>I will audition everyone in front of each other.
I'm not convinced this is a good or a bad idea, but it is atypical for a professional audition (at least in full), so you may want to keep that in mind.
Actually, I'll specify.  I did a professional production of A Christmas Carol last year, as luck has it, so let me tell you what my audition process was like for that:
In June, I went through the general audition with about 1000 other people.  At the general, I went in -- alone -- the company's artistic director and the various show directors were there.  I did a 1-minute monologue and a 32-bar song cut, was thanked, and went home.
In late July, I got a call from the company, calling me back, with what part I was being considered for (Present/Fezziwig), and the date of the callback, and told I'd be emailed.
Later that day, I got an email that had a link to a webpage that included sides (and a note for which part needed each one), a 4-part song, and a song for my part.  I had about 4 or 5 days between then and the callback.
At the callback, the entire group of about 60-80 was taken into the auditorium, sorted by voice part, then combined into quartets.  The musical director then went through the parts for about 15 minutes, and we sang in quartets.
At that point, about a third of the group was dismissed, and the rest of us sent back to the lobby.
[Note that this was one of two callback nights.  The other was for the parts considered to need some amount of dancing, they had a similar dancing section that my night did not.]
The stage manager then called us up in groups of 2-5, assigning us our parts in various scenes that we'd been given on the webpage.  Each group would have 5-20 minutes to run the scene amongst themselves before being called in to read for the director.  She may or may not give notes and ask for a re-read, after which we were dismissed back to the lobby.  Shortly thereafter, the SM would release anyone who was done for the evening, otherwise another scene with new scene partners was assigned, and the process repeated.
In August, I got a call from the company's AD, offering me the part (as well as another in a different show I'd also been called back for) listing the dates, pay, and broad rehearsal schedule.
Rehearsal began mid-October, we opened around Thanksgiving and did 32 shows up to Christmas Eve.
Hope that was useful.

>I am the director and will be running auditions. So, I have a few
>questions for all you theatre guru's
Suggestion 1: PLURALS DO NOT TAKE AN APOSTROPHE.
Sorry, pet peeve of mine.  Onwards.


>1. Does anyone have samples of the audition sheets that you hand
>out at rehearsals? I would love to see some ideas.
Not in copy format.  But you've seen these before.  Name, email, phone, history, parts wanted/will you take anything ... typical stuff.  One thing I do like is to have a calendar sheet for conflict marking.  If you've already set a rehearsal schedule (which I'm against, for reasons earlier discussed) it can be put on there.  If you ASK auditioners to bring a resume, more of them will do so, and ultimately ease their workload in filling out the thing, so do that.

>2. How/Where do you post auditions so that the word can get around?
I'm in the greater Chicago area, and we have a handy regional CT message board exactly for such a thing, plus a couple sites that are mainly for professional non-equity stuff but will take a CT listing.  I'll also include my company's site, e-mail blast them, and create an event on Facebook, and blast it out to my 300-400 odd theatrical FB friends.
Oh, and I've also used Craigslist, but I forgot the old saw: PEOPLE DO NOT READ.  And from the half-dozen responses I got, once I wrote back to an initial inquiry with "also, a reminder, as the listing stated, this is not a paid performance" they all failed to write back or show up, except for one person who wrote back the day AFTER auditions to ask if I still had a part for her.

>3. What do you do during auditions? Cold readings, games, etc?
Varies a little.  First thing I do is note in the audition announcements that a short monologue is acceptable but not required.  Some people like to prepare and do their best that way, so let them know it's okay if they're so-inclined.  I read an interesting article a while ago called something like "Audition the actor, not the part" or something that basically said cold-reading was stupid, and use improv exercises to find out who can act.
I was mostly persuaded, but I recognize that some people struggle with improv -- largely in coming up with their own dialog, so I moderated the advice a bit for the next show I directed, and asked my auditioners to do some stuff that did not require any dialog.  The two key exercises were:
I. Skip to the other end of the room.
This play was a comedy, and I needed to see if they felt uptight or reluctant to commit to something unusual in a crowd; and
II. I would describe a 2-3 person scene, and have them act it out, with the catch that all dialog must be in the form of numbers.  That lets you show some acting choices and ability to act against someone, without making you think of what to say.
And then, because I didn't completely buy it, I did cold reads.  But, while it was good to hear specific people do specific parts in a few cases, I could easily have cast the show from those two exercises.


>4. Do you post the rehearsal schedule before the auditions, or just
>give a copy out at auditions?
Okay, I'll restate it here: I think it is very, VERY desireable to NOT schedule the rehearsals before auditions.  You'll obviously know when you'll start, when tech starts, and generally when you're rehearsing (Mon-Thu evenings, and Sunday afternoons, say) but if you can, WAIT until you do the auditions, then find the people you most want to cast, look at their conflicts, and THEN cast the show.  If the staff and crew have a little flexibility, you can then cast the people you want.  And if that means doing Act II on Monday, then Act III Tuesday, and Act I on Wednesday ... well, I've done it, and it's all fine when you put it together.