Chapter Five
Auditions

Before Auditions

The stage manager’s role in the audition process will vary depending on the production and the theatre company. Sometimes, producers and artistic directors like to personally set up and take care of many of the details for auditions. It is important to determine who makes these decisions and arrangements. Remember that every audition process is unique.

Meet with the Producer, Artistic Director, and Director

Communication is paramount to every step of the production process. Once you determine who is responsible for making the decisions about auditions, schedule a meeting with the appropriate people to find out details of the audition and callback days (dates, times, location, schedule, dance call). If there is a dance call, check in with the choreographer about their needs prior to the call.

During these meetings find out what the auditionees will need to prepare. Will it be a cold reading? Will they need to prepare specific materials? Get a detailed list of the sides needed for the auditions, if sides will be required. If it is a musical, what music will they need to prepare? Will they need to demonstrate any other talents (dance, choreography, etc.)? Will nudity be required, or appearance alterations (hair cut, style, color, etc.)?

Determine who will be responsible for sending out audition announcements: will the stage manager be coordinating the audition announcements and fielding questions, or will the company be taking care of this?

This is also the time to ask any other questions you may have about auditions, equipment, or personnel needs. For musicals, do you need to find an accompanist for music auditions? A piano? Sound equipment to play musical tracks? Where are auditions taking place and who is responsible for reserving the space? Will the director be reading individuals, groups, or pairs? Should the auditionees stay after their initial read? Will the dance call be on the same day in the same place? Are you responsible for setting up the room (tables, keyboards, etc.)? Does the director want you in the room or will you be coordinating the auditionees?

Prep Audition Material

If the stage manager is responsible for audition announcements, it may fall to them to make announcement posters, Web listings, or advertisements. Sign-up sheets, audition information forms, a character breakdown, and sides may also be required.

Audition Form

Audition forms should include legal name, stage name, phone numbers, preferred e-mail address, height, weight, hair color, age range, vocal range, previous experience, special skills, and scheduling conflicts. Some theaters require a headshot to be attached as well (see Appendix D).

• Include a note about makeup kits and shoes. Depending on the theater, actors will be required to provide their own makeup and/or character shoes.
• Check with the director at your audition meeting to determine any additional information or questions they may want to include.

Character Breakdown

Character breakdowns provide basic information regarding the characters in the show: name, relationship to other characters in the play, age, and brief description. This information is often provided within the script or available from the publisher. Auditionees can use this information to decide which roles they want to audition for or to gain insight into the relationships in the sides they are reading (see Appendix E).

Sides

Sides are scenes selected from the play to be used as audition material. These scenes should be chosen (by the director) at the audition meeting so you can make copies and have them available with the signup sheets and audition forms. These copies should be neat and easy to read so that auditions can run smoothly. Always print a few more than you think you will need.

Preliminary Schedule

This should outline the general rehearsal period, tech week (i.e., required rehearsals), and performance dates. This will allow the actors to plan around the rehearsal period and not be surprised by required production dates. This will also give them a chance to report any already known conflicts to you so that the rehearsal schedule can be made accordingly. Provide a place on the audition sheet for auditionees to list any known conflicts.

Make it clear that conflicts listed on the conflict sheet will be worked around as much as possible. Any conflicts NOT written on the conflict sheet may not be accounted for and the person will not be excused from rehearsal regardless of the conflict. Exceptions to this can be decided on a case-by-case basis at the discretion of the director. Always note that attendance of all rehearsals and performances from tech through strike are required for all actors, crew, and stage management.

At Auditions

The process will be long and hectic. It is important to come prepared with extra sides, pens/pencils, paper, a folder for audition sheets, blank audition sheets, clipboards, and a positive attitude. There will be little time to gather any of the items during auditions, so make sure they are easily accessible when needed.

Many times actors may read for multiple roles. Keep track of who reads what part and who reads in what groups, so later that information is available if needed to make decisions for callbacks or as a reminder of what took place during the audition process.

Staying on schedule is important, but often almost impossible. It is the stage manager’s job to do their very best to keep auditions running on time. Give gentle reminders to the director when someone’s time is up, but remember that it is important that the director gets the time they need with each auditionee.

Callbacks

After the initial culling of the herd (large group auditions are often called cattle calls), the director, choreographer, and/or music director come up with a list of people they would like to “callback” or invite to an additional, more specialized or concentrated audition. These typically take place within a few days of auditions. A callback list needs to be generated and posted on the callboard and other locations where the given theater specifically posts information.

While auditions are designed to get a feel of the talent of one individual, callbacks are typically meant to form the best ensemble from the selected talent pool. The director will likely have a list of characters that they would like each actor to read and additional sides or selections for callbacks that are different from the audition sides. These will need to be made available to the actors at callbacks. This can be when all of those notes you took about who read what and with whom will be helpful to refresh the director’s memory.

Often actors will be called for the full callback time, released only when instructed by the director. The actors will be split into smaller ensemble groups and cast according to the needs of the sides, allowing each actor the chance to read for all of the roles the director is considering them for. For your sanity, it is important to keep close track of who reads for which role to make sure that no one is overlooked accidentally.

After Auditions

Sometimes it will be the responsibility of the stage manager to post the cast list. Speak with the director or artistic director to find out how cast lists are typically distributed (via e-mail, posting on a callboard, carrier pigeon). Include the date, time, and location of the first rehearsal. You may also thank everyone for their time and effort during the audition process, if you so desire.