AUDITIONS FAQs & Tips

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.

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WHO CAN AUDITION?

Depending on the show, auditions are open to any McNeil High School student. We also have shows that are limited to students in particular classes or to other smaller groups. If at any point, we do shows that require younger actors to fill roles. These auditions will be open to local elementary and middle school students.

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WHAT DO I NEED TO PREPARE?

Each auditions requires actors to prepare different things. We will specify in our audition announcements what the actors need to prepare but it is always smart to be over-prepared and ready for anything. Below is what we typically require for our auditions:

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​For Musicals:

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1. Sing 16 -32 bars (measures) of a musical theatre or pop song. Actors should come prepared with 16 bars of a song that is similar in style to the musical they are auditioning for. 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 they 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 should be fully 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 16-32 bars you are singing. Always open your binder for the pianist to the page they will start playing on.

2. Dance in a "Dance Call." Actors should be ready to learn a short dance combination either on the spot or by an uploaded video 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).

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For Standard Plays (non-musical plays)

1. 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 must 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.

2. 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.

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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. 

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HOW DOES THE DIRECTOR CHOOSE WHO IS CAST?

Casting at MavTheatre mimics casting in the real world 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.  Be aware, casting will not be cast based on seniority, but on who portrays the role best and has earned it. 

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WHY DIDN’T I GET CAST OR CALLED BACK? WAS I THAT BAD?

No! This is part of being an actor. Sometimes you get the part and sometimes you don’t. Auditioning is a matching process and sometimes your talents aren’t a match for what is needed for that specific production. That doesn’t mean your talents aren’t needed in the future! Rejection isn’t great, but it’s a big part of being an actor. 

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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 and this shouldn't be your deciding factor if performing is your career choice. Focus on what you can learn and how you can grow from the experience; this may include both learning through the role you have in the show as well as learning from how your audition went.

 

WHO CAN I REACH OUT TO?

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 48 hours 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.