[Capdist-auditions] PSA: Top Ten Reason You Didn't Get Cast

[LWAndruski at aol.com]

Public  Service Announcement from Capital District Audition  Listserve 
(Reprinted  with permission of the author.) 
Top Ten Reasons You Didn't Get  Cast 
by  Chris Polo 
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. 
Reason  #1: Someone else gave an interpretation that was closer to what the 
director  wanted 
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. 
How  to better your odds: 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 you 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). 
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. 
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. 
Reason  #2: Someone else was better prepared at auditions 
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. 
How  to better your odds: 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! 
Reason  #3: Another actor was physically better suited for the  part 
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. 
How  to better your odds: 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  Private Lives, 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. 
Reason  #4: The director wanted a certain “mix” of physical 
characteristics among the  cast 
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. 
How  to better your odds: 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. 
Reason  #5: The director was unable to get you to deliver what he or she 
wanted to  see 
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. 
How  to better your odds: 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. 
Reason  #6: You’re an unknown quantity 
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 wonderful 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.” 
How  to better your odds:  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. 
Reason  #7: You have difficulty remembering lines 
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 next  to 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 anything  to avoid casting actors with line difficulties. 
How  to better your odds: 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: 
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!) 
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. 
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. 
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.) 
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. 
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. 
Reason  #8: You have a reputation for being difficult to work  with 
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. 
How  to better your odds: 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. 
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. 
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. 
Reason  #9: You are perceived as unreliable 
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. 
How  to better your odds:  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 
ever 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. 
Reason  #10: You only made one night of auditions 
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. 
How  to better your odds:  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. 

**************Download the AOL Classifieds Toolbar for local deals at your 
fingertips. 
(http://toolbar.aol.com/aolclassifieds/download.html?ncid=emlcntusdown00000004)
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://capdisttheater.org/pipermail/capdist-auditions/attachments/20090620/5c439c9d/attachment.html>