On Self-Tape Auditions

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On Self-Tape Auditions

Dear Actor-Vocalists,

I would like to offer some thoughts, tips, and advice to help make your next theatre self-tape audition/callback a little smoother and effective.

[*Warning - This post is mainly geared toward toward performers and those interested in the online audition process!]

We may be working with this medium for much longer than any of us would like or hope, and I suspect some theaters will see some value in self-tapes even post-quarantine.

As an actor, vocal coach, and accompanist, I know the struggles and worries very well. Being in front of that camera is nothing like being in front of an audience.

And as a Musical Director who recently went through an online audition and callback process, I have some thoughts that - I hope - will alleviate some of your stresses and get you focused on what matters most to those watching the tapes roll!

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God I Hope I Get It

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God I Hope I Get It

Audition (noun) - A necessary, and often grinding, step to acquiring a theatre performance job, which some actors love, many actors hate, and everyone else is relatively indifferent to

*Warning: This post is geared mainly toward the actor-folk and those interested in the audition process!

Last week I found myself once again in an audition room - this time behind the table, which was a lovely change! Generally speaking, whether or not I am part of the casting team, I’m hearing/viewing auditions on a weird side angle from the piano. So this was a lovely little treat!

Over my years of taking classes and workshops on “THE AUDITION” I have certainly learned many things about the audition process, and particularly about myself as an auditioner. But there is no better way to learn the ins-and-outs, dos-and-don’ts, and [other-cliched-phrases] of auditions than to sit on the other side of the table and observe with non-actor-oriented eyes/ears.

So, here are some of the things I’ve learned about auditioning.

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Medea Must Have Been An Artist

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Medea Must Have Been An Artist

Allow me to explain.

In the art world - and particularly for musical theatre writers - we are often told that we need to be prepared to “kill our babies.” Obviously this is not meant in a literal sense. ‘Cause that would be bad. Very bad.

For non-theatre or non-artist folks, this idea might be a bit confusing. What is meant by this?

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Hey, Old Friend

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Hey, Old Friend

What is a theatre writer’s best friend and worst enemy?

You might think: Writer’s block? The blank page? Technology? Caffeine? Sleep? Outlines? All good possible answers, but…nope. What applies only to theatre writers and to no other form of writing?

Readings.

DUN DUN DUN! *Insert dramatic zoom here*

But why, Michael? Why are readings both potentially wonderful and oh-so-evil at the same time?

An excellent question.

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