This was a new experience for me.

Monday, I went and auditioned for a CT production of "The Producers." I'm currently in rehearsals for "Into The Woods" which opens 4 weeks prior to that. Producers goes up in 8 weeks and is rehearsing M-Th, as is ITW, so basically I have 2 of the 16 days for the first four weeks open, then I'm totally open after that.

Knowing what my conflict schedule is like, I figured I was too conflicted to play Max, but I put down that I'd take either Max or Franz, which is a great, somewhat smaller part that I love. Wasn't interested in a smaller part, because frankly, there's a lot of theatre around me, and this one's over an hour drive -- which I'll do for something great or paid.

So, at the audition, the director had me read 3 long scenes -- the one at Roger's apartment (as Roger), the opening Max-Leo scene (as Max) and the rooftop scene (as Franz). I thought all went well. The song was a bit of a muddle, but solid given the circumstances, and I dance as I always dance, namely This Is Why I Don't Go For Dancing Parts.

Tuesday they had a second night of auditions. From my spy reports, the total turnout was 40-45, mostly men. Thursday (yesterday) was the call date for casting. About 6:00 I get a call from the director.

"Hi, this is (soandso), director of the Producers. I wanted to thank you for coming out and auditioning, I really just thought you were wonderful, all your readings, I could so easily put you in any of the three parts* but I'm looking at your conflicts here..."

She pauses a second, and I go "oh well, here it comes. Too many conflicts. Thanks but no thanks, come again..." But a funny thing happened. She didn't go on. She just kind of paused.

"Well, yes, I'm doing Into The Woods, and we go up June 17. Let me pull up my schedule here and see what you're looking at..." so I do, and I point out that I have 4 weeks open after we go up where I'm totally free, but before that... mmm... yes, only two days, week after next.

"Yeah, you see, I need to give the first 3 weeks to music and choreography."

"Mmm yes. Well, neither Max nor Franz really has dancing, do they?"

"No, not really. Max just has a lot of stage time, though."

"Right, which is why I included Franz, since his part was so compact."

I also expressed willingness to come in for work on other times -- Friday, Saturday, or Sunday nights.

"<sigh> I just don't know, I'd love to use you, I just... well, tell you what, I need to go, I have a couple callbacks scheduled tonight for new people I needed to see again. Let me call you back after."

"Sure thing. I have rehearsal tonight, I'll be up late."

About that time, my girlfriend pulled up to meet me for dinner. "That was the director from Producers," I told her, phone still in hand.

"And, did you get it?"

"I.. don't know yet."

About 3 hours later, the phone buzzes again, and it's her. "I need more time. I'd love to use you, I just don't know if I can. Can I give you a call back in a couple days?"

So, of course, yes. My girlfriend, who's directed a fair number of big productions, says she thinks it's likely she's trying to either modify or expand the rehearsal schedule to fit me in ("which is why I cast first THEN do the scheduling!") But I have to say, it's an interesting situation.

Ahh, the life of a theatre whore. Scheduling like this, though, is how I've been able to do 20 shows in 2 1/2 years. I started late ... there's a lot to do to catch up.



*At which point I think "three? Roger? Oh. BAD idea." I'm about 6'3", 280, and can't dance a lick. Not to mention the horrors of finding a dress in my size.

Oh, I agree.  Casting is the part of directing that has the largest negative delta between "seems like it would be fun" and "is actually fun."

I mean, I understand her dilemma.  From my standpoint, I gave 3 very good reads (a nice conjunction between great material that played to my strengths and just an "on" day), and it seems she agrees.  And my schedule DOES suck.  I was completely prepared to be turned down on that basis.  It's just that I guess I would have figured the internal deliberations and/or accomodations would have been already done in the two days between the end of auditions and casting call day.

When I was describing the first call to Awesome Girlfriend, she was telling me she's been a party to a number of those when directing for Christian Youth Theatre.  Apparently, the policy is (or was) that you could have no more than 4 conflicts to be cast in a show, and none for a lead, so directors would commonly call prospective cast members to try to negotiate down into policy-conforming missed time.

Finally, about 8:30 Saturday night I called her, and she more or less told me that she'd called a bunch of people back to read AGAIN, and that someone else had come up as a good enough Max so she wouldn't be forced to deal with my schedule.

So, no deal.  Harrrumph.  I get it, but still... harrrumph.  Apparently, missing 3 1/2 of the first 4 weeks is a deal-breaker for some people.  :)