PROFESSIONAL AUDITION TECHNIQUES

Eliza Doolittle captures her audience. L to R: Amy Blair, Sue Derrow, Penny Hauffe, Garrett Milich, Karlah Louis and Craig Snyder in PYGMALION

FOR COMEDIES OR DRAMAS
Choose a one to two-minute monologue in the style of the play, and make certain it has a story arc (beginning, middle and ending) so you can show your range.

Note: Never memorize a monologue from the play being produced unless a director asks and avoid monologues requiring accents.

Next: Practice, practice, practice... and then follow the format below.

Paperwork: Whether auditioning by videotape or in-person, fill out the audition form carefully. You'd be surprised what details will catch a director's eye.

The Audition:

• If creating a video audition, send it in as soon as possible.
• If in-person, arrive a little early (actors can bow out and create gaps in the schedule. They'll love you for filling in). 

Ready to go? Whether via video or in-person, greet the director, be confident and assume they like you already. Greet them and let them know your name and  tell them what you're going to present, i.e. "Hello, my name is Douglas Drama /Theta Thespian, and I'd like to present so-and-so's monologue from the play "Such and Such".

• If you're making a video of your monologue, do a lot of them and pick the best. Please. Use natural lighting (Don’t try to set the mood by creating spooky lighting or a green screen. Those are decisions the director and producer makes, and they don’t want your input. In fact, it’ll warn them that you’re trouble). You can look into the camera lens the whole time (not true of in-person, as you’ll see below). 
• In-person: Step back and take a couple seconds to center yourself. Raise your eyes and focus on a space about 2 feet above the staffs' heads and begin. If the monologue is spoken to one person, imagine that person floating two feet above the staff. If you're supposed to be speaking to a crowd, imagine them standing behind the staff, and address them back and forth. DO NOT make eye contact with staff members during your monologue/s. Why? Because they don't want to be in the scene with you; they want to take notes!

When Done (video or in-person): Lower your head, take a moment to come out of character, look up, smile and say, "Thank you."

• If in-person, they're likely to simply say "Thank you", and that's your cue to exit. But they may also talk to you and ask a couple questions before saying goodbye. In either case, they may ask you to do a cold reading from the script, at which point it's perfectly acceptable (and expected) to ask for a moment to look over the reading before you begin. That shows them you mean business.

FOR MUSICALS
Present a monologue as described above and then a song.

• If in-person, piano accompaniment will be provided, so BRING YOUR SHEET MUSIC. Specific shows will have specific audition requirements (i.e., 16 bars, a certain range, etc.), so check audition requirements on the website as you make your audition appointment.

FOR OPERA
The audition may or may not require a monologue.

• For an in-person opera audition, Piano accompaniment is provided and as a courtesy fee is required to pay the pianist for those services (this amount is usually noted in the audition notice). BRING SHEET MUSIC. In opera, entire songs are presented during the audition period and are interrupted only if time does not permit. Usually the director/s will warn you they may need to interrupt your piece.

AT EVERY AUDITION
Assume the staff will like you. You're a living, breathing, willing theatre participant, and, for all they know (and hope), a star in the making. Learn to enjoy the audition process as a challenge, an education, an opportunity.
Why? Because, even if THIS show isn't a perfect fit for you, the next one might be, and directors never forget talent, a friendly face and a positive attitude,

​These tips are provided by Meredith Bean McMath, Managing Director of Run Rabbit Run Productions, Inc., Loudoun County, Virginia. They are culled from professional actors, and the classes McMath taught through a professional acting program.

Rachel Louis in MUCH ADO ABOUT NOTHING (Photo by Craig Thoburn)

Ben Huntington in MARK TWAIN'S DIARIES OF ADAM AND EVE (Photo by Jim Poston)

Jenna Powell in A MIDSUMMER NIGHT'S DREAM (Photo by Jim Poston)

Archelle Skuce in ONCE UPON A CHRISTMAS CAROL (Photo by Jim Poston)

Garrett Milich and Erica Miller in ALL IN THE TIMING (Photo by Jim Poston)

Annie Stokes as Belle, singing, "Belle's Song" from the 2012 production of "Once Upon A Christmas Carol" (Photo by Jim Poston).

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ADDITIONAL TIDBITS:

SHARPEN YOUR ACTING SKILLS LIKE A PRO EVERY DAY BY...

1. OBSERVING CHARACTERS, CHARACTERISTICS, AND SCENARIOS OF THOSE AROUND YOU - THE WAY PEOPLE WALK, SPEAK OR HAVE AFFECTATIONS,
i.e an interesting walk, a voice, an odd laugh, or unusual mannerism.

2. KEEP NOTES OR A JOURNAL OF IMAGES, SOUND BYTES AND SENSORY EXPERIENCES
THAT GRABBED YOUR ATTENTION.

3. A personal favorite: EVALUATE ACTORS WHEN YOU SEE A PLAY OR WATCH A FILM.
ASK YOURSELF WHAT'S WORKING, WHAT ISN'T AND WHY?