Secrets from Across the Table by / Melissa Hillman

I’ve written in several places about audition tips, but a recent Theatre Bay Area Theatre Services Committee discussion got me thinking about the many things casting directors and artistic directors don’t tell actors. I know there are plenty of things to discuss about how theatre companies handle casting, but this blog post is specifically for actors to gain some insight into our experience. Hold the “But theatres [fill in the blank with something bad]!” comments (that always deluge my Facebook or Twitter whenever I discuss these issues) for now. I know—believe me, I know—but this blog is specifically designed to give actors a peek into our world, so here’s a list if things you might not already know.

1. If you’re being considered for something else, tell us. We’d rather have the truth up front. Theatres of all sizes routinely face actors choosing other gigs for a variety of reasons. It won’t take you out of the running, but it will get us thinking about a Plan B in case you choose the other gig. We’ll be disappointed but it won’t be a dealbreaker for future roles.

2. When you commit to a show, commit to it. Replacing an actor is not an easy task and usually adds hours and hours of work to the schedules of several already overworked people, so take bailing on that commitment very, very seriously. If it’s before rehearsals begin and the other offer is a stupendous opportunity, almost anyone would forgive you, despite the extra work you’ve caused them. What not to do, however: An actor in a lead role once told me at final dress that he’d be missing two weeks of performances because he’d taken a gig with another company. While this might fly at a large company with understudies, a tiny theatre with few resources is hamstrung, the company is sent into a casting panic, and the entire cast now needs to schedule extra rehearsals on the fly to incorporate the new actor. It’s a definitionally dick move. Be aware of the problems you’d be creating (and the bridges you might be burning) by breaking your commitment before you make your decision. Also be aware of the very real fact that not everyone at a company only works at that company or will always work at that company. Burn one bridge and you’re likely burning many more than that. But again, it’s not burning a bridge every time you leave a show. What’s important is to understand the full implications of your decision, which can change from show to show. You will always cause difficulties for others when you bail, the questions are how much and whether it’s worth it to you.

3. We all talk about you, all the time. Casting directors and artistic directors talk to each other about actors all the time. If you’re wonderful at one company, you better believe ten others know about it. If you’re a difficult diva, you better believe other companies know about that as well. We also ask each other for recommendations for specific roles routinely. Someone who’s been difficult in rehearsals, or who tries to add six conflict dates after the rehearsal schedule has gone out, or who comes to rehearsals unprepared isn’t going to get recommended. When people ask me for actor recommendations—something that happens at least three times a week for both theatre and film—I’m not about to add problem actors to the list. I’m only going to recommend the actors I know will be professional and do a great job because my own reputation is on the line.

4. About those conflicts... Most theatres (by a huge percentage) in the US are small theatres that are rehearsing evenings and weekends, working around everyone’s day job and school schedules. Creating a rehearsal schedule around everyone’s pre-existing conflicts, especially for a large cast, is like playing Satan’s Tetris. Be clear about your conflicts at auditions, and never expect to be able to add conflicts unless it’s truly urgent. Another audition is not urgent. A meeting you forgot about is not urgent. Concert tickets are not urgent. “My father was in a car accident and is in a coma” is urgent. Yes, of course you should ask if it’s possible to be released—because maybe it is—but be prepared to be told no. Sometimes it’s just not possible to reschedule your scenes when the master schedule with everyone’s conflicts is taken into account. Wouldn’t you rather rehearse on your birthday than perform an under-rehearsed scene in front of Rob Hurwitt? Your scene partners can’t adequately rehearse without you there, so “I’ll be fine” only flies if it’s a solo performance.

5. One more thing about conflicts: We know that many of you take classes to hone your skills or to learn new ones. However, rehearsals should always take precedence, both because of the number of people relying on you to be there and because rehearsals lead to performance. It always baffles me when people demand rehearsals off for classes—aren’t you taking the class to improve your professional work? So why bail on the professional work? You should include these classes in your conflicts on your audition form but be clear that, while you would love those days off if possible, you’re prepared to rehearse those days if need be. We really will do our best to schedule around you if it’s at all possible, but be mindful of the fact that your scene partner is in his sister’s wedding in New York one weekend, etc. It’s not just about you.

6. Please do not audition for a role you know you will not take. It’s not ok to audition just to “be seen.” I do not want to see you if you’re just teasing me with your awesomeness. Auditions are hard work towards a definite goal, not an open mic night. We are not happy when you bogart a slot that could have been used for someone who could take the gig, especially if we have a waiting list.

7. No-shows are a rampant problem at Bay Area auditions—so much so that many of us schedule for a 25% no-show rate. I keep a mental list of the actors who’ve no-showed for my auditions without emailing me some valid reason. Look, even if you have to make one up, put your big girl panties on and contact the theatre with a plausible reason why you won’t be there, and do it at least 24 hours in advance. If you’re emailing me the day of the audition, you'd better be projectile vomiting or in county jail. The flip side of this is that you can rely on your fellow actors to create space for you at the last minute. If you can’t get an audition appointment and don’t mind waiting around, ask if you can show up at the theatre to see if they can work you in. I’ve never once been to a theatre audition where that wasn’t possible.

8. Just because you didn’t get the role doesn’t mean we don’t love you. I pass on actors all the time whose work I adore for one reason or another. Most often it’s because they don’t quite fit the approach we’re taking with the role. I recently passed on a couple of actors I really loved and recommended both of them for a role in a short film one of my former film students was directing. One of them landed the role. So maintain those connections and remember that not getting an offer isn’t necessarily an indication of the director’s opinion of your talent.

9. Patience is a virtue. Has it been a few weeks since your audition and you haven’t heard back? We all say we’re not going to do that and we all do it at least some of the time. Why does this happen? Apart from the obvious (we’re all swamped), the usual pattern is this: Shortly after the audition, we offer Actor A the role. Actor A is waiting to hear back from Other Theatre about a role and asks if we can wait a few weeks. Other Theatre, meanwhile, unbeknownst to Actor A, has already offered that role to Actor B, who has asked Other Theatre if it can wait a few weeks while Actor B waits to hear back from Film Producer. And so on, and so on. We’re not going to send “No thank you” emails to our 2nd and 3rd choices while we’re waiting, because the second you do that, Actor A calls and tells you he’s taken Other Theatre’s gig. We don’t ever mind a polite email asking what’s going on, but don’t look at it as if we’re being entitled jerks. We’re usually just stuck waiting for someone else to make a decision so we can make ours.

It always pays to consider what the “other side” is experiencing, both for actors and for theatres. While actors are very vocal about the audition and casting process, theatre producers are, by and large, very mum about it, so I hope this has given you some small insight into the casting experience from our side of the table.

The views represented in this Chatterbox Art & Opinion post are those of the individual author, and do not necessarily represent the views of Theatre Bay Area or its staff.