Preparing Before the Audition
Do your homework on the gig. Look on the website to see what the directors are looking for from the audition. When auditioning for a theater company, make sure you know some background information (past shows, date established, awards won, etc.) on the company. The casting people will be pleased to hear something different than "Not much" if they ask you what you know about the company. Some things to look for include: Overview of the show/event: If you can, learn as much about the play, commercial or scene as possible. Being able to talk convincingly about why you want the part will help you get the part. The Director/Casting Agent: You're not going to get details on their personal life, but learn about their requirements and expectation of you. You need to know what the director or casting agent expects from you and give them more then they expect from you. Your Role Are you supposed to be funny? Dark and serious? Oftentimes this is said up front, but you may need to do some character research, especially if it is a play or event that's already been shown. The Logistics: When are you needed for practice or performances? Nothing hurts your reputation like earning a role, but turning it down because you can't actually play the part.
Run through the materials back and forth, until you can perform the audition without a script or notes. Know that, in the room, it is okay to check your notes every now and then, but you'll always be more convincing if you have the words mostly memorized. This lets you focus more on acting and less on reading. If the audition requires you to memorize a monolog, make sure you have it completely memorized and are ready to act it out. If the part has multiple characters, get a few friends to practice with you. While you could just practice your lines, having someone to help with timing and reactions will make you stronger. Don't just read the lines blindly -- pick a way to read the lines (cold, happy, funny, depressed, professional, etc.) that fits the character and practice reading the script in this tone. All good monologues have movement -- meaning the character is in a different place emotionally than when they finish than when they started talking. If you can practice this transition the role is yours.
Practice reading monologues from scratch, or "cold reading" to get used to auditioning under pressure. A cold read is when the crew give you a piece to audition that you've never read and has you perform it on the spot. Cold reads are tricky, but just remember that everyone starts from scratch, too. The best way to nail a cold read is to practice -- grab a book of monologues, pick one at random, and just start acting. You can even practice with magazine or newspaper articles. Focus first on reading each word clearly and calmly. Your first goal is to make sure all the lines get out clearly. When given a cold read, pick a mood or tone and just roll with it. Don't try to get the perfect mood, just trust your guts and commit.
Get a good night's sleep before the audition and make sure you eat something in the morning. You don't want to yawn or have your stomach rumble during the audition. If you are singing, avoid dairy, caffeine or anything else that you know will dry out your voice or cause phlegm. If this audition includes singing or speaking it is recommended to stay away from chocolate and dairy products that will make your mouth too moist. Instead, try to drink some warm tea with lemon and honey.
Wear presentable, neutral clothing. Aim to look professional and make a good first impression. A clean buttoned shirt and jeans or a plain dress are good choices. Don't try to make a statement or match the character's clothing -- your goal is to blend into the character before their eyes, and the more unique your clothing, the harder this will be. Some auditions require dance, so wear something comfortable to move in. For shoes, you can wear running shoes or flats. Make sure you're comfortable! Also, if there is dancing, you may want to bring jazz or character shoes.
Do not change your appearance for an audition. For example, even if you think the character would look better blond/brunette, etc., don't dye your hair or cut it. Many things can be done to "reshape" you later if they think this is necessary. If you'd like, add your willingness to make changes on your written audition paper, but don't do something radical before you've even gotten the part. At best, you'll make it a little easier on the makeup department if you get the part, but at worst you'll present a version of the character that doesn't even match the directors, instantly losing the part. If you are underage, ask your parent or guardian if it's okay for you to make changes should you get the role. Don't just "assume" that your super cool mom will say yes. There is nothing worse than having an angry director because your parents wouldn't let you do the thing you said you would.
Have an idea what to expect to avoid any surprises. Read the notice for the audition and make sure to check out any scripts or contracts you're sent fully. If this is your first audition, know that the procedure is pretty simple. You check in when you arrive, and will be called in when it is your turn. There may be one person watching you, there could be five, but they will all be kind and supportive. Depending on the audition, you may be asked to: Deliver your prepared monologue Perform a song of your choosing Cold read a brand new scene or monologue Improvise line with others
Acing the Audition
Be considerate of other actors who are auditioning. Do not approach them to talk unless invited or it is an emergency -- many actors like quiet time to prepare for the role before they go in. In general, it's best not to talk at all, lest you lose focus before you go before the auditioners. Bring a copy of the script or a monologue and brush up on your materials -- you never know what you'll find.
Be kind but confident -- walk into the room like you own it. When your name is called, walk in with a hello and a smile. Don't fidget, ask for advice, or creep in with hesitation -- you're there to command an audience's attention, and the casting crew is the first audience you have. Be sure to make eye contact, act friendly, and seem like a nice person to work with. Act like you're meeting new coworkers -- cordial and kind but still professional. Don't bother asking for advice or direction -- if they have some, they'll give it. Do not try to make too much conversation with the casting officials; they have others auditioning, too. If the auditioners ask you if you are nervous, respond no. Instead, say that you are excited. This way, you seem more confident that you may actually be.
Stand up straight and stay in place once the camera is set. Most auditions have a small home movie camera set up to record all of the auditions, which allows the director to rewatch when making his/her final decision. Once you've taken your place, plant your feet and keep them there. While you can move slightly to be expressive, you'll show true professionalism if you stay on camera. It's called public solitude as an actor to be able to be on stage or in front of a camera and to not be distracted by either.
Once you've started, commit fully. Don't ask for apologies or do-overs -- once get going, let yourself fall back on your practice and training. If you miss a word or need a quick pause, that is okay. What is most important is not to say "sorry," "can I try that again," or "let me have a do-over." Casting directors aren't just looking for the role, they are looking for a serious, professional co-worker, and this confidence will put you ahead of many other actors who are worried about being "perfect." If the casting director wants to see another take, they'll ask, so don't fret and worry that you blew your own chance on a missed word they may not have noticed.
Attempt to show growth and character depth by evolving as you act, no matter how small the part. This doesn't mean you always start with a smile and end with tears. It simply means you find an arc, however small, in your character's role. A good scene, song, or commercial ends in a different place then it started, and your job as an actor is to help show this. All roles are different, but there are some common ways to show growth: Rising Emotion: Basically, you let your energy grow as the scene does, which makes the ending the most energetic or momentous moment of the audition. This can help you both selling cars in a commercial or expressing your passion for an unrequited love. Sudden Turn or Realization: Find the line or moment when your character seems to shift gears, ideas, or emotions. This line is often the most crucial of the whole audition, as it requires you to naturally shift your acting from one emotion or the other. Shift and change your body language: Maybe your character is under pressure in the scene and they slowly start to fidget more. Maybe, as they keep talking, they grow confident, sitting up straighter and straighter as they go.
Treat any audition partners or readers with respect and attention. Some auditions have another person in the room with you, a casting agent who acts out other roles in the play to see how you handle dialogue. No matter who is helping you, give them everything you've got as if you were acting across from Meryl Streep. Never blame a reader for a tough audition. Like most people trying to act, they will only give back as much energy as you give them. If you're in the role and committed, they will be too.
Stick to your choices and ideas unless told otherwise by the director. Don't try to change your game plan last minute after seeing another actor, or because you suddenly feel like you are wrong the role. Remember that your confidence and practice are more important than reading a director's mind, and you'll only get in your own head if you show up to please someone. Trust yourself and your choices and focus on you. The rest will fall into place.
Building Relationships After the Audition
Be understanding and gracious to the staff and director. If you did not get the part, job, or whatever you were trying out for, be gracious to the director or other casting officials. They had to see and reject many others just like you. It doesn't mean that you are any less talented than the person who got the job, sometimes it just comes down to something as simple as your height or way you move. If you like, you could ask them why they rejected you to see how you could improve. Stay pleasant. You never know when the initial casting might go wrong or they need someone extra and they remember the very gracious, pleasant you who was ranked number 2 selection on their list. Don't do anything to sour the good impression that they had of you; always leave the doors wide open. There are many different reasons why you might not get a part, but it is rarely "your fault." Directors often have specific ideas in mind for their characters, and it's not your fault if you don't fit them.
Understand that you may have tried out for more roles than you think. Oftentimes, casting directors have general monologues that they like to get a feel for actors, even if you are (unknowingly) auditioning for different parts. Other times you'll try out for a part and do well, but will fit better for another role. If you get your heart set on one particular role it may be hard to get ready for a different part. However, you should be thankful for and approach any role you're given with professionalism. The casting director clearly saw something in you that they like.
Leave your headshot and resume with the casting director or agency. You never know when a director is looking for someone just like you for another project. Many casting directors like to keep records of actors they like, building relationships even if this particular part isn't right to you. Make sure that the headshots you have were professionally taken. While it may be tempting to simply ask a friend to take the photos, at the highest level you really need your headshots to pop.
Prepare new monologues, songs, or work for any call-back auditions. Call-backs are a way to winnow down the field. 100 people may try out for the first round, but only 10 may be called back for a second round. If you get called back, be sure to prepare new material to perform, preferably showing a slightly different side of yourself and not a similar monologue to the last one. Generally, always have at least two tonally contrasting monologues prepared to perform. Be sure not to pick monologues that are frequently performed (like ones that pop up when you search "best monologues"), or ones that are famous.
Keep going to auditions to get better and get more roles. Even if you are sure that you will not get the job, there is no harm in going to an audition just to practice auditioning. It is almost impossible to get the job every time, so why not practice for when that show or spot in the company finally opens up? You are more likely to get in if you have more experience under your belt. Eventually, you are sure to be cast in something!
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