Most actors are accustomed to playing multiple roles. For Clifton Guterman, however, those roles are just as often across from auditioning actors as they are in front of audiences or cameras. For the past three years, he has worked at one of Atlanta’s oldest theater companies, Theatrical Outfit, and has been the executive associate and casting director-artistic associate for two of them. Guterman was also recently named the National New Play Network producer in residence at Actor’s Express, which sees him working alongside artistic director Freddie Ashley to assist in casting productions.
“It’s a really unique thing for me to be behind the table casting at both theaters because I know exactly what everyone is going through,” he says. “I know all the work that goes into an audition, what makes a good one and a not so good one, and the emotional toll it takes on everyone; that really helps me empathize with the actors all along the process.”
After obtaining his MFA in performing arts from the Savannah College of Art and Design in 2001 and a BA in drama from the University of Georgia, he took an internship with the Alliance Theatre, which lead to a four-season spot as assistant to artistic director Susan Booth and resident CD Jody Feldman.
“That meant not only watching Susan or other guest directors direct, but occasionally Broadway directors, children’s theater directors, and sometimes teaming with a New York casting office,” he says. “I really learned by osmosis for four years. Then I went off and lived in New York and was acting. One of my part-time jobs in New York was a reader for several casting offices to read with other actors for shows.”
Upon returning to Atlanta, Theatrical Outfit’s casting director was leaving and Guterman’s casting experience and knowledge of Equity rules allowed him to smoothly transition into casting. As a CD, Guterman sees the audition as a three-part process.
“Part one is everything that happens before you walk in the room when you’re still just you, introducing yourself and answering any questions about your résumé,” he says. “Part two is your preparation, your audition and your scenes you’ve prepared in character. Part three is when you’re back to you, thanking them for the opportunity, and leaving the building. People forget it’s a whole package.
“We all hear about people who are being rude in the lobby, who are asking for staplers from the box office, who are trying to psych other actors out. Most actors think really hard about part two and forget that we’re hiring a human being, not a robot. So, if you seem really negative before you come in the room, it’s not going to go well for you.”
Aside from maintaining a professional demeanor and being a generally nice person, Guterman has another very simple piece of advice for auditioning actors: extreme preparation.
“All kinds of things can happen the day of the audition that can throw you off,” he says. “If you’re prepared and know the scenes and character you’ve been given, you’re better off. I’ve seen so many people shoot themselves in the foot because they’ve had the lines for two weeks, it’s just a five-page scene, and they don’t know the material. It’s the actor’s job to do everything he can in that five or 10 minutes in the audition room to shine. Not knowing the material is inexcusable. Nobody expects perfection in an audition, but if you don’t know what’s going on in the scene or where your character is in that scene, you probably don’t deserve a call back.”
Having just settled in at Actor’s Express, it will be a few months before the shows Guterman helped cast make it to the stage. At Theatrical Outfit, however, he helped cast the musical “Memphis,” an elaborate production at the Aurora Theatre running through Aug. 30 before moving to the Rialto Center for the Arts Sept. 10–20.
And as far as Guterman’s acting work goes, his projects have included characters parts in “The Good Lie,” “The Internship,” and Clint Eastwood’s 2012 baseball film “Trouble with the Curve.” He also has roles in upcoming episodes of VH1’s “Hindsight” and BET’s “Being Mary Jane.”
“It’s a very good time to be an Atlanta actor,” he concludes. “I have lots of actor friends who are successful at getting stage shows and on-camera stuff. Then I know actors who mainly get on-camera stuff and can’t get on stage. Then I have stage actor friends who just can’t get an agent and book an on-camera gig. There’s no perfect formula to it. A lot of it is luck.”
Inspired by this post? Check out our Atlanta audition listings!
