Whether it's finessing the agent interview, or following up after an audition for an important casting director, the art of effective business communication often proves to be a challenge for the performer. Below are two common situations as they were recently presented to me in my work as a theatrical career-planning and marketing consultant.
Q: I recently did a mailing to a number of agents, and as a result have a few interviews scheduled. I was told I wouldn't be auditioning at this time, only interviewing. What kinds of questions should I be prepared to answer?
A: Whoa! First things first! It is of utmost importance that you have audition material prepared and ready for these interviews. By "audition material" I mean monologues and/or songs--depending upon the kind of performer you are. Certainly none of these agents is trying to mislead or trick you by telling you that you won't be required to perform, but it often happens that you are.
Why? Many times, in the course of an interview, an agent realizes that you are right for some projects that are currently being cast and would like to try to get you seen for them. He'll need to see your work before suggesting you to a casting director. It's a great thing when this happens--and it happens a lot--but it's obviously only great when you're prepared. Saying, "Gee, I was told this was only going to be an interview," or simply winging a monologue you haven't polished isn't likely to bring about the desired results. So be sure to have audition material prepared and "at the ready." Always.
Okay, on to the interview questions! Topping off the list is that perennial favorite, "Tell me something about yourself." (Did I just hear you groan?) Here's the good news: This is a fine chance for you to tell the agent whatever you decide you want him to know. In other words, it gives you the opportunity to control the interview from the very get-go. Prepare a seemingly off-the-cuff but well-thought-out presentation with a beginning, a middle, and most definitely an end. It should last no longer than a minute and be a combination of your "greatest hits"--touching upon the personal, but with most of the emphasis on the professional. Your presentation might include where you went to college, where you trained, and conclude with what you're up to professionally right now. Period. No rambling. Now the agent knows it's his turn again!
"Which casting directors know your work?" is another common question that also warrants a well-prepared but seemingly spontaneous presentation. Your list should be presented in descending order of who knows you best. Ideally, then, you would start the list with the names of any casting directors who have been instrumental in your having been hired, and what it was that you were hired for. Next, mention those casting directors who've given you callbacks--and what the callbacks were for. Last should be casting directors who've seen you in performance or whom you've auditioned for only once. Presented in the above manner, your response becomes a subtle but strong sales pitch for yourself.
"How do you see yourself?" (Did I just hear that groan again?) should be a well-thought-out--and may I stress concise--presentation of the kinds of roles that you believe you are most ideally and realistically suited for at this time. Unlike your acting teacher, most agents aren't interested in the extremes of your range, but in hearing about the roles that best fit your type and essence. Although citing prototypes of famous actors is often encouraged by agents, get honest feedback from others first. That is, try to make sure you really are similar in look and/or quality to any of the big names you mention, otherwise an agent might well be tempted to offer you a great big reality check.
All told, then, prepare well, and keep the emphasis on any good things that may be happening for you. Preparation will help you to be relaxed and confident--the latter being one of the most attractive qualities an interviewee can possess.
Q: I recently gave what I believe was a bad audition for a play that was being cast by an important casting director. Should I write to her and explain that I just wasn't at my best that day?
A: No. But before we get into Operation Damage Control, let me say that my observation over the years has been the following: When a good actor thinks he's given a good audition, he's usually right. Conversely, when a good actor thinks he's given a bad audition, he's often wrong. Whatever the casting director's reaction may have been, why bring undue negative attention to the whole matter? Rather, focus on the future by corresponding with this casting director in a positive way. That is, keep her apprised of all future acting jobs you get, as well as callbacks by other casting directors--especially those at her peer level. Also report any requests to audition for projects that involve playwrights and directors that you think might be known to her.
To dramatically increase the chances of your correspondence being passed on to her by an assistant, be sure to get in the habit of targeting specific upcoming productions, as well as specific roles--and why she might want to see you for them. For example, you may be proficient in the exact dialect required for a certain role, or you may have a strong background in--or experience with--a particular play's sensibility.
In other words, find out what she needs and communicate how you can fill those needs. Periodicals--besides Back Stage--including Theatrical Index, Season Schedule, Performing Arts Insider, and American Theatre magazine are available at theatre bookstores and will help you keep abreast of what's in store for the future.
Brian O'Neil is the author of "Acting as a Business: Strategies for Success" and "Actors Take Action: A Career Guide for the Competitive Actor." A former agent and personal manager, he is presently a career-planning and marketing consultant for actors.
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