TIP#42– “Everybody is looking for something different and it’s frustrating.”  This is comment that came up the other night from a recent workshop I was conducting – it was in reference to the subjective nature of the audition room.  Others chimed in – “One Casting Director wants you to look straight at them, and another wants me to look just above the panel.”  “Sometimes they want you to only sing 16 bars and another panel looks at you like you’re crazy and asks that you do the whole song.”  “That other director let me use the chair in my scene, and this guy said no – insisting I stand.”

Believe me, I get it.  Everyone has their own preference, their own way of ‘doing things’ and it can be confusing and irritating – especially when you, the actor, are trying to figure out the ‘rules’ and it seems like the rules keep changing. But here’s the rub – in terms of the audition room, (and indeed the individual preferences of the Casting Director, Creative team, etc) THERE IS NO ONE HARD FAST RULE.  The sooner you realize this, the better – for this small truth will set you free.  Thus every audition ‘tip’ you hear from me (and others) reflects my personal taste and experience – and this viewpoint will either be shared or dismissed by others.  I don’t like overly-glam headshots.  Others do.  I encourage actors to hold their sides in auditions, others prefer you to completely memorize.  I hate props; others love ‘em.

Bottom line?  The only way that you, the actor, are going to be able to negotiate all this (and learn which CD’s, Director’s prefer what) is by trial and error – by going to the audition and seeing for yourself what worked/what didn’t.  (“Ok, that guy soooo didn’t want to shake my hand.  Duly noted.  Next time, no handshake!”)  Here’s an analogy I use, that seems to make sense to the actors I work with – think of the audition as if it’s party, (with the CD’s as hosts).  You’ve been invited and now you just have to figure out what kind of party it is.  If you arrive at someone’s apartment door and you see all the guests’ shoes lined up in the hallway, well you know that the hosts want you to take off your shoes before entering.  (Forget about fashion!  These folk are anal and want everything spic/span. The next time you attend you might want to make sure you have no holes in your socks…) If you know the ‘host’ to be fancy (with past invites asking everyone to wear ‘cocktail attire’) you know that showing up in jeans/sneakers might just not cut the mustard.  Thus, a pot-luck is different than a sit-down dinner party, and a BBQ is different than a tea party.  Once you make the rounds (and get to understand what ‘everyone’ wants/prefers) you will have more clarity on this which will, in turn, allow you to join in, ‘work’ the room and have the confidence to nail that audition.

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#41– I was recently asked this question – “I’ve been called-in to audition (by the Director) for this great part in a new play which I really want to do. The only problem is – I am going to be out-of-town for one of the performance dates.  Should I mention this now, or just go into the audition and bring it up when/if they actually offer me the job?  I think they’re going to have understudies and I really want to be seen for this role!”

Without hesitation, I told this actor, that the Director must be told ‘tout de suite’ about the conflict.  Get everything (rehearsal/performance conflicts, days you might be away for weddings, graduations etc) out on the table BEFORE going into the audition, otherwise it could cause you (and the Director, Casting Director) serious problems down the line.  From a casting perspective, there is nothing worse than (after possibly seeing hundreds of people after days of auditions) finding out that your number one choice for the role, is not available.  Does this actually happen you ask?  You bet.

A couple weeks ago, I was holding auditions for an immediate replacement in a Broadway show.  (The ‘immediate replacement’ part was stated clearly on the breakdown and reiterated to every agent on the phone when my associate was putting out calls.  Whoever this replacement was, he/she had to be able to start the day after the audition!)  After two days of seeing people, we finally got down to our final three contenders– one person being a clear favorite with the entire creative team.  In the audition room, I mentioned to this actor that we wanted him/her to come in the following day for one final callback.  I got this response…  “Oh I can’t come in tomorrow, I fly out tonight.”  I immediately panicked but calmly asked “Where are you going?” to which the actor replied “I’m doing a show in Houston until the end of the month.”  The creative team looked at me, and I had ‘egg’ all over my face.

Sure, I had done everything in my power to ensure that our top choice was going to be immediately available, but it didn’t matter.  I was the Casting Director and the buck stopped with me.  I had, in effect, ‘wasted all our time’ (not to mention the money spent for studio time etc) and therefore had to bear the brunt of the responsibility. I was miffed at the actor, but I was going to kill that agent!

Eventually the agent and I were able to work things out amicably and the actor still booked the job, (thank god) but many times it doesn’t end so neatly.  I completely understand that actors want to be seen at all costs – and it’s tempting to think:  A) “If they want me, they’ll be able to work things out.”  B)  “It’s a big call and I probably won’t book it anyway, so I’ll not mention my conflicts until it’s an issue.” C)  “I know I won’t be avail for this job, but I really want to be seen by the director, so I’ll go in, make a strong impression and hopefully I’ll get cast in a future production.” But please note, THIS IS FAULTY THINKING and can lead to a BAD IMPRESSION.

Bottom Line: 1) If you have a conflict with the rehearsal/production dates please alert your agent (many times actors don’t let their own agents know!) to this fact.  2)  If you don’t have an agent, let the Casting Director and/or Associate know prior to coming into the room.  You will not get docked any points for not being N/A.  We may be disappointed that you’re not able to make our call, but you’ve let us know in advance and we SO appreciate this!

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer – is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#40–  Scenario One: It’s a rainy Thursday night in New York and I’ve found a quiet little table for two – well-off the beaten path.  It’s been a tough month and I’ve vowed that my significant other and I are going to have one meal together where we can sit, talk and quite frankly ‘get caught up’.  Blackberries are turned off.  Our bags filled with work files are shuffled away under the table and a (semi-expensive) bottle of red wine is ordered.  Perfection – right?  Not quite.  “Duncan!” I look up and there is a young woman staring down at me.  (Do I know this person??) “Hi.  Do you remember me?  I came in for you a couple of months ago – at the original call.  I don’t think you asked me to stay.  How are you, things good?”  I say that I am fine, make a polite introduction at the table and try to imagine what that full glass of wine sitting in front of me is going to taste like. I don’t get the chance, “Hey, can you tell me what you think I need to improve upon?  I didn’t feel great about my acting that day.  Wasn’t really in the moment, you know?  Is there anything you think I can do in the future?  Would love to be in that show.”

Scenario Two: I’ve been waylaid in my office (fighting some casting fire of course) and am racing from Times Square to Ripley Grier Studios where I’m just about to step into a full afternoon of auditions.  Traffic is too busy for me to grab a cab, so I decide that if I walk very quickly I can make it there in ‘under 15’.  With a briefcase (full of audition files, resumes, headshots, pens, post-it notes, etc) in one hand, and my cell phone in another, I hurriedly put out a call to my Associate, letting him know that I might be 5 minutes late.  I’m in the middle of the conversation (“Please open the room up and let the dancers know they can warm up in there.”) when someone hits my arm.  Caught off-guard, I turn around.  It’s a woman I taught a while back in one of my classes – quite a good actor.  “Hey Duncan, how are you?”  “Oh hey, fine.”  I reply as I continue to barrel my way down 8^th Avenue.  The actor, who was walking north decides to do a u-turn and starts to follow me – “Hey, I auditioned for so-and-so Studios and they’ve cast me in this showcase on the 19^th.  I’ve got some great scenes in it.”  I tell my Associate (still on the phone) to “hold on a moment”, and give every indication (sweating brow, one hand on ear with phone, the other hand holding onto my heavy bag) to the actor that I’m in an extreme hurry.  “Hey, that’s great.  Kudos to you.” I say, but before I can utter another word, the actor says “here let me give you a postcard” and proceeds to rummage through her bag to find a flyer.  By this point in time, (so as not to be rude – I guess that’s the Canadian in me) I stop and wait for her to find the notice.  Find it she eventually does.  I thank her and walk even faster… arriving at the studios 10 minutes late.

Scenario Three: It’s 10:20am and I’m waiting in front of the elevators in the lobby of my office building.  I have a conference call with London at 11:00am and I’m running through all the things I have to do before then to ensure that the call goes smoothly.  I’m trying to figure out how best to send those excel documents out, when the elevator door opens and a few people come out including one guy who is on his cell phone and in the middle of a conversation.  He looks vaguely familiar so I give a polite smile as I walk into the elevator.  The phone drops from his ear; he spins on his heels and says “Duncan! Hey, I’m Glynis’ friend – the guy who took the acting class with her?”  I don’t know what he is talking about and the doors are about to close (I’ve already pressed ‘12^th floor’).  Imagine my surprise when he jumps back in the elevator with me. “Yeah, Glynis said I would be perfect for Chicago.  Role of Amos.  So what do you think?  Will you bring me in?  When are you next holding a session?”  With my mind still on all that I have to do for my impending deadline, I politely (again, being the good ‘Canuck’) let this actor know that while I’ve presently got no auditions coming up for that role, he should keep an eye out for future online breakdowns, announcements etc.  The elevator door opens, I get out and the guy follows me to my office.  He doesn’t offer me a resume/picture, preferring instead to reiterate that “Glynis knows my work so call her.  She said I’d be perfect”.  “Ok” I say as I try to get back on track on what I need to prepare.  Meanwhile, he realizes he’s kept the other person he was speaking to his cell phone, waiting all this time… (???)

Bottom Line: These three scenarios happened – they are not fictional examples.  So what’s my point?  It’s this – networking is fine.  I get it.  I support it.  (I love actors and completely respect the art and craft.)  Actors want to (and should!) let everyone know what they are up to.  BUT – there comes a point, when being ‘proactive’ (to the point of being pushy), doesn’t serve you.  There’s a time and a place for everything, so pick your moments carefully.  Exhibit tact and discretion.  Don’t come across as desperate. Finally, be remembered for the right (i.e. not wrong) reasons…

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#39– You’ve got an audition tomorrow and yet you are not feeling well, so what do you do?  Do you commit to the audition and risk showing yourself off in a less-than-best light?  Or do you cancel (either personally or through your agent) and thus take yourself out of the running for the job and perhaps risk pissing-off your agent or the Casting Director?  All good questions and ones that came up this week – both from an actor friend that was in such a predicament and also from someone who was in a seminar I was teaching. So, what to do?

First, I think you need to assess the particular situation, for every audition is different. Is this a final callback where everyone already knows your work?  Is this a small invited call where the stakes may be higher or is this essentially a cattle call where you may not even be missed amongst the hundreds of guys/girls being called in?  Is this a situation where your agent has been campaigning with the Casting Director for months to get you in the door for this TV show, and finally the opportunity has been granted?  (The agent I was with on the panel the other evening, said that he has forced actors to go to auditions under such situations – “I worked for months to get you seen and there is no way you’re not going to this.”)

Second, I think you really need to ask yourself the hard question – “How Sick am I?” Are you really on death’s door and feeling crummy or is this a case of nerves and jitters?  Will this cold/flu really prevent you from hitting that top note or are you being neurotic?  I’m going to be honest here – while we are sympathetic to the fact that there are extreme illnesses, etc that can force one to be bedridden, we also work in an industry where there is this concept of THE SHOW MUST GO ON.  We’ve seen actors both onstage and in auditions that come in, ‘work through’ their sneezes, sniffles and sore throats, and deliver astonishing results.  For every actor that bows out of their audition because they are ill, there are other actors who have a mantra of NO EXCUSES and don’t let minor sicknesses get in their way. I respect actors who exhibit such commitment, dedication and tenacity and in my experience, they are the ones who consistently book the jobs.

The one thing that irritates me beyond belief is when, on the day of an audition (all the session sheets have been typed up/printed and thus there is no chance to make last minute, on-the-day additions) I get the agent call that ‘so-and-so’ is sick and therefore can’t come in. Look I’m a good guy, but when I hear this, (whether it’s unfair of me or not) it certainly doesn’t leave a favorable impression.  Does someone really wake up that audition morning and find they so sick that they can’t come in for a 15 minute call?? Why didn’t I hear something earlier from the actor or agent?  If I did, perhaps I could have called in a few actors I was ‘holding’ and given them the chance!  Now, if I know you (the actor) and trust the agent – then ok, I understand that things happen, but it’s still frustrating.

In the end, I think it’s best to commit to your audition when at all possible.  Sure, if you don’t have the ‘required’ high C for that Phantom call, then ok – maybe you need to discuss this with your agent and see if you can be brought in for a future call.  But unless it’s a specific situation such as this, bundle up, take your Vitamin C, eat that chicken soup and leave all excuses at the door.  Push past your illness and walk through that door.  We want you!

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#38– Aside from talent and expertise, another crucial factor that we on the audition panel take into consideration when deciding who to hire, revolves around one’s reputation in the business.  A good reputation can get you hired without an audition.  A good reputation (“We loved working with this guy!”) precedes you before you even walk into the room.  Conversely, a bad reputation can cost you the job (despite giving a fierce audition) and haunt you for years and years.  (Do you know how are you perceived in the industry?)

The important thing to always keep in mind is that people do talk.  They WILL talk about you. If you are beloved and thought of as a true professional – great!  On the other hand, if you’ve caused some major/minor disruption, it could prove problematic down the line.  Let’s face it, bad news travels faster than good news.  So, the stage manager that you argued with while out on the first national tour of Dr. Doolittle, will (if asked) mention that you were ‘difficult’ to work with.  The company manager that reads the show reports about how you are consistently late for rehearsals because of too much partying the night before will (if asked) let potential employers know that you were a ‘bit of a wild one’.  Even single incidents can have serious repercussions and thus:  one line of coke at a party can = ‘drug issues’; wine on your breath from dinner can = ‘came in smelling like alcohol’; not picking up the steps/lines quickly can = ‘lazy’.  This is not to say that you, as an actor, can’t have a good time.  No one is asking you to be a nun or a priest and we all appreciate that ‘things happen’.  But keeping an eye on your how you are perceived in the industry and your reputation is important.

I’ve had situations where stage managers (from other shows) have called me to let me know that ’so-and-’ was a serious problem and that I should know this before bringing them into the room to audition for my show.  I’ve gone through scenarios where my directors/producers/creatives see a name on the audition call sheet and immediately know they either will or will not work with that actor, based upon past experience and reputation.  I’ve had final callbacks where the creatives can’t decide who to go with.  They look down at the resume and say, “Well, this actor worked with my friend who directed that show.  Let me give him/her a call”.  Sometimes the feedback is good and an actor gets hired, sometimes the opposite is true.  At the end of the day, the questions we all ask ourselves is ‘Can I Work With This Person?’ and ‘Will They Be a Good Company Member?’  Make sure the answers to these questions (when it refers to you) are a resounding ‘YES’!

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#37– I really think this is one of the most important audition tips there is – when you get the callback (yay btw!) prepare, but don’t over-prepare.  Do you know how heartbreaking it is to see an actor (that we LOVED in round one) come in for the callback and completely blow his/her chances through over-preparation?!  I know it comes from a good place, (a dedicated actor doing his/her job) but it’s very frustrating.

So, what do I mean by over-prepare?  Here is what I think happens:  an actor comes in for round one and gives a spontaneous, in-the-moment read.  There is something unique and fresh about what we have just seen.  We are surprised and excited by the choices made.  The call goes out (to the agent or actor) and the callback is set.  Now, you the actor are so ‘pumped’ by the fact that you’ve got the callback that you immediately get into an “if-they-liked-me-before, they’re really-gonna-like-me-this-time-round!” mode.  If there’s a complete script to be found, you track it down, read it and make new discoveries (“OMG I didn’t realize his mother died of a mental disorder when he was 17.  That explains everything!”).  If there’s no script to be had, (perhaps all you’ve got is that one scene in that one episode) you scour the initial sides for more ‘clues’ that you might’ve missed the first time round.  You carve out your beats.  You make sure your objectives are clear.  You do everything you are trained to do as a ‘professional’ actor.  You are really going to blow them away, ‘cuz you are armed, ready and prepared!!  And then you come into the room and the magic that was there the first time round…disappears.

Why?  Because you’ve worked the sides too hard.  (You can’t bring the entire play into that one scene!)  Instead of being in-the-moment, you’ve ‘played the ending’ (spelling death).  You’ve brought your entire knowledge of the entire play into the sides, and as a result, the scene is bloated and overly-complicated/clever.  Your over-preparation has killed the spontaneity and (very possibly) your chances of getting the part.  So what can you do to guard against this?  First and foremost, remember that what got you the callback was what you did in that audition room in the first place.  We liked what we saw! Unless you’re given an adjustment or the Casting Director gives you specific notes, there is no need (and not a lot of room) for excess embellishment.  Sure – read the script.  See if there is anything you missed from the first time round, but don’t obsess about it.  It’s ok to find some new things, but don’t go overboard.  I’ll say it again for emphasis – we liked what we saw the first time round and that is why we gave you the callback.

This rule applies to what you wear to the callback as well.  I’ll give you two examples: 1) In my recent La Cage Aux Folles auditions, we were casting the role of Jacob (the maid).  The trap with that role is to play him too ‘mincey’ (i.e. mince for mince sake with no real motivation as to why Jacob moves/speaks/acts the way he does).  We were looking for smart/classy acting choices, and the gents who understood that Jacob was an ‘artiste’ that desperately needed to be heard/appreciated, got the callback.  Without getting into specifics, let me just say that an excess of feather boas and platform heels in round two, tripped a lot of people up (literally and figuratively).  2) A few years back Alaine and I were casting day players for an ABC pilot.  One guy (perfect look/perfect type) came in for a plumber/handyman role and gave us such a simple/effective read (he WAS the part!) that we almost hired him on the spot.  Instead, we gave him a callback, and his over-preparedness almost cost him the job.  Not only had he over-worked the sides, but he arrived wearing ‘handyman gear’ – complete with tool belt, hammer, nails, tape-measure and a collection of pens/pencils in his breast pocket!  It was all too much.  The Director had to stop the audition and tell the guy to take everything off and simplify, simplify, simplify.  (I’m very happy to report that the actor took the adjustment brilliantly and it was a successful ending!)

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#36– As I stated in a past post, Knowledge is Power, so before going in for the callback, make sure you know who is going to be in the room. I think this is an important factor for all auditions, but doubly so in the callback scenario, where the stakes are often higher for all parties involved (actor, creatives and producers).  The callback is stressful enough as it is, and you don’t want any unnecessary surprises – like walking into a room that has a discerning panel of 9 when the last time you walked in, it was just the friendly little trio of Casting Director, Writer and Director.  (A roomful of producers can be so damn intimidating!!)

Asking the question as to who is going to be in the room can be handled by your agent (if you have representation) or by yourself when you get the call to come back in and be seen again.  Depending on the production, the initial callbacks usually involve the Casting Director and Director (oftentimes adding in the Writer if it’s a new play or Music Director/Dance Captain/Choreographer if it’s a musical).  The number of people in the room for subsequent callbacks can vary, but for a professional production it’s not unusual to see a few Producers (show me the money!), Artistic Directors, Executives and other Creatives (assistants, dramaturgs, etc) sitting behind that table.  If the production involves a ‘star’ (David Hasselhoff?  Lady Gaga? Mickey Rooney?) there is a good chance that he/she may also be present.

If you’re prepared, (by knowing in advance who’s going to be in attendance) you are less likely to be nervous or ‘rattled’ when walking through that door.  As you would in any audition, greet the room warmly and then get straightway into your work.  Focus all your energies on the sides.  Block out the fact you have an ‘audience’ and work exclusively with the reader (your best friend and ally in the room) and/or the pianist (for musicals).

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#35–  I want to debunk the myth that for a callback, an actor needs to wear the exact same outfit worn on the day of the initial audition.  What – I’m going to forget who is in front of me just because two days earlier they wore blue and now they’re wearing red??? Please.  Give me (and all of us on the panel) more credit than that!  If you’ve been called back, I’ve got your picture/resume in my file for everyone to see – and this is ALL the reminding I or anyone else needs as to who you are as an actor.  Besides, when I see people coming in wearing the same outfit, I get distracted.  Instead of seeing the ‘work’, I see your exact same outfit and my mind starts wandering: “Ah yes, cute… she’s read that popular book on auditioning from the 80’s and done due diligence by wearing the exact same outfit.” or “Ok, he’s wearing the exact same outfit as he did last week. Has he washed it?  Does it smell?” or “Wow – can she only afford one dress??”.  Frankly speaking, the danger in making this choice is that it can elicit muted chuckles from the audition panel.  It can make you come across ‘green’ (i.e. new to the biz), earnest and overly-eager.  Perhaps in the past this hint was useful, but personally speaking I think it’s an outdated notion.  Wear what you wear (obviously I’m not advocating arriving in business attire for round 1 and ‘Goth Glam’ for round 2) and let your excellent work be ‘the thing’ that jogs my memory as to the brilliant talent you are!

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons.  Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park.   Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC.  Assoc. credits include “ED” (NBC),”Monk” (USA).   Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC.  Festivals include Williamstown and Humana.  She casts for The Huntington Theatre in Boston and the Women’s Project NYC.   Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.

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TIP#34– You’ve nailed your audition.  You know for a fact that you ‘aced’ it (“They loved me!  I had them laughing the whole time!”), the feedback from the agent was terrific and yet, you don’t land the job.  What happened???  It’s a well known fact that there are many times when the best audition (or the best man/woman for the job) doesn’t land the gig/role. Now, this may be frustrating and seem unfair (“If I’m the best person for the job, then why didn’t I get it?”) and yet I think acknowledging this fact and taking it into consideration can actually set you free as an actor.  Once you accept the notion that your personal best may not be enough, you are relinquishing control over that which you have no control over.  A solid audition becomes the goal as opposed to whether or not you book the job.  Regardless of the outcome, you have to believe that a good audition counts.  (Some Casting Directors even suggest that you enter the room with a mind-frame of “I’m not going to get the role anyway”.  Not sure I agree with this, but it’s interesting position to think about.)  So – why doesn’t the best man always win?  Other than the obvious reasons, (too tall, too short, not the right physical look for the show/role etc), let me give you some specific examples:  1) A few years back we were auditioning for the understudy for a lead role in a major production that was rumored to be transferring to Bway.  If the star ever was to miss a performance, this understudy role would have very large shoes to fill.  After what seemed like an eternity, we had a shortlist of three solid actors.  Two actors were fine, but one was a complete standout and I was sure that this is the direction we were going to head in.  After the callbacks were over, (and sure enough, this one actor impressed us all) the Director lamented that he was not going to be able to hire our top candidate.  Even though this person was the best person for the job, he felt that if we hired him/her we would have problems backstage.  He firmly believed that the star would be threatened if we brought this new person in.  So, his solution?  Hire the third choice and keep the peace.  2) We were auditioning for a supporting lead role in a classic play in a reputable regional theater.  All the rest of the pieces of the casting puzzle were in place, and we were trying to find the young ingénue role.  So many women seemed so bland in this part, until one young lady came in and completely mesmerized us all with her high stakes and fascinating choices.  It was the best audition we had seen and yet, in the end, we didn’t hire her.  Why?  Because she was so strong, the creative team worried that if we cast her, she (and her character) would pull focus from the central plot line.  Hiring her could potentially upset the delicate balance we were aiming for with the rest of the casting.  3) We were auditioning for an off-Bway play and after two days of seeing young comedic guys (all of whom were excellent and gave top-notch auditions) we ended up hiring this kid who came into the room somewhat disheveled and unprepared.  In stark contrast to his colleagues, (most of whom were off-book and executed the sides ‘perfectly’) this guy had to stop six times (6 times!!!) and start over due to the fact that he was either nervous or ill-prepared.  And yet, he booked the job.  Why?  Because it wasn’t about WHAT he did in the room, it was about HOW he did it.  This guy had charm in spades, completely wooed the panel with his personality, (inexplicably we were all ‘rooting’ for him) and in the end, his succession of false starts simply didn’t matter.  In this case, it was all about the chemistry (or alchemy) shared in that audition room. (Note: more on alchemy in future posting.)

(Duncan & Alaine)

Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler.  Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company.  Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.

Alaine Alldaffer is the Casting Director for Playwrights Horizons. Credits include “Grey Gardens” (B’way and PWH), Dead Man’s Cell Phone with Mary Louise Parker, the upcoming musical Burnt Part Boys. TV credits include “Knights of Prosperity” for ABC.  Associate. credits include “ED” (NBC),”Monk” (USA).  Theaters include the Longwarf, Soho Rep and ACT. Festivals include Williamstown and Humana. She also casts for The Huntington Theater in Boston and the Women’s Project NYC.

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