It’s Tony Awards time in New York City, which means there’s a near-nightly awards show or ceremony celebrating the onstage accomplishments of the past season. If this time of year has you itching to make a theatrical debut or is inspiring you to put your audition shoes on, you’re not alone. To help you channel that motivation into results, theater industry pros and Backstage Experts share their most useful advice for both in and outside the audition room.
Treat your tempo wisely.
“For most musical theater songs, we expect a tempo that is close to the original feel from the cast recording. That being said, some performers do better with a tempo that is slightly slower or faster than the original, and it’s worth experimenting with this in your own practice. If you are going to change the tempo, I recommend you create a metronome marking and write it at the top of your sheet music; if you don’t know how to do that, your vocal coach can lend a hand. In your audition, you should also tell the accompanist that you will be taking a different tempo than they may be used to.” —Andrew Byrne, voice teacher and Backstage Expert
Relationships beget auditions.
“Build relationships. You need to constantly be building relationships with the people who are looking for principal actors, whether they know it or not. Meet writers, composers, directors, and producers in addition to casting directors. If you don’t know where to start, explore being a volunteer for writing workshops where they need someone like you to help develop work. This path gives you the time to develop a solid connection while also getting involved at the ground level.” —Bret Shuford, actor, Broadway life coach, and Backstage Expert
Your monologue should never feel stagnant.
“Find [a monologue] with an element of surprise. If the audience is three steps ahead of you, they get bored very fast. Shift gears suddenly and change your mood or voice. Find a way to keep us on the edge of our seats, wondering what will happen next. Everyone loves to be pleasantly surprised.” —Gwyn Gilliss, marketing mentor for actors and Backstage Expert
You’re a triple threat—act like one.
“This may sound like a no-brainer, but time and time again, I see dancers sabotage themselves during this part of the audition process. How exactly do dancers manage to do this? They come in with little or no preparation on their song; they exhibit a voice that has obviously had limited training. (If one is a musical theater professional, it’s imperative that training be maintained in all three disciplines.); they choose easy or unimaginative songs as their quick, predictable go-to’s; or they walk into the room as a dancer, often standing in third position, and gesturing or adding bits of choreography/movement to their songs. (Many times these gestures are nervous habits because they don’t seem to trust themselves as singers.)
“So, what is the remedy? When you, as the dancer, enter into the singing component of your audition, take a minute to get your head in the game and establish what you want/need to accomplish. Sufficiently impress the panel with your vocal prowess so that they see you as a bonafide dancer and singer.” —Duncan Stewart, CSA casting director, owner/partner of NYC’s Stewart/Whitley, and Backstage Expert
Pre-audition research is your best friend.
“Do research before each audition. Who is the director? Maybe you saw some of their work. Maybe you've met the casting director—when, where and for what reason? What else do they cast? You should be aware of the producer, and the playwright or screenwriter of the project. The more you know the better. Look at the internet: IMDb has a wealth of information on actors, directors, casting directors, and movies; the IBDB has Broadway information for actors, directors, stage managers, casting directors, etc.; the Lortel Archives have Off-Broadway Play information; Doollee has playwright information. Make sure to write important information down in your audition diary.” —John Essay, theatrical manager and producer, and Backstage Expert
Be directable.
“Don’t expect to be directed, but if you are, take the direction, no matter what it is. Understand how to translate results-oriented direction into action.” —Risa Bramon Garcia, co-owner of BGB Studio for actors in Los Angeles and Backstage Expert
Don’t be intimidated by the number in the room.
“Callbacks can be overwhelming. Broadway shows nowadays have a lot of producers, most of whom will be in the room for final rounds (we once had 12 producers in the room). Alongside the producers will be the director, music director, casting director, writers (composer, lyricist, and book writer), choreographer, accompanist, reader(s), and any assistants or associates of the aforementioned.
“That’s a lot of people! But remember two things. One: You made it this far, so obviously you’re right for the material. Two: You love an audience. Use this as an opportunity to perform.” —JV Mercanti, head of acting for the musical theater program at Pace School of Performing Arts and Backstage Expert
Yes, you need your eight.
“Eight-bar cuts aren’t just for non-union open calls. This season alone, I’ve heard of at least two ECCs that switched to eight-bars. Always come with a plan and a clearly marked copy for a possible eight-bar audition.” —Amy Marie Stewart, actor, voice teacher, and Backstage Expert
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