Do’s and Don’ts of Auditioning

As a producer and director, I have sat through many auditions throughout my career. I love auditions because it gives me a chance to share a mini-performance with a perspective actor. I get to see them bring their favorite characters to life or watch them expand into an unlikely role – one I might have not thought of them for previously. It’s almost an intimate experience, getting an intense look into an actor’s craft for those brief moments. It may sound trite, but I truly value those brief moments because of all the creative potential they can hold. I have the deepest respect for actors and the vulnerability they exhibit every day.

Auditions are sometimes a stressful endeavor, but they don’t have to be if you are prepared. I took a little time to think about some of the things that I like to see in an audition, and some of the things I know can hurt an actor in the audition process. Even if you have auditioned a million times, it’s always good to remind yourself about core technique.

Do’s

Do Be Prepared

Know your monologues inside and out. If you have sides, get to know them before the audition. Take the time to do the homework on the play, so you understand every word you are saying. You never know when a producer or director will ask you to make an adjustment to a piece. If you aren’t prepared to play with the audition material, then we can’t gauge how you will play in the rehearsal room.

Further Reading

Tips for Theater Auditions

Do Make Bold Choices

We see a lot of the same material from year to year, but that doesn’t mean that your take on it can’t be innovative and exciting! We want you to wow us with your creativity, make us see a character in a new way, and view you in your best light. Don’t be afraid to take a risk when rehearsing your pieces – but plan that risk before you walk into the audition room. I don’t recommend improvising in the audition. It almost never yields good results.

Do Make Us Laugh

No matter what kind of material you choose, you must find the humor in it. Human beings cope with so many things via humor and there is always something you can find funny – even in the most dramatic pieces. If you can showcase both your comedic skills alongside your dramatic skills, your audition is all the better. Laughter can go a long way!

Do Move

I see so many auditioners come in and stand in one spot the entire time. That doesn’t give me a sense of how an actor moves onstage. I’m not saying I want to see unmotivated crosses, or on the other side of the spectrum – an acrobatic routine. But do make a point to show how the character physically manifests their intentions. We want to see you in action.

Don’ts

Don’t Be Unprofessional

Behave like the pro you are. Dress nicely. Have the resume and picture ready to go. Be early to the audition. Treat the monitor and reader with respect. Ask questions if you have them. Thanks your auditors. All the things that say, “Hey, I am a professional and I would like to work with you.”

Don’t Use Us as Your Acting Partner

I get really uncomfortable when an auditioner starts talking directly to me and addressing the piece to me. I am not there to act with you. I am there to assess your piece. Get comfortable with an imaginary partner that is on the wall somewhere over my head. If you try to act with me, I can’t give your audition my full attention.

Don’t Let Things Ruin Your Audition Vibe

Sometimes the universe conspires to throw you curveballs on the day of the audition. I encourage actors to have a routine for audition prep. What is the warmup that you can do in your car or quietly in the lobby? Is there a quick meditation that will help center and ground you? What affirmation do you say to yourself right before you walk in the room?

Don’t Doubt Yourself

You have researched the plays and are ready to make bold choices. You have rehearsed your carefully selected pieces. You have had others proof your resume. Your picture rocks. You got a smile on and are feeling good. If you radiate confidence and positive energy, you will stand out amongst the crowd.

Now go break some legs!

About the Author

Kristin Clippard is proud to be the Associate Artistic Director/Producer in Residence for Orlando Shakes. Selected directing credits include The Luckiest People by Meridith Friedman, God of Carnage by Yasmina Reza, Loyalty and Betrayal (a community collaboration based on Julius Caesar), and Champagne Gods by Emily Dendinger. Favorite classic play projects include Twelfth Night, The Merry Wives of Windsor, The Imaginary Invalid, A Midsummer Night’s Dream, The Taming of the Shrew, Measure for Measure, Pericles, Dr. Faustus and She Stoops to Conquer. Kristin has taught, produced, administered, acted, assisted or directed with many theatre companies, non-profit organizations, universities, and schools across the country. She enjoys developing new works with writers and is a playwright herself. Kristin holds a BFA in Acting from Wright State University and an MFA in Directing from the University of Iowa. www.kristinclippard.com