Hi everyone.  I have been enjoying the various discussions on this board for quite awhile, especially the differing points of view.  I have learned much and plan on learning much more.  With that said, I would like to pick your brains on a topic that has been previously discussed in detail, but has been on my mind recently.  I will be directing a musical in the spring.  I am very comfortable in the musical genre and have directed many shows, however, this will be my first directorial outing with this group.

I have been involved in theatre for many years, as a performer, singer, and director.  I have performed professionally and in community theatre. I prefer community theatre because there is a camaraderie that was missing in the professional groups.  Most of my experience has been in musical theatre.  Regardless of where I performed or directed I have had to face the dreaded AUDITION.  Yuck!!  Does anyone truly enjoy auditioning?

As discussed in a previous topic, the typical audition for a musical theatre production starts with a vocal audition, quickly followed with a dance or movement (I say movement because I cannot call what ?I? do dance ;-) audition.  Then if you make it to callbacks, you read from the script and maybe sing again. 

As a director in an audition I must ascertain whether an auditionee is appropriate to the part, can vocally sing it, can move if required, can portray the character as I envision it and will work well with the rest of the ensemble.  In order to learn all of this in a very short time, I have to conduct the audition in some fashion similar to the previous paragraph. As a performer in an audition I must show that I can sing it, am appropriate to the part, can move without bumping into walls and can portray a character. 

What I would like to know for all of you is this ? can I, as the director, make it fun?

Are there methods of running the audition which will ease the tension?  As a director, what have you done at an audition that has worked?  What hasn?t worked (so I can avoid that)?  As a performer, what auditions have you truly enjoyed?  Why?  Did the director do something to make you more comfortable?  I would like to hear any and all suggestions.  What has worked and what hasn?t?

Thanks for your help,

MJ

Been on both sides of the fence many many times... I think it is all about attitude... Both on the part of the auditioners and the directorial staff... As for me I LOVE auditions... As long as you approach theater as fun and are supportive of each other, auditions can be a blast.. When we have audtions we love to listen to the other person, laugh with themand laugh at ourselves...  For me personally, the real TENSION/Dread is as the director.. You have to choose what is going to make a great show. That's where the presure is. When I'm auditioning, as long as I don't take myself too serious and don't have my heart set on a particular part, I am usually having a ball..

As to what you can do to engender "fun", I guess it would be all in how you set the mood.  If audtions are run as 100% buisness, then I'm sure that can be a little intimidating.. I just think the same thing can be accomplished with out so much presure.

Sorry to ramble..

Good luck finding "Your way" to take the edge off..

As a director I always try to make my auditions fun.  I try to be relaxed and light-hearted. I think deep down I'm probably more nervous than they are.

   At the auditions for my play that we did in July the auditions were fun.  The actor who I cast as my lead helped out at the auditions to find the other characters.  His easy going manner and the rapport he instantly made with those auditoning made it fun for us all.  When we auditioned the kids, my leading man immediately became 'dad' to each one of them and there was light-hearted teasing and joking.  The  kids who were able to get into the spirit of the fun and tease him right back were the ones I cast.  They were awesome actors as well. There were times when we had to convince audience members that none of the kids in the play were related to the actors playing mom and dad.  The bond was that good and that believable.  And I think it started at those fun auditions.

I agree 100% with Playwright. I try to keep auditions fun and interesting for everyone. I will often have auditioners work in groups before I see them individually. I found this to be less intimidating for the performers. They don't feel so in the spotlight. I can see what they can do when they are relaxed and I get glimpse of how they will work in an ensemble. Example: The choreographer will teach a group of 5 a routine together. Then ask to see them individually. Sometimes they don't even realize that they have auditioned. The same with the music director. They will teach a group a song. Then have them sing something of their choice. Then have them sing in a group to see if they can hold their part. I try to have a one on one conversation with everyone. I greet old friends and make a point of welcoming new faces. I also tell auditioners that their audition starts the minute they walk in the door. I make a point of watching their interaction with other cast members and staff. It can be very revealing as to how they are going to be to work with.

Linda

As an actor, I find auditioning fun.  However, I find sitting around watching other people audition NOT fun.

I try to keep that in mind as a director.

Sorry, but I disagree with POB14.

As an actor, I've always felt auditions were more intimidating and judgemental when it's just me in the room with the director, stage manager and/or whoever else.

I've always enjoyed auditions more when it was with a larger group.  Delivering a comic monologue to one or two people is akin to torture (both for the actor trying to get a laugh and the auditioners who are trying to muster amusement).  However, a comic monologue for a group of people is much more enjoyable for all concerned.

When it comes to readings from the script, I find it enormously helpful and enjoyable to see how the other actors approach the same lines.  It gives me a chance to size up my competition, and sometimes it inspires me to deliver a line in a way that I might not have thought of myself.  (I only steal from the best.)

Because of this, whenever I get the opportunity to direct, I've always auditioned my actors in groups of five or six (sometimes more if there's an enormous crowd waiting).

Not only do the auditions seem to go faster for everybody, but it also gives me a chance to see how the actors interact with each other and an audience.

The experienced actors enjoy showing off their skills and the inexperienced ones become less shy when all the pressure is not directly focused on them.  They also might learn a thing or two from their more-polished colleagues on how to prepare properly and conduct themselves at an audition.

I agree Topper. I always let the actors know when I am finished with their audition. Very rarely does anyone go.

Linda

No, no...no fun.  People should be as miserable and aprehensive as they possibly can be.  Only fear, loathing and terror at my auditions!   All right before anyone thinks I'm serious I really am kidding.

No matter what side of the audition table I happen to be on I like to be as entertianing as possible and that usually means having as much fun with the process as possible.

I'm fortunate that I'm happy both sides of the back stage wall.  If I don't get a part I'll take a tech part.  In addition, I see the committment to theatre as a long term investment and if don't get a part in one show I know there will be another one in a few months.

That being said, the most fun I've had at auditions is when both the actors and the director are relaxed.  The best audition was probably was a Beauty & The Beast show where the director had everyone line up in different rows.  The head of each row would read for a part and once that was done, that person could get in any line for a part.  It was fast paced and everyone kept it light.  I didn't get the part I wanted, but I did enjoy the audition.

The Other MJ 

Alternate forms of auditioning are always fun.....including the "i" word (I mean....gulp....improvisations!).  After the auditioners get past the dread of that word and if you choose the right type of improv, they really relax and get into it.  One or two practice ones first to get them warmed up, then the improvs that you really plan to watch for creativity, ensemble playing, focus, cooperative action, leadership, stage presence, etc.  Choosing fun, non-threatening ones is imperative (short or longer ones, depending on how many people you have auditioning and your time constraints), and they really tell you something. Then, once you've gotten their nerves out of the way, you might see some really good, relaxed readings!

Sometimes I even have them tell about themselves as a way of breaking the ice.  No, not the "Hi, I'm Jane, and the most interesting thing about me is that I've got freckles on my back that when connected form a smiley face" type of thing.  Pick a topic that relates to the play they're auditioning for (for instance, for "Octette Bridge Club", I had them tell about their family traditions), give them a time limit and a few minutes to prepare, then turn them loose. Of course, this one works best when you don't have 200 people auditioning! 

Falstaff29:

Actually, I do believe that improvs contribute to the evaluation of the actors!  I wouldn't do them otherwise.....time constraints at auditions don't allow one to do something that is just a time filler!

As I mentioned in my last post, improvs tell me a lot about creativity, ability to work cooperatively with a group, leadership, stage presence, chemistry......all the things that you also look for in a reading.  Improvs aren't always physical, though those can be illuminating as you mentioned.  There are a lot of activities that focus on verbal participation and interaction. As long as you also leave time for solo and groups readings, I find improvs to be a valuable tool in auditioning.

Yes, we'll agree to disagree on this.  Obviously we are looking for and see different things in improvs.  I guess if you know what to look for, the improv procedure will work better for you.

I have never been asked to or asked anyone to be an apple tree.  There are lots of other improv exercises out there that are pertinent and that deal with human interactions, situations, and emotions. Perhaps, as you say, you haven't been exposed to directors who know how to use it effectively, or who know the right types of improvs to use.

Improvs also let you see an honest representation of the potential of people who don't read aloud well, but who might give you a terrific performance when given the time to work on and memorize the lines. 

Let's also remember the topic....ways to make auditions fun and less tense.  I made the suggestion as a possible way of achieving this.  Some other people besides myself actually do enjoy improvs, and some even utilize them in auditions!  (see the following website:  http://www.aact.org/documents/AUD1.pdf - http://www.aact.org/documents/AUD1.pdf   )

(I don't know if you have to be registered with the AACT message board to be able to access it or not.)

More suggested reading:  Stage Directions Guide to Auditions by Stephen Peithman (AACT website webmaster) and Neil Offen, ISBN 0-325-00083-2.

Love these spirited discussions!

I use improv as part of the audition when improv is part of the performance. In 1940's Radio Hour the first 10 muinutes plus are completely improved. I don't ask actors to sing & dance at auditions for a straight show, or do a dramatic monologue for musical comedy. If they need to improv, I include it as part my auditions. I want to see what their strenghts are in relationship to what I need them to do.

Linda