How To Get Acting Jobs - Preparing For The Audition

You've worked hard - you aced all your acting classes. You're registered with a great talent agency. You've had new head shots taken. You pore over the trades feverishly searching for audition notices for a drama, a musical, a comedy, and finally, you've found the casting call. You would be perfect - you can feel it in your bones.

Now...to make sure you ace the audition.

There are several different kinds of auditions. The audition you face for a musical may require a very different approach from reading for a part in a drama. As well, you may be auditioning for a number of directors and their projects at the same time.

Whatever the type of audition, you need to be prepared.

Once you secure a spot, you will be given information about what will be required. For some auditions, you may be asked to prepare a specific monologue or scene, or be prepared to present specific songs. Some auditions require in addition to the monologues, that you prepare a song and a movement piece. Sometimes, the directors will ask that you read a selection from the role for which you are actually auditioning, but most often, you will be asked to prepare one or two monologues, or, for musicals, one or two songs of your own choosing from a particular genre.

To help you understand how to best prepare, it will help you to know what the directors are looking for at the various types of auditions.

Cattle Call: Musical or Dance

This type of audition is used by directors, choreographers and casting directors to see as many actors as possible in an efficient manner - at least that is the idea. Often used in musical theater to cast dancers and chorus members, this "bulk" casting call requires that you showcase your abilities and personality within the context of a large group.

If you've ever watched So You Think You Can Dance, or America's Favorite Dancer, you will have a pretty good idea of the drill. You will be asked to learn a new piece on the spot, and perform it with a number of other dancers. The directors are looking for someone who picks up the routine quickly, works well in the group, but allows their own talent and personality to shine through. The best preparation for this type of audition is to rely on your considerable talents and abilities, and go for it with every fiber of your being.

For your musical numbers, find the best accompanist you can to work with you, and polish those songs to the best of your ability. If you have a vocal coach and the option of selecting your own audition pieces, get your coach's advice on choosing songs that best showcase your vocal abilities.

Cattle Call: Drama or Comedy

This is not the most common type of audition for a comedy or drama, but is sometimes used for a number of directors who are casting for a range of projects to see a large number and variety of actors in an efficient manner.

You will probably have no idea of all the projects being cast, but you will probably be asked to prepare two contrasting monologues, often one classical and one contemporary. Sometimes you will be asked that the monologues both be contemporary - a serious monologue and one in a contrasting style. As well, you may be asked to read opposite one of the directors, or a fellow actor who is also auditioning.

Usually, the directors will have decided on certain qualities for which they are looking, but don't let your lack of knowledge about that deter you. Often a director doesn't see exactly what they want, but they may see someone who exhibits qualities within the range of characteristics they are seeking.

If you know who will be seeing you, and their seasons are published, you already have a leg up, knowing what roles they may be looking to cast. In that case you need to take a hard look at which roles you would be not only suited for, but the roles in which you are likely to be cast, and choose your monologues accordingly.

This can require courage and self-honesty, because though you might think you'd be a brilliant addition to the cast, there's not much point, for example, in auditioning for the role of Martha in Who's Afraid of Virginia Wolf if you are better suited to playing a fourteen year old ingenue.

On the other hand, even if you have no idea what roles are being cast, you still need to select your monologues carefully. Try to choose ones that clearly highlight your ability to portray a wide range of emotions. If you have chosen one that reveals your softer side, or is deeply emotional, make sure your second piece shows off your edge, or your spot-on comedic timing.

This advice holds true for any audition for any play, either a comedy or drama.

General/Standard Audition for Drama or Comedy:

The standard theatrical audition will require you to prepare one or two monologues, or a specific reading. Usually the director(s) will take longer with each actor than in a larger "cattle call" type of audition.

Each prospective actor will be asked a few questions about themselves, and then invited to present their audition pieces. The questions hopefully allow the director(s) to get a sense of you as a person, so, much like in a job interview, you will be well-served by spending some time preparing your answers.

Typical questions include: "Tell me a bit about yourself...", "Why do you want to be an actor?", and "Why do you believe you're right for this role?"

The director is trying to put you at your ease with this first question. For some reason, directors, like most potential employers, seem to feel that talking about oneself comes easily and naturally to most people. Unfortunately, this is rarely the case, however, you can prepare for this dreaded question. Do not launch into your life history and expect anyone to sit through much of it. Boil it down and keep it relevant to the theater. Inject some humor if that feels natural to you, but do not go on for longer than thirty seconds to a minute unless you are asked to say more.

If you don't know why you want to be an actor, now would be a good time to sort that out and come up with some kind of cogent response - and, again, don't waffle on and on. The director wants to hear you talk and see how you handle yourself. Try humor if it works for you, but sincerity also goes a long way.

Please don't answer the question about your suitability for the role with, "I understand the character." Take it from me, understanding the character is so low on the list of qualifications it barely makes the list. The kind of understanding the director needs from you is that which grows throughout the rehearsal process from in depth scene study.

The director needs to believe you can play the character. You will need to do your homework so you can show the director your connection to the character's emotional through-line.

Prepared Scene:

This audition is sometimes be held on its own, in which case you may have the opportunity to prepare the scene ahead of time. You will be able to study the scene and make some decisions about how to approach the character.

Sometimes though, it is a second part to a standard audition. After you have presented your one or two monologues, you may be asked to read a scene, or part of a scene. This scene could well be from the play for which you are under consideration.

You may be lucky enough to be asked to read your scene opposite another actor, possibly one of your fellow auditioners, possibly someone already cast. Sometimes though, you will be reading with a stage manager, or another non-actor. This can make it far more difficult for you to connect to the emotional truth of the scene, but, on the positive side, also makes it easier for the director(s) to observe what you are capable of on your own.

Whatever the case, this is your chance to show the director how well you can connect with a character in the context of a scene.

An Actor's Homework - Scene Study and Character Analysis:

Regardless of the scene or monologue you are preparing, there are certain things you need to discover about the character you will portray. A close reading of the work, and some time in the library can yield a great deal of information about the playwright, the play and the context in which the characters are presented.

If the script is set in the Victorian Era, your character will be operating from a completely different set of beliefs and mores than a similar character from our current day and age. The class structure in which your character operates, and their place within it will also inform your interpretation.

How does your character use language to express ideas and feelings? What do they say about others, and what do others say about them? How do they accomplish whatever it is they do? Answering these questions will begin to uncover your character's motivations - their inner drive, their needs and desires - all the things that will allow you to begin the process of bringing that character to life.

Tips for Audition Preparation:

Many young actors will opt for monologues that requires them to "chew up the scenery", or display a great depth of emotion. Try out your monologues on a former teacher, a friend, or trusted colleagues if possible. Make sure your emotional outbursts are suited to the character and the scene, and that you are believable.

You will always be competing for roles against your colleagues, so be prepared evaluate their feedback against your own sense of your abilities, especially if their evaluation seems either too harsh or too complimentary.

Most importantly, you also must realize that the outcome in no way reflects your worth as a person - something that's easy to remember if you get the part, but a bit more difficult if you don't.