A Professional Director's Guide to Auditions

As an actress, I have been to countless auditions. I started acting when I was 8 years old and, like most actors, I have been rejected more times than I have been cast. As a director, I have run at least 15 auditions and directed even more shows. Putting a show together isn't easy, and auditions are the first step in getting your cast together.

Running a theatrical production can be a great undertaking, regardless of where the show is being performed. Auditions can be just as great an undertaking as presenting the show, depending on whether or not you are having what is called a "cattle call". in layman's terms, a cattle call is an audition where a lot of people are going to show up to try to land a role in the show, such as an open audition for a Broadway musical. Going into the audition as a director, one must be extremely organized.

First, you have to set a date and time for the auditions. If you are looking for non-union actors (who most likely have other jobs than acting), your best bet is to have the auditions on either a week night or during the day on the weekends. This way, the audition times do not conflict with their "real" jobs. If you are running a smaller production, this will most likely result in a better turnout.

Secondly, you absolutely must publicize your auditions. There are some terrific websites geared specifically to artists and actors, such as Craig's List and Actor's Access. If you are looking for a more local cast, do a Google search on the name of your town and the word "auditions". More often than not, you will find a variety of websites that lists auditions in your area. Email the webmaster with the information about your audition. Don't forget to be specific about times and dates, and leave a way to contact you-- usually email will suffice. Be sure to check with your local newspapers, as most have either a "Calendar" section or a place where they list cast calls.

Before the day of the audition, find at least one person to help you out. This person can assist in organizing the actors that answer your cast call. They will maintain the sign-in sheet, hand out sides and forms they must fill out, and make sure appointments are kept (if you have appointments to begin with). It is much easier and more organized if you have someone helping you, rather than running back and forth between getting an actor and watching them audition. This way, you can just worry about being the director and finding a great cast.

When having auditions, it is good to have two rooms: A waiting room and the room where they actually audition. It's a good idea to keep auditionees separate from one another when trying out, unless they have to read a scene together. This way, you don't have to deal with applauding after each audition, the way you see it on So You Think You Can Dance. The applause drags out the audition process so long, it's ridiculous. Save the applause for the shows.

Creating forms for auditioners to fill out before coming in a terrific idea. have them fill out their name, contact information, experience and availability. This will save you a lot of time in the long run when it comes to scheduling conflicts. Make sure you let them know the actual dates of the performances, as well as a tentative rehearsal schedule. Someone might show up to audition, then realize that they would be wasting their time because they couldn't be there for some performances.

Have the auditioners submit headshots and resumes with these forms. This is the industry standard. Any actor that has worked will have a headshot and resume. You can tell an amateur from their photo. If it's a black and white 8X10 photo with their name on it and resume on the back, they are most likely an acting professional. If they give you a snapshot with a resume that looks like a standard work resume, they are probably an amateur. Perhaps this shouldn't sway your decision as to whether or not you are going to hire them, but it might tell you how they are going to behave at rehearsal.

Once the people audition for you, you must make a decision. If they are good, you might want them to read something more. That is why you should have your own excerpts from the show that you are directing, and ask them to read the part. Of course, they need to have a little time to familiarize themselves with what you are having them read. So, give them the script and audition a couple of other people while they are studying it. Then, call them back in and have them read for you.

After you are done auditioning people, you will most likely have callbacks. This is the time when you call back the actors that you liked the best to actually cast them in the roles in your show. have your assistant email or call the people you want back. At these auditions, you will have them read scenes with each other. If it is a musical, they will sing songs from the show with your musical director. This is their time to shine, as well as your time to choose who is going to play which role.

After the callbacks, create your cast. Once the cast is set, call all of your actors and let them know what role they have. most of all, find out whether or not they will accept the role. This is very important. You don't want people dropping out halfway through the show because they aren't happy with the part they are playing.

Once all of these steps are taken, you will be able to start the rehearsal process. Congratulations! You are well on your way to directing a great show!