Audition Tips for Young Actors
How to Rock Your Audition!
© 2016 Anita “Jo” Lenhart
Area Head of Performance
The Department of Theatre & Dance
The University of Memphis
© 2016 Anita “Jo” Lenhart
Area Head of Performance
The Department of Theatre & Dance
The University of Memphis
Anita “Jo” Lenhart is a professional actress, singer, director and vocal coach. She serves as tenured professor of theatre at The University of Memphis and trains young artists in acting and voice for the stage.
Re-use/reprinting of this article: The content of this article represents the author’s over 40 years experience in the entertainment industry and several hours of editing work at the computer. This article is the intellectual property of the author and may be shared, only in its entirety, and as long as credit is given to Anita “Jo” Lenhart, Area Head of Performance, The Department of Theatre & Dance at The University of Memphis.
There is quite a bit more to auditioning for live theatre than one might imagine when just starting out. I have been acting and singing professionally since the age of 15. I continue to work professionally throughout the United States and also teach performance training at The University of Memphis Department of Theatre & Dance. I have gathered some effective bits of advice on auditioning for live theatre over my 40+ years in the entertainment industry. Here they are for your consideration:
Wardrobe TIPS
• Don’t dress for a corporate interview. While in some respects auditioning is an “interview” and requires a professional look, the auditors are mostly interested in seeing what your body type is like, and how you walk, sit or stand in the space. We need all types of shapes and sizes of characters to tell our stories on stage. So be confident and comfortable in your own skin.
• Above all else, make sure that all of your clothing fits your body the way it should, and the overall line of your body is defined. This does not mean tight! Be sure the clothing allows you to move comfortably and fluidly. Understand that it is your eyes, your hair, your face and your smile and general outline that the auditors are most interested in seeing. Most importantly, trendy fashions, loud patterns or chunky jewelry, outlandish neckties and so on, may be distracting. You want the auditors to come away talking about your talent, not about the amazing boots (necklace, tie, shawl, coat) you wore.
• Vibrant color is important. Don’t wear all black! Wear solids, or patterns/textures that are understated, and choose colors that make your skin tone vibrant and bring out the color of your eyes.
Women
• Be sure that you are not dressed for the prom. Too much "glamour" may make you too formal and stilted.
• It is important to see your face. Try to draw your hair back so your eyes can be seen. We are interested in seeing how light plays off of your forehead, cheekbones and the bones around your eyes! Long hair, if worn down, should cascade MOSTLY behind the shoulders, not in front. We want to see your shoulders and your neck.
• Short, short skirts and revealing low-cut tops are considered “gimmicks.” When auditors see these sorts of outfits, we interpret these as a lack of confidence on the part of the auditionee: do they feel their talent is not strong enough, so they are trying to use their body as a distraction? The auditors don’t want to be distracted from your talent by an outfit that threatens a “wardrobe malfunction!"
• Heels should not be too high; heels that cause you to be off-balance are distracting. Even models look awkward in super high heels. Low heels, with skid proof bottoms are optimal. Practice walking and climbing stairs in your shoes, off and on for several hours in the weeks leading up to auditions. Never wear brand new shoes. Never. Shoes are important performance equipment.
• Apply makeup in a simple, fresh manner: black “cat-eye” eyeliner or dark lipstick may be the current fashion trend, but does not belong at an audition. Remember, the auditors are interested in how the stage light reflects off your facial bones. Avoid out-and-out “glamour” and design a makeup strategy that reinforces the natural vibrancy and color of the eyes, lips and cheeks you already have. Bright lipstick is important, in reds or pinks or corals which best flatter your skin tone.
Men
• A handsome button-down shirt with trousers that fit correctly is never wrong. It’s important that the hem of the trousers is correct - too long and you get a sloppy look. If you are not a” tie" guy, that’s OK. If you are a jeans guy, make sure they are nicely fitted, not too long and a more formal dark wash. No holes, please! No T-shirts. Avoid shirts with writing on them.
• Sweaters, vests or jackets may be a good choice for adding flair and texture to your look, and can give you some versatility if you are doing more than one piece. Removing a jacket can create an interesting transition. (But use the chair to “hang” it, don’t throw it on the floor!!)
• Hair should be out of your face; the auditors want to see your eyes and how the light hits the bones of your face!
• Avoid sneakers. Finding the optimal audition shoe may take time: hard-soled men’s shoes, even an understated pair of cowboy boots that are easily worn beneath slacks or trousers/jeans “inform” the way that you stand. One should feel light on their feet, and fluid in their walk. Sneakers feel sloppy; other shoes may feel chunky. Finding THE pair of audition shoes is an investment but worth it! Rehearse in the shoes and keep them shined. Never wear new shoes to an audition. Never. Shoes are important performance equipment.
Audition TIPS
• Rehearse thoroughly. This includes timing your package and making sure you consistently finish UNDER the time limit. Shoot for at least a full 5 seconds under the limit. This eliminates unnecessary nerves about “going over the limit.”
• Rehearse your “slate!” (Announcing your pieces.) This is the most ignored portion of an audition; BUT, it is in this portion that auditors casting directors get a chance to feel your unique personality, your warmth, your generosity, your enthusiasm and love for your craft…they are also listening to judge whether they can hear you and whether you have effective diction. They are looking for an easy, relaxed, yet energized demeanor and a genuine smile. The slate also answers this question for the casting agents: “Would I like to work with this person for six weeks? Are they a warm, sincere human being?” EYE CONTACT and direct, sincere communication during the slate is a highly under-rated and under-rehearsed skill!
• Don’t hang your head and “prepare” before you launch into your scene; the scene begins as soon as you focus and “see” the character to whom you will be speaking; know the “moment before!” in your scene and let that moment become the “doorway” into your audition.
• When finished, do NOT say “Scene” to indicate you are done. Simply release the focus and transition back to your friendly, professional self. Some auditionees choose to say “Thank you” when they are done. On the other hand, some venues require that you repeat your name and audition number when you are done. Try to learn the “culture” of the venue at which you auditioning and follow their guidelines.
• Rehearse the ending: Rehearse walking out of the playing space with confidence and a sense of gratitude for having had the opportunity to share your art. After your audition is over, it is never professional to “telegraph” disappointment or even “I’m so glad that is over!” by the way you exit the stage. The auditors want to see you “magically” transform from the character back into your authentic, professional self. They want to see a confident, satisfied artist exit the stage.
Professionalism Tips
Beware! The drama should be on the stage, not in the hallway or restrooms!
• Demeanor in the audition building: While waiting to go on, after exiting the stage, even when arriving at the site, your job is to be a professional theatre artist. Be pleasant and professional with every single individual you meet at the audition site. Don’t spend too much time laughing, talking or engaging in distracting activities with your friends. You may see plenty of people doing this, but so do the auditors who pass through the areas where actors wait for their turn. Auditors are looking for focused professionals. Sometimes jobs are won or lost because of what a casting director has, accidentally, witnessed in the holding room or in an elevator!
• By all means have fun; but, remember to maintain focus. And use all areas of the day for learning. Note what other people are wearing. Look at other people’s resumes, if they are willing to share them. Think of it as a professional day, not a day-long party. Finally, for future reference, at professional auditions the rule of thumb is actors will not talk to other auditionees while waiting. They bring a book or crossword puzzle. Nerves beget more nerves. Some actors like to make other people around them nervous. Avoid being that person!
Audition Pieces: TIPS
• Choose pieces that allow you to play an action, not a mood or emotion! Acting is trying to get a specific reaction from someone or trying to do something very specific to someone. It also involves listening and a moment-to-moment awareness in the scene (or monologue.) High stakes, an emotional investment and an urgent need to effectively communicate (using the words the playwright has given your character) AN ACTION is the “recipe” the auditors are looking for!
• Therefore, avoid pieces that are innately shocking, extremely dark and “psychotic” or which use a lot of profanity, or are sexually explicit. Pieces like these reveal an immaturity in the actor, and, worse, often upstage the work the actor is trying to create. You want the casting directors to walk away talking about you and your work, not the weird piece you did.
• Don’t throw or kick a chair. Ever. Period.
• Avoid pieces that require props; avoid pieces that involve “phone calls!”
• Remember the auditors want to see your face, so don’t make your focal point too far to either side. Never talk to an empty chair on stage. Never. Create a focal point immediately above the heads of the auditors. In some cases, especially in “direct address” monologues where the character is speaking to a crowd, you might be effective in making eye contact with the auditors. BUT don’t lose your concentration if they lower their head to write a note or if they look away!
Acting TIPS
Here are some competencies that represent five areas worth exploring when building your audition package. (These are based on the criteria we use when auditioning prospective students for our program at The Department of Theatre & Dance at the University of Memphis!)
Memorization/Concentration: Lines flow fluently and easily; the actor has achieved “ownership” of the character’s words, expressing them as if they were their own
Voice/Diction: Clear, effective diction, easily heard. Ability to use the character's language effectively and provocatively to get what they are after.
Blocking/Movement/Body Language: Clear and decisive movement, gesture or body language choices which support the character and their intention in the scene.
Character/Believability: Ability to enter the “world” of the character – (Reading the entire play and creating a "back-story" for your character, making specific decisions on how you feel about other characters in the scene, and so on, can enhance this competency.)
Emotional Commitment/Energy: Can enter immediately into the high "stakes" of the given circumstances of the scene. Knows what he/she is fighting for (whether in a comic or dramatic scene) and invests that fight with utmost importance.
NOTE: Variation in emotions is part of human interaction, especially in high stakes communication; therefore, as your character tries different tactics to win their fight, allow the emotional life of the character to fluidly support those tactics.
“Being angry” the whole time is usually not a good tactical approach to getting what you want: but blaming, begging, cajoling, threatening, bargaining are all good tactics and each carry a slightly different emotional fuel.
Final Tips
As live theatre performers, auditioning is our “job!” Over time, build a “book” of different audition pieces and songs: comic, dramatic, contemporary, classical, vulnerable, strong, goofy, and so on. Put together various audition packages that allow you to show two or three different strengths you have as an actor. A good goal is to have a good variety of 10 (ten) pieces in your “back pocket” at any given time. (And make sure you have read the plays and can name the playwrights!)
If your package has more than one piece, make sure the pieces are contrasting in mood and tone, and make sure you “block” the package so that transitions between pieces are clear and there is no mistaking a new scene has begin. NOTE: Changing your placement in the space by crossing a few steps, and selecting a new focal point, is a skillful way to change the scene in a short amount of time, bringing the auditors into an entire new mood, allowing them to see an entirely different side of you.
Explore your audition pieces often and keep them fresh and ready. There is no MAGIC audition piece. YOU are the magic: trust that your pursuing an action believably, with strong stakes and committed, effective tactics, is enough. Do this, and the auditors will be grateful for - and more importantly – interested in you and your work!
Re-use/reprinting of this article: The content of this article represents the author’s over 40 years experience in the entertainment industry and several hours of editing work at the computer. This article is the intellectual property of the author and may be shared, only in its entirety, and as long as credit is given to Anita “Jo” Lenhart, Area Head of Performance, The Department of Theatre & Dance at The University of Memphis.
There is quite a bit more to auditioning for live theatre than one might imagine when just starting out. I have been acting and singing professionally since the age of 15. I continue to work professionally throughout the United States and also teach performance training at The University of Memphis Department of Theatre & Dance. I have gathered some effective bits of advice on auditioning for live theatre over my 40+ years in the entertainment industry. Here they are for your consideration:
Wardrobe TIPS
• Don’t dress for a corporate interview. While in some respects auditioning is an “interview” and requires a professional look, the auditors are mostly interested in seeing what your body type is like, and how you walk, sit or stand in the space. We need all types of shapes and sizes of characters to tell our stories on stage. So be confident and comfortable in your own skin.
• Above all else, make sure that all of your clothing fits your body the way it should, and the overall line of your body is defined. This does not mean tight! Be sure the clothing allows you to move comfortably and fluidly. Understand that it is your eyes, your hair, your face and your smile and general outline that the auditors are most interested in seeing. Most importantly, trendy fashions, loud patterns or chunky jewelry, outlandish neckties and so on, may be distracting. You want the auditors to come away talking about your talent, not about the amazing boots (necklace, tie, shawl, coat) you wore.
• Vibrant color is important. Don’t wear all black! Wear solids, or patterns/textures that are understated, and choose colors that make your skin tone vibrant and bring out the color of your eyes.
Women
• Be sure that you are not dressed for the prom. Too much "glamour" may make you too formal and stilted.
• It is important to see your face. Try to draw your hair back so your eyes can be seen. We are interested in seeing how light plays off of your forehead, cheekbones and the bones around your eyes! Long hair, if worn down, should cascade MOSTLY behind the shoulders, not in front. We want to see your shoulders and your neck.
• Short, short skirts and revealing low-cut tops are considered “gimmicks.” When auditors see these sorts of outfits, we interpret these as a lack of confidence on the part of the auditionee: do they feel their talent is not strong enough, so they are trying to use their body as a distraction? The auditors don’t want to be distracted from your talent by an outfit that threatens a “wardrobe malfunction!"
• Heels should not be too high; heels that cause you to be off-balance are distracting. Even models look awkward in super high heels. Low heels, with skid proof bottoms are optimal. Practice walking and climbing stairs in your shoes, off and on for several hours in the weeks leading up to auditions. Never wear brand new shoes. Never. Shoes are important performance equipment.
• Apply makeup in a simple, fresh manner: black “cat-eye” eyeliner or dark lipstick may be the current fashion trend, but does not belong at an audition. Remember, the auditors are interested in how the stage light reflects off your facial bones. Avoid out-and-out “glamour” and design a makeup strategy that reinforces the natural vibrancy and color of the eyes, lips and cheeks you already have. Bright lipstick is important, in reds or pinks or corals which best flatter your skin tone.
Men
• A handsome button-down shirt with trousers that fit correctly is never wrong. It’s important that the hem of the trousers is correct - too long and you get a sloppy look. If you are not a” tie" guy, that’s OK. If you are a jeans guy, make sure they are nicely fitted, not too long and a more formal dark wash. No holes, please! No T-shirts. Avoid shirts with writing on them.
• Sweaters, vests or jackets may be a good choice for adding flair and texture to your look, and can give you some versatility if you are doing more than one piece. Removing a jacket can create an interesting transition. (But use the chair to “hang” it, don’t throw it on the floor!!)
• Hair should be out of your face; the auditors want to see your eyes and how the light hits the bones of your face!
• Avoid sneakers. Finding the optimal audition shoe may take time: hard-soled men’s shoes, even an understated pair of cowboy boots that are easily worn beneath slacks or trousers/jeans “inform” the way that you stand. One should feel light on their feet, and fluid in their walk. Sneakers feel sloppy; other shoes may feel chunky. Finding THE pair of audition shoes is an investment but worth it! Rehearse in the shoes and keep them shined. Never wear new shoes to an audition. Never. Shoes are important performance equipment.
Audition TIPS
• Rehearse thoroughly. This includes timing your package and making sure you consistently finish UNDER the time limit. Shoot for at least a full 5 seconds under the limit. This eliminates unnecessary nerves about “going over the limit.”
• Rehearse your “slate!” (Announcing your pieces.) This is the most ignored portion of an audition; BUT, it is in this portion that auditors casting directors get a chance to feel your unique personality, your warmth, your generosity, your enthusiasm and love for your craft…they are also listening to judge whether they can hear you and whether you have effective diction. They are looking for an easy, relaxed, yet energized demeanor and a genuine smile. The slate also answers this question for the casting agents: “Would I like to work with this person for six weeks? Are they a warm, sincere human being?” EYE CONTACT and direct, sincere communication during the slate is a highly under-rated and under-rehearsed skill!
• Don’t hang your head and “prepare” before you launch into your scene; the scene begins as soon as you focus and “see” the character to whom you will be speaking; know the “moment before!” in your scene and let that moment become the “doorway” into your audition.
• When finished, do NOT say “Scene” to indicate you are done. Simply release the focus and transition back to your friendly, professional self. Some auditionees choose to say “Thank you” when they are done. On the other hand, some venues require that you repeat your name and audition number when you are done. Try to learn the “culture” of the venue at which you auditioning and follow their guidelines.
• Rehearse the ending: Rehearse walking out of the playing space with confidence and a sense of gratitude for having had the opportunity to share your art. After your audition is over, it is never professional to “telegraph” disappointment or even “I’m so glad that is over!” by the way you exit the stage. The auditors want to see you “magically” transform from the character back into your authentic, professional self. They want to see a confident, satisfied artist exit the stage.
Professionalism Tips
Beware! The drama should be on the stage, not in the hallway or restrooms!
• Demeanor in the audition building: While waiting to go on, after exiting the stage, even when arriving at the site, your job is to be a professional theatre artist. Be pleasant and professional with every single individual you meet at the audition site. Don’t spend too much time laughing, talking or engaging in distracting activities with your friends. You may see plenty of people doing this, but so do the auditors who pass through the areas where actors wait for their turn. Auditors are looking for focused professionals. Sometimes jobs are won or lost because of what a casting director has, accidentally, witnessed in the holding room or in an elevator!
• By all means have fun; but, remember to maintain focus. And use all areas of the day for learning. Note what other people are wearing. Look at other people’s resumes, if they are willing to share them. Think of it as a professional day, not a day-long party. Finally, for future reference, at professional auditions the rule of thumb is actors will not talk to other auditionees while waiting. They bring a book or crossword puzzle. Nerves beget more nerves. Some actors like to make other people around them nervous. Avoid being that person!
Audition Pieces: TIPS
• Choose pieces that allow you to play an action, not a mood or emotion! Acting is trying to get a specific reaction from someone or trying to do something very specific to someone. It also involves listening and a moment-to-moment awareness in the scene (or monologue.) High stakes, an emotional investment and an urgent need to effectively communicate (using the words the playwright has given your character) AN ACTION is the “recipe” the auditors are looking for!
• Therefore, avoid pieces that are innately shocking, extremely dark and “psychotic” or which use a lot of profanity, or are sexually explicit. Pieces like these reveal an immaturity in the actor, and, worse, often upstage the work the actor is trying to create. You want the casting directors to walk away talking about you and your work, not the weird piece you did.
• Don’t throw or kick a chair. Ever. Period.
• Avoid pieces that require props; avoid pieces that involve “phone calls!”
• Remember the auditors want to see your face, so don’t make your focal point too far to either side. Never talk to an empty chair on stage. Never. Create a focal point immediately above the heads of the auditors. In some cases, especially in “direct address” monologues where the character is speaking to a crowd, you might be effective in making eye contact with the auditors. BUT don’t lose your concentration if they lower their head to write a note or if they look away!
Acting TIPS
Here are some competencies that represent five areas worth exploring when building your audition package. (These are based on the criteria we use when auditioning prospective students for our program at The Department of Theatre & Dance at the University of Memphis!)
Memorization/Concentration: Lines flow fluently and easily; the actor has achieved “ownership” of the character’s words, expressing them as if they were their own
Voice/Diction: Clear, effective diction, easily heard. Ability to use the character's language effectively and provocatively to get what they are after.
Blocking/Movement/Body Language: Clear and decisive movement, gesture or body language choices which support the character and their intention in the scene.
Character/Believability: Ability to enter the “world” of the character – (Reading the entire play and creating a "back-story" for your character, making specific decisions on how you feel about other characters in the scene, and so on, can enhance this competency.)
Emotional Commitment/Energy: Can enter immediately into the high "stakes" of the given circumstances of the scene. Knows what he/she is fighting for (whether in a comic or dramatic scene) and invests that fight with utmost importance.
NOTE: Variation in emotions is part of human interaction, especially in high stakes communication; therefore, as your character tries different tactics to win their fight, allow the emotional life of the character to fluidly support those tactics.
“Being angry” the whole time is usually not a good tactical approach to getting what you want: but blaming, begging, cajoling, threatening, bargaining are all good tactics and each carry a slightly different emotional fuel.
Final Tips
As live theatre performers, auditioning is our “job!” Over time, build a “book” of different audition pieces and songs: comic, dramatic, contemporary, classical, vulnerable, strong, goofy, and so on. Put together various audition packages that allow you to show two or three different strengths you have as an actor. A good goal is to have a good variety of 10 (ten) pieces in your “back pocket” at any given time. (And make sure you have read the plays and can name the playwrights!)
If your package has more than one piece, make sure the pieces are contrasting in mood and tone, and make sure you “block” the package so that transitions between pieces are clear and there is no mistaking a new scene has begin. NOTE: Changing your placement in the space by crossing a few steps, and selecting a new focal point, is a skillful way to change the scene in a short amount of time, bringing the auditors into an entire new mood, allowing them to see an entirely different side of you.
Explore your audition pieces often and keep them fresh and ready. There is no MAGIC audition piece. YOU are the magic: trust that your pursuing an action believably, with strong stakes and committed, effective tactics, is enough. Do this, and the auditors will be grateful for - and more importantly – interested in you and your work!
