AUDITIONS & CASTING NOTICES
Casting Policy
Elmwood Community Playhouse is a Non-Equity theater and cannot cast members of Actors Equity. Casting of actors in roles is done on the basis of acting skill and ability demonstrated during the audition process, as well as on the actor’s appropriateness and suitability (physical, vocal, mental, emotional) for available roles. We are committed to providing equal opportunity and nondiscrimination in all aspects of our organization. Except in plays were race, gender, or age is an issue, casting is decided on the basis of ability. Any member of the community or any invited guest artist regardless of race, ethnic origin, sexual orientation, age, or special need is invited to participate. Non-traditional and equal-opportunity casting is encouraged. If, in the opinion of the director, a suitable cast cannot be selected from those who have auditioned, auditions may be extended beyond the original schedule, or else specific individuals may be invited to fill the need(s). Elmwood has an open door casting policy, meaning you do not need previous experience with us to be cast. We often cast performers the first time they audition for us. Elmwood maintains a "no pre-casting" policy, meaning all roles are available during the time a show is auditioning. If you have a part that you are interested in, make note of it on your audition form or speak to the director. Anyone cast in a show must become a member of Elmwood Playhouse for insurance purposes. Elmwood Playhouse maintains an "open auditions" policy. All are welcome to "try out" for a show or a particular part in a show. Dates for upcoming auditions are listed on the web site, and announced in the members’ newsletter. Some casting processes may involve two dates for primary auditions, and one date for callbacks. You will be asked to fill out an audition form, and if you have a head shot &/or resume, definitely bring it along, but it is not necessary for our audition process. Come prepared to list all your schedule conflicts from the day of auditions through the closing performance of the show.
Acting Opportunities
Elmwood Playhouse produces: Six "main stage" shows a year. Involvement in these generally requires an average of 2-3 nights a week rehearsal for approx 8 weeks, and 12 to 20 performances over a period of 4 to 6 weeks. Actual schedules will vary by show. A variety of "one performance” workshops for the monthly membership meetings, generally the first Monday of the month and open to the public. Special event performances throughout the year. This gives a broad range of opportunities for actors of varied skills and backgrounds to get on stage, whether you're looking for a leading role or a small part to "get your feet wet". Our shows run four to five weekends, occasionally with benefit performances during the week.
If you are cast...
ALL cast and crew personnel are required to become members of Elmwood Community Playhouse, ($25) and are required to attend strike, which is held the Sunday after the final performance. By taking part in a production, you also allow that images of yourself captured by Elmwood Community Playhouse during their activities (including but not limited to rehearsals, productions and special events) through video, photo and/or digital camera, to be used solely for the purposes of Elmwood Community Playhouse promotional materials/publications & web site, and waive any right of compensation or ownership thereto. As is true in the professional world of theatre and dance, if the director or choreographer believes that a cast member’s participation in a production is unsatisfactory, it is his/her right to replace the person. A professional attitude and commitment to productions are expected at all times.
TWELVE COMMANDMENTS OF AUDITIONING
Ask The Directors Audition Technique Workshop, Elmwood Playhouse, Nov-09 by Michael Edan, Derek Tarson and Larry Wilbur.
PREPARING FOR THE AUDITION
1. If the audition notice says to be familiar with the script then BE FAMILIAR WITH THE SCRIPT!
2. Read the scene beforehand to avoid misinterpreting the punctuation.
3. Make the extra effort to dress appropriate for the play and/or character. (If you're auditioning for Blanche DuBois don't wear tattered jeans.) However, don't create and wear a full costume. Something that "suggests" the character may help the director see you that way.
4. Think of verbs and USE them! Two key things when looking over a scene: What is "the key moment" in the scene that you want to make prominent, that seems to resonate for you as "important" or "telling"; and then to think in terms of verbs. Depending on the length of the scene you're reading, come up with 3 or 4 verbs that propel your intention and action. Example: To "demand" someone stays in a room is different than to "convince" them to stay. Both have their respective value and BOTH are SPECIFIC.
READING A SCENE AT AN AUDITION
5. If the character should have a dialect or accent, ask the director if he or she wants you do that dialect or accent and follow that direction. Don't use a dialect or an accent otherwise. It is one more obstacle for you and could detract from the characterization you want the director to see.
6. Don't speak to the floor, the chairs, or the sides of the thrust. Also, don't speak so softly that you can't be heard.
7. Don't spend excessive time arranging furniture. But moving one or two chairs to help create the scene is perfectly acceptable. (For instance, if the scene clearly indicates the character should be sitting, it’s imprudent to do the scene standing up—and it shows that you’re taking ownership of the stage, and can signal a director that you might be a stubborn person to work with.)
8. Don't rush through it to get it over with!
9. Go with a director's suggestion to try something a certain way, and commit to exploring how to bring that intention or quality into your reading [even when it goes against your concept of how that character would behave]. NEVER say to a director at an audition "I don't see the character that way" unless you don't care about getting cast. A director might make a suggestion to primarily see how you take and execute direction [sometimes purposefully against the seemingly obvious intent of the scene].
10. If you make a flub of some kind, or what you interpret as a flub, don't apologize. Auditioning is challenging enough without beating yourself up. Own the seeming mistake with what works "for you". Often it's a missed line, so just continue to move forward, or if it's important enough for you, request that you'd like to go back to that line. It shows a director you can handle pressure with confidence.
11. Be aware of your body position and body language. Outside of the obvious things [like not walking in front of another actor while they are talking, or turning your back on the director for long periods of time] be attentive to where you are in space in relation to another character(s). You want to make any movements you make count for something. Does your character within the context of the scene want to be close to another character for whatever reason [then risk moving closer]; do they want to be further away for whatever reason [then move further away]; are they "holding their ground emotionally or psychologically" [then hold your ground and your position]. One way that nervousness expresses itself is with actors moving aimlessly. Avoid this pitfall. When possible, be aware of body language as well. If sitting, how would the character sit? Might they have any kind of unconscious gesture?
LEAVING THE AUDITION
12. Never leave the audition with a negative feeling. Even if a director does not seem to express gratitude for your auditioning [AND THEY SHOULD] let yourself show an attitude of gratitude for being heard. Even if not cast you NEVER know how or when that director will remember you for a future show, or recommend you to another director.
Every audition adds to your experience. Relax and enjoy.