Each week, Back Stage lists dozens upon dozens of casting notices for film, stage, TV, and so on. But this week, we offer something very special, particularly to the musical theatre performer. Back Stage writers have rounded up auditioning advice from casting directors, musical directors and supervisors, authors, directors, and producers representing the 38—that's right, 38—musicals that are either currently running or due to open either this season or next. Reading through this week's Music and Singing Spotlight is like reading one huge casting notice for the entire 2002-03 musical season.
Who are some of the 33 folks we interviewed? They include casting directors and casting associates Jay Binder, James Calleri, Dave Clemmons, Howie Cherpakov, Alan Filderman, Aaron Harnick, Jamibeth Margolis, Sarah Prosser, Jeremy Rich, Tara Rubin, Amy Schecter, Laura Stanczyk, Bernard Telsey, and Jordan Thaler and Heidi Griffiths; musical directors and/or conductors Henry Aronson, Robert Billig, Patrick S. Brady, David Chase, Joseph Church, David Holcenberg, Dan Lipton, Ron Melrose, Kevin Stites, and Edward Strauss; musical supervisors Dale Reiling and Kristen Blodgette; musical director and composer-lyricist Jason Robert Brown; director Philip Wm. McKinley; and show creators, directors, and/or producers Gerard Alessandrini, Diane Paulus and Randy Weiner, and Jeanie Linders and Brent Peek.
There are so many terrific audition tips and great advice passed on by these industry experts that I couldn't help writing them down, especially those ideas that kept cropping up throughout the interviews. It's important information for all of you to know and realize, whether you'll be auditioning for one of these productions or for any other shows.
By the way, one trend that I did note was the constant call, not only for multicultural casts, but also for ensembles that can vary in age and physical types. Replacements don't have to be exact replicas, either. Casting directors seem to stress personality over body shape and type.
So here's my edited-down tip sheet of what you'll be reading more about in "Let Me Sing and I'm Happy: Finding Work in Today's Musicals On and Off-Broadway," which begins on page 28.
1.) Audition with material that's familiar to you. Your selection should be in the style of the show, but not from the show. Never go to an audition with a song that you just learned the night before. It takes a while to really understand a song and make it your own. In addition, it's more important that the song you select reveal something about you, even more important than showing off your range.
2.) Always have more songs along with you, all ready to sing, in case you're asked to sing additional songs. Again, they should all reveal something about you as an actor—your type and personality. Which leads to…
3.) Develop a sense of self. Know who you are. Try to see where you fit in terms of type, and which roles you feel most comfortable in. Once you get an understanding of this, you can select audition material that will show you off best, and you can…
4.) Be who you are. Never try to be other than that, guessing what would please the casting director. As I mentioned previously, the accent seems to be on personality; make sure that comes through in your audition. It will allow you to be distinctive and stand out. Being honest with yourself allows for the honesty to come through in your performance.
5.) Triple threats…plus! Being able to sing, dance, and act is the norm. You now need to go one step further: Quadruple threats are in demand. Casting directors are looking for performers who play a musical instrument ("Cabaret"), have a great comic sensibility ("The Producers"), and can be comfortable with their sexuality ("Debbie Does Dallas").
6.) Be familiar with the show and figure out which role you might be right for. It gives you an idea of the style of acting, singing, and movement the show calls for, and helps you to understand what the casting director is looking for. Once you "know yourself," you'll know if you're right. If you can't afford to see the show, then at least buy the cast album. See the movie that it's based on. If it's a brand new show, research the period that it takes place in.
7.) Be prepared. I hear casting directors complain all the time that many actors are simply not prepared at auditions. Know your material; don't sing more than was asked; make sure your headshot and resume look professional. Says casting director Howie Cherpakov, "You'd be surprised how many people waste so much audition time with the technicalities of auditioning, which are things they should be fluent with. If you have people who are not confident in their auditioning skills, it makes you nervous about hiring them. It reflects back on their discipline and work ethic."
8.) Be nice to the piano man. How you relate to other people in the room can help the auditioner determine how you might fit in with the company. For "Phantom" 's associate musical supervisor, Kristen Blodgette, the relationship between auditionee and accompanist is crucial. "It gives us a window into what you are like to work with."
9.) Dress character-appropriate. "This does not mean wear a costume," says Bernard Telsey. "I still want to see you as an individual." Adds Dave Clemmons, "Never wear anything to an audition that you wouldn't wear out in public."
10.) Think twice before choosing obscure material. Not only might the accompanist have trouble playing it, but, notes musical director Kevin Stites, "It tends to upstage the singer—distracting the music director, who may be tuning you out while thinking about who wrote the number and what show it came from." On the other hand, I've heard that some auditioners perk up at unusual material. They like the care put into choosing it and find it makes you stand out from the pack.
11.) Don't apologize for your audition. It's musical director David Chase's best piece of advice: "Don't tell me you're sick. Don't tell me you're…whatever. Just come in and do it."
12.) Note a specific role when you're sending out your pic/resume to the casting director. Especially when you're dealing with casting directors who are handling many shows at a time. Once you know what you're right for, it makes it that much easier for the caster. Also, advises Bernard Telsey, send a pic/resume for each show you're submitting for if handled by the same office. Different sets of files are kept for each show.
13.) Might as well make it a baker's dozen. One more piece of advice: Be persistent! If you don't get a callback or win a role, keep trying. This was mentioned by so many of the auditioners. There could be any number of reasons why you weren't picked the first time around.
Working as a performer is all about building a career. As stage and film director and choreographer Rob Marshall noted on a panel that I produced about seven years ago: "You work your way up. It's a natural progression. Look at it as building blocks. All of your experiences are important and they will lead to something. But, absolutely, the most important thing is to keep working and keep trying to be better at the craft."
Rob Marshall certainly listens to his own advice.