I’m not slamming anyone. And you shouldn’t either.
All of these are ideas are culled from many sources, not just one or two, and most of these errors, I have made myself. So, please don’t comment saying, “So-and-so director/actor totally did that...” or any other crap like that. That isn’t what this is for. Use it to help yourself.
From An Actor, To Directors...
Please, take more time with your audition notice.
Give me ALL the info I may need. Remember, I'm an actor. I will find an excuse for being late or messing up that you didn't think to cover, so give me as much information as possible so as to make it a challenge.
- Time - Make sure to designate whether this is an “all-call” where all actors show up at once, or by appointment, or some combination of the two.
- Location - Not just the address. Tell me where to park. (Especially in Dallas. Ugh. Don’t get me started on that.) Also tell me how to get into your building. Some theaters have weird little side doors and labyrinthine passages to navigate. You know the way, but I don’t! I’m that new face you are always complaining that you don’t see! Signage outside AND inside pointing the way can help with this as well.
- A phone number - Not YOUR phone number, please. One that will be answered by someone who can give directions and answer questions. You will probably be too busy to do this.
- Pre-cast roles - If the notice doesn’t tell me that a role is precast and I show up and find out at the audition that it is, I’m probably walking out. If you can’t be honest on an audition notice, how can I trust you to be honest in working on the show?
The more info on the notice, the less questions you have to answer. Actors always have questions.
Don’t flunk the audition-audition!
I may be auditioning for a role, but you are auditioning the experience of working on this production. The audition is your chance to give a preview of your organizational and communication skills. If you can't run the audition efficiently, actors will wonder if rehearsals will be equally haphazard. Show me that you won't waste my time, by not wasting yours!
Be upfront and honest about setbacks and delays.
Lots of things can derail an audition. An accompanist stuck in traffic. A delay in the arrival of enough copies of the script. Even an abnormally large turn out can throw you. (If you prepped for about 30 people and 70 show up, you won't stay on schedule.) Be honest with all attendees. Let us know an estimate of any delay and allow actors the chance to decide to leave if they need to. You could even offer to schedule an extra audition time to accommodate those who can’t stay. The bottom line is, don't soldier on like nothing is wrong and hope actors won't notice. Because they do.
Do not chat up actors you know.
It’s inevitable in an active theatrical community like DFW that you will be acquainted with many of the auditioners. It’s okay to acknowledge that you know them. "Good to see you so-and-so." But that is it. Get down to business in a businesslike manner. Number one - you are wasting time. Talk to your friends later. Number two- other actors are already despairing because they think you are going to cast your friend, so don't give them any more ammo. Be professional. Not chummy.
Give everyone a fair shot. Don’t leave anyone out.
It’s one thing to be sad because I didn’t get cast in a show. It’s another to be mad because I don’t feel like a got an audition! Make sure everyone gets heard. Have an assistant, friend, or representative from the theater there, and give him or her the job of keeping you honest. It’s easy to get focused on a few people that you like, and not realize that there are people sitting around who haven’t read as much. If you really like a few people, have a call back and spend all the time you want with them. The first audition should give everyone a fair shot. Besides, if you don’t read people for parts that you don’t think fit them, you will never have the pleasure of being surprised.
Talk about the end of the audition at the beginning of the audition.
Before you begin, communicate clearly about callbacks, casting, or additional auditions. (dance auditions, fight choreography auditions, etc.) If this info is not in the notice, this is a MUST. Make sure no one leaves without knowing when and how they will be notified regarding callbacks or casting.
Also, if I don't get cast, I don't need to hear your voice on the phone. Just make your email professional and courteous.
Email "no-thank-you's" AFTER you get confirmation back from the "yes's." Don't automatically assume that I will do the show before you hear back. I might have another show on the line. Or you might have flunked the audition-audition.
From A Director, To Actors...
First of all, if you have not read Audition by Michael Shurtleff, go buy it and read it before you eat another meal.
Prepare, so that you don't have to apologize.
Read the audition notice CAREFULLY and COMPLETELY. There are clues in there that can give you an edge. Namely, showing up with what is asked. Have the requested shoes, sheet music, monologue, whatever. And be on time!!! Do not be late. But if you are late, know who to call. How would you know that? Read the notice!
Apologize! No excuses.
If you are late or don't have the required sheet music/dance shoes/monologue, apologize quickly and simply. Don't make a long explanation or excuse. You want to be remembered for what you did do, not for why you didn't do what you were supposed to do.
Headshots? Go simple, please.
For many auditions, a headshot is not truly needed, but when you need one, make it good. Keep your headshot simple. Don’t let it get too out of date, and don’t do anything elaborate for it. Don’t get me wrong. A professional photographer and the right outfit/makeup are a big plus, but there are limits. Nothing is more annoying than a headshot that is so out of date or so “art-ed” up that you are unrecognizable. I once almost didn’t read an actress at an audition because I was looking around the room for the girl in the headshot and couldn’t find her. I assumed she had left and I put her form and headshot off to the side. Remember, it is called a HEADshot. I want, primarily, to see your face. It doesn’t have to be a close-up, but shots that prominently feature other parts of your anatomy are not helpful. Also, don’t bother with multiple headshots or a multi-shot, proof-sheet style headshot showcasing all your “looks.” Me with long hair. Me with a mustache. Me with a beard. Me with 5 o’clock shadow. Me with wet-sexy hair. Me with a clown nose. Using a different “look” headshot for different types of auditions is smart, but use one per audition. A headshot should show YOU. Plain and simple. No elaborate costumes or makeup required.
Do NOT apologize for any poor performance.
You are wasting my time telling me how congested you are, or that you are rehearsing a role that smokes, or that your new roommate has a cat, or any other reason why you might not hit your money note or sound your best or have your monologue memorized. Just do the absolute best that you can on that day. Unless I’ve seen you before, on stage or at a previous audition, I have to evaluate you based on today.
I don't HAVE to evaluate you based on today. You are ALWAYS auditioning.
Especially in community theater, there are directors hiding everywhere. They might be acting, doing sound, lights, props... You never know who, in a current production, might be a director of a future production. Also, other people will assist the director in casting decisions. Music directors and choreographers will have a say in musical auditions, and anyone may be a trusted source whom a director may ask for input. So, you really should always be nice to everyone. How you run your mouth, miss rehearsals, mistreat others, never get off book, whine about choreography, or talk bad about the director behind his or her back, may all come back to bite you later when a director remembers your behavior in a previous show. This also means that when you show up to the audition location, treat everyone with respect. The director may be watching. If I see you getting snippy with the staff or volunteers handing out forms, it will count against you.
Do not chat up directors you know.
If anything, be even more respectful and professional than needed. After a quick greeting, behave exactly as you would if you did not know the director. Introduce yourself using your full name, and say the name of your monologue or song and the name of the work it came from even if the director is the one who helped you pick it out. ESPECIALLY then! You don't want to be thought of as only getting cast because you are the director's buddy.
Tell the truth on your audition form.
Tell the truth on your audition form. I did NOT repeat that by accident. There are at least two issues here.
- One: There is a blank for “What part are you auditioning for?” There is also a blank for “Are you willing to accept another role?” Tell the truth in these blanks. If you are willing to accept any role, say “yes.” If you will accept supporting roles, but not chorus, write it in the blank! If you are not willing to accept any role but the one you had in mind, be honest!
- Two: Be honest about your time conflicts. I can work around conflicts for most roles. Rehearsal schedules don’t have to be set in stone. But don’t make me regret casting you by holding out on a big conflict that you know about, just so that you have a better chance at a role. If you make me regret casting you, and make the rest of the cast work longer, later, and harder to make up for your absences, you can bet that I will talk about you with other directors. Don’t be that guy. Don’t be that girl. Tell the truth.

















