Okay, some straight-up acting notes:
– Make a choice. Even if it’s a wrong choice, a bold choice is always to your benefit, even if all it does is elicit direction from us. Being safe ensures you will not be remembered, and being remembered is the point. (NB: “being cool” is not a choice. While you’re showing us how laid back you are, we’re wondering why you’re not acting. There was a LOT of this – very little passion, lots of cool)
– Likewise, conveying a strong “moment before” tells us a great deal of your understanding of the scene or piece. Don’t start from zero, start from six.
– We like questions. I have never met a professional director who did not respond well to the question, “Is there anything you’re looking for?” They might say, “No, just dive in.” But some directors are eager to share their “vision.” That only helps you.
– No accents or funny voices, please. Especially if we only have one chance to hear you, you don’t want us fighting to guess what you really sound like.
– If addressing someone in your audition piece, place them in a single position on stage. DO NOT make us actors in your scene. It makes us uncomfortable, and keeps us from listening. After all, the word “audition” has, at its root, hearing. The worst thing for you is if we stop listening because we're trying to share the scene with you.
– In the professional world, “prepare” means memorize. You have to know what you’re saying. It speaks to your level of commitment. The fact that many non-majors memorized while some majors didn’t was not lost on us. Even if there are cold reads available, if you can prepare something, do.
– That said, you may certainly carry your side. Definitely have it on you. Everyone goes up sometime, but don’t make us wait for you to run to your bag. Just have it. We don’t begrudge you a safety net.
– In callbacks, be generous. Help your fellow actors, don’t make them look bad. We note those things, too. Upstaging other performers (literally or figuratively) reflects poorly on you, not them. (Another secret – we’re not just judging acting. We want to know if someone is good to work with. Often we will check a resume to see if someone has worked at a theatre more than once – it means they were hired back. If someone has worked in a lot of great theatres only once, it’s a danger sign)
– If the director gives you direction, even if you think it’s crazy, DO IT. You may be smarter than we are, but we’re the ones with the power. For that reason alone, even if our direction is completely antithetical to your take on the moment, throw yourself in. Sometimes what we give you has nothing to do with the scene – we’re wondering if you can pull something off.
– Tear your own shirt. It's an old saw, but it's true. If your scene partner is not giving you what you need, do it yourself – don’t wait for them. Demetrius, if Helena doesn’t wake you up, wake yourself up.
– Finally, please, don’t say “scene” when you’re done. Or “the end” or anything like it. Just thank us and be done. And, for heavens sake, don’t apologize! Even if you fell on your face, kicked the director’s puppy, and then vomited on the A.D., don’t apologize. Auditioning means never saying you’re sorry.
