Alaine Alldaffer, the in-house casting director for New York City’s Off-Broadway Playwrights Horizons, has been a CSA member for the last decade when she’s not traveling to Costa Rica for the artist workshop/actors’ retreat she started there in 2010. She talks about how to impress your CDs, the level of trust and empathy needed from both sides of the table, and inspiring a new major at NYU.
CSA member since… 2010
Upcoming credits: “Familiar” by Danai Guirira; “Antlia Pneumatica” by Anne Washburn for Playwrights Horizons; and “Can You Forgive Her” by Gina Gionfriddo for the Huntington Theatre in Boston.
What do you do when you’re not working?
I love teaching acting and escaping to my little cabina in the jungle mountains of Costa Rica. In 2010 I combined my love of mentoring actors and Costa Rica and I started an artist workshop/ retreat for actors there. I go down with a group of 14 actors twice a year. It’s been one of the great highlights and privileges of my life. Celebrating the creative spirit and nature is inspirational.
How do you choose your projects?
As the in-house casting director for Playwrights Horizons, the projects come with the job. However as a member of the artistic staff, I do have an opinion and therefore have some influence in the plays that are programed. For my freelance jobs, I usually decide based on the creative teams involved. Of course the play, the theater, and the timing of the project are big considerations.
Before actual auditions, how does the casting process begin?
A meeting with the creative team takes place to share ideas and desires about who best will tell the story. I usually have a preliminary list and the team usually has their wish list. A breakdown goes out to agents and Equity and I pool all of the ideas together onto one list. Right about this time we might make offers to actors who are “offer only,” or to actors who have a history with the project though workshops and readings. Sometimes we hold auditions first to get a better idea of what we are looking for. A lot of information is learned through the process of hearing actors bring their talent and life force to the character.
What is the most common audition room mistake you see?
A lack of preparation is the most common. Paraphrasing the writer’s words is a big no no. You don’t want the writer to think that you believe yourself to be a better writer than they are. Also nerves; I’ve seen many a fine actor sidelined by audition anxiety. Also, generalizing and having no attack on the material. I think that a lot of actors are afraid to make strong choices and prefer to play it safe. Auditioners will forgive you for a misguided choice, especially if it’s committed, but they won’t forgive you for putting them to sleep.
Refrain from apologizing. Even if it’s for lack of preparation, paraphrasing, nerves, or making us yawn. If you have a good excuse for your transgressions, discreetly inform the casting director or assistant. Let them be your advocate.
What do you want every actor walking into your room to know?
How much we are rooting for you. The valuable lessons we learn about the character and the story are elevated by the contribution of your interpretation. Understanding your value to the process should give you a sense of pride and accomplishment no matter what the outcome. If you can enter the room with that kind of confidence, you will excel in the audition and impress your auditioners. Think of the folks behind the table as collaborators (and not IRS auditors) and you a consultant with valuable expertise to impart.
What makes for a successful audition tape?
Good lighting, a good reader, and no distractions in the background. The family pet is wonderful but it’s not a good idea to see your dog Scruffy as your silent scene partner. I received a tape once and the actor was shirtless. Clothes are probably not optional. I want you to be comfy, but there is a limit.
What projects do you wish you’d worked on?
My Associate Casting Director Lisa Donadio and I love Christmas movies. So I would say any Christmas movie. We are obsessed with Lifetime and Hallmark the entire month of December.
In addition to open calls, where do you find new talent?
Attending plays and showcases are the first way. I meet a lot of talented people teaching. Also, recommendations from actors, writers, directors, and agents.
What is the best way for actors to impress you enough that you’ll bring them in for another project?
First and foremost, preparation and attack of the material is imperative. The treatment of fellow actor artists is important to me. If someone has a reputation of “doesn’t play well with others,” word gets around. It’s a small and incestuous community. The way an actor treats my assistants outside of the room can be very telling. Today’s assistants are tomorrows CD’s
How important is training versus experience to you?
They are equally important, but good training can compensate for a lack of recognizable credits.
What makes a casting session successful?
Respect and empathy! Creatives who respect actors and have empathy for the challenges that they face day to day, and actors who feel welcome and appreciated do the best work. Also actors who respect the writer by bringing their best, most passionate and prepared selves into the room.
What advice would you give to someone who is looking to go into casting as a career?
Internships with casting office are the best training. I had an intern who created her own major at NYU in casting. I thought that was pretty badass.
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