One of the questions I hear most often after auditions is, “Can I have some feedback on my audition? Is there something I could do differently next time?” I understand the question, especially when someone has worked hard, auditioned for a role they really wanted, and then discovered they were not called back or cast. But the word that catches my attention is “next.” Because if there is one thing I hope every actor takes away from an audition, it is this: there is no secret formula for getting cast. There are, however, some very important things you can control.
First, pay attention to the instructions.
When a theatre company announces auditions, it is usually telling you quite a lot about what it needs. There may be specific character descriptions, age ranges, vocal requirements, dance requirements, or particular qualities the creative team is seeking. Companies may also tell you exactly what to prepare and how to prepare it. If the announcement says, “Please bring your music in a three-ring binder for the ease of the pianist,” bring your music in a three-ring binder. If it says your song should be no longer than a minute, don’t sing for two minutes. These details may seem small, but they tell the audition team something important about you: Are you prepared, and can you follow directions?
Tim Reynolds auditions for an SBMT production.
Second, know as much as you can about the show and the role.
Do some homework. Read the play if you can. Listen to the score. Understand the character you are auditioning for, and think carefully about which parts of your talent you want to showcase. Most importantly, ask yourself an honest question: Am I right for this role, or do I simply want the part? Those are not always the same thing. The more specific a director or theatre company is about what they are looking for, the more useful it is for you to tailor your audition to that information. Your job is not to convince the audition team that you can be someone you are not. Your job is to show them, as clearly as possible, what you can bring to the production.
Third, understand what you cannot control.
You may sing beautifully, read wonderfully, dance brilliantly, and still not get the part. That does not mean you did a bad audition, and it certainly does not mean you are not talented. It merely means there was someone else the team preferred for the role. Casting is complicated. There are dozens of considerations at play around that table: how actors look and sound together, age differences, chemistry between performers, vocal ranges, height, physicality, character interpretation, the needs of the production, and sometimes simply the director’s particular vision for the role. You cannot control any of that. What you can control is whether you arrive prepared, do your absolute best work, and follow the instructions. Then you can walk out knowing you have made the decision harder for the people sitting behind the table.
And remember that your audition begins before you ever enter the audition room. The way you interact with the people checking you in, the way you treat other auditioners, and the way you conduct yourself when you leave all contribute to the impression you make. That does not mean you have to be relentlessly cheerful or pretend you aren’t nervous. It does mean treating everyone with courtesy and respect. If you are surly to the check-in volunteers, storm out because you are unhappy with your audition, or screech out of the parking lot in frustration, there is a good chance the audition team will hear about it. Theatre is a collaborative art form, and people want to work with people who understand that.
I have sat on both sides of the audition table, and I know how vulnerable it can feel to put yourself out there and wait for someone else to decide whether you are what they want. I also know that casting decisions are rarely as simple as “good audition” or “bad audition.” Sometimes the person who gives a terrific audition simply isn’t the person the production needs. That can hurt, particularly when you have invested your hopes in a particular role. My advice is to allow yourself a little time to be disappointed. Mourn the part you didn’t get, if you need to. Then pick yourself up and audition for the next show. Theatre is, unfortunately, a system full of rejection. There are no participation prizes, like in second-grade soccer. But every audition is another opportunity to learn, to perform, to meet people, and to put yourself in the room.
If you have never auditioned before, please don’t let the fear of rejection stop you from trying. Come prepared, listen carefully to the instructions, learn about the show, present the best version of your work, treat everyone you encounter with respect, and then let go of the things you cannot control. You may get the part. You may get a different part. You may not get cast at all. But if you walk away knowing that you did your best and followed the instructions, you have done your job. Then, when the next audition comes around, be brave enough to walk through the door again.
— Walter M. Mayes, Artistic Director
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