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<DIV>
<P class=H1 style="MARGIN: 5pt 0in"><SPAN
style="FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'"><STRONG>Public
Service Announcement from Capital District Audition
Listserve</STRONG></SPAN></P>
<P class=H1 style="MARGIN: 5pt 0in"><SPAN
style="FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'"><STRONG>(Reprinted
with permission of the author.)</STRONG></SPAN></P>
<P class=H1 style="MARGIN: 5pt 0in"><SPAN
style="FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'"><FONT
size=6><STRONG></STRONG></FONT></SPAN> </P>
<P class=H1 style="MARGIN: 5pt 0in"><SPAN
style="FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'"><FONT
size=6><STRONG>Top Ten Reasons You Didn't Get
Cast<o:p></o:p></STRONG></FONT></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 24pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>by
Chris Polo<o:p></o:p></STRONG></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><o:p><STRONG></STRONG></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">You
gave it your all at the audition, but the only feedback you got afterward was
“you did a really great job, but we’re casting someone else.” What’s the deal?
Read on to learn the top ten reasons directors give for not casting someone, and
what you can do to improve your chances.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#1: Someone else gave an interpretation that was closer to what the director
wanted<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Many
times when reading a script, it seems that there is only one way to play it, and
that’s what you try for when auditioning. There are, however, many different
ways to interpret most parts. Maybe you played it very “up,” and the director
saw something darker, or you played “understated” when the director wanted
broad. If someone else comes closer to the director’s vision of the part, that
actor may be a better choice because the director has far less work to do to get
the actor to match that vision.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Many
directors explain their vision of the characters and the show before having
people get up to read—listen closely and try to give them what they seem to want
to see. If they don’t do this, you still don’t have to go into it blind. There’s
nothing wrong with asking, “How do you see this character?” or “How do you want
this scene to be played?” If you get an answer like “Well, I’m really just
interested in seeing what <EM>you </EM>can do with the character,” it may be
because the director has no idea of what he or she wants, in which case it’s a
crap shoot all around anyway (personally, this kind of response sets off alarm
bells with me—I’m leery of directors who can’t or won’t give me a clear idea of
what they want).<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">In
small theater groups where people have worked together often, the first actors
to read may be a good indication of what the director wants. He or she may call
on “tried and true” folks that would do well in the parts; the director may want
to start out with readings that are fairly close to his or her vision and knows
that these people can deliver. Occasionally, one of these folks may even be
ringers: they’re not seriously auditioning, but the director may have asked them
to stop in to get the auditions off to a good start and to give the real
contenders a better idea of what’s wanted. Don’t be discouraged if you seem to
be sunk before you’ve even made it out of the gate! Instead, listen and
learn.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">As
the audition progresses, watch the other auditioners and be open to other
interpretations. Don’t just try to copy what someone else does—that usually
comes off as a poor imitation. But do try to learn from what they seem to be
doing right. Above all, listen for any direction the director gives in the
course of the audition, both to you and to other actors, and think about how
that might apply to your interpretation.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#2: Someone else was better prepared at auditions<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Some
directors prefer to see cold readings and will not hand out copies of the script
ahead of time. Others want to see something prepared, either from the show
you’re auditioning for or from something else. Cold or not, there may be someone
who gets up there and knocks everyone’s socks off with a performance-quality
reading. The actor giving the more polished performance has an advantage. In the
case of a cold reading, he’s shown that he’s already got a good grasp of the
part and will pick up new ideas quickly; with a prepared reading, he’s shown
that he’s enthusiastic about the show and is serious about wanting the part and
working hard at it. A director can’t help but be impressed by someone who’s put
that much work into it before they’ve even gotten the
part.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Call
the director and ask if you can get a copy of the script. You may also be able
to get a copy at the library. As you read the script, take note of the opening
scene and other key scenes that the director is likely to want to see in
auditions. Practice those—do it out loud, not in your head! Try a lot of
different interpretations as you practice, and pretend that you’ve got an
audience every time you rehearse. If you can get someone to rehearse with you,
even better. Do the same for a monologue, if the director has specified that he
or she wants to see a prepared reading from something else. If the director
wants cold readings, arrive at auditions a little early—you may be able to get a
copy of the script before things get underway. Check out the opening scene and
try to determine which other scenes are likely to be played. Read along as
others audition for parts that you’d also like to try for. A quick tip: if you
get up to read and the lighting is too dim, ask if it can be turned up or if you
can move to a spot where it’s better—the director’s not checking your eyesight,
he or she wants to know what you can do with the words!<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#3: Another actor was physically better suited for the
part<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Some
of the physical requirements for a part may be age, height, weight, coloring,
hair length or style, and presence or absence of facial hair, to mention a few.
If the part requires someone to lift and carry another actor off stage,
obviously the director is going to cast someone physically capable of doing
that. And while much can be accomplished with makeup, if someone comes in with
all the necessary physical characteristics of a part as natural attributes, he
or she will be one step closer to a part than someone who requires heavy makeup
to pull it off.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Read
the script ahead of time and think about which parts you are physically right
for. Be honest! The female lead may be a killer of a role that you’d give your
eye teeth for, but if she’s supposed to be a 28-year-old beauty queen, and you
are 15 years too old for the part and have a weight problem to boot, it may be a
bit much to hope for it, no matter how incredible your acting is. Likewise, if
you’re a guy with a ponytail and you’re auditioning for a period piece like
<EM>Private Lives</EM>, your hair will present a problem if you’re not willing
to cut it. By all means let the director know if there are any minor changes
you’d be willing to make, such as growing a mustache, wearing a wig or dying
your hair, but don’t go overboard. For all practical purposes, what you bring
into auditions is what the director will see and remember, so the best choice is
to go out for parts that you’re already suited for.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#4: The director wanted a certain “mix” of physical characteristics among the
cast<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Directors
often juggle actors in and out of parts at auditions as they attempt to arrive
at an interesting but believable mix. Different heights, weights, and coloring
can make the show not only more visually interesting, but can also help the
audience follow the plot: if two actors are physically very similar, audience
members may actually get confused about who’s who! Likewise, if there is
supposed to be a family resemblance among the characters, the director will try
to cast people who look like they could actually be related. If the director has
only one actress who could logically play the daughter, and has a choice between
you and another actor for the father, you may not get cast if you look ten years
younger than the actress the director has no choice but to use. You lost out on
the part not because of anything you did or didn’t do, but simply because you
wouldn’t work playing opposite that actress.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Short
of making sure that you’re absolutely the only actor who’s physically right for
a certain part at auditions, there’s not much you can do about this one, other
than to give it your very best shot and remember that not getting cast for this
reason happens to everyone sooner or later. This one is beyond your
control.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#5: The director was unable to get you to deliver what he or she wanted to
see<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Directors
sometimes try to give you direction as you’re auditioning. Take this as a
compliment! The director is working on two levels here - he or she has seen
something in you that works, but would like to see if you can change what you’re
doing to better fit his or her idea of the character. He or she is probably also
checking to see how well you take direction in an effort to determine how easy
you are to work with. If you get direction and then go on to do the scene
exactly the way you did it before, you flunked the test.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">When
the director asks you to change your interpretation, do it! Listen carefully and
ask questions, if necessary, to make sure you’ve got the idea he or she is
working for. This applies even if you’re asked to do something totally off the
wall, like play a death scene as if it were written by Neil Simon. The director
is not necessarily telling you that your interpretation is wrong, he or she just
wants to see what you can do and if you are flexible enough to work with
easily.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#6: You’re an unknown quantity<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">You
gave a really strong reading and are physically perfect for the part, so how
come you lost out to someone who wasn’t as good but seems to get cast all the
time anyway? Is it because the theater group is just too cliquish, and unwilling
to accept new faces? Maybe, but there may also be another explanation: the
director knows what the other actor can deliver and doesn’t have a clue as to
what you can do in the long term. He or she just doesn’t know you, your work
habits, your ability to get along with others, or your sense of commitment to
the show and to the theater group. Just about every director with any experience
can cite instances of taking a flyer on someone new and having it blow up in
their faces, leading to that common lament “But they were so <EM>wonderful
</EM>at auditions!” If the show is a challenge for director and cast alike,
taking on a new actor, particularly one that hasn’t had much stage experience,
may be more than the director feels like handling. He or she instead opts to go
with “tried and true.”<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds:</SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">
The problem is that nobody knows you, so change that by getting involved in some
way other than acting. Volunteer for behind-the-scenes jobs: holding book and
working stage crew are particularly good ways to get to know the cast and the
director, and to let them get to know you. If you are given responsibilities and
carry them out well, you’ll become known as a team player and a hard worker—two
characteristics that directors value in actors as well as in crew members.
Directors talk to each other, and a favorable recommendation from the director
of one show may make the next director willing to take a harder look at you.
Make yourself indispensable and fun to be with, and folks will be actively
trying to cast you because they like having you around! On the flip side, if
your only interest is acting, you’ll probably continue to get the cold
shoulder—many community theaters are usually too short-handed to keep handing
out plum roles to people who are interested in taking a bow but give nothing
back to the organization.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#7: You have difficulty remembering lines<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">OK,
so maybe there was one show where you really had a lot of other things going on
in your life and you gave the part short shrift. Or maybe memorizing lines is
just not as easy as it used to be, or it’s never been really easy, but you
manage to muddle through somehow. Whatever the scenario, the fact remains that
for one or more shows, you had trouble with the lines. Rarely is this problem
somebody else’s fault, even though actors with line difficulties sometimes try
to lay the blame elsewhere (“Well, she was supposed to be standing <EM>next
to</EM> the credenza, not in front of it! She threw me off!”). If you can’t
remember the lines, you’ll have difficulty developing your character, and
everyone on stage with you will be very, very nervous—not exactly a situation
conducive to turning in a great performance. Directors will do <EM>anything</EM>
to avoid casting actors with line difficulties.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">If
your line problems were the result of a temporary aberration, and you can go
into auditions with the part half-memorized and deliver a bang-up reading,
fantastic. If not, and if your line problems are just a fact of life, take it
slow. Audition for smaller roles that you know you can handle, and try to get a
grasp on your technique: your problem may very well stem from how you memorize.
Some tips:<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Highlight
your lines in your script in one color, and use a different color to highlight
your cues. (I remember one actor who had a terrible time with lines—and then I
was told that his script had only a tiny pencil mark next to the first word of
each of his lines. No wonder he couldn’t memorize them - he couldn’t even see
which ones were his!)<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">If
you learn better by listening, make two tape recordings, reading from the
script: one of your cues, followed by your lines, and another of only your cues,
with appropriate time left after each for you to say your line. Work with the
tape as often as you can (a lot of folks work with it while they drive,
especially if they have a long commute), at first listening and talking along
with the cue and line tape, then using just the cue tape. Check back over the
script periodically to make sure you’re not paraphrasing.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">If
you’re a more visual learner, run through the script by covering the page with a
piece of paper and lowering it down the page until you come to a highlighted cue
line, then try to say the line that follows that cue. Repeat until you get it
right.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Some
people like to make flash cards - use index cards, and write the cue on the
front and the line on the back. (Make sure you indicate who’s supposed to be
giving the cue.)<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Work
with a partner who will read your cues and let you deliver the responses. In the
early stages, ask them to correct and prompt you; later on, tell them to let you
hang for a while until you’re really sure you can’t get it without
help.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Be
willing to put in a lot of hard work on lines, but if you find yourself getting
worn out and frustrated, back off for a day or two. Put the script down, then
tackle it again when you’re more relaxed.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#8: You have a reputation for being difficult to work
with<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">If
every director you’ve ever worked with was an idiot, if in every show there’s
someone you just can’t get along with, or if the green room magically empties
when you walk in, you need to do some serious thinking about how you interact
with others. Producing a play is a team effort, and if one member of the team is
consistently not part of the program, that person will not be asked to play
again.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds: </SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">The
best policy is not to earn the reputation in the first place. You can do this
first of all by remembering that what the director wants is paramount. Don’t
argue about blocking or interpretation, especially in front of other cast
members. If you disagree with what you’re being told, do it anyway, then talk to
the director afterwards. If you lose the argument, do what the director wants,
and don’t gripe about it. The same goes for the stage manager and any member of
the crew.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Don’t
ever badmouth the show or the other actors. Don’t point out others’ mistakes,
particularly those that have no effect on you personally: that’s the director’s
job. If another actor consistently makes a mistake that affects you and the
director doesn’t catch it, let the director know afterwards so he or she can
correct it.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Be
courteous of others when you’re not on stage. Keep your voice down in rehearsal,
and don’t engage people in lengthy conversations that might make someone miss a
cue. Don’t hang out in the wings just because you like to watch the show -
you’re an obstacle to the stage crew. During performance, don’t run your mouth
constantly (or worse yet, sing) in the green room, and don’t feel the need to
keep everyone else who’s waiting entertained. Many actors like to keep things
low-key and quiet after the curtain goes up so they can concentrate on the task
at hand or maybe study lines. Just because you, as the murder victim, are done
for the evening doesn’t mean that it’s time for everyone else to relax,
too.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#9: You are perceived as unreliable<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">So
you’re late once in a while, or have to miss rehearsals because you’ve got a lot
going on and inevitably there are scheduling conflicts. No big deal, right?
Wrong! Being consistently late wastes everyone’s time and makes you look less
than serious about the show. Missing rehearsals can throw off the entire
schedule, especially if you have an important part. Do it often enough, and
directors are going to cast someone who has a better grasp of exactly how short
the rehearsal period is.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds:</SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">
If rehearsals start at 7:30, be there at 7:20. If you have a night class every
Tuesday, let the director know at auditions so he or she can plan accordingly
(and don’t take it too hard if that conflict puts you out of the running for a
part). If you must unexpectedly miss a rehearsal, let the director know as soon
as possible. Above all, do not <EM>ever </EM>drop out of a show without an
extremely good reason. If you must drop out, tell the director by phone (talk to
him or her, don’t just leave a message on the answering machine) or in person,
ASAP, and be prepared to tell him or her why you have to leave. If you leave one
director in the lurch, not only will that director never cast you again, but no
one else will, either.<o:p></o:p></SPAN></P>
<P class=H5 style="MARGIN: 5pt 0in"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><STRONG>Reason
#10: You only made one night of auditions<o:p></o:p></STRONG></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">Directors
may spread auditions out over two or even several nights because they have a lot
of people to see and a lot to accomplish. Part of what they’re doing is seeing
who works well with whom. If you show up for only one night of auditions, not
only will you have only one shot at the part, but you won’t see everybody who
auditions, and you may miss the opportunity to read opposite someone who’s a
shoo-in for a part. Without you there to try out with that person, the director
can only make a guess as to what kind of chemistry the two of you might have
had. In fact, you might be kind of hard to remember by that time! If you miss a
night, don’t be surprised if someone who gave a really lousy reading gets the
part—that person may have just had an off night when you were there, and then
delivered the audition of a lifetime the next evening.<o:p></o:p></SPAN></P>
<P class=MsoBodyText style="MARGIN: 0in 0in 6pt"><STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">How
to better your odds:</SPAN></STRONG><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt">
Show up for every night of auditions, and stay until the end. If you can only
make one night, try to make it the last night, but be aware that some directors
look askance at someone who couldn’t be bothered to be there the other nights.
By the last night of auditions, the director has already started making some
decisions and will be trying to put together a cast that gels. If you’re not
there, you may be forgotten. Don’t expect to get a lot of time on stage at this
point, though - the director has to bring up the people he or she is already
seriously considering to see how well they mesh, and may not have a lot of time
to let someone new have an extensive reading.<o:p></o:p></SPAN></P>
<P class=MsoNormal style="MARGIN: 0in 0in 0pt"><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 10.0pt"><o:p> </o:p></SPAN></P></DIV></FONT><DIV CLASS="aol_ad_footer" ID="4c61f771da324668e7e8f16792f39"><br/><font style="color:black;font:normal 10pt arial,san-serif;"> <hr style="margin-top:10px"/>Download the <a href="http://toolbar.aol.com/aolclassifieds/download.html?ncid=emlcntusdown00000004">AOL Classifieds Toolbar</a> for local deals at your fingertips.</font></DIV></BODY></HTML>