Many actors talk mysteriously about auditions. That we directors are searching for the perfect person to play a part (assuming a certain amount of talent). It's mystical and magical and has everything to do with the planets aligning at the moment of audition. This is not true. Surprisingly, again, assuming a certain amount of talent, the callback will go to the person who most embodies the part in audition. But you can do something about that. You're an actor. It's your job to embody any part.
And, yet, most actors do not embody the role at first audition. They present themselves in inappropriate dress or with an inappropriate monologue. Very often, when I redirect a monologue, I will ask the actor to fight the words of their piece so that I might see them portray attitudes or emotions that I would expect the character to experience in the play. Crazy. Simply the wrong monologue.
Now, I like actors who prepare; it bodes well for the whole process. But it's truly rare that I see an actor come in prepared for a particular role. And it makes one sit up and notice, as a director. Or, at least, this director. In situations in which there might be considerable competition, you want my attention from the word go. Preparing yourself might help.
Also, I have a confession to make. I have my favourites going into callback. Now, no worries, I am present and listening during callbacks. People can change my mind. But those folks I most see in the role might get the most of my attention. The first audition may be more important in helping you get the role than you think.
So, so. How to prepare:
1. Read the call.
What does(do) the director(s) want you to prepare? Two minute monologue? Comedic or dramatic? Or be ready for improv? Full song from the play? Not from the play? Best sixteen? Will there be dance? Know what they want and prepare what they want.
2. Read the play.
Many folks know nothing about a piece when they come in to audition and I can usually tell because their subsequent choices make little sense in the context of the piece. Read the play and, at least, understand the story.
3. Imagine the character.
Once you have read the play, spend some time thinking about the character for which you are auditioning. If it helps write it down.... What does this person do for a living? What is their general approach to life? What is this character's pivotal moment in this play? A picture of the person will emerge. This is the person you want to play.
There is a big difference between the energy and presentation of a CEO of a computer company in the middle of the dot com boom, and a hooker on the street. There is a big difference between that selfsame CEO if she is questioning herself or if she is just getting the job done. Imagining the character will inform all your subsequent choices in preparation.
4. Send the right photo.
This is for the professionals because the photo can get you an audition. In community theatre, it is simply not as much of an issue. Okay, many actors have just one photo they use for submission to theatre companies but, in this day and age, I would suggest that you get a good photographer and start taking pictures of yourself that embody different parts or energy. The business exec, the house wife or husband, the glam shot. Subtle as opposed to staged. From the very beginning of the process, if the artistic director knows what he or she wants, you might increase your number of auditions by sending in the right photo.
5. The monologue.
Once you know what character you are trying to play, take some care in picking your monologue. Many actors have one or two monologues that they can do at a drop of a hat, but you also need a library of them. Why? Citing the example of the CEO and the hooker: These two people would be so completely different in energy and temperament, one assumes their language would be different. You want different pieces for them.
Also, ask yourself where your character is at emotionally during the play and think about this, seriously, when picking a monologue. Is the person optimistic or depressed? Angry or controlled?
As a side issue, you also want to have monologues that sit in the same realm as the play. An audition for a Shakespearean play might call for a monologue from another Shakespearean play. An audition for a contemporary piece would not. Think about auditioning in a similar tone and feel to the play in question.
So, get together a library of monologues that you like and that you can tailor to suit roles as necessary. By the way, if the director you are auditioning for has seen you do a monologue before, try to prepare another one. Especially if you didn't get a callback last time.
6. The song.
Ditto, the monologue. And if they say best sixteen, they mean it. Don't start at the beginning. Give them your best sixteen.
7. Dress for success.
Okay, I have seen actresses come in to audition with their glam clothes on -- for a housewife. Or sweats for a CEO. Go back to your thoughts about the character and imagine that person on an average day. What would they be wearing? Business suit or jeans and button down shirt? Heels or runners? Again, subtle as opposed to staged, but try to dress appropriately.
8. Practice.
And, of course, make sure you have your monologue and music down cold. Cold.
Doing this kind of preparation is very likely to get you that callback but could, also, make you a front runner in that callback. Nice.
Jacqui Burke is a freelance director working in Toronto, Ontario. Upcoming project going into auditions? Wrong For Each Other, Encore Entertainment auditioning on February 8, 2012.
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