During and After the Audition - by John Essay

As I was saying in my last article “Preparing for a Great Audition”:

Always arrive a few minutes early. As you sit in the waiting room for your name to be called, it may be helpful to carry an index card with some key phrases to remind you of your preparation and to keep you focused, i.e. “Stay focused,” “Keep energy up,” “Do my third audition first.” “Make a strong beginning,” “No one is better than me,”—write whatever sayings that inspire you to do your best. Take another look at your notes in your audition diary and get ready to make all your preparation pay off!

Now it is your turn. Once your name is called, walk in with an upbeat demeanor and greet the people behind the table with a smile and your name. Don’t try to shake hands unless prompted —not only does this slow down the auditioning process, but it is also for health concerns: no casting person wants to shake a hundred hands, nor do you want to shake the hand of someone who shook a hundred hands. 

Have your picture and résumé out and ask if they would like one (remember to take control of your audition; you lead its course). Be aware that some people behind the desk may not be as gregarious; don't let this throw you. It has nothing to do with you. Now you need to quickly assess the room (its size; where you are going to stand; if you need a chair).

The director or casting director will ask you to begin your scene or monologue. This is your time. Every audition should have the adrenaline of opening night, which you can use to fuel your performance. These are your two minutes. Get the most out of them. 

If doing a monologue, it is best not to make eye contact with anyone in the room; use a different focal point like a person's ear or forehead. You can also pick a spot on the wall, a place on the table, just as long as your head is up and your eyes are visible and your voice is loud and clear. 

When doing a scene, you should know the material well but hold your sides to refer to—you should have rehearsed both when you will look at your sides and when to flip the pages. Keep in mind that we need to see your face so hold the sides away from your head; practice turning pages as quietly as possible—this will be extremely important if you are going on tape. You must look at the person you are reading with. (What is a scene if there is no communicating between two people?)

If your reader seems to be a less stellar actor than you had anticipated, there are different ways to approach this: 

Know the material so well that you can stay on point emotionally even if the person seems absent, or try to use it to your advantage, if appropriate for the scene. (If it's a scene that requires some anger on your part, that certainly would be appropriate). Remember that the quality of the reader is not in your control. 

If you are asked to make an adjustment to your material, please make sure you understand the adjustment. (If you don't understand it, speak up.) If you need a moment to adjust to some direction, say something. If you have a question, ask it. You are in control of your audition. When you are finished with your scene or monologue, you might say, “I’d be happy to do it again if you have any adjustments for me,” or “Is there anything else I can show you?”

Most casting professionals will be friendly and encouraging—after all, they are hoping you will be terrific—but sometimes your auditioners will be less than enthusiastic at your audition. I can't tell you enough how often adverse reactions of the people behind the table have nothing to do with your audition. It just happens. Remember, these creative people are people just like you and me. We all have bad days, we all sometimes hold grudges, we all take it out on people and sometimes we can spend the day zoned out and out of touch. Don’t let it phase you.

After the audition, write down what happened in your audition diary, analyze it, learn from it, and move on! You are doing yourself a disservice by trying to figure out what was on the casting director or director's mind, or if you're getting a call back or even if you'll get the job. It's wasted energy. Just analyze how to better prepare yourself so you can figure out what you can do better at your next audition or congratulate yourself for a job well done.

Try to remember: It's not always about getting the job. Try accomplishing one of these three goals at an audition and if you walk out feeling you've done any of these, you've won the game. 

Impress the casting director enough to call you in for another project. 

Use the audition to learn something for future auditions. For example: “I asked a question about whether I could move during the scene and that was well received and helped my audition.” 

Have fun! Do not expect to be perfect, for there is no perfection. Perfection leaves no room for mistakes and growth. Aim instead for excellence. Excellence is a far healthier goal, and one that is actually attainable. 

Now, go forth and conquer!

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Preparing for a Great Audition - by John Essay

Auditioning is unavoidable for all actors. Some are great at it, others are mystified, and others are just plain awful at it. Here are some helpful tools and insight so that you can have a great audition.

I recommend that you create an “Audition Diary,” listing as much information as is available, such as:

• The time, date and place of your audition. 
• The show you are auditioning for. 
• The role you are auditioning for. 
• What you prepared. 
• Who was present at the audition. 
• Who are the creatives: producers, director, etc. 
• What you wore. 
• What headshot you used.
• Notes on how you felt the audition went.

Saving this info in a searchable format will be most helpful. Eventually you will be meeting some of the same casting directors and creatives, and if you save this information in a searchable format then it will be much easier to see when you last met these people and for what.

Do research before each audition. Who is the director? Maybe you saw some of their work. Maybe you've met the casting director—when, where and for what reason? What else do they cast? You should be aware of the producer, and the playwright or screenwriter of the project. The more you know the better. Look at the internet: IMDb has a wealth of information on actors, directors, casting directors, and movies; the IBDB has Broadway information for actors, directors, stage managers, casting directors, etc.; the Lortel Archives have Off-Broadway Play information; Doollee has playwright information. Make sure to write important information down in your audition diary.

Now prepare for the audition. 

Generally when auditioning, you want to do your third audition first. We all know that if we could audition three times in a row, the third audition would be the best. You need to find a way to achieve that third audition the first time you do it. Rehearse your material with two different character choices. Choose the best one to use at the audition while keeping the other in your back pocket. If doing a monologue, it should be memorized and you should not be holding the text. If doing a scene, practice using your sides, turning pages quietly (important if you are going to be on tape), and making sure you don’t cover your face. When possible, perform your monologue or scene in front of a friend or coach before you enter the audition room; it is always good to try your material out in front of a live person to simulate an audition setting. Hiring a private coach is worth the extra bucks for those big auditions that might move your career forward. A coach may offer some insight or confirmation to your piece. Make sure to write down any notes for your audition in your audition diary. Remember most everyone auditioning for your role will most likely be a good actor with a good audition, so you need to be exceptional – cream rises to the top and that is what we are looking for. Make bold concrete choices.

The day of your audition, do some vocal warm-ups before you arrive. It is important that your voice is strong and clear. This is especially important if you are just recovering from a cold or the flu. You don’t want any surprises when you begin your audition.

Always arrive a few minutes early for an audition. As you sit in the waiting room for your name to be called, it may be helpful to carry an index card with some key phrases to remind you of your preparation and to keep you focused, i.e. “Stay focused,” “Keep energy up,” “Do my third audition first,” “Make a strong beginning,” “No one is better than me” – write whatever sayings that inspire you to do your best. Take another look at your notes in your audition diary and get ready for when your name is called, then it’s your time to make that preparation pay off!

Stay tuned for my next article, which will explore what happens during and after the audition!

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How Following Industry Trends Can Get You The Part - by John Essay

There are trends in show business, just like in fashion. Certain types of action movies may be popular at the moment (“The Avengers,” “Thor,” “Spider-Man,” etc.), or there might be a surge of television or film projects featuring young singers and dancers (“Glee,” “Smash,” etc.). This means that certain types of actors will be cast more than others during these times.

Trends are important to recognize. Perhaps your "type" is hot right now or you might be able to adjust your image to fit a trend. There was a time when men with five o'clock shadows were everywhere.

I remember a time when one of my clients, who had previously done well commercially, had stopped getting callbacks. I thought this was so odd, since she had previously been so "popular." I watched TV for several days in a row and concentrated on those commercials that my client had auditioned for—I noticed that the women who landed the roles all had curly hair. Aha! I had spotted a new trend. I discussed this with my client, and she stopped straightening her hair. She soon began to get callbacks again. Now I know this might sound rather simple, but sometimes it IS simple—so simple that we fail to see what is there right in front of our eyes! The whole point is to always be aware of the current trends, and to see how you might fit into them. Sometimes it works!

If your type is not "in" right now, keep looking for the trends. They are always changing, and a trend for your type may not be far behind!

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Does having an accent limit acting opportunities? by John Essay

As a rule, the more versatility an actor has can only provide him/her with more opportunities. A fruit vendor that only sells bananas would most likely increase his income if he sold other fruits as well. You certainly can get work with an accent, but it will limit the jobs you can get. There are only a few movie stars that have done quite well with an accent, such as Antonio Banderas, Penelope Cruz, Sofia Vergara, Holly Hunter, Charo. These actors started their careers off with their own accents.  For them, it wasn’t necessary to “lose” their accents because they quickly established their careers with their accents.  The odds are that most actors with accents won’t be as lucky as this group of stars, so it makes sense to “lose” your accents in the beginning of your career to afford you more opportunities. I’m not saying hide it forever; you can still continue to audition for parts that have your native accent. 

In general, it helps to be able to learn to speak without accents or regionalisms (such as a Southern, a Boston, New York or Midwest American regional accent). Anna Torv and John Noble, the two leading actors on the J.J. Abrams series "Fringe", are both from Australia, yet they speak with neutral American accents on the show.  Since they haven’t made a career out of using their native accent like the actors I mentioned above, it was important to them to speak without an accent to increase their job opportunities - and a good thing they did, or they wouldn’t have starred on this cult classic series.

For those of you who want to learn to speak without an accent, there are many Speech Coaches that specialize in this area.  There are also a number of online sites that can also help you learn to speak with any regionalisms.

If you have trouble learning other dialects, or if you are just passionate enough about your own heritage and do not wish to explore neutral accents, I say good for you, nothing wrong with that, and now you know the limitations you are faced with.  Just remember: if you choose to move forward with your accent, DICTION is the important thing to remember. If you have an accent, we MUST understand everything you say!  The Casting Director or Director will appreciate it, as well as the author whose words you are saying!

Remember, just because you have learned to speak without an accent doesn't mean you must live the rest of your life without it. Use it at home, use it with your friends, but leave it at home when auditioning for roles that don’t require one.

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ARE YOU READY FOR REPRESENTATION? by John Essay

Many actors start looking for a representative as soon as they get to the city; they have been told (usually by people who are NOT in show business!) that they first need to get an agent or manager. These actors seem to think that once they get a representative, the hard part is over; now they think someone else is going to be responsible. Remember, an agent or manager gets only 10% to 15% commission for their work. That should mean that they do 10% to 15% of the work. Think about it. Who is supposed to do the other 85 - 90%?

You should never pursue representation until you are confident that you are able to compete in the major areas of the industry: Film, TV and Theater.  If you are too green, casting directors may remember, and your representative will have a hard time getting a second chance for you to be seen.  When represented, you should always be at the top of your game.   You must be a great auditioner: you must be able to make the best of the short window of opportunity that you have in an audition. This means you must be exceptional, because good enough just doesn’t cut it, and it won’t get you the job over the other actors who are also good enough. You must be able to give your third audition first, meaning you must make strong choices and fully execute them, yet be able to take direction if it is given and fully commit yourself to that direction (instead of only doing what you had prepared).

The more you bring to the table, the more you will help your representative do his job. Have you had adequate on-camera training? Do you know the subtle differences between a TV audition and a film audition? Are you continuing to build your craft every day? Do you know what's going on in the industry, i.e. what plays you are right for, who are the casting directors for various projects, etc.? Do you have any contacts and connections that your representative should be aware of?

You have to be knowledgeable and able to do what is expected of you. Be skilled at your craft. Be open to advice and counsel (remember, they are the ones with the expertise!). Be prepared to go to auditions and know how to get there. Have the money for your basic business expenditures; there is nothing more frustrating than an actor who doesn't have the basic money to accomplish the basic needs. It does not cost a lot of money to set up your acting business. You need money for pictures; printing resumes; postage and envelopes for mailings; classes; basic wardrobe; transportation; grooming and research (theater, movies and publications). If you are not able to pay for these minimal expenses, then it doesn't really matter how talented you are; you most likely are not ready for representation.

Remember that finding a representative doesn’t necessarily mean that you have found the “right” representative for you. When you do find representation, I hope that you and your representative have an amicable relationship that is mutually beneficial.  I wish you good luck on your journey!
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What should you do if you have a bad reader at an audition?

Well, here you are: you've just arrived at your audition - and early, to boot! Now you have time to relax, to go over your lines again, and to freshen up in the potty room. You have read all the juicy tidbits of information on on our website and now you are implementing some of those new tools today. You look great, you feel great ... bring it on!

The monitor calls your name and you confidently enter the audition room. You exchange pleasantries as well as brief introductions. You notice there are two chairs facing the "casting table" and a reader is already seated. You are asked to begin your scene.

You begin your scene with your reader, and as you progress into the scene you realize ... THIS READER IS AWFUL! You can barely hear him/her, there is no eye contact, and worse of all, there is no emotional connection between the two of you.

DON'T PANIC! You have worked on this scene, and you know where the emotional connections are.

DON'T shrink to the level of this bad reader! You must trudge on, imagining that you are getting everything you need from this reader.

DON'T waiver. If you try too hard to connect to this reader, you risk being sucked into his/her low-energy-lack-of-connection vortex, and then you would be doing yourself a great disservice. The "casting people" will see your acting with thoselimitations, and they will assume that THAT is the BEST you can do.

Be prepared in advance for the possibility of an inadequate reader by always rehearsing your material as if your partner is awful. Besides, this kind of communication happens all the time in real life. You are upset about something your significant other did, and when you passionately try to explain it to him/her, he/she SHUTS DOWN. NO NOTHING. But you still go on trying to make them understand ... ! It is the same in an audition with a bad reader. You just have to go on and be passionately engaged in what you are doing, indeed become even more determined to get them to HEAR you, REACT to you, while still being authentic and "in the moment".