AUDITION FAQs
HOW DO OUR AUDITIONS WORK?
It is perfectly normal to have lots of questions before an audition. Whether you are a seasoned performer or it is your first time auditioning for a show, you might feel nervous and that's Okay! We have compiled some resources to help answer your questions about auditioning so you feel ready to go when you walk in the door.
WHAT IS AN AUDITION?
An audition is an opportunity "try out" for a role in a performance. In theatre, auditions are how the directors and producers of a show cast (assign) the roles in that show. Actors show off their talents and abilities so that the people casting the show can see who they have to work with and put the best cast together that fits their artistic vision for the production.
WHO CAN AUDITION?
For many of our shows, auditions are open to any McNeil High School student. Sometimes, particular shows are limited to students in particular classes or to other smaller groups.
WHAT DO I NEED TO PREPARE?
Different auditions require actors to prepare different things. We specify in our audition announcements what our actors need to prepare but it is always smart to be over-prepared and ready for anything. Here is what we typically require at our auditions.
For Musicals:
Sing 16-32 bars (measures) of a musical theatre or pop song. Actors should come prepared with 16-32 bars of a song that is similar in style to the musical they are auditioning for. Usually, you should not choose a song from the actual musical you are auditioning for. It can also help to choose a song that helps the actor show off their ability to portray a character similar to one that might be found in the show. Ultimately, you want to show off what you can as both a vocalist and an actor. Note when choosing your 16-32 bars that 16-32 is just a rough estimate. It is fine to be a little over or a little under. You can start anywhere in the song so choose a starting and stopping point that will sound natural. For example, if it would sound weird to cut off right at 16 bars because you'd be in the middle of a phrase that finishes in a couple more measures, than sing 18 bars so you can finish the phrase rather than cutting off abruptly. The song must be memorized. Usually, we have a live pianist in the audition room to play for our actors. The actor should come prepared with a clean copy of the sheet music to give to the pianist when they enter for their audition. Always take a moment to say hi to show the pianist where you are starting and ending, demonstrate the tempo you desire, and point out any tricky moments in the music. The pianist may ask you a few questions. You can help this process go smoothly by knowing your music well and practicing beforehand with a live pianist if possible (it is totally understandable that you may not be able to practice with a live pianist before your audition, though). Your music should be in a nice binder with non-reflective plastic page protectors. It is best to have the whole song in your binder and mark the start and stop points of the 16 bars you are singing. Always open your binder for the pianist to the page they will start playing on.
Dance in a "Dance Call." Actors should be ready to learn a short dance combination on the spot and perform it to the best of their ability. Usually, you will be asked to perform the dance in a small group as opposed to by yourself. If you have dance shoes, bring them. If not, sneakers will be fine. Learn about the show before you arrive so that you are prepared for the style of dance that you might be asked to do (jazz, ballet, tap, modern, etc). You may be asked to show off particular dance skills, moves, or tumbling trick that you can do. This will depend on what the choreographer needs to see. Don't be intimidated if you aren't an experienced dancer. Many musicals require lots of different types of performers so we are usually never just looking for a cast full of experienced dancers. Whether you pick up the choreography quickly or not, be sure that you go "full out" when you perform it in the audition; this means you are acting while you are dancing and are utilizing strong stage presence and expression so that you are engaging and interesting to watch. Getting the steps right is only part of what we look for at a dance call. An expressive performance goes a long way, especially considering that the choreographer and directors probably won't have time to watch you dance all by yourself. You want to stand out (without being distracting).
For Standard Plays (non-musical plays)
Perform a monologue or two. Actors will usually be asked to prepare a monologue (or sometimes two contrasting monologues) from a play. A monologue is an extended period of speech in which one character speaks uninterrupted either to themselves, to another character, to the audience, or to an unseen being (God, etc). Your monologue(s) should come from a play that is NOT the play you are auditioning for. Generally, a chair is available to use if desired. The piece should be memorized. The actor should be prepared to perform their monologue as if they were performing it in a play (ie, act the monologue...don't recite it). Generally, props should not be brought into an audition and you should not dress as the character you are portraying.
Perform sides. "Sides" are selections of dialogue (two or more characters talking) that the director chooses from the show being cast. They may be provided to the actors in advance of the audition or they might be handed out on the spot. These are called "Cold Reads" when actors have not seen them in advance of the audition. When given a cold read, the actor is expected to read the dialogue with as much character and purpose as they can, given the limited amount of time they have had to view the lines and prepare. It is understandable that cold reads will not be memorized, so actors will generally perform them with the scripts in their hands. If the sides are given out in advance of the audition, the actor should strive to come into the audition as prepared as possible. If there is time, memorize the sides. At minimum, come in with a developed character and be ready to react off of what your scene partner does. Understand the objective that the character you are playing has and what tactics they are using in the scene to get what they want. Be ready to experiment with the scene as the director may hold a sort of "mock-rehearsal" with you in which they give you feedback, ask you to try something a different way, or switch you around to read with various partners.
WHAT ARE CALLBACKS?
Directors hold callbacks when they want to learn more about particular actors after an initial audition. The director may call back certain actors for certain roles to see how they fit those particular roles or just to see what else those actors can do. Callbacks are only held at the discretion of the director and they are not always needed. While callbacks can sometimes feel like an elimination round in a contest, it is important to keep in mind that the director could still cast anyone in any role, even if they have not been called back. Often, directors only need to look at a handful of actors in greater depth for a few specific roles. Nobody is entitled to a callback, as they are purely a tool that the director uses to help him/her build on the decisions that have already been made after the first round of auditions. For a musical callback, usually actors are called back for specific roles and asked to prepare particular sections of songs and dialogue (sides) for those characters. Sometimes, a dance callback may be necessary as well.
HOW DOES THE DIRECTOR CHOOSE WHO IS CAST?
Casting can be one of the most exciting aspects of theatre and also one of the most painful (for both actors and directors). In a high school setting. Different high schools try to solve this problem in different ways by creating predictable guidelines for casting, including seniority as a deciding factor at auditions, drawing names from a hat, or casting every student who wants to be in a show. All of these “solutions,” as well-intended as they are, create additional problems and still do not eliminate the original problem: disappointment. For better or for worse, theatre is not "fair" because there's no way to give everyone the same opportunities in a show; every role is different and productions only call for so many actors. Disappointment will always exist as long as theatre exists. That being considered, casting at MavTheatre mimics casting in the real world of theatre and seeks to demonstrate "best practice" when it comes to casting; casting is left entirely up to the discretion of the director, who puts together the best possible cast he/she can.
Below are the primary qualities taken into account when considering a student for a role:
Attitude…Do they have a positive attitude? Do they work well with and respect directors and peers?
Reliability…How well have they fulfilled previous commitments?
Ability/Type…Can they play a particular role(s) well?
A student who meets all three criteria for a role, however, is not necessarily going to be cast in that role. Casting a show is like putting together a puzzle; everything has to fit together just right. If one piece of the puzzle is moved somewhere else, it changes where all of the other pieces can fit. In a school setting, we regularly come across situations in which there are many students that would be good for one particular role while also finding that we have a very limited number of students that can effectively execute other roles. This means that the director has to look at the big picture and cast for the good of the production as a whole. Sometimes, the person who is best for a certain role in a vacuum is not always cast in that role; in our setting, that person's skills may be needed somewhere else in the production. The idea is to create the best overall show so that students can benefit from collectively being a part of something that is far greater than any one individual.
Student (and parent) behavior is very much taken into consideration when casting in the educational setting. Performing in a production is a privilege for those students that are willing to hold themselves to a high standard of behavior and responsibility. It is a very public opportunity for students to extend their learning beyond what is provided during the school day at McNeil. The way a student treats others, represents our program in the community, and dedicates themselves to their craft will always be a major component of casting. Parents should also be aware that their behavior can also impact casting. No, parents do not get "brownie points" for being extra involved, donating money, or trying to flatter the teachers and directors. No positive behavior from a parent is going to "earn" their student a role. On the flip side, however, parents that are not willing to respect the authority of the directors, spread negativity around the department and/or community, or create disturbances for students, staff, or volunteers will find that their child will be at a disadvantage when it comes to casting and may not be considered at all. Our staff, volunteers, and students put in a great deal of extra work in order to make productions happen; negative distractions detract from the educational value of productions and, therefore, will not be tolerated.
Successful actors, both at the high school and professional levels, are the actors that are able to be humble and put just as much enthusiasm and effort into small roles as they do into large ones. Keep in mind that the "leads" are not the only performers that need to be highly skilled. Often, ensemble actors carry a much heavier workload than leads and are needed to perform multiple roles, learn lots of choreography and music, and function together as a well-oiled machine while navigating precisely through complex and risky obstacles both onstage and off. A busy ensemble member may very well grow more from their experience in a show than an actor playing a lead. Yes, sometimes there are small roles. However, those roles shouldn't exist if they weren't important to the story being told. No matter the size and scope of the role, an actor always has a valuable contribution to make to the production and ample opportunities to learn. Sometimes, that involves a lot of doing and a little bit of watching. Other times, it involves a lot of watching and a little bit of doing. Either way, directors put a great deal of faith in every actor that is cast and there is no limit to what a student actor can learn regardless of how they are cast in a show.
WHAT SHOULD I DO IF I’M DISAPPOINTED IN THE CAST LIST?
Learning to handle disappointment is one of the most essential skills for every actor to develop. It is equally as important for actors to learn to evaluate themselves objectively and own their strengths and weaknesses; this is the only way to grow. It is absolutely normal to feel disappointed when finding out that you weren't cast in a show or that you weren't cast in a role you had hoped for. These feelings can intensify the closer a student gets to graduation. The first thing to do is to let yourself feel those feelings and grieve. It is important, also, to keep everything in perspective; there will always be more shows to audition for even if not at MFAA. Students recover from these feelings fastest if they focus on what they can learn and how they can grow from their experience; this may include both learning through the role they have in the show as well as learning from how their audition went. While emotions might be running high and students/parents may feel the desire to contact the director right after a cast list is published, we respectfully require conversations about casting to wait until emotions settle down. The director will typically schedule times for audition feedback, during which student can receive specific critiques on their auditions and recommendations for how to improve. It is best to focus on this. It is never acceptable to criticize the director's judgement. That is their job and their job alone; often, it is very painful for a director to have to put a cast together of students he/she cares about because it means telling some of them "no." When parents and students take their feelings out by placing blame, it impedes the student's ability to be resilient and grow from the experience.