Theatre – Journeys With Dave

How to Audition for a Show

August 15, 2022August 15, 2022davidpwahr

One of the longest and most rewarding journeys I’ve taken in life is my journey through the world of theatre*. My first experience in theatre actually started by putting on plays in my backyard as a kid. I rounded up my sister, brother, and a couple of the neighbors and we enthralled our parents with a stirring rendition of The Three Billy Goats Gruff – written, directed, and produced by myself. I may have also given myself the lead role. Yes, it was a vanity piece.

Since then over the past half-century, and a little more, I’ve acted and directed many plays primarily for community theatre. Dramas, comedies, musicals, you name it and I’ve done it. Along the way I’ve learned a few things both as an actor auditioning for a role and as the director selecting actors for roles that I would like to share with you.

I have to stress that the tips and suggestions that follow are my ideas and they won’t apply in every case. For example, I don’t have enough experience in professional theatre to be knowledgeable in how most of them handle auditions. But I have auditioned for several amateur groups and I usually get cast. So I hope that you’ll find them helpful in preparing for your next audition.

First Things First

Before deciding to audition for a show check your calendar!

Most shows will rehearse between 6 – 8 weeks, sometimes more for a musical, and depending on the role you are cast in you may need to be at rehearsal 3 – 4 times a week for that period. Be realistic, can you put in the time necessary to be in the show? Most directors at the community theatre level will expect actors to have a few conflicts due to work and family but they will expect you to be available every night for the last week or two leading up to a show. Likewise, if you have a big vacation or business trip in the middle of the rehearsal period that will take you away for a week or more understand that this will likely mean that you won’t be cast for the lead – no matter how talented you and perfect for the part you are – if you are cast at all.

Typically, you will be asked about conflicts at the audition. Be honest, I have seen people cut from shows during the rehearsal period because they could not live up to their commitment in terms of availability. It isn’t pretty and it isn’t fair to your other cast members. Putting on a show is a team effort. If one or more people are consistently missing the entire production suffers.

Know the Rules

Though auditions are similar from group to group there are often differences. The group putting on the show will usually have expectations listed on their website, Facebook page, etc. for the audition process listed. Read them and follow them to the letter.

Know the Show

If at all possible try to obtain a copy of the script and read it ahead of time. In some cases groups may have reading copies available to lend – but don’t count on this. At the very least go online and find a synopsis and list of characters.

Know Yourself

After reading the script, be honest with yourself, is there a character that you could see yourself playing in the script? If you are auditioning for a musical is the part you want in your vocal range? Do you have the special skills that may be required of the role (tap dancing for example)?

The good news is that most if not all community theatres have policies of inclusivity when casting so opportunities to be cast have never been greater. This used to be called “color-blind” casting in which race does not usually play into selection of the character unless race is a theme of the play (for example, you are not likely to see an all white cast for Raisin in the Sun). Gender blind casting has recently come to the forefront as well with some groups but not most. Do not assume that this is the case for any show you are auditioning to be in. Sometimes the playwright has put restrictions on who can be cast, most famously Edward Albee and Who’s Afraid of Virginia Woolf?, or a director feels that “gender bending” would impact the message of the play. The norm still is that men should audition for male roles and women for female roles. However, in my opinion, it doesn’t hurt to ask about this.

Race and gender aside I believe you will still find that most directors will stick to other qualifications, such as age, when casting.

You are now ready to go to the audition!

At The Audition

Remember that the audition is essentially a job interview. So basic rules apply:

Be on time if the audition is by appointment. If the audition is during a block of time – 7:00 p.m. to 9:00 p.m. for example – don’t arrive at 8:45 or later and expect to be given a try-out.
Be polite.
Dress appropriately. You don’t need to wear a business suit, but be sure to wear loose fitting clothing that doesn’t restrict you movements. I prefer to dress in neutral colors so that the director is focusing on my movement and face instead of my outfit. Some people recommend dressing as you think the character you are audition to be would. I do not. Your idea of how the character would dress most likely will not match the ideas that the directing staff have. Most directors are looking for actors who will be flexible during the rehearsal process, not actors who are already set on how to interpret the character.
Be respectful of other actors who are auditioning. Many groups have open auditions in which everyone watches everyone else’s audition. Be quiet and attentive when you are not on stage.
Be ready to take risks. Too often I will see people trying to copy another person’s performance during an audition. Try to give the directors something unique about your performance that no one else did. Especially if there is a large group auditioning for the same role. You want to stand out at an audition, not blend in!

Remember this is your time to shine. You need to put aside all fear of failure and go for it! If you can’t speak up and move in front of a relatively small group how can the director trust that you will before a sold out house on opening night?

After the Audition

I think that the hardest part of an audition is afterwards when you are waiting to see if you got cast. Hopefully, the group you auditioned for told you how you would be notified if you are cast and if you are not.

In Conclusion

If you are cast in the role you want, congratulations! If you are not cast in the role you wanted or worse yet not cast at all please don’t let this discourage you. Auditioning is a skill and most people do not get cast in a leading role their first time out. Keep auditioning and you will get better at it.

I hope that these tips help you get the role you want. There really is nothing quite like being in a show and I have found a lifetime’s worth of pleasure and satisfaction in community theatre. I’m sure that you will, too.

You can find other tips for auditioning on the web, of course, and I also recommend finding a copy of Audition by Michael Shurtleff (ISBN 9780553272956). It’s a great guide and many consider it the “bible” of auditioning.

Break a leg!

Meet the Green Room Groupies!

February 11, 2022davidpwahr

So anyone who is following this blog has certainly noticed that my posts have grown infrequent over the past few months. Certainly my trip to Egypt was one of the interruptions though ironically it is potentially fodder for many, many posts (so keep watching for more memories and lessons from that adventure). There are also the usual excuses about the holidays, I was in a show (theatre people get this one), and there’s just so much to watch on television these days (via various streaming services).

But part of the reason is because some of my creative “itch” has been scratched by my latest project – a podcast!

I get it everyone has a podcast these days. But I like to think that the one I’m working on is just a little different. It is, not surprisingly, sponsored by my theatre group – the Monroe Community Players – and the focus is on the art and business of theatre. With a particular emphasis on community and amateur theatre.

I’m joined on this podcast by 3 other like minded theatre enthusiast and other occasional guests. We call ourselves the Green Room Groupies and we like to think that we give you a little information, a little humor, a little food for thought, and a whole lot of fun each episode.

As of this writing we’ve got 16 episodes “in the can” with no end in sight!

So if you’re tired of murder mysteries, Joe Rogan, or just really like all things live theatre give us a listen! You can find us right now on Apple Podcasts with more channels to come.

I look forward to seeing you in the Green Room!

All photos by David P. Wahr unless otherwise noted in which case the original artist retains all rights. Otherwise photos and words @copyright by David P. Wahr

The Purpose of Theatre*

August 7, 2021davidpwahr

I think that it is fair to say that theatre is essential to human existence. It has been around for nearly as long as civilization has existed in multiple forms from religion to pure entertainment. In fact, most popular forms of entertainment today – movies and television for example – have their origins in live theatre.

A Public Art

It’s also fair to say that theatre is common in most communities. You may never get to be a part of a Broadway audience, you might not even get to a large regional production, but most of us have been to a local community theatre and certainly a high school, elementary, or even church performance of some kind (I’m talking Christmas pageants by the way, not the regular Sunday service). Theatre in some form or another is ubiquitous in our society. It is not, as often ironically portrayed on stage, films or television, an activity of the idle rich. It is an accessible art form with millions of participants and as such is uniquely able to serve as a public forum for thought and ideas.

How Theatres Choose Their Seasons

Now, a few of you involved in theatre may disagree with what I’m about to say. But, I have been active in theatre nearly my entire life. I was in school plays, going back to elementary, some college classes and started a Reader’s Theatre Group as a student, and a ton of community theatre for the past 39 years. My community theatre work includes acting, writing, directing, etc. and I’ve served on multiple boards of groups at both the local and state level. This broad experience has allowed me to make note of some similarities among theatre groups. Especially among smaller groups which do not have abundant resources and endowments to draw upon.

I have heard the same basic arguments from different theatre boards and members when selecting shows, especially when the bank accounts get a little low. The discussion tends to center around what shows will sell. So as a result, because of the pervasive belief that casting children in shows sells tickets, many seasons of smaller struggling groups tend to be filled with children’s theaters, musicals, or the holy grail of ticket sales, musicals with children!

The Real Question Theatres Should Ask Before Selecting a Show

A question that I think theatres don’t ask enough is what is the purpose of theatre? And, just as important, how is that purpose being fulfilled? Regardless of how you answer these questions I think we will all agree that the purpose of theatre is not to sell tickets. Selling tickets is just a tool to raise funds to help us fulfil the higher purpose of our craft. It is an unfortunate fact that all groups need funding to continue to put on shows. But has your group become dedicated to just selling tickets? I believe that the purpose of theatre is to show a slice of the human condition in a safe environment and to give the audience something to reflect on and think about long after the final curtain call. If your board’s only goal is to make money without consideration of the important voice that theatre has are they doing the right thing?

Obligation to the Community – More than Frivolity

All theatres have an obligation to their communities and that obligation is not just to present shows that are entertaining or that can be easily cast. It means that on occasion at least that your group should be doing what I would call difficult pieces. Works that are often not associated with community theatre in fact because they are too controversial or use “bad” language (gasp). Works that deal with the troubling questions of our day like gun violence, homelessness, sex abuse, inclusiveness, and so on and so forth. I maintain that as soon as a member of your theatre’s board says something along the lines of “that won’t sell tickets” or “our community isn’t ready for this show” then that is exactly when you should produce it!

A Place for Every Type of Show

Now I’m not being dismissive of children’s theatre or musicals. Both have their place and both can also be educational and thought provoking. In fact, the best scripts and productions always are. Even old standbys like The Music Man are full of social commentary and you don’t have to dig deep to find it. But if your only purpose in picking a show is because you think it will sell tickets you are missing out on an opportunity to not only help further educate your audience – and I bet your theatre is organized as an “educational” 5019c)3 – but to develop an entirely new audience as well.

Risk and Reward?

Will your risk pay off? In terms of finance, possibly not the first time or two you perform something a little more daring. But in the long run, I think your community will learn to appreciate the intellectual debate that your productions inspire.

There you have it, my two cents. I’d love to learn what you think on this issue. Am I right on or all wet? Let me know in the comments and get the discussion started!

Admittedly, some shows are harder to justify as thought provoking than others. But sometimes just having fun is okay, too! The cast of Monroe Community Players’ production of *Gilligan’s Island*. Photo by Robert Yoman.

All photos by David P. Wahr unless otherwise noted in which case the original artist retains all rights. Otherwise photos and words @copyright by David P. Wahr

*I don’t use the word “theatre” with the “re” for any hoity toity artistic reason. I use that word to describe the act or art of putting on a play. If I’m using the word “theater” I’m talking about the performance space. I just find it an easy way to distinguish between the two.

AACT Fest 2015 Weekend

March 30, 2015December 17, 2019davidpwahr

Those that know me know that one of my passions is theatre. I’m not a professional actor so I get my “fix” through community theatre and this weekend I experienced one of the community theatre’s biggest events – an AACT Fest.

For those who don’t know, AACT Fest is a theatre competition among community theatres held every two years. The competition starts at the state level (this past weekend in Owosso, Michigan) then the winner moves on to a regional competition (in a couple weeks in Midland, MI), and finally the winner of the regional goes onto national competition (this June in Grand Rapids, MI).

Now, astute readers will notice that all three levels of competition are in Michigan this year – a rare opportunity for theatre goers in Michigan to see some of the best community theatre around. This year’s Michigan competition was won by Players de Noc (Escanabe) and their production of Eugene O’Neill’s The Hairy Ape and Holland Civic Theatre’s, Revival at Possum Kingdom Community Church by Michigan playwrite Linda LaRoque.

My personal favorite, which came in third and will be the alternate entry to the regional was The Amish Project by Jessica Dickey presented by the Farmington Players. This was an extremely moving drama based on the Nickel Mines schoolhouse shootings in 2006. There was not a dry eye in the house when this show was finished. A total of eight groups competed (Monroe had submitted but was the ninth entry and the organizers limited the field to eight for reasons I don’t completely understand but were well within their rights to do. So we have to wait until the next festival to enter again).

By now you may be wondering what this has to do with my quest for fitness. Not much except that I went completely off the diet wagon this weekend! I traveled with my good friend Bob and unfortunately, I think we are both enablers of each others bad eating habits! We passed a Ponderosa Steakhouse on the way into town, a fading restaurant chain that has a great buffet, and that’s where we went for lunch on Saturday. Well, it was a good thing that we were limited on time because three platefuls and several desserts later I was still ready for more! Plus our hosts, Owosso Community Players feed us well at the afterglows – oh and did I mention Roma’s Back Door? A great Italian restaurant steps from the theatre…

Interestingly enough, the damage may be controllable as I don’t appear to have gained weight yet and I’ve upped my cardio and strength workouts this week so I’m burning more calories. Also interesting, to me at least, is that I could put away so much food this weekend. My Crohn’s usually limits my intake. There has been many a meal eaten out that came home with me because I started hurting – but not this weekend. My guess is that this is because the Humira is doing its job and my insides can take more because they hurt less.

So, I need to be even more careful with my food intake than I used to be…I can’t imagine how fat I could get if the brakes are now off my digestive system (so to speak). Time will tell!

Onward!