Emmy-nominated casting director Rob Decina wrote in his book, “The Art of Auditioning: Techniques for Television,” that each actor has a gift to give to the theater world.
“Auditioning is an opportunity for actors to present their gift,” Decina wrote. “That gift is your craft, your talent. I say, keep offering your gift, and hopefully, one day someone will like what you are giving.”
Utah is home to many stages where actors and actresses share their talents by bringing characters to life. But weeks and even months before a show opens, those actors and actresses must first win their roles by proving themselves in auditions. While the process can vary from theater to theater, many of its elements are universal.
Courage and authenticity
Actor Christian Hobbs, who recently finished performing in “The Drowsy Chaperone” at Pickleville Playhouse, has acted in many roles but said auditioning is the scariest part for him.
“Auditions are almost always nerve-wracking in every sense of the word,” Hobbs said. “Whether it be a choreography round or a vocal solo, it’s important to always be at the top of your game. The most nerve-wracking part for me is definitely performing in front of a panel of judges, knowing they will be critiquing my every move.”
Hobbs, whose other past roles include Gad in “Joseph and the Amazing Technicolor Dreamcoat,” Charlie in “Charlie and the Chocolate Factory” and Fyedka in “Fiddler on the Roof,” said the key to a successful audition is having confidence by being prepared to show off your talent and personality even though it might be scary.
“Don’t let your fears stop you from auditioning,” Hobbs said. “Have fun with it. Be yourself. Show not only through your performance but also through your words and actions that you have a special light and would be a valuable asset to the company.”
Similar advice was given by actress Megan Heaps, who has performed at Hale Centre Theatre in roles such as Jane in “Tarzan,” Maria in “The Sound of Music,” Luisa in “Zorro” and Marguerite in “The Scarlet Pimpernel.”
“The most important thing you can do in auditions is to be yourself,” Heaps said. “Be as honest and as vulnerable as you can. Anyone can put on a show, but if the judges can really connect with you and the character you’re acting as, that is what will set you apart.”
Fitting the director’s vision
Jansen Davis, executive director of CenterPoint Legacy Theatre, has experienced the audition process both as an actor and as a director.
“They are quite different experiences, and to say I prefer one over the other is very difficult,” Davis said. “I love the creative process of taking a written piece of work and literally bringing it to life. As an actor, you have the opportunity to do this with one character and then present it to an audience personally. On the other hand, as a director you are able to dabble in the creation of all the characters to tell the whole story. Both can generate satisfaction, especially when the audience embraces the performance.”
Davis has directed a variety of shows including “All Shook Up,” “The Importance of Being Earnest,” “Singin’ in the Rain,” “42nd Street,” “My Fair Lady” and “The Taming of the Shrew.” He said directing each show was like starting a new project.
“When a director and a production team begin a project, it’s like creating a puzzle,” Davis said. “First, they must determine what the general picture is going to be. Then as they go into auditions, they must find pieces to this puzzle that will fit with their overall vision.”
Many times, a talented performer may not be cast as a particular character due to his or her physical appearance, age, vocal style or height, Davis said.
He said a common issue he has seen in auditions is that actors will come into the audition with specific roles in mind and want to be considered for those roles only. As a director, he said, he could see these actors fitting “magnificently in another role,” but because they were only interested in one role, he had to let them go.
“I have had experiences of my own where I thought I would fit a certain role but the director saw me differently,” Davis said. “By being flexible and willing to accept their judgment and their vision, I have had some really wonderful, unexpected experiences.”
Audition expectations
Davis said directors generally look to see how the people auditioning present themselves and whether they are prepared. He said a checklist of questions an actor should ask him or herself could include: Am I dressed appropriately? Does my song match the music of the show? Have I rehearsed my audition music? Am I positive and respectful to others?
At CenterPoint Legacy Theatre, the first audition for a musical is a vocal audition, where those auditioning are asked to prepare about 30 seconds of music, Davis said.
“It’s wise to have a vocal solo prepared that you are confident you will nail,” Hobbs said. “A harder song is not necessarily a better song if you don’t perform it well.”
It’s wise to be prepared with a few different types of songs, he added, such as an upbeat tune as well as a ballad.
“Sometimes judges will ask you to sing a piece from the show, so it is important to be familiar with the production you are auditioning for,” he said.
Davis offered a rundown of how to approach a typical vocal audition:
“When you arrive at the audition, there is someone at a table outside the audition room who will collect your audition form and conflict information. When it is your turn, take your premarked music to the accompanist, communicate where you will start and stop in the music, and establish a tempo with them. Then go stand in the designated position until the director indicates that they are ready. Introduce yourself and identify what song you will be singing. Make eye contact with the accompanist, relax, concentrate, breathe and sing.”
If for some reason the actor goes beyond the 30 seconds, he or she should not be surprised if the song is cut short. Davis said it doesn’t mean anything negative; it is just the production team’s way of staying on schedule.
“If a callback is extended, the production team is looking for how you may fit into the puzzle,” Davis said. “They must decide who will fit with whom and if they feel that they can help shape you to fit the picture properly.”
A ‘stage dad’s’ experience
Brent Sloan, a self-proclaimed “stage dad,” first learned what it was like to help his children through the audition process when two of them auditioned for the role of Mary Lennox in “The Secret Garden” at Hale Centre Theater in 2007.
“Many of the girls were poised, attractive, curly haired blondes with windpipes that sounded like Little Orphan Annie,” Sloan said in an email. “In fact, I wondered if several hadn’t wandered in from the traveling Broadway cast just for the audition. By contrast, Sasha and Summer and their intimidated ‘stage dad’ felt out of their league amidst such talent. ‘This will be a good learning experience,’ I explained. ‘Because when you audition a lot, you hone your skills and learn to deal with rejection.’”
After all the girls had finished auditioning, they were invited to wait outside the audition room.
“Kids and stage moms (and stage dads) attempted to remain calm, but an awkward nervousness pulsed throughout the room as we waited,” Sloan said. “Finally, the door opened and a woman stepped out. She thanked everyone for coming and read off a list of those who were invited to callbacks. To my delight, both Sasha and Summer were on the list. Whoops, hollers and squeals were offset by moans and groans of disappointment. Some moms were disappointed to the point of tears, while others murmured words of condolence and encouragement to their heartbroken kids.”
Callback auditions a few days later again began with each child singing her audition number.
“I sat next to Jennifer Hohl, a personal friend and popular performer at Hale whose daughter, Mary, had also made callbacks," Sloan said. "She commented that watching her daughter was much more difficult than auditioning herself. I agreed as I sat nervously awaiting a decision.”
In the end, both Hohl’s daughter and Summer Sloan got the role. Brent Sloan said he felt relieved because auditions were over — until the next musical. The Sloan family has been involved in musical theater ever since.
Sharing one’s talent
Although auditions can be intimidating for actors, directors and “stage parents” alike, they provide a way for people to share their talents and to be a part of something greater than themselves.
“One of the great things about being behind the table at an audition is to see so many talented individuals who are willing to share their talent with our community,” Davis said. “Every director hopes that as you walk in the door for an audition, you will fit perfectly into at least one part of the puzzle.”