1. CASTING Chapter Nine

2. SUCCESS Most director’s agree that success depends on making good casting choices…

3. Failure …the wrong actors can devastate the production.

5. Casting is an art Professional directors usually leave casting to professional casting directors The initial screening process allows the director of avoid the “cattle call”

6. Professional Head Shots

7. Pitfalls of the audition A difficult way to assess potential

8. Experience helps “Experienced directors need fifteen seconds with an actor to know whether they are right or not.”

9. Essence What the director is seeking…Directors envision physicality, but essence trumps physicality. Keeping an open mind can lead to astonishing and surprising choices. SO…keep an open mind!

10. Identify your needs Age range Physical requirements Dialect skills required Physical skills required Personality and “essence” Special requirements For musicals: vocal range

11. Creating Casting Sheets Develop a system for analyzing each candidate as they audition Make sure your system is organized so you can review your notes

12. Casting Notices Casting Notices

14. CHECKLIST Name of Play Writer and director Company name Location of production and rehearsals Location, date, time of auditions Materials required for auditions Roles and descriptions How to submit the audition Union or non-union; paid or not paid Type: open call? interview? agent submission? Special requirements: nudity, smoking, etc.

15. Example Red Apple Theatre Company announces auditions for all roles in M. Wainstein’s production, opening May 11, 2013 at the Red Apple Theatre. 104 East 42 nd, New York City. Roles available: Prior Walter (20s to early 30s)emaciated, emotionally vulnerable; Louis, his partner, late 20s, Mormon from Salt Lake City; etc. Auditions at the Ansonia Hotel, 72 nd and Broadway, Suite 1509; Thursday February 7. Submissions accepted by email only; no open calls; by appointment only. All roles paid, rehearsals and performances. Show runs May 11 for an open-ended run; performances Wednesday through Sundays. Emails to angels@mac.com.

16. Advertise your notice ONLINE IN PRINT Local outlets o Hotlines o Facebook o Local newspaper o Callboards

17. Types of Calls Equity Principal and Chorus Auditions (At AEA) Agent Submissions (Large production companies) Non-equity open calls (Cattle calls) Large Unified Auditions (SETC, Straw Hat, etc.) Non-equity auditions by appointment

18. Planning The Audition Arrange for the rehearsal room Obtain chairs, tables, music stands as needed Determine time and length of audition Create an appointment grid Hire or arrange a Hall Monitor Hire or arrange for a Reader Create a sign-in procedure Hire a good accompanist, if needed Prepare sides Provide casting information in a single-sheet handout Create an Audition form to note conflicts

19. AEA Audition Room Chicago

20. Audition Formats Monologues Cold Readings o Can actors take direction o What can be accomplished with preparation Observe o Pay attention o Honor the process o Give the actor the respect they deserve Make necessary notes o Put notes directly on the resume/headshot

22. Warning Signs Bad or indifferent attitude Resists direction and unable to take direction Ill-preparedness Sloppily dressed Talks about other offers Sloppy resume Rude to hall monitor Overly patronizing Late or full of excuses

23. Callbacks Go over notes Decide who to callback Organize the callbacks

24. Casting Musicals The Vocal Audition The Dance Audition The Callback

25. Final Thoughts Don’t rush the process Don’t waste time either Imagine groupings…think of the ensemble Chemistry is important Trust your gut