan Haney
Opens: 10-14-09 Closes: 11-8-09
Sleuth is a co-production with the Cincinnati
Playhouse in the Park, and originates in Cincinnati.

To be announced
First Rehearsal: 12-15-09
Opens: 1-8-10
Closes: 1-31-10

The Diary of Anne Frank

by Frances Goodrich and Albert Hackett
Directed by Steven Woolf
First Rehearsal: 1-19-10
Opens: 2-12-10 Closes: 3-7-10
The Fantasticks
by Tom Jones, Music by Harvey Schmidt
Directed by Victoria Bussert
Musical director: David Horstman
First Rehearsal: 2-23-10
Opens: 3-19-10 Closes: 4-11-10
The roles of El Gallo, The Old Actor and Mortimer
have been cast.

Productions for The Reps Studio Theatre series are still under consideration and will be announced at a later time. For more
information about The Reps 20092010 season, visit the Season Preview website.

Audition Announcement Sample #2

Auditions for Joseph and the Amazing Technicolor Dreamcoat
Date: Sunday, May 17, 2 - 8pm
Monday, May 18, 6 - 9pm
Call-backs if needed
May 19, 6 - 9pm

Audition Announcement Sample #3

Dancers and Dancer/Singers
Crystal Cruises
* Audition Date(s)/Times: Jan. 31, 2001; 11:00 a.m. (male dancer/sincers); 12:00 n. (male dancers); 2:00 p.m. (female
dancers)
* Location: Lou Conte Dance Studio, 1147 West Jackson Blvd., Chicago, IL
* Audition Description/Requirements: Holding auditions for dancers and dancer/singers for this cruise line. Must have
strong ballet technique, as well as jazz and tap. Also seeking adagio and acrobatic experience. Dancer/singers should
prepare two musical selections (one up-tempo, one ballad.) Bring sheet music in appropriate key; accompanist provided.
* Contact Phone: N/A

Preparing for the Audition

What to Know

Find out everything you can about the company, the show, and the people you are auditioning for. With so
many resources now on the internet, there is no excuse for not being prepared.
It is also a good idea to find out what the auditioning staff wants to see. If the information is not provided in
the audition materials, regarding what specific traits or talents they are seeking, you should contact the
company or theater, or go to any workshops that they may offer.

How To Choose Audition Monologues

Pick material that reflects your strengths, suits your age, and demonstrates the image you wish to create.
Choose an active monologue that has a change in the character from beginning to end. This shows range of
acting and an understanding of monologue beats.
Choose an audition monologue that is appropriate for the show you are auditioning for. If you are auditioning
for Shakespeare, don't use a contemporary monologue. If your audition for a musical requires a monologue,
do you best to find a monologue that suits the material.
Do not choose an audition monologue that requires an accent unless it is specifically asked for.
Never speak two characters' lines, as if you are having a conversation with yourself.
Do not use monologues from movies for a theatre audition.
Do not use monologues that were written as stand-alone monologues from unknown sources, we want to see
you do something from a play or playwright we have heard of.
Do not perform a monologue in an audition without reading the play it is from. When you are asked
questions about the play you will look like a complete idiot if you cannot answer the questions.
Avoid monologues from audition anthologies. We have heard them too many times already.
Do not select pieces that attempt to shock with their use of bad language or obscene physical action.
Pay strict attention to time requirements most monologues should be one minute or less.
Get feedback from a trusted coach, friend, or director on your audition.
Contrasting Monologues
What are contrasting monologues? Two completely different characters from two different plays and
play genres. One classical and one contemporary piece is the norm. Make one a comedy and the other
dramatic.
A Monologue Repertoir...
Keep a file of every monologue you ever work on, and keep it handy. You never know when you will
be asked, Do you have anything else? Every actor should have a monologue from the following
genres (a minimum of 4):
Comedy (Neil Simon, etc and Durang etc)
Drama (Something very contemporary, edgy and something more straightforward)
Classical (Chekhov, Greek, etc)

Shakespeare

Thoughts on Auditions from your USD Professors

If the director asks you to do the piece a different way, do it with grace and an open mind. Don't be tentative and don't argue; the
director may just want to see how flexible you are and how easy to work with. Don't be afraid to ask the director a question for
clarification.
If you're auditioning for a specific play, read it first and get some ideas about the characters.
Be respectful of everyone: the Stage Manager, assistants, fellow actors. Don't view other actors as competition. Wish everyone
well, knowing that each actor is unique and whether or not you get the role is a matter of how well you match the director's vision.
Negative energy will do you no good. Don't compare yourself to other actors. You are you, and that's enough.
After the audition, praise yourself for what you did well first, then think about improvements for next time (without beating
yourself up), and then put the whole thing out of your mind and do something else.
Don't ever be hostile to the auditioning process. Enter the room with warmth and pleasure, and enjoy these few moments of
performing. Don't be late for your appointment, and call if you have to cancel. (Terry Glaser)

Bradens Guide to a Happy Audition

By Braden McKinley
Here are a few pointers to making your audition a pleasant experience for all parties involved.
The whole audition process can be rather nerve wracking, confusing and just plain stressful. You
need not experience any of these emotions when auditioning. I mean, last I checked, this whole
theater thing is supposed to be fun. So hopefully these brief pearls of wisdom will be of use to you.
1. Always sing the song you sound the best singing.
This requires being honest with yourself. If theres a song you just love but know deep down that
it doesnt do justice to the caliber of your voice, dont sing it.
Likewise, if theres a song you may not like as much, or youve sung it a billion times and are
tired of it, BUT you know it thoroughly and sing it wellSING IT!
2. Pointers regarding song choice.
Some people believe that it is better to sing a song that is more obscure and less commonly used.
While its nice as an auditor to hear something new and different it truly doesnt matter what song
you sing. What matters more is what you do with the song that you have- that it sounds good in your
voice and you act it well, while being age/gender appropriate. Ex. Id rather hear a very commonly
sung song such as Over the Rainbow done well and with conviction that some obscure Off- Off
Broadway song sung poorly and dull.
3. If youre auditioning for Musical Theater, sing something from a Musical.
No pop, no R&B, no Hannah Montana. However, if youre auditioning for a rock musical ( i.e.
Jesus Christ Superstar, Rent, Hair ect.) the director may ask for rock/ pop. But otherwise, its a
bad idea.
4. What does it mean when they ask for a 16- bar cut?
Many directors ask for a 16- bar cut when you audition. This, to me, has always seemed a little
confusing. Do they literally mean 16 bars exactly? Not always. Typically it simply means that your
audition piece needs to be under a minute. Remember that the director just wants to get an idea of
what you sound like, so it doesnt need to be long.
In my opinion, you shouldnt attempt to have your piece clock in at exactly a minute. Because:
most likely its going to take longer than a minute to sing when you actually do the audition in which
youll get cut off by the auditors. Which then, of course, will make you lose your poise, get flustered
and awkward and thus feel bad about your audition. By no means is that a win- win situation.
5. Props
It may seem pointless to say this, but avoid using props. They distract the directors from what
they want to see: You!
I once was at an audition where a woman decided to use her pet chicken as a prop. No joke. Talk
about distracting

6. Follow Instructions
If the Director or Music Director gives a specific request as to what kind of song they want to
hear, (I.e. something by Stephen Sondheim, something Pre- 1970s ect) they mean it. So follow
instructions. It shows a general professionalism and work ethic that makes a positive impression.
7. Etiquette regarding layout of your sheet music and dealings with your accompanist.
1. Please copy your music and have it double- sided in a binder. Dont make your poor accompanist
have to deal with those stiffly bound music books that dont want to stay open. As an accompanist
I can tell you, its really annoying.
2. No loose sheets of music. They are equally annoying.
3. Have your beginning, ending and cuts very clearly marked in the music.
4. There is always the possibility that your accompanist is less than stellar, thus potentially botching
up the music. If this happens, (which Im sure it wont here at USD) just stay focused and keep
singing.
5. Overall: this is another way the directors get to see your professionalism. So if you walk into an
audition with a bunch of unmarked, loose sheets of music flying around everywhere, that doesnt
look very professional, now does it?
8. Remember: The whole point of your audition is so that the directors can
1. Find out whether you can, in fact, sing and act.
2. Get a sense for your stage presence.
3. Discover your personality and professionalism.
All other aspects of the casting process are left to the callback.
FINAL PEARL OF WISDOM:

Relax! We are on your side. We want you to make our job

easy, and most of all, we want to see you succeed! So, have fun!
You are brilliant! (BM)

Additional Information on Songs

"I don't recommend lesser-known material because it's lesser known, but because it won't be the 14th time I hear 'She
Loves Me' or 'Almost Like Being in Love.' "
- Michael Lavine (vocal coach, musical director)

Avoid overly familiar material. If it is a popular karaoke choice, its probably going to bore us.
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.
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.
Dont present a choreographed routine or imitate famous performers. Dance skills are evaluated at the dance
audition. DO, however, approach the material with a free body and move whenever appropriate.
Select material suitable for you. Many singers hide behind phony elderly voices and mannerisms. Remember, we
want to see who you are.
Beware of choices that are difficult to perform under stressful conditions. Many patter songs require careful
coordination between pianist and singer, and are hard to perform under the competitive circumstances of an
audition. Avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly.
Dont argue if you are cut off in mid-note, or be evasive about your voice, range or experience. Answer questions
in a truthful and straightforward manner.
Always have extra things in your book offering a wide variety, because you never know when they're going to ask
to see some other things.

What to Wear and Bring to an Audition

Make sure your clothes are appropriate both for your personality and for the company for which you are
auditioning. For general auditions or cattle-calls, it is a good idea to wear something that helps the director
identify you (a certain color leotard, for example); however, you shouldn't be overly flashy. Most importantly
dress comfortably and bring a change of clothes for dance or movement auditions.
For a dance or movement audition, invest in some basic dance wear -- an ensemble that will show your figure
or physique in action. Appropriate footwear must be worn for every audition. Character shoes, ballet slippers,
pointe shoes, jazz shoes, tap shoes, sneakers, or bare feet may be expected. Inform yourself in advance by
contacting the company.
Bring water and a towel to dance auditions.

Resume & Headshot

Your resume should be attached directly to the back of your headshot. This may be the only representation of
you after you have left the room at audition. Think carefully about how you represent yourself. Never lie.
Resume
Your resume should never exceed one page be selective.
What to include on your resume: contact information, personal info (height, weight, hair color, etc.),
experience (theatre, film, etc most relevant first), education/training, special skills
Special skills may include: Accents, Languages, Dance, Athletics, Hobbies, Tricks, etc.
Regarding Headshots:

Whatever you do, don't use snapshots.

Don't use photocopies. While agents and casting directors may pass photocopies themselves, it looks
really unprofessional (and cheap) if you provide only a photocopy of your headshot.
No Glamour Shots. Don't use Glamour Shots, Olan Mills, Sears Portrait Studio or any other chain
photographer for your headshots.
Act Your Age. Don't try to get your headshot to make you look younger (or older) than you really are.
Use Black and White. Headshots, for the most part, are still shot in black and white. for your run-of-themill basic headshot, black and white photography is fine.
Be Yourself. Remember that people want to see you in a headshot, the real you.

Pre- Audition Checklist

Specific Audition Requirements (a copy of the announcement)
Information about Company, Names of Directors
Directions to the Audition
Monologues and Songs
Read the Play
Prepare Sides
Shoes
Water Bottle, Snack
Schedule
Resume and Headshot

Thoughts on Auditions from your USD Professors

Remember that this is not a competition. You should not be out to win. This is an interview. Are you right for the part?
Is the part right for you? Get all of the information you can, and evaluate your options. Use your experience at auditions
as a guide. Dont assume that things will be different in rehearsal. (Carrie Klewin)

The Audition
Arrival

Consider your deportment from the moment you arrive at the audition to the moment you leave. You are
being evaluated by everyone you encounter especially the assistants and stage managers!
Check in as soon as you arrive.
Stay within ear shot for your name to be called, let someone know if you leave the area for any reason.
Be confident. Be proud of who you are. Make us want to hire you.
Ask questions about the company if you have them. You are auditioning the company too.

Warm-up
I (and most directors) get a strong impression within the first 30 seconds about an actor - suitability for the
role, flexibility, performing warmth, etc. Sometimes, it takes even less time. Do enough preparation (even if
it's just mental) outside the room so you can start your piece fully immersed in the character. A few moments
of meditation before you enter the room is helpful. It clears the system and gets rid of nerves. Just focusing
on the breath coming from your stomach centers you, and you can do this anywhere. (TG)

Monologue at the Audition

Greet the panel warmly and with confidence when you enter the audition room.
Take a brief moment after personal introduction to prep the moment before your monologue/song/etc.
This also should be rehearsed and prepared. If not, taking that moment will only result in self critical
thought and perhaps more anxiety and analysis rather than focus. (GY)
Dont look at the auditors to tell you when to begin. After your introduction, just compose yourself and
start.
Dont ask to start over if you make a mistake or apologize. Just try to pick up right away and continue as
if it didn't happen.
Stay within your allotted time limits.
Dont rush. You have earned your audition, enjoy it.
If the auditioners should cut you off before you finish your prepared piece, it does not mean that they are
not interested in you for the part. It could mean that they know they like you. Many times, they will be
able to tell whether they want you in their production from the moment you walk out onto the floor or
stage.

DONT
1. Don't make excuses.
2. Don't apologize.
3. Don't be insulted.
4. Don't make the auditioners uncomfortable.
5. Bring weapons as props into the audition.
6. Be really really weird, scary, or moody (check your attitude at the door).
7. Get the title of the play, or your character wrong.
8. Mumble your name.
9. Mumble a thank you at the end and run off stage.
10. Be defensive, argue or complain about anything or anyone.
11. Stand to close too the directors / or stand too far away (how to find that magic place in the room)

Thoughts on Auditions from your USD Professors

I would say the one big thing for me is as Ana Deavere Smith says "...Smile. A lot!" And then, don't look me
directly in the eyes when delivering your monologue. This is not a Brechtian exercise. (Evelyn Diaz Cruz)

Singing at the Audition

Give the accompanist your neatly organized and properly marked music.
Introduce yourself and the songs you will be singing in a clear, confident, voice and look directly at the
auditors when doing this.
Know the names of the composers who wrote your selections and what shows the pieces are from.
See above, most tips for Monologues can also be applied here.

Dancing at the Audition

About dance attire, it should never be inappropriate or overly sexy. Too many times I see people show up practically
wearing bikinis. Attire should also reflect the type of role as much as possible. While most dance attire are pretty
standard, you can still choose certain styles i.e. more balletic, or something like capris for a 50's style show, etc. It should
always be neat and not torn or dirty. Choose attire that flatters your body type the best.
Bring all dance shoes, because you never know. Unless it's obvious, like you wouldn't need tap shoes for a "Phantom"
audition.
Make sure hair is not going to cover your face or get in your way.
Keep jewelry to a minimum, and wear none at all if the audition requires partnering.
Warm up even if it's just a "movement" call.
You are still acting while dancing. After you get the steps down, work on incorporating the character as soon as possible.
Pick up the steps as quickly as possible, but don't compromise your character. If you mess up a step, just keep going as
you would in a performance.
Always be respectful of each other's space. Never dance in front of someone or too close.
While waiting your turn to dance, don't sit or slouch. You are still being watched.
Refrain from side conversations with peers.
Pay attention to the quality of the movement as demonstrated by the choreographer or assistant. Listen closely to what
he/she has to say about what they are looking for.
Don't look to see if the auditors are watching you. They can see you looking and that is breaking character.
Remember to have fun! (AL)

Leaving the Audition/After the Audition

Thank the auditors at the end of the audition and wait to see if they have any more instructions for you before
leaving the room.
Dont ask if you are getting a callback.
Make sure you have filled out all paperwork, checked schedules, and have all of the information you need to
decide if the role is right for you if you are selected.
Make sure you are not needed for additional audition time before you leave. Check with the stage manager or
assistant to find out if you are free to go, and when they might be contacting you if you are desired for
callbacks. Thank the people who helped you.
If you are really interested in pursuing the part or the company, write a thank you note to the director. Follow
up with postcards about upcoming projects.

Audition Checklist
Silence Cell Phone
Check-In
Fill Out all Required Paperwork
Warm-up
Act, Sing, Dance
Check-Out

Now that the audition is over, think

carefully about whether you want to
commit your life to this director and
this particular project for 6 weeks!
Never commit to a project without
reading the script or a full
understanding of the project. (CK)

Get a Callback? Rinse & Repeat!

Thank You Note
Before an audition, an actor must prepare mentally, physically, and emotionally.
Be prepared. Be early. Be confident.

Thoughts on Auditions from your USD Professors

- Be prepared. Get as much info about the company as possible. Who will you be working with, what is the history/mission of the company,
what kind of theatre do they do? Find out how to get there, be on time, (so you have time to collect yourself and prepare mentally, physically,
emotionally for the audition and adapt to any curves/changes that you may be thrown). Sometimes the theatre will provide copies, or a chance
to read the script. The audition starts when you enter the parking lot. If you are cruel to the stage manager or production personnel while driving
in, he/she may remember you when you audition. If you want the part . . . go for the part. Some people are afraid to fail, some people are afraid
to succeed. (I've seen actors here in San Diego year after year audition for All City and never get a part. I get the sense the like to do it as a
hobby, but in the end are horrified of actually working.)
In addition to seeing if you have the basic skills and presence for a part/call back, the directors are also considering if this is a person whose
temperament will fit in with the rest of the company/cast. Can you control this? Not really. But, many will say just be yourself.
Its a job interview as well. So, those moments outside the actual performing are all part of getting the job.
If they ask you do "try it again" don't do the same thing. Play alternate actions and show another side of character. Yes, you can ask for
clarification, but if you don't get the note, or take the note it may reflect, in the director's mind, that the rehearsal process is going to be a bear.
They are looking for great people to fill the part. All directors want the next person walking through the door to be the right person. If its
season auditions, there may be multiple directors all very confused thinking about 20 different things. They are still paying attention to you as
best they can. Some are smarter and more organized than others. (George Ye)
Based upon the several years of auditioning actors in San Diego, I would say that the actor needs to remember that an audition is very much like
a job interview and a first date. I think it's Brian O'Neill (Acting as a Business) who wrote that the actors job is to get the callback, not the role.
An actor gets the role because the casting director or director makes a decision to give that person the role based upon who the hell knows what.
But to get the callback you have to have done your work well. So, just as on a date, you really just want a second date. And like a job
interview, you really just want to get a second interview. That is the only measure of success for the actor, which seems like I'm telling people
to aim low. But I am not. I think it's important for younger actors to remember that the law of averages does apply to auditioning. If I am
continually NOT getting callbacks, then I have to accept that I need to improve my audition skills or change my audition piece, etc., any number
of things, but I have to accept that something is not going well when I walk into the room. But if the actor is getting callbacks regularly, the law
of averages demands that sooner or later the actor will get cast in something. There are exceptions, of course, to everything; but this is a good
measure.
Also, since it is very much a job interview, it's important to remember that people are also hiring you based upon your demeanor. NO ONE
WANTS TO WORK WITH AN "ARTISTIC" TYPE OF PERSON. They tend to be pains in the ass. People want to work with other people
who have a sense of humor, a willingness to listen and learn, and an outlook that is positive. Which is really who most people are inside. So
rather than trying to prove that he/she is a talented actor, it's important that the actor remember to behave like himself or herself. And along
those lines, the actor doesn't have to know everything. Very often in auditions I get disappointed because it's as if the actor auditioning isn't,
cannot, or refuses to listen to what I have to say. I know they don't intend to do this, but they are so focused on how they are coming off and
what I think of them that they cannot fully participate in a conversation or take adjustments. If you don't understand something that the director
offers, don't just simply agree or say "got it" and take a wild at guess at what the director wants; ask questions. Don't aggressively challenge the
director or casting director, but engage in a dialogue.
Secondly, it takes hard work, gutsy determination to audition - because you are auditioning all the time, either formally or informally. A
professional's job, when unemployed or facing unemployment, is to find another job, put herself or himself out there. And most actors can take
advantage of staying in touch and contacting those theatres or directors they wish to work with. It's very important to keep your face in front of
casting directors and directors. They forget very easily because they see and meet so many people, and they are usually underpaid and
overworked. So the more you can put your face in front of them by mail or email the better. They do appreciate that. In moderation of course,
every four to six months, or when the theatre is casting a production that the actor thinks they should read for because they are right for the part
(right age, right ethnicity, right "type").
Thirdly, and generally, you get the part the minute you walk through the door. You are either too thin, too fat, too short, too tall, too young, too
old, too light, too dark, etc., etc., or JUST RIGHT. And after that it's a matter of proving that you can walk and talk at the same time. That
sounds oversimplistic, but it's really intended to take the pressure off of the actor and to encourage the actor (or dancer or singer) to not take
things personally EVER. The only thing that the actor can control is his/her work. (Francis Gercke)

Contributors to the Audition Information Packet Robert Barry-Fleming (RF), Terry Glaser (TG), George Ye (GY), Evelyn
Diaz Cruz (EC), Carrie Klewin, Braden McKinley, Soroya Rowley (SR), Francis Gercke (FG), Andrea Leigh (AL)
Recommended Reading:

Online Sources:

Audition, by Michael Shurtleff

The War of Art, by Steven Pressfield
And Then You Act, by Anne Bogart

http://www.ccm.uc.edu/musical_theatre/dos.htm (auditioning)
http://www.eperformer.com/features/z/hs_05.htm (headshots)