Advice to an audition panel on how to behave in a casting.

A dear acting friend contacted me recently and wanted to share something he had written about castings – and how an audition panel should behave towards the actor. Actors are always being given advice on how to prepare and what to do in audition situations – so I thought this idea of turning things round was rather nice.

We’ve all heard those embarrassing tales of actors falling victim to the rude director who never looks at him, or the pianist who plays the song far too fast and in a totally different key than the one intended. 

So here is a piece written by a young actor friend. Read it, enjoy it, share it – it’s certainly made me re-think my audition etiquette, dear.

Some advice to the audition panel. From an actor.

I’m an actor – a bog-standard normal jobbing actor. I’m out of work lots, but I’ve also had some great jobs I’m very proud of. Some of them have been profit share, some equity minimum, and some £50 more than equity minimum (those ones are rare). It’s a tough job – it’s not the hardest job in the world, but it gets me down occasionally. I’ve got really close to getting a lot of good acting jobs over the past year – but always been pipped to the post at the last hurdle. All my friends tell me I should be really proud of ‘getting to the final’ and ‘having a recall’ – but I’m not. None of that matters until I get the job. And sometimes in a final audition I feel like I’m only there to make up the numbers anyway. So naturally I’ve tried to develop a tough skin – like we’re told too. But I can’t. No matter how much I tell myself that a job doesn’t matter, and that this one won’t change my career – I end up wanting all of them – and put such pressure on myself to do well that I can’t think of anything else. I literally focus all my energy on the audition. I listen to the soundtrack constantly, go over the script excessively, and repeat the lines all the time – in my sleep, while driving, even in the bath. Everything revolves around the audition. It’s like a powerful drug that takes over – I have to do the best I can to try and get the job. I’ll do research online, stalk the director on twitter, read as much background material as possible, and make damn sure I learn anything I’m told to ‘prepare’. I suppose it’s one of the reasons why I’m an actor – the competition, and knowing that your life can change any minute. And I try so hard because I feel I owe it to myself. I’ve made so many hard decisions in my life to try and be an actor, and given up so much else that my friends with normal jobs have – that I constantly feel I MUST succeed. Not to mention the guilt I feel for my parents – the money they gave me to go to drama school, and the sacrifices they made to allow me to follow my ‘dream’.  But unfortunately, more often than not, the dream often feels like a nightmare.

One of the biggest things I’ve started to dislike about being an actor is the lack of respect we get. Now I've chosen to be an actor and I’m trying my best – so surely that in itself deserves a modicum of respect – particularly from those working in the business. And this is why I’m grumpy at the moment. It’s hard enough getting an audition and even harder getting that foot in the door – but when you’re in that door, in front of the panel of director, producer, musical director and cleaning lady – there should surely be a mutual respect between everyone. The casting director and team are there doing their job – and us actors are there doing our job. So we are a team of professionals in a room trying to help and work with one another. In any other line of business if you have an interview you will be looked in the eyes, asked how you’re feeling, introduced to everyone, and thanked for your time. But this is the acting business – and different rules apply. Of course these rules mean that if a casting director or director read this and think I’m moaning chances are they won’t offer me an audition again. Hence me writing anonymously.

I had an unfortunate experience a couple of months ago when I had a second recall for a west end show. I was sent lots of material to learn – which I did – and prepared everything to the best of my ability. I drive my flatmates mad when I have an audition – they have to put up with me wailing in the morning, afternoon and evening. Anyhow, I’d learnt all the material and was at the audition venue, and was told that the audition was running late. Fine. No problem. I didn’t mind. I didn’t have any work to dash back too, and anyway I would never want to appear rude by saying ‘actually it’s not good enough – I’ve got to be somewhere’. So I sat very patiently for twenty minutes outside the room while another actor was inside. Now this was your typical audition room –where you can hear the other person inside. And I hate that. In future if anyone is making a purpose-built audition venue please soundproof all the rooms – there is nothing worse than hearing everything that the other brilliant actors are doing before you (and they always sound SO much better than me). Eventually the door opened and I was granted entry into the divine audition room – only for the panel to tell me again that they were running late and ‘would I mind singing just one of the songs’ they’d sent? Of course I nodded, although inside I was incredibly upset. The actor who was in before me was up for the same role, and had been through all their material – and they had obviously already made their decision. So after my week of preparing, learning, and digesting the three scenes and three songs I was asked to perform only one. I did – they thanked me, and I left.

Obviously I knew I hadn’t got the job  - but at least in an audition there should be a common courtesy. If an actor is sent some material to learn – whether it be one page or twenty five – they should be allowed to perform all of it. Now I’m not blaming the director – I don’t know whose fault it is on these occasions. I think general emails are sent out by the casting department to actors up for specific roles – and they just tag on the same scenes to everyone. But it should be checked with the director, and made sure that the actors will definitely be performing it in the audition - because as an actor we can spend days learning it. And it is not fair to then take advantage of us by not allowing us to show what we have prepared.

However, I digress. I just thought it might be rather useful for me, a jobbing actor who has had some awful experiences in auditions, to offer some advice to the panel.

So – to the audition panel. Here are some guidelines on how to behave when holding auditions:

Please introduce yourself. It is hard for us to stand in a room full of people we don’t know – it’s made a lot more comfortable if you introduce yourself. It puts us at ease, and we feel like you are on our side - and have a genuine want for us to be there.

Look at us when we perform. Believe it or not we can still see you when we’re performing our material for you. So please show us the courtesy of watching fully what we are doing. We are performing for you in the hope of getting the job, and that you see something you like. You won’t be able to see if we are suitable if you sit there doodling on my headshot for the entirety of my rendition of ‘Corner of the Sky’. It makes us feel like we’re doing a bad job and that you think we’re not suitable for the role. I understand it can be uncomfortable to watch us if we’re terrible, but even if we are, we’re still trying our very best for you.

Don’t wear sunglasses in the audition room: There have been many times when I’ve been in an audition and the producer or director is perched on the end of the table wearing ridiculous sunglasses. I understand you may have a hangover – but please don’t go out and get hammered the night before you know you’re going to be spending the day in an audition room. I don’t care who you are – whether you’re the producer, director, musical director, or director’s thai boyfriend – take your bloody sunglasses off! It’s not bright in the room, and it doesn’t make you look important – it just makes you look like you’re trying far too hard. In fact scrap that - in future auditions I’m going to perform wearing my sunglasses so we’re on equal level.

If you’ve sent us material to prepare – allow us to show you how we’ve prepared it. This is a big one. Please, please, pretty please mr god of auditions – if you’ve sent us something to learn, let us show you. We‘ve usually spent days, paid for singing lessons, and even taken time off work to learn the material – so it is only fair that you let us show you the work we’ve done. Even if you’re running late. Bad timekeeping is your issue and is not something we should be punished for. 

Let us start again. If we make a mistake during our speech or song please allow us to start again. It’s happened so often to me – and I’m usually told ‘it’s ok we’ve heard enough’  - but I hadn’t got to the bit I wanted you to hear yet! Please always offer us the chance to show you something again.

If possible, don’t have all the same actors who are up for the same part auditioning at the same time. This is annoying, and awkward. It’s so embarrassing walking into an audition only to see another 5 people dressed like you, hair styled like you, and holding the same bit of script as you. Immediately in my mind everyone else is far better than me – they look better suited for the part, they’re a better height, they’ve got a nicer shirt on, and their teeth are whiter. Then for them to go into the audition room WHERE WE CAN HEAR THEM BEING BRILLIANT! It’s really humiliating, and makes me analyse everything in my head and think I’ve already lost out on the part. So please, for the love of actor’s sanity, split up the times when you see each role. It won’t take long. I promise.

Don’t rush us when go through sheet music with the pianist. It’s awful when the pianist starts playing our song in a totally different tempo and different key than we’ve asked for. Please give us ample time to go through the key changes, tempo, repeats, and even difficult chords with the pianist. It’s so important because it’s never the pianist that looks bad in the audition – it’s us.   

Smile at us. You know those corners at the side of your mouth? Well could you raise them slightly? I know it sometimes hurts, but my god it is nice to see. It makes such a difference to have a panel of people smiling at us – which automatically puts us at ease – than a line of monotone looking faces judging us from the outset. It’s funny – but if you don’t smile, we presume that you don’t like us. Obviously I understand that it could be 4pm in the afternoon and you’ve been in a stuffy audition room since 9am – but the action of a smile makes the whole experience better for all of us. Honestly. If we as actors walk into an audition with a stern looking face and don’t smile we tend to get bad feedback to our agent that we weren’t ‘very friendly’. Well the same applies to you my lovely audition panel colleagues.

Let us know, and ask permission before recording our audition. These days it is very common that auditions are filmed. Particularly when the director can’t be at the audition (so you audition for the resident director). I understand it is useful, as it saves us coming in for another audition - if the director watches the footage and thinks we’re wrong. But it can also be off-putting seeing someone at the back of the room with a video camera focusing in on your every move. But I get it and don’t mind, as long as you ask us. There’s always the worry in my mind that the footage is going to somehow get leaked onto the internet and I’m going to look like an embarrassed idiot online for the rest of my life.

And when I say ask, I mean ask EVERY TIME. If you say on the first audition that you’re going to record me don’t presume that I’m happy for you to do it every time – it’s only polite to ask me at every audition and recall (if we’re lucky enough to get one). I may even start bringing a video camera into auditions and record you – lovely audition panel - just so I can show it to my fellow actors and we can judge how good at auditioning you are.

Thank us for our time. We’ve given up our valuable time to try and help you cast your show. We’ve paid travel expenses to be there, and often taken the day off work. So please be polite and thank us. Even if it’s just a quick thanks – it makes all the difference – and means we leave the audition feeling like at least you were grateful we were there.

And that’s it. We’re not asking for much really – just a bit of friendliness and mutual respect. After all, we’re all professionals working in a tough industry – but if we treat each other with a bit more respect it makes everyone’s job a lot more enjoyable.

JESUS CHRIST!

THE CANCELLED JCS TOUR - AND OTHER MUSINGS:

My dears –

I have recently spent an awful lot of time with some dear actor friends. Some of whom have been going through particularly hard times with various shows being cancelled last minute, and lack of work becoming commonplace for them. It is a worrying time when more shows seem to be closing by the year. And of course this fact makes it even harder for producers and investors to put shows on. There is no formula for what makes a successful show. What seems like a bankable hit on paper may turn into a million losing disaster. Times are hard.

But sometimes I think we forget the impact that this industry can have on the people working directly in it. I have been deeply saddened and concerned for some of my colleagues who have been involved in these closing shows recently. I can only imagine the pain, both financial and mentally, that must occur as a result of losing something that you were sure was going to happen. It is hard enough getting an acting job these days – often there will be a gruelling process of 4 or 5 different recalls, sleepless nights trying to learn material, and hours spent in H&M trying to purchase the correct tight t-shirt – but imagine the disappointment of getting an acting job, rehearsing it, and then learning 3 days before the show was to open that it had been cancelled. Awful, terrible, devastating.

So I really do feel for everyone – cast, crew, creative – who were involved in the recently cancelled Jesus Christ Superstar USA arena tour. Indeed, as some of the cast have said, in the first instance I thought it was some kind of bad joke. To cancel a job three days before the cast and crew were supposed to be flying out seems simply ludicrous. But of course, as we all know, different rules often apply in this silly business we call show.

I was informed that the cast had just done a full run through, and the associate director and creative team were thoroughly impressed and excited about the state of the show. In fact, one of the creatives was so proud of everyone that he left his card behind the bar so that everyone could get a drink. I believe they may even have been treated to the odd salted nut to suck on too. But sadly their celebrations were quashed rather too soon when one of the creative team got a call from the company manager – who was in New Orleans – telling the awful news that the JCS tour had, in fact, been cancelled. This was then relayed to the rest of the company who were in the bar. Obviously this wasn’t the way the producers had wanted the news to be shared, but the member of the creative team who was told the news felt it only appropriate and fair to do it while everyone was together.

The show’s director, Laurence Connor, was in New Orleans, directing Jonny Rotten, Ben Forster, Brandon Boyd and others into their bits before the rest of the UK team were arriving on the Monday. The cancellation of the show was as much of a shock to them as it was for the rest of the company.

Now, can you imagine how awful this talented team must have felt? The tour had been booked since last November – and many of the cast, crew and creatives were requested to commit then – so had turned work and auditions down to be in the tour (this can be commonplace – but usually the job that people have been waiting for actually goes ahead…). People had sub-let their rooms, booked flights back to London, had families and partners book tickets and flights to go and see the show. There was even a case of a cast member paying over £1000 for a return flight to come back to London for a wedding during the tour (and has now lost that money).

So where was the problem? Lack of advertising? Lack of promotion. Apparently tickets just weren’t selling well enough – forcing one of the American backers to pull out - but if the tickets were selling that badly it would have been obvious months ago. I find it very hard to understand how any producer could allow a company to rehearse, knowing full well that they would be cancelling the show. It would be far wiser, and far kinder, to have cancelled the show at the earliest opportunity – rather than have the entire cast and team give their heart and passion to a project that was never going to happen. I haven’t heard a whisper from Lloyd Webber about his thoughts on what happened, I hope he is alright. After Stephen Ward I can imagine it must have been something of a blow. There is no question that Jesus Christ Superstar is a brilliant piece. But something went wrong with it in the US. Over here in the UK it sold out.

The tour’s American promoter, Michael Cohl, said that ‘ticket sales did not support the tour’. He said in an email that ‘It became obvious the shows were in trouble, but we tried until the last moment to give it every chance to turn around. In the end, it just did not make business sense to continue, and we didn’t want the cast to endure playing to disappointing audiences.’ In April Mr Cohl said that the tour would need to make ‘several hundred thousand dollars’ each night to keep it afloat.

Could it have been that the stars simply weren’t big enough (it is sad that we have to rely on celebs these days – but it is a fact that we simply must accept) – or indeed that the venues were simply too big? I don’t know. Maybe the show wasn’t promoted properly in the US. In fact Ben Forster had said that he was concerned by how little interest the American news media seemed to show in the new production.

If they’d managed to convince Miley Cyrus to twerk her way through as Mary Magdalene I’m positive it would have sold out. Even more definitely if Ozzy Osborne had been convinced to give his Herod. And Victoria Beckham to play 1^st cover…

As for what has happened since the cancellation – well I honestly don’t know. I have been informed that the actors have been offered something in way of remuneration. The problem is that the tour was not an equity contract as it was an arena tour. Currently, Equity doesn’t have a contract for arena tours in place - and this is something that must be changed. Especially as they are becoming more and more frequent. Over the past few years there have been arena tours of Batman Live, War of the Worlds, and Walking With Dinosaurs to name a few. And in each of these productions a huge amount of actors are used – often far more than in regular theatre shows. The sad fact is that these actors are touring without any backup by their union. If, at any point, a tour is cancelled, the producers are not obliged to give any notice at all. In theatre the ruling is a notice period of two weeks (which in itself is too short). I, for one, encourage Equity to do all they can to look into creating Equity Arena Contracts – and as soon as possible. This would at least provide some sort of stability for artists in these kinds of jobs.

And while we’re on the subject of shocking closures I must say I can’t quite believe how quickly I Can’t Sing closed. I thoroughly enjoyed the show, laughed out loud through it, and thought the whole production was superb. I was very sad when the announcement came of it's two-week notice. Especially after all the hard work and money that had been pumped into it. I fear that the whole thing was treated as a little venture for Simon Cowell – and he obviously wanted his musical in one of the biggest theatres in the west end. This was a mistake. The show should have been trialled on tour, and then transferred to a much smaller venue. In my mind, one of the main problems was that audiences who watch The X Factor like doing that for free, at home, on their televisions. They are not prepared to pay up to £90 to see a musical about it, no matter how good the reviews are. Anyhow, my heart goes out to all involved.

The Full Monty team experienced the same distress when, after marvellous reviews, it was suddenly given it’s two weeks notice. It is very worrying. But, I hasten to add, understandable for producers and investors. If a show is not selling and covering costs, it simply does not make financial sense to keep it running – when a show could be losing hundreds of thousands each week. I suppose this brings questions about whether there should be certain criteria before putting a show on – like enough back up if a production is not selling to allow it to continue for a certain amount of time – of course this is only possible with huge investment. This idea is at once idealistic and naïve, but one that has frequently been brought up by colleagues over the weeks, so I felt I should share it.

Producers often get it in the neck for not paying their actors enough money – but sometimes it is the only thing that is negotiable. For example, if we are putting on a show that has no interval – the theatre will expect us to cover the loss of money on bar takings. Which weekly can be huge. And where do we go to chelp with this extra expense? The lighting designer? No. Musical Director? No. Director? No. The marketing budget? No. Sadly it’s the actors – as they will be prepared to work for less money. And if one of them won’t be, another one will. And this will only continue until the acting union gets stronger

I recently visited Broadway again – one of my favourite places in the world. In the USA it strikes me that American Equity has provided some positive options for artists in shows – particularly the ‘out’ clause. When performers, particularly ensemble performers sign contracts in lengthy contracts on Broadway there will often be an ‘out’ clause. This clause allows the actor to give 4 week’s notice that they will be leaving the show – allowing them to move on to other projects, or simply leave if they are not enjoying their time in a production. This gives the performer some power, as it means the company and management they are working for will feel obliged to treat them well, and pay them well – as in the long term it would be more cost effective this way than having to re-rehearse a new actor into a show every few weeks. And sometimes this clause can be made even smaller – for example a two week 'out' period – if negotiated before the job is accepted. This clause is obviously a great advantage to the actor – and gives them a good amount of power – in fact in many respects it allows them to be on equal terms with their employer. While obviously a clause like this is not ideal for us producers, in fact it could be a bloody nightmare, but in an industry where the actors sometimes seem so undervalued I think it is something they deserve.

Before I sign off, let me quickly mention the marvellous #JCSGlasto campaign that has been going around on twitter. For those who don’t know, some of the cast are trying to put on a version of Jesus Christ Superstar at Glastonbury this year – which I think would be terrific. The whole show had been rehearsed, and was ready to take USA by storm – so why not let it happen at Glastonbury? Whether it be a concert version or a full staging, Glastonbury is the perfect venue for JCS. It is also a fabulous opportunity for Lloyd Webber to turn this whole thing into a big positive. I hear that things are moving forward – I urge you all to back the campaign, and tweet about #JCSGlasto to show your support. It would be such a wonderful experience for all those talented performers who are ready and excited to perform their already-rehearsed show.

Apologies if I’ve gone on. But sometimes I feel that the people who do all the hard word, night after night, are not given the appreciation they deserve. And the problems they face, whether it being shows cancelled, short notice periods, or lack of respect from the business, needs to be shared.

Anyhow, now I’m going to put my Miss Saigon hot pants on and go sunbathe for the afternoon.

Bless you.

Kindest wishes,

West End Producer.

@westendproducer

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An open letter to our new culture secretary, Sajid Javid MP

Dear Sajid Javid MP,

Firstly may I congratulate you on your appointment as culture secretary following the resignation of Maria Miller. You come to your post at a very important time, and as such, I have a few requests.

Firstly, unlike Ms Miller, I urge you to actually go and watch theatre and entertainment. The only way you get to experience the unique talent our country creates is by getting out there and watching it for yourself. Please do not send your secretary, PA, best mate Brian from Croydon, or anyone else whose judgement you trust. You are the culture secretary, and you should witness the excellence that is being produced.

Then, after experiencing first-hand that our country is the world leader in creating and developing theatre, you will realise how important the funding of this art is. Without the essential support of local authorities and the government, the future of theatre in our country will disappear. Indeed it already is. You are the man who can change this ridiculous pattern – and either help reinstate support to those suffering theatres who do so much for their local communities, or at least review the way the cuts have affected these vital institutions. Every day we hear MPs talking about the need for more effort going into building the strength and value of local communities – and financially supporting theatres is one way that can instantly help with this. A theatre is a community – a family – a place where people go to entertain, and to be entertained. It is a necessity.  And it is also a creative space where communities get to rehearse, practice, perform, and create. Indeed, with even more local youth centres being forced to close, the theatre and amateur groups that are connected with theatres allow another place for these youngsters to go and socialise.

My dear Javid – I beg that you do not, like Ms Miller, try to appease the arts by giving us the chance to make an economic case for the sector. Art needs funding, it needs finances – and in return offers rewards in other ways.

As i’ve already stated, as a consequence of these arts funding cuts, creativity is suffering and theatres are closing (we only have to look at the Brewhouse Theatre debacle last year – which luckily seems to have been resolved for the present  - http://www.bbc.co.uk/news/uk-england-somerset-22638005 ). Recently many shows are even closing before they have even opened. We are known to have the best actors, directors and writers in the world – most of this talent beginning in subsidised theatre. This new talent and work will end if everything is reliant on profit. Who will take a chance on new writers and talent when the pressure of profit is so overwhelming? No-one. The whole system as we know it needs to alter. I know the government encourages theatres to try and cover the cuts by finding private funders and philanthropists – but this is difficult. Especially for those regional subsidised theatres – in fact a recent report from Arts and Businesses showed that donations in London grew by 10% - but for the rest of England it dropped 5.3%. Even more worrying is that 90% of nationwide individual giving goes to London, leaving only 10% for the rest of the UK. So for these arts organisations outside of London they have to spend all of their time and resources trying to get money elsewhere – time which would otherwise be spent on creating valuable work for their local communities.

One of the main problems is that arts are not considered a vital part of our lives – and are constantly labelled inferior against sport, education and healthcare. Indeed it is vital for the health of the nation to be cultured. Art provides a communication, and a response to human nature that brings us all closer together. It is a major part of our culture – and if we don’t start supporting it now, our children will solely think of theatre as a part of history.

When did you last hear a politician speak passionately about the arts? What we need are politicians who affirm them - and not solely worry about the expense of them. The general public recognise its value – so why can’t our esteemed politicians?  So, Mr Javid, I am asking you to fight for the arts and make sure they are not disposed of as an unnecessary expense. Our actors and directors are international ambassadors – and the art they produce is an international commodity. And without the support of an understanding government our place in the world as leading creators of arts and artists will fall.

What we need is someone like Jenny Lee  - who was Arts minister from 1964 – 1970. She was, like Maria Miller a female Labour Minister, but unlike Ms Miller, Jenny was admired and loved by the arts community. Lee was a passionate supporter of the building of the National Theatre. She believed there was a danger in politicising funding for theatre as this leads to what she saw as stagnant art.

Jenny, being a Socialist, recognised the Social value of Theatre unlike current politicians who see the cost of everything but not the value . She showed that politicians actually can be good news for the arts – if they understand and have a passion about them. And that is what we need again. Someone who wants to save arts, and not merely squeeze every ounce of profit out of it. Hopefully our new culture secretary will have some of this lost passion.

Already this year there has been good news for theatre and the performing arts because of the proposed tax relief.  This 20 – 25% relief will hugely help our industry – and I ask you Mr Javid to make sure it gets put through correctly and is easily understood and implemented. This relief will help everyone – from long running shows, to producers mounting a production for the first time. Lets hope that this is not the only good news for our industry this year.

To end – I say we need to carry on supporting and nurturing this community that has made our country leaders and ambassadors of this art form. Theatre is our countries greatest asset – it is not complacent to say ‘nobody does it better’ – we entertain and transport people from their worries, we give audiences an uplifting experience, we challenge, provoke, debate, and shock  - all of which is the healthy lifeblood of a cultured society. Squander it by neglect and we become unthinking and uncultured.  Mr Javid - now is the time we have to act before it is too late– once support for our arts has gone – how will we ever get it back?


With all best wishes,
West End Producer


@westendproducer

http://www.westendproducer.co.uk/

John Travolta's Oscar Speech.

JOHN TRAVOLTA'S FULL OSCAR SPEECH:

Thank you. I love you. There has always been a special place in my heart for the movie musical, and for the songs that create their most memorable moments. Here to perform the Oscar nominated, gorgeously empowering song, Let It Go, from the Oscar winning animated movie Frozen, please welcome the wickedly talented, one and only, Adele Dazeem.

JOHN TRAVOLTA'S FULL OSCAR SPEECH (IN HIS OWN SPECIAL WORDS):

Think spoo. I live you. Lets wee always be a speedy plaice in my hair for the moody muffdiver, and for the snogs that create their most menstrual moomins. Here to perfume the Oscar nom-nomated, religiously devouring wrong, Let it Grow, from the Oscar spinning antiquated mosquito Fridge, please spank and come the wicked, one and phoney, Adele Dazeem.



http://www.westendproducer.co.uk/