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CASTING
Chapter Nine
SUCCESS
Most director’s agree that success depends on
making good casting choices…
Failure
…the wrong actors can devastate the production.
Casting is an art
• Professional directors usually leave casting to
professional casting directors
• The initial screening process allows the director of
avoid the “cattle call”
Professional Head Shots
Pitfalls of the audition
• A difficult way to assess potential
Experience helps
“Experienced directors need fifteen seconds with an
actor to know whether they are right or not.”
Essence
What the director is seeking…Directors envision
physicality, but essence trumps physicality. Keeping
an open mind can lead to astonishing and surprising
choices.
SO…keep an open mind!
Identify your needs
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Age range
Physical requirements
Dialect skills required
Physical skills required
Personality and “essence”
Special requirements
For musicals: vocal range
Creating Casting Sheets
Develop a system for analyzing each
candidate as they audition
Make sure your system is
organized so you can review your notes
Casting Notices
CHECKLIST
Name of Play
Writer and director
Company name
Location of production and rehearsals
Location, date, time of auditions
Materials required for auditions
Roles and descriptions
How to submit the audition
Union or non-union; paid or not paid
Type: open call? interview? agent submission?
Special requirements: nudity, smoking, etc.
Example
Red Apple Theatre Company announces auditions for all
roles in M. Wainstein’s production, opening May 11, 2013 at
the Red Apple Theatre. 104 East 42nd, New York City.
Roles available: Prior Walter (20s to early 30s)emaciated,
emotionally vulnerable; Louis, his partner, late 20s, Mormon
from Salt Lake City; etc.
Auditions at the Ansonia Hotel, 72nd and Broadway, Suite
1509; Thursday February 7. Submissions accepted by email
only; no open calls; by appointment only. All roles paid,
rehearsals and performances. Show runs May 11 for an
open-ended run; performances Wednesday through
Sundays. Emails to [email protected].
Advertise your notice
• ONLINE
• IN PRINT
• Local outlets
o Hotlines
o Facebook
o Local newspaper
o Callboards
Types of Calls
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Equity Principal and Chorus Auditions (At AEA)
Agent Submissions (Large production companies)
Non-equity open calls (Cattle calls)
Large Unified Auditions (SETC, Straw Hat, etc.)
Non-equity auditions by appointment
Planning The Audition
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Arrange for the rehearsal room
Obtain chairs, tables, music stands as needed
Determine time and length of audition
Create an appointment grid
Hire or arrange a Hall Monitor
Hire or arrange for a Reader
Create a sign-in procedure
Hire a good accompanist, if needed
Prepare sides
Provide casting information in a single-sheet handout
Create an Audition form to note conflicts
AEA Audition Room
Chicago
Audition Formats
• Monologues
• Cold Readings
o Can actors take direction
o What can be accomplished with
preparation
• Observe
o Pay attention
o Honor the process
o Give the actor the respect they deserve
• Make necessary notes
o Put notes directly on the resume/headshot
Warning Signs
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Bad or indifferent attitude
Resists direction and unable to take direction
Ill-preparedness
Sloppily dressed
Talks about other offers
Sloppy resume
Rude to hall monitor
Overly patronizing
Late or full of excuses
Callbacks
• Go over notes
• Decide who to callback
• Organize the callbacks
Casting Musicals
• The Vocal Audition
• The Dance Audition
• The Callback
Final Thoughts
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Don’t rush the process
Don’t waste time either
Imagine groupings…think of the ensemble
Chemistry is important
Trust your gut