above: me...directing!Greetings everyone.
So here's a question for you. The first in a series of many queries I'll have in regards to the program I'm building.
My recent auditions for THOREAU turned out a bumper crop of students. So many, so, that it was difficult to get them read in the time constraints/ audition environment. For a number of years, I have done a straight "cold reading" auditions with no prepared piece/callback the way alot of folks do it. My primary reasoning is that I didn't want to scare off any newcomers who might hesitate to show up if they had to prepare something (Believe me, I've found many a hidden gem at an audition where someone just decided to come just for the experience). But lately, as my program really starts to take shape (quite sooner than I expected!) I am considering more and more going to the model of "Prepared piece-callbacks" as opposed to straight cold reading.
Here's what I need. FEEDBACK. Be it from an actor's p.o.v. ("I prefer this type over that type, etc...") a Director's p.o.v. ("This is what works best for me") or just an outsider p.o.v. ("I would / wouldn't show up for this type of audition").
Give me what you got people. Too many lurkers lately, not enough participation. BRING THE MEAT, people!!!!
33 comments:
What if you just said, "Bring a prepared piece, if you desire, but it's not required." I personally find different strokes for different kinds of plays. For classical plays, I usually like to hear (as an auditioner) and give (as an auditionee) a prepared piece. Being ever-so slightly dyslexic, I find that anything iambic pentameter or arcanely written is smoother with a little prep. But all through my dinner theatre years and many other places, it was just reading from the play. This is fine, as long as the cold reading is not really dead cold, and one usually has ten-fifteen minutes between receiving the scene and one's actually having to perform it, so that one actually gets a sense of it and has a chance to roll it around in his mouth.
Any time it's a cold reading, I also try to get the play in advance so that I have read it, know what I'm right for, and what I want to read for. Often times in this situation, it's nice if a director asks me if I know the play and if there is anything specific I want to read, because I've usually gone over certain scenes on my own, which while not memorized, may be "prepared" than getting something cold.
I played John Thoreau years ago to Roger Lee Leasor's Thoreau at UK. Ray Smith played Emerson. Charles Dickens was also in it and Kathleen Foley (now a theatre reviewer for the LA Times). It was guest-directed by John Shaunnessy, who had directed COMMAND DECISION on Broadway, back in the forties. I remember we tacked on an extra Sunday matinee at the insistence of John Alexander, the herald's reviewer at the time, so Jose Ferrer...who was in town...could come see it. We all met him after the show; he was very gracious though he looked like had been dragged to it, even as we had been pressured to add the extra performance...which was sparsely attended.
Good points Chuck.
I always make sure and give all of my auditionees time to go over what ever piece I've given them to read, and I make copies of the play and encourage them to check it out before auditions. This audition, I had more students do that than ever before, thus more prepared auditionees, and a better all around process. I'm tellin ya, I got some fast horses in this new little program o' mine!
The prepared thing would scare me off personally. Being out of the theatre scene for over ten years now, but really hoping to dip my toes in it again eventually, I wouldn't even know where to begin with something prepared. I probably wouldn't audition. This is NOT from a professional's point of view, keep in mind. It may entirely depend on the play and the type of cast you desire.
Understandable, Melinda. And certainly a fear of mine if I go to that model.
X, I like the prepared piece method. I think for the students who are established in the dept., majors or whatever, then they should be looking for many varieties of pieces. I feel it challenges them to find pieces that are new and exciting to them. I expect them to not show the same piece they did for the last(usually contrasting pieces) audition. Now if you're hoping to not scare off any newcomers, then offer up cold readings from the script or not. I've created a folder of cold readings that I make available to any one who shows up. Always with "newbies" the interview is as revealing as the cold-reading or prepared piece is as telling in my opinion.
That's all I have to say on that subject.
Peace,
D$
Having just survived my first audition in years, I was grateful it was cold readings. But I did get the script ahead of time and read it thoroughly, so I knew which character I would likely be reading for and also so I knew the overall themes of the play.
If I had to prepare a piece, I would, but I'd be much more unsure of myself. Of course, I do have a number of resources I can go to for help in preparation, so I'm luckier than some. I like Pogue's idea of giving actors the option.
Prepared pieces auditions scare me. Mostly because the only type of monolouges I'm fairly good at is the manic, quick talking, almost insane guy. Which, s cool and funny at times. Most times though I'm auditioning for dramas and that is just scary for me to have a prepared piece. i dont exactly know why, maybe because I don't have the best eye for dramas, like, I can spot something that i think is funny and five times out of ten, I can make someone laugh with it. With dramas, I can't fall back on my humor as a crutch, I literally have to act... that's a little intimidating. Plus, if I had to go to many prepared piece auditions, I wouldn't know where to start. I love cold readings as long as I have a couple of minutes before to go over the scene.
Thank you Mr "Anonymous"...if that really IS your name!!!
Tim X-
I think the problem around here with auditions is that very few people actually know how to properly audition. It is a skill that needs to be learned just like any other part of the craft of acting. With your program on the rise, I would be sure to offer audition workshops and then make them put their workshop experiences into practice. Teach them how to audition, and not just for the cattlecall SETC's and stuff but for specific plays as well.
My personal preference is for the actor to audition with a reader, having seen sides in advance and having had time to prepare the side before they come in. At AGL that is almost impossible...However, whatever style you prefer, the one thing that absolutely DRIVES ME INSANE is when people come to auditions and they don't know what they are auditioning for. It was interesting to see Brian Phillip's process with Anton because the last thing he asked them was, "Why do you want to be in this play?" People who had read the play could give him an intelligent answer, people who had not just sorta floundered around and you could tell the difference...
At least know the story, if you haven't read the play, but that is the bare minimum...
And with the internet the way it is, you can find anything online, so there is no excuse not to know even an obscure title...Be prepared!!
Peace
Rick
Yep, I've been harping on preperation for years. One of the things I was most happy with at my last auditions was how many auditionees DID show up prepared and ready to rock.
You make a great point about knowing the play, though. How hard is it to research something like that on the net? There is virtually no excuse for coming to an audition in this day and age and not knowing the play!
I hate being asked to do a prepared monologue, too. But, here is a thought: Aren't programs like this one supposed to, in part, be preparing students for a career in professional theatre and film? Aren't prepared pieces a daily part of life in that world? Now, I also understand the need for a certain amount of "utility" and ease for you as a director in a collegiate environment. So, maybe once you get a big enough consistent turnout for auditions you can require prepped pieces. Kind of an early qualification for separating the wheat from the chaff, as it were. I would be prepared to assist in finding pieces for students who ask though. Kind of a "this is now required, but I will help you get there" transition, eh?
Another thought: one night of prepped pieces and one night of cold reads - OR (even better)- same night, but do monologues first to show the unprepped how it's done and encourage that behavior. Make it clear that preference or favor is shown to those who are prepped. But that still allows you to find that diamond in the rough out there that might otherwise fall by the wayside.
Good suggestions, Mikey. (even though I'd say that cold reading skills are just as important to the auditionee)
These thoughts are all good, and very helpful to me in planning where I may go next with this. Keep em comin' boys and girls!
I definitely prefer the cold read.
And I don't mind a little prep from the director first, even if it's a "this is kinda how I see it," very general intro, or even a "just go wild with it and we'll see what happens" approach. And I always appreciate the opportunity to read with more than one partner, if there's time.
Sometimes chemistry matters. I prefer the pressure of preparing something in 10 or 15 minutes to the lonely business of working solo on a monolog, with no feedback and no fellow actor to bounce ideas around with.
I think that working alone, having no feedback, and no fellow actor to bounce things off is precisely the importance of having an actor perform a prepared audition.
Acting is about making choices and I think it's important to see what kind of choices an actor makes when he does the work alone and seeing how well he prepares himself...from the choice of his material to the way he performs it. The other thing one looks for in an actor is confidence and it takes a confident actor to chose, a monologue, attack it with vigour, and perform it unapologetically and untimidly.
And, as far as bouncing ideas off other actors in those ten-fifteen minute prep sessions before a cold reading, well...we've all been stuck with an acting partner who makes bad choices, paws and claws and distracts you while he's trying to act out the stage directions, has no sense of rhythm or pace, or, frankly, is just a crappy actor who can diminish his scene partner's performance. In cases like those, the choice an actor has to make is "How do I work around them?"
All of the above are a good reason for a prepared piece...you're seeing an individual's work unhampered by the choices of another actor. If it's my only shot to be seen, I'd like to control my own performance and rise or fall on my own merits.
It's also a great argument for Rick's decision to use a reader whenever possible...someone who the director trusts to properly feed the actor and give them a sense of the scene and pace without disrupting the individual's performance...and allows the director to focus on one performer at a time. Once you've weeded the garden, you can have callbacks and see how the good actors interact with each other.
It was interesting though when Rick had Laura Blake and I as his readers for Tartuffe, how many actors were still unclear on concept and wanted to still relate to us as their scene partner, even touch us at times, despite the fact we were sitting behind the table with the director. The entire floor was theirs and they want to limited their space. I have functioned as a reader where I actually stood with the actor, but even there I try to throw the floor to the auditioning actor.
Now, I am coming from a high school perspective BUT - I have found that as my programs have grown, it has been educational to throw different types of auditions in the direction of my students. And, they have appreciated having to go through them all. I think it has given them some perspective on what auditions can be about and it has taught them something about themselves too. Many students have come back to me and spoken about their strengths and weaknesses as they have auditioned in different ways. So, I think as your program grows, it can be a good thing as an educator to give them some variety.
Ye - ah!!
Absolutely, Lara! The simple fact is, as an actor, you have to be prepared to handle any audition situation...although I'll just throw in the towel anytime improvs or theatre games are involved.
X,
IMO, I have always preferred the 1st round of auditions to be a prepared piece. The 2nd round can then be cold readings. I think you can tell more about an actor's capabilities in that manner. From an actor's standpoint, that method is detrimental to my own success, as cold readings are my strong suit; however, I am okay with being eliminated from a role every now and then because I understand it's just part of the process. Put the onus on the actor, I can live with that...
-jb
Lara- GREAT suggestion! That one is one that definitely has advantages for me.
Chuck- I'm TOTALLY with you on the Improv towel throwing!! (and thanks for a good chuckle too!)
JB- I, too, prefer them that way as an actor.
THIS is what I call BRINGIN' THE MEAT,people!!! Keep it comin!!!
I love the throwing the towel improv game......
What are the opinions on students coming dressed for auditions like they're going to a friends house
t-shirts, and flipflops?
I'll be honest. In all my time in KY, I can;t remember that ever happening, D$. I remember back in Hatties-patch we used to get people like that (the boro, too) but it hasn't been a problem here.
Inappropriate dress bothers the Hell out of me at an audition. Whether it's coming dressed too casually or, even worse, coming dressed in costume...though the latter one rarely sees anymore.
But I still expect someone to care enough about making a positive impression and somehow flip-flops and underwear riding over the rim of your pants, etc. usually conveys to me that one didn't give enough of a shit to bother which usually reflects their audition style. It's part of prep. I don't expect a coat and tie; but I do expect something bordering on presentable.
But then I'm old-fashioned. I was recently at funeral visitation where people came in looking like they just come from a jog or the back nine of the golf course.
I feel that, in college, was where I really "cut my teeth" on preparing pieces. It is invaluable, as we all know, to learn by experience, success and failure for what works for you and what dosen't. I still am slightly amp'ed when I must do a prepared piece. The stakes seem higher to me. Obviously, in a college "lab" setting...students may need a little hand holding (where to get resources etc.) but, I think it gives them a sense of investing themselves in the desire to be in the play. It certainly says...."Here I am, let me show you what I can do!" I think cold readings are great as a call back...because it offers them 2nd chance. I always find it interesting when someone who had a great monologue bombs the cold read and vice- versa.
You might even say: "Bring a prepared piece but cold readings will be available," and see who comes to the party with a prepared piece. In that way, you can gauge who you've got and who you've GOT.
As for me, I much prefer the cold reading. Reasons being I work for a living and just don't have infinite time to research out and prepare multiple monologues. Although I could find one and work it up, I would always want to do something that is keeping with the spirit of the play I'm auditioning for, i.e. I wouldn't do a scene from Macbeth when auditioning for Noises Off! What's more, in my own stage experience, I haven't been in any shows where I had a monologue that I could keep on file for future reference. I just don't get those kind of roles.
For cold reading auditions, I, like Chuck, always try to get a copy of the script in advance so I can be familiar with the characters, and know which one(s) I feel right for.
But how about this option: a choice of cold readings or prepared (for those who want to show off their free time and prep skills) on the first night, and assigned, prepared pieces from the script for call backs? This would give one the chance to really work something up on their own and give them a chance to show that they understand the feel of the play.
And X, as I remember, you have done a prepared-only audition in recent years. Does "Sideman" ring a bell? The requirement of a monologue almost kept me from auditioning, because I had no stinking monologue. However, even though I didn't know that show really at all, reading the synopsis was enough for me to know I had to audition, I knew those characters personally. And to get in the audition I had to make up a monologue on the spot because I didn't have enough time to find a suitable one elsewhere. Gutsy or goofy? You be the judge... oh yeah, you were.
It was gutsy, Dr Dave! You showed BALLS OF STEEL on that day!
..but, all the same...I wouldn't recommend ever doing it again.
This is good stuff, folks... MEAT!!!!!!!!!!!!!
X, I'm concerned about your diet. You keep going on about meat...
:-)
Really, X, Nat's right. I was going to bring cookies instead of meat but, as we all know, Pogue hates cookies. So he won't get any the next time we have to do a cold read together. I'll just paw and claw him instead.
Would you like fries with that?
It's a SOuth beach thing!
Actually, as some of the sports geeks may know, columnist Woody Page of the Denver Post uses the phrase "Bring the meat" in reference to bringing good material to a sprots debate. I have simply adopted the Wood-man's catch phrase here.
Others of you who've been around long enough may ALSO realize that the "Clones' in Diva clones is a tribute to one of my favorite sports talks show hosts. Anyone care to venture whom that might be???
I guess for me, from a strictly amateur point of view, it would depend on the environment. For a paying, or more high falootin' gig, I would expect to prepare a piece or two. Comm. theatre- cold all the way. I do think, though, that in a college environment, theatre students, should have a body of material to draw on. After all, a medical student wouldn't go to an internship w/o a stethescope, would he/she? btw, Tim, I was Not the earlier anon. Fletch
I know, Fletch. That was one of my students trying to be crafty! But he writes just like he talks, so I busted him!
...and Thanks for using the term "High falootin" ...I always wondered how to spell "falootin"- now I know!
BTW-fletch, check out the Paul Stanly, Bruce and DIo in my next post and let me know what you think.
Hey X, I knew who that first "Anonymous" was too! I heard his voice in the first couple of sentences. Crazy kids!
offer both, place them in a comfort zone, see how quickly they can adapt, trust and adjust...just the way you would like to be treated...mostly, don't ever do anything that makes anyone feel foolish, that is simply rude...you are there to get people to build something wonderful with you, you need them and they you..don't ever tinker with dignities...
I never had,nor would I EVER do something like that at an audition.
good for you, I have had some unfortunate, silly directors with bad audition manners...ick
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