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A DIRECTOR’S FORUM
ON ADVICE FOR AUDITIONING

Regina M. Belt
Timothy R. Curtis
Jeanna Hills
Dre Robinson
Rob Scharlow

REGINA M. BELT

Regina has directed; 'Mousetrap', 'Arsenic and Old Lace', 'Moon Over Buffalo', and 'Miracle on 34th Street', "Play On!', 'Steel Magnolias', 'Lend Me A Tenor', 'Lost in Yonkers', 'Harvey' and 'Leading Ladies' at the Woodstock Opera House. Other credits include; 'Soul Survivors' at MCC and 'Tribute' at ECC. She has been involved both on and off stage in almost every aspect of Community Theatre. She has also served as Vice President of TSP and serves on the Raue Executive Board and the Raue Performing Arts Board. Favorite roles include Mama Rose in 'Gypsy', Stella Deems in 'Follies', Lucy in 'Snoopy', and Petra in 'A Little Night Music'. Regina is a never ending student of London's West End and Edinburgh's Festival Fringe Theater and is a benefactor of the Stratford Shakespeare Festival.

AUDITIONING FOR A STRAIGHT SHOW
by: REGINA M. BELT

You may not know it, and we may not show it, but a director is just as nervous and excited as you are at an audition. The entire weight of the show is resting on a director's shoulders; it is their responsibility to insure that the very best cast is assembled, and that the audience's expectations and needs are going to be met when they plunk down their money for a ticket.

The director has a responsibility to the playwright that their meaning and words are going to be conveyed properly---as the playwright originally intended. They have a responsibility to the Board or committee that selected them and of course, the director has the ultimate responsibility to her/himself and the cast that is assembled to be and do the very best because let's face it, it's all your names in the program and you all are at the forefront and quite vulnerable on that stage.

So what do I as a director look for at an audition?
First of all, let me set your mind at rest. I do NOT look for an opening night performance! I am however looking for potential. I want to see what you can bring to a role, if you have room to grow, and what experiences you can and are willing to draw upon. I have gone into an audition with a pre-conceived determination of how a character should be and then completely changed my mind after witnessing an actor's promise of the future.

Moreover, I am always impressed by an actor who is willing to take a risk, and perhaps that is why I like to do an improv or two. I respect actors who can think fast on their feet, primarily because all sorts of situations occur during a show, even the most professional, best prepared, well-greased ones have those unexpected occurrences. Make your decisions in the now and don't waste time analyzing. You may not know what I am looking for in that particular instance.

I try not to ask actors to do cold readings, but then again, it's great to experience the results when they agree to do one. I will, by the way, always let an actor take the time to go over a side if they ask me in another room.

I always listen to an actor's voice, the tonality, the timbre, the projection qualities (many actors ,believe it or not, cannot be heard!). I also need to hear expression and color in that voice. The audience member seated in the back who can't see a face as clearly as those in the front can get an interpretation through that magnificent instrument of the voice. When I have an actor read from the script, I will close my eyes and just listen to the voice. Communication in all aspects is extremely important. And be careful with this one: find out beforehand if an accent is needed. Don't let the pressure of doing an accent take the focus over doing the lines. If you are at all unsure of how to do an accent, be honest and say so but also say you are willing to learn and practice one.

And yes, of course, I like faces…the ones that are interesting to look at, the ones that can project emotive qualities HONESTLY and WITH SUBTLENESS. There has to be something in that face that draws and holds my eyes and hopefully later on, the audience's.

I am naturally attracted to those actors in an audition that take direction well. I like and encourage auditionees to ask questions, but I will tell you quite clearly I prefer the ones who LISTEN to the answers. And let me also assure you, I shy away from actors who say to me, "when I was in…the director told me to…." Or "when I did this show three years ago…I did…." You are cutting off your room to grow, you have closed the door to hearing my interpretation, and you also run the risk of phoning in the same performance you already did for a director that is not me. I have to know that I can work with you for the next six weeks. And please, please, please remember that if I give you a suggestion or redirection, I am trying to help you. I am not picking on you.

I watch interaction between the people I bring into a room; I look for respect toward others-this is a portent of how an ensemble is made later on---and chemistry between actors.

Let me also address an issue that comes up on a frequent basis. We all know better than to take the results of an audition personally, correct? ( HA! We also know that's baloney because we do take the announcement as a personal rejection, and it hurts!) But please believe me…too many times, a director is trapped by the confines of an author's/script's DEFINITE character description and cannot cast a person who reads/sings/moves beautifully because they are simply not what the script requires or demands.

Believe me, the director can feel thuddingly heartsick because they are not able to cast someone because their size, shape, look, or type is not correct for the script. It is very rare, a gift from the gods when a director CAN cast against type and it works….But DO find some comfort in knowing that the director will remember you and will keep you in mind for when that right part does come along! It does happen!

But perhaps the best advice was given to me from Bob Riner, the veteran director of MCC's Black Box back when I did more acting than directing. It came from Michael Shurteleff's book, a little yellow bible in many reprintings, simply called AUDITION. And perhaps it sums up what I have been trying to say to you as a prospective auditionee:
"It is important that the actor convey to the auditors that the answer to all these questions is a big yes: I am easy to work with, I am affable and rational, I take direction well, I am imaginative and cooperative, I don't pout or become hostile."
So, take a deep breath, congratulate yourself on wanting to and coming to an audition, and go for it. Dare I say, break a leg?

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TIMOTHY R.CURTIS

Timothy R. Curtis made his directing debut in 2004 with the Townsquare Players/Phoenix Workshop production of 'Fork in The Road' by Crystal Lake playwright Judith Fergen. For the Woodstock Opera House, he has directed 'A Christmas Story' and 'Sweet Charity' for Woodstock Musical Theatre Company and directed productions of 'Men Suck' and 'HATE MAIL' at the Stage Left Café for MarcoWoods Productions. For Harvard Players, Tim directed their successful production of 'The Complete Works of William Shakespeare (Abridged)' and 'Schoolhouse Rock Live' and directed a production of 'Steel Magnolias' for Stagedoor Manor Performing Arts Center and Theatre Camp in Loch Sheldrake, New York. On stage appearances include Charlie Brown in 'You’re A Good Man, Charlie Brown', Van Daan in 'The Diary Of Anne Frank' for TSP, Capt. Corcoran in 'H.M.S. Pinafore' and Kris Kringle in 'Miracle on 34th Street' for WMTC, Tom In 'Schoolhouse Rock Live' for Harvard Players and Joe Davidson and Governor Pilate in 'Cotton Patch Gospel' for FCC Players in Huntley, IL.

DON'T WATCH THE MOVIE

Let's face it. We've all done it. In preparation for a role we are auditioning for if there is a cinematic version of that play or musical, we are going to seek it out. You may use it to get a better grasp on the story that reading the play may not give you. That may work out but then it may not.

More often than not, the film version is going to be radically different than a stage play and it should be expected. Being different mediums, something on stage may not necessarily play well on the screen. (although many of the film adapted musicals of the fifties retained a lot of their Broadway staging; check out "Guys and Dolls" and "Li'l Abner"). Plus the story itself may have been changed from script to screenplay. When I did a production of "Little Shop Of Horrors", I was surprised to find out that the most of the characters die at the end of the show, whereas the film version shows Audrey and Seymour surviving (mostly from reactions from test audiences; Director Frank Oz shot the show's original ending and reshot in reaction to the testing). And in researching for "Sabrina Fair", I found that playwright Samuel Taylor actually quit the production of the film version because director Billy Wilder wanted radical changes to the story; one of them being the romantic focus going to the characters of Sabrina and David (mainly because Audrey Hepburn and William Holden were an item at that time). I myself started to watch the movie and in ten minutes saw the difference. It's still a great movie, but it isn't the play.

The best example of the results of not watching the movie is when I was in a production of "The Sound of Music" playing Max Deitweiler. In a cast of over fifty people, I was the only one who had never watched the film version. I took what I could from the script and created who I thought was Max. People responded to it and commented on how different it was and how much they enjoyed it. That's the basis of being an actor. Doing it yourself and not trying to copy something that someone else created.

So if at all possible, avoid the temptation of watching the movie. Seek out the play and read it. Read it a couple of times. And as you read, put yourself into the characters and see which one you best respond to. And come to the audition ready to show who you think the character is.

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JEANNA HILLS

Jeanna Hills grew up in Atlanta, Georgia surrounded by music, animated family members and theatre. Her love for theatre, especially musical theatre, began at the early age of six. She attended The Art Institute of Atlanta where she studied Interior/Graphic Design. Her involvement with theatre expands through out her lifetime. For many years she was involved with an organization that focused on educational training in the performing arts for children, which allowed her to combine her love of theatre with her love for children. She has directed such performances as 'Cinderella', 'Annie', and 'Sleeping Beauty'. Some of her other credits include participation in the productions of 'The Little Mermaid', 'Charlotte's Web' and 'A Little Princess'. Jeanna is directing, 'The Sound of Music' to be presented in June at the Raue Center for TSP.

AUDITIONING for a CLASSIC
BY: JEANNA HILLS

A show such as 'The Sound of Music' is a production with a rich history and high expectations. Trying to meet those expectations is what makes theatre fun and rewarding.

Casting a show is generally a process of working thorough a series of questions to discover which people fulfill the needs of the production. 'The Sound of Music' encompassed a wide range of ages so I have listed questions that I felt applied to those ages 5 to 85.
  1. Stage Presence -- How strong is their initial stage presence? By stage presence I mean, "Is my eye drawn to watch them"? What do I see in them during the first 15 seconds of their audition? Are they scared? How's their smile?
  2. Delivery --How was their delivery? Did they choose a song in their range? How well did they express themselves? Can I tell that the person devoted time to rehearsing their audition? Can they move while they sing?
  3. Visually --Are they what I envision for the character? I rely strongly on my visual strengths when directing a show. I generally gear a show toward being very visually strong. That visual aspect flows into the casting of characters. I believe a show that is "visually believable" helps the audience connect to the story line. Know that some of you may give a great audition but will not be cast based on visual needs.
  4. Risk --How's their risk taking factor? This is a biggie because a person who is lacking great stage presence, sings weaker than others and doesn't fit the visual picture can often "out trump" all the others in my book with a high, creative, risk factor.
Be prepared...be rested...believe in yourself and don't forget the fun!

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DRE ROBINSON

Dre has been in or around theatre since he was a child. "You name it; I've done it when it comes to the stage. You have to be multitalented and flexible if you want to succeed in this business." His training started at The Chicago Academy for The Arts and eventually took him on the "I Want To Be A Star" trek out to the Mecca of show business, L.A., where he studied theatre at U.S.C. Not being able to capture the fame and fortune that he thought he was destined for, he headed back to Chicago to study film at Columbia College. Dre has written, directed and produced original works such as 'The Trial', a modern day telling of the crucifixion of Christ, and a comedy short entitled 'Pimps' that was shown at the 2001 Chicago Short Comedy Film & Video Festival. Most recently his directing talents were seen in '5 Easy Theatre Pieces' at Chicago’s Chopin Theatre, and 'The Foreigner' at the Woodstock Opera House.

WHAT I LOOK FOR AS A DIRECTOR
by Dre Robinson

While I was reading 'The Foreigner,' I was very interested in the road that it was taking me. What you think is happening in the beginning, unfolds into something different in the end. This, I felt, would be my basis on how I want the show to feel to the audience and the overall look and style of the show. I really want the characters to be painted very broad, so that the audience "thinks" they have these people all figured out. It is thru the journey of the play that they find out differently. Each character is more than what meets the eye. As the old saying goes, "Never judge a book by its cover".

This challenge starts first with the audition process. It is very important to find actors who are multidimensional because a lot of what happens with these characters are based on their subtext (what they really want) rather than what they are saying. So the audition actually starts the moment you walk into the door.

I like to think of an audition as a Blind Date. The first moment I see you, I'm working to see if you are a good fit. How are you dressed? Are you polite? Your smile or lack of. Are you comfortable? Do you take charge of the room and the opportunity? All of these things and more go inside my mental notebook before you even mutter a word of scripted dialog. If you can't capture my attention, then how will you capture the attention of an audience for 2 hours a night? I always like an actor who can come into an audition and make me feel like I've known them forever. This is someone who I would like to work with because I already feel comfortable around them. I feel that they can take whatever I, or the show, dishes out.

As a Director I never go into an audition looking for a certain type. If I do that I may overlook some very good talent. I am, however looking for an actor to "WOW" me. That is, to just do something that makes me want to put them in the show no matter what. Basically to make me go, "wow." If someone does that I will fight tooth and nail to have them work for me. Even if that person did not have a great reading or didn't have much experience. If you take a look in Hollywood today, most of the great "STARS" are not the best actors. But they are at the top of their game because they have the IT FACTOR. A mixture of talent, charisma, looks, and that special something that makes audiences fork over cash just to see them. In every audition I am looking for those people that would make me open my wallet and pay t! o see them. Its hard for my own mother to make me do that. So bring your A Game and good luck.

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ROB SCHARLOW

Rob studied the art of acting and directing at Illinois State University. He was selected to be the first undergrad in the theatre department to direct in the Studio Theatre. Rob studied a semester in Canterbury, England where he spent most of his time in the theaters of London. Rob's past directing credits include; 'Man of LaMancha', 'Rumors', 'Assassins', 'The Elephant Man', 'Lusting After Pipino’s Wife', 'Working', and 'Reservoir Dogs'. His most recent on stage role, was that of "The Phantom" in 'Phantom' at the Woodstock Opera House. He has also appeared as Lenny in 'Rumors', El Gallo in 'The Fantasticks', Mushnik in 'Little Shop of Horrors', Stan in 'Broadway Bound', Petruchio in 'Taming of the Shrew', Claude in the U.S. National Tour of 'Hair', and Che in 'Evita'. Rob currently serves on the Board of Directors for Woodstock Musical Theatre Company.

ON DIRECTING A SHOW
by: ROB SHARLOW

When I was in college, a director once said to me - at an audition - that you make your impact within the first 30 seconds of your monologue. If you have not grabbed the attention of the director within that time you have a tendency to lose their interest. I'm not too sure how much credibility that holds, and I have never been one to believe that you can truly show your talent in that little bit of time. Coming from the standpoint of an actor/director, I believe that in every single one of us there is a hint of talent (no matter how many or how few shows you have under your belt). Everyone has the ability to become something that they never imagined they could. I like to be one of those directors that gives people the chance to find that talent and use it to the fullest.

I developed the nickname "the risk taker" when I started directing in high school, and it carried through even in to college. Why? I seemed to be the director that had the tendency to cast people that were not "traditional" or "may not have been the best choice." As a director, there are several aspects that I take into consideration when sitting down to piece a show together. As actors, directors, technicians, crew, sound, lights, etc., we all hold a piece of extraordinary talent and maybe we have been waiting for the correct moment to show our true colors in the theatrical world.

Below are some of the things I look for when directing a musical or a straight show. I usually apply these ideas to both.

I've never been one to believe in traditional casting, just because it has been done that way before. I believe that if you have a true desire to play a specific role and you trust in yourself enough to feel that you have the talent to play that particular role, then you should audition for it. So often we hear "I'm not right for that role," or "I don't have the look for that role." I choose to blind cast when directing. It's not about size, height, weight, color, background, etc. I feel that if you have a desire and drive to play a particular role then you should definitely audition for it. Don't let what others "think" stand in your way of pursuing something you believe in. So in short, the first thing I like to look for is someone who is willing to strive for what they want.

Take a risk. Let your thoughts and actions dominate you at an audition. Don't question what you are doing. Almost every show I direct, once it has been cast (and even in auditions) I will express to my cast (auditioners) the need to go as far as you can go. Don't hold back. It is easier for a director to tell you to pull back a little instead of constantly telling you to give more and more. When you step through the doors in to the audition, leave it all behind you and have a good time. Don't feel as though you're going to embarrass yourself in front of anyone. Everyone at an audition is there for the same reason and the more you allow yourself to take risks, the more that the production staff realizes you can tackle just about anything.

Whether it be a comedy, drama or musical, I have a tendency to use improv at an audition, but more likely, at the callback. Improv is a great way to see if you can adjust to things that are thrown your way, especially during a performance when something might not go as planned. It's always good to be thinking and reacting on your feet at all times. Actors who are aware on stage are fascinating to watch because they are projecting a wonderful energy and it makes it quite apparent when they are constantly thinking and reacting to what is going on. I find that improv comes in handy at an audition to see how quickly people can think on their feet. My advice to people who audition always contains the sentence "just be ready for some improv."

As an actor, I hate cold readings. As a director, I hate cold readings. However, there are not too many community theatre groups that ask you to prepare a monologue. If it requires a cold reading, then so be it. But I know from an actors standpoint that I hate going in and not knowing what is happening. I will do readings at a callback and I usually tell people what they are reading for. This way they can have a chance to get a script or a copy of it and take the time to look through it and see how point A leads to point B and how they can create some nice moments at their callback.

I was taught in the past that just because you do not get called back does not mean you are not being considered for a role. I never quite understood that because you wouldn't have the opportunity to see how others worked together. Unless of course you had them in groups at the actual audition. In a musical situation, it is always good to bring people back to make sure they blend properly and react well with others when trying to create specific moments on stage through music. There have also been times that I have called everyone back that auditioned. Why? Because everyone deserves the chance to make a second impression and to read for parts that they feel they should be allowed to read for even if they were not called back for those parts. It's only fair that you may see something you never saw the first time. Why not give an actor a second chance?

Overall, these are only a few of things I like to look for and how I like to run an audition. In the simplified terms it breaks down as: pursuit of a role, determination, risk taking, not holding back, a good sense of thinking on your feet with improv and letting go once you walk through that door to audition. Just have a good time and remember, all the world is a stage, so know your role.

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