Audition Styles
Printed From: Community Theater Green Room
Category: Producing Theater
Forum Name: Directing
Forum Discription: For questions about handling shows, actors, crew, board members, children ...or do we repeat ourselves?
URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=3695
Printed Date: 11/23/24 at 2:04pm
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Topic: Audition Styles
Posted By: chelserin
Subject: Audition Styles
Date Posted: 12/28/08 at 7:00pm
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Most of the auditions I gone to have consisted of cold reads from the script. I will be directing for the first time and am planning on having cold reads during auditions, however I was wondering what people thought of the pros/cons of using cold reads as opposed to using monologues for auditions.
Thanks ------------- To be in the world, and of the world, and never to stand aside and watch. |
Replies:
Posted By: tristanrobin
Date Posted: 12/28/08 at 7:34pm
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I usually go with cold readings - though we give our local libraries copies of the script that people can check out and read and become familiar if they're interested. I like monologue auditions, but, frankly, I've discovered that asking for a monologue scares away all but the most seasoned...and even a few of them. I do like to have call backs, so I can see if somebody who does a good cold reading can improve at all - or if that good audition was their little flash in the pan. I know from personal experience: I am a very good auditioner - usually much better than I am in performance LOL. |
Posted By: Nanette
Date Posted: 12/28/08 at 9:58pm
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I work solely with children and have used both cold readings and monologues. I've found that monologues work best with my age grouping (8-19) as many kids don't read necessarily well (with emotion, smoothly, dealing w/ new vocab, etc.). I have a number of monologue books available at our local library and give my auditionees a suggestion as to the type of audition I'm seeking (comedic/dramatic). I also have sides available if I feel someone "fits" a character and want to hear more. ------------- In a world of margarine, be butter! |
Posted By: KEB54
Date Posted: 12/29/08 at 1:39pm
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I agree with tristan. I use the cold reading simply because that is what our area actors are used to.
At my last auditions I asked them to walk across the stage and then to skip back. They did okay ... but I could tell if I pushed them any more, they'd bolt.
 I'd love to incorporate some theatre type games into the auditions, but I know I'm going to have to do so gradually and carefully. This is, after all, community theatre. I want to make sure that the experience is pleasureable and that we continue to build our base and not scare any away. ------------- KEB |
Posted By: midgetking111
Date Posted: 1/17/09 at 10:35pm
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Every show I've auditioned for they've had cold readings. ------------- Mystery of the Suffocated 7th Grader-Perry Paulson Willy Wonka Junior-Grandpa George Air Uganda-Swami Ramblenonada James and the Giant Peach-James Trotter Throughly Modern Millie-Bun Foo |
Posted By: chelserin
Date Posted: 1/18/09 at 11:37am
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Thanks for the imput. Auditions went really well, we did use cold reads. However, before starting the reads I had them do a warm up. I wasn't sure about this because I didn't want to make anyone uncomfortable or think "what the mailto:#*@$ - #*@$ is this girl doing? ...;p So it was very simple just to get everyone moving and vocal before we started. We did the wave. It was a hit! In fact one person, as they went onstage to read even said, "Can we do the wave again, I need to loosen up." ------------- To be in the world, and of the world, and never to stand aside and watch. |
Posted By: whitebat
Date Posted: 2/24/09 at 12:01am
| One thing that I think improved cold readings at our CT was to have board members read some of the other parts while someone auditioned. You need someone to play off while reading to show you can act. Of course, you would want all the promising actors to read together during callbacks. Having someone who is not auditioning, and a bit familiar with the scene, and therefor not quite so nervous also allows the director to focus on one person at a time. As a very inexperienced actor, I don't know how to choose a suitable monolog. |
Posted By: greenphoenix
Date Posted: 2/24/09 at 1:35am
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I think monologues are kind of a waste of time. I like to work with the material at hand, and maybe provide suggestions to see how an actor responds to direction. |
Posted By: bellagio
Date Posted: 2/25/09 at 2:16pm
That's important, but I prefer to have actors prepare a monologue as well. Why? Because it shows what they can do when they have time to prepare. Some actors - including some very good ones - struggle with cold readings. It also says something about their work ethic and professionalism. When an actor shows up with an ill-prepared monologue it's a pretty good sign that they aren't really taking the audition (or acting in general) very seriously. So, for me it's monologue first, then cold reading from the script - to see how they wear that character, how they respond to direction, etc. I find this gives me the best opportunity to fully and properly evaluate each actor. From the initial auditions, I determine who is 1) capable and 2) suitable for the roles. Callbacks for me are entirely about working actors in pairs (or occasionally groups of 3) to look for chemistry, compatibility, etc. to determine the best cast for the show. The best cast, after all, isn't just an assortment of the best actors. |
Posted By: SpenceKenzer
Date Posted: 2/25/09 at 4:55pm
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At our CT we use cold readings almost exclusively (I don't remember the last time one of our directors wanted monologues!). We also do them all as a group -- that is, all the auditioners are assembled, and the cold readings are done between the auditioners; the SM or other person reads in parts only if there's no one available. Yes, if I go second, third, or last, I get to benefit from seeing/hearing the other actors' auditions, so that my reading can be all that much better. To compensate for this, when I'm the director, I always give the actor who does the FIRST cold reading the option of re-reading the same bit at the end after everyone else has. The only disadvantage of this: great actors who are terrible cold readers. One of our best and long-time actresses falls into this category. I'm afraid that a newbie who's like this may get overlooked for a part that he/she would do a wonderful job of. Yes, some of our directors do call-backs, but not that often. Most of them have gotten into the habit of casting after 2 or 3 nights of such open group cold reading audition sessions. ------------- --------------------<*> Saludos, my dahlinks, and you know who you are ... ! |
Posted By: KEB54
Date Posted: 2/26/09 at 8:19am
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We have perursal scripts available to anyone about 2 or 3 weeks prior to auditions so those auditioning are familiar with the script.
Actors that audition for the theatre in the larger community I work for take good advantage of it. Actors auditioning at the theatre in the smaller community seldom do.
------------- KEB |
Posted By: Scott B
Date Posted: 2/27/09 at 12:16am
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I'm directing the summer musical and I plan on doing cold readings. One thing I would like to change this year that I've seen in the past ... not allowing other actors to sit in on the auditions. If an actor has added just the slightest bit to their part or mannerisms ... I don't want someone copying them or picking up on them. My intention is to clear the room with the exception of those on our production team. If it works then I would like to see it continue that way. |
Posted By: chel
Date Posted: 3/06/09 at 12:33pm
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Would you be more likely to require a monologue for a drama than for a comedy? And how long should it be? ------------- chel www.windhamtheaterguild.org |
Posted By: Nanette
Date Posted: 3/06/09 at 2:25pm
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I require monologues similar to they type of play we're staging ... dramatic monologue for a drama, comedic for a comedy, classic for a classic, etc. The monologues need to be, roughly, 1-2 minutes in length.
Not only do I get to see who can "memorize", but also who can develop a character. Obviously, the kids who work on their monologues for two weeks do much better than those who get it the night before and end up standing on the stage reading from a piece of paper. Not surprisingly, the ones who complain that they didn't get a big part are from the second group. ------------- In a world of margarine, be butter! |
Posted By: lalunabella
Date Posted: 3/21/09 at 4:54am
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I think it really depends on the working environment. I can totally see how a highly competitive and thriving theatrical community would be served by having prepared auditions. In a community where there is less access to experienced actors and resources perhaps asking people to prepare a piece is a bit unrealistic. I usually opt for cold readings and a low pressure improv exercise that can be done in pairs or small groups. I really make an effort to put people at ease and create supportive energy.
------------- "Yes I am a dreamer. For a dreamer is one that can find his way by moonlight and sees the dawn before the rest of the world." ~Oscar Wilde |
Posted By: TonyDi
Date Posted: 3/23/09 at 7:17am
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Personally, if I WANT to do a show and have a specific role I'm looking at, I do what I can to FIND a copy of the script - even buying a copy (about $6.00 bucks or so - minor cost) well ahead of auditions (if possible). I do the homework, the research I can find (online lots of it) and go into an audition prepared for the role I seek. I do ok with cold readings - but I'd much rather have a greater chance to look it over in complete context than to do as many I've had audition for me - that is, come to auditions without even knowing the show or anything about it. If I buy the script, then at least if it ever comes up again someday I'll have it to refer back to in case. As a director I too am as low pressure as I can possibly be - because I know what it's like to be up there auditioning...and it's scary for anybody. Although anymore, I figure if it get the part, fine, if I don't, FINE - even though I might want it, it's not really my decision and I know it so I just give the best I can and throw fate to the wind. That's all it boils down to anyway - that and a directors ideas of what they want and it might not include me - whether I bought the script or know the role or not. But I DO the homework, get the script well in advance, (and read it) and do what I can to convince the director that I want the role or am willing to do what I can to be helpful as I possibly can.
TonyDi
------------- "Almost famous" |