Who completed the survey?
70.5% of (individual) auditors representing 80% of the registered auditing 'entities'
75.5% called in Actors for a follow-up audition already.
48.1% were casting shows slated for February - June 2009
75% were casting shows slated for July 2009 - December 2009
90.4% keep hard copy headshot/resumes on file for future reference
56.5% of Respondents (9 skipped) would be willing to see TPS move to a paper less system of distributing headshots/resumes
76.1% of Respondents (9 skipped) feel the screening criteria/eligibility requirements are still working and/or appropriate
Only 65.2% (however) feel it 'generally' works and should be LEFT ALONE
With: 30.4% of dissenters stating it should be MORE STRICT and 4.3% stating it should be LESS STRICT
Now, with all of that out of the way - SPOILER ALERT - what follows now are the answers to OPEN ENDED questions. If this information has upset you in the past, consider stopping now. Information below is personal opinion of each respondent and with such things - there are contradictory statements at times! If you choose to continue - it is strongly recommended that you look for the themes within the information given. The themes can often be very useful to you.
Auditors were asked:
A. Name your most surprising, enjoyable, or inspiring moment from ACTORS in this February round:
-Good comic timing
-Fast dog, really fast dog.
-Honestly, there are a few actors who chose refreshingly funny monologues - I still remember them a couple months later.
-XXX Craig List monologue
-Actors who finished AHEAD of the allotted time.
-positive performance energy
-Use of a craigslist ad as a unique monologue
-several auditions mixed song and monologue together
-Too many to name one
-good transitions between pieces
-The audition from "Craig's List"
-An actor used an uncommon source material for a monologue - a short story. The character was a dog. It was a risk, but she pulled it off VERY well. It was one of the few auditions I actually remembered without looking back at my notes.
-The general level of performers was pretty high.
-an audition piece from "Craigslist"
-I loved all the singing!
-There were quite a few actors that seemed to be having fun! This is always nice to see. It gives us a glimpse of someone we would want to work with.
-Confidence and maturity
-Kids are amazing
-XXX Craigslist monologue.
-The "Free Vermin" Craigslist ad as a monologue -- very original!
-The skill of the youth singers absolutely blew my mind.
-XXX eating the grapes was pretty hilarious
-The great variety of monologues
-Whenever anyone was really present--took their time, breathed, really connected...it was inspiring.
-XXX monologue from Craig's List
-the aplomb with which the actors accepted "time"
-I loved the older lady who came in on the heels of some young man - he had been erroneously called out by an auditor because his resume was "incorrect" and said he was in his fifties. After the auditor figured out he had the wrong resume he apologised, and then the woman strolled in, full of confidence and humor, and announced SHE was the fifty year old. She had such class.
-Confidence in ability and being in the moment makes for a terrific audition.
-One woman shared a joke her daughter gave her. It was precious!
-In general, the youth auditions
B. Name the ONE most common actor mistake this round in your opinion: ACTORS - remember - these are individually expressed generalized opinions - YOU are looking for themes to assess and whether or not you fall in to one of these traps unintentionally.
-poor choices of clothing. very few well composed outfits.
-No contrast of the energy between two characters (i.e. a classical piece is not a contrast if the character is essentially the same.
-Chairs. Too many chairs.
-Not being prepared, a piece should be timed and well prepared before it is performed
-I realize & appreciate that Seattle likes "edgy" work, but considering all of the children's theatre & other "family-friendly" groups auditing, it seems that actors should not feel they must use only edgy monologues or excess swearing - I get it, but it did get a bit annoying. If that is the monologue that best shows your talent, go for it. Otherwise look for something more "middle of the road" that can show off your skills in a better light - that is more apt to catch my eye as an auditor.
-Be confident in preparation and work
-NOT singing if they can. A person can get two contrasting monologues AND 8 bars of a song into 90 seconds. and thats all we need.
-Looking bizarre. Really people, check a mirror before you leave the house; this is one moment when it pays to ask, "Would my mother think I'm dressed appropriately"?
-They were all very well prepared- no common mistakes
-Slouching and shuffling when they walk in.
-stopping the flow of energy between monologues
-Too few headshots
-Wearing uncomfortable clothing (especially heals) just to impress us. They should wear neutral comfortable clothing.
-Inappropriate monologue choices for their type or marketing strengths
-Picking predictable, "safe" pieces. And, not smiling in introduction! Look like you are having a little bit of fun...or at least pretend to!!
-The majority of them were all on a Shakespearean quest. I found that interesting since most community theatres in Seattle do not produce plays from the Bard.
-nervous energy resulting in working too hard and appearing not grounded, if that makes any sense...
-Please time your pieces. Going over is disrespectful and unprofessional. Less is more.
-Not sticking to the time limit.
-Choosing a piece outside of their range. If you are 20, don't pick the hard, jaded 50 year old part.
-Not taking the time to Transition between pieces.
-Not waiting just a few seconds for our attention to introduce themselves
-Delivering monologue seated with no energy. If you are going to use the chair, USE the chair, don't just sit and talk to the floor.
-Stapling their headshot together wrong, forgetting intro, going overtime, not replacing chair
-Misspelling theater company names on resumes.
-Not taking enough pause time between monologues to let us know they were doing another piece.
-Those who sang, when it is clearly not required, and it is clearly not their strongest suit. Show off your best self for two minutes. Don't "try" something you are uncomfortable with, because you feel like the auditors want to see that thing, rather than your strengths.
-Too many people didn't respect the time limit and seemed angry when they were cut off, which surprised me.
-Attire - some wore clothes that were distracting from their work
-taking too long to announce what they have prepared
-choice of material: non-active "story-telling" pieces rather than a well-conceived showing of action, intent & need
-Not following instructions (i.e. "I will be performing the role of..."
-performing only one piece
-"performing" a monologue rather than being grounded in a character that needed to speak
-90% of audition monologues go on just 1 or 2 sentences too long.
-Your name and names of the pieces you’re doing are a part of your audition. I really want to hear them. Speak up and don't mumble.
-sitting for an entire audition piece
-The audition material in general was not compelling and did not seem as connected to the actors as I would have hoped
-Neil freaking Simon. Never, ever, ever.
-Not timing their audition at home. I was surprised at the number of people who ran over their alloted time.
-Being too stilted, formal/not authentic
-Going over time
C. What female pieces do you feel you heard a lot of in THIS round? ACTORS - remember - no one is saying "never do these pieces again". This is simply information to do with as you please to let you know what pieces (and/or type) were quite popular in February 2009.
-As You Like It
-Only a couple of repeats, and they really didn't bother me.
-Helena - Midsummmer Night's Dream
-Rosalind - As You Like It
-I wasn't overwhelmed by too much of any one piece.
-"My New Philiosophy" -Good Man Charlie Brown
-Lady Anne from King John
-As You Like It
-pieces about boyfriends
-Shakespeare in general. I am not a proponent of thinking if you can perform Shakespeare you can perform
-Midsummer Night's Dream
-The Little Dog Laughed
-Aloha...say the pretty girls
-hermione's speech at court
-Troilus and Cressida
-Queen Margaret - Richard III
-Lady Anne - Richard III
D. What male pieces do you feel you heard a lot of in THIS round? ACTORS - remember - no one is saying "never do these pieces again". This is simply information to do with as you please to let you know what pieces (and/or type) were quite popular in February 2009.
-You're a Good Man, Charlie Brown
-Only a couple of repeats, and they really didn't bother me.
-None come to mind
-Biff - Death of a Salesman
-edmond 'yay for bastards'
-I hate Hamlet
-I wasn't overwhelmed by too much of any one piece
-I Hate Hamlet
-Rabbit Hole monologues
-Henry Vl pieces
-Picasso at the lapin Agile
-This is our Youth
-I Hate Hamlet
-Lost in Yonkers
-Dromio - Comedy of Errors
-Anything with F&#% in it - complete turn-off in an audition
D. General Comments you (Auditors) wish to make to Actors: ACTORS: Remember, these are individually expressed opinions. They are to be used to assess yourself honestly if you determine them useful. Also, PLEASE remember that these are individual comments - it can not be assumed that a comment by one is an opinion held by all. THEMES are the most important and relevant part of TPS's intent in posting these comments for you.
-No dialects, please.
-Be prepared, work your mono and song with a coach, do 2 contrasting pieces, doing one long speech does nothing for us to see your range, this is a general audition we want to see what you are able to do, a strong comic and a good dramatic that shows skills in text, beat work, body awareness, an vocal work (singing and spoken) is what will get you a call back. An audition is a 2 minute performance - prepare it as you would a full production on any stage in town.
-Choose clothes that are comfortable yet nice - not clothes that distract from your monologue or song. If you have to get our attention as an auditor by the clothes you choose, it shows that you are probably very insecure about your acting abilities - let your natural acting talent shine through! That is what has gotten you this far, and what is going to be most exciting for us as auditors. I come to see you how you act, not for fashion tips.
-Always have at least two contrasting pieces to show your versatility. Honestly...make them shorter...you can get a lot into two minutes - companies will recognize the level of your competence much more quickly than you think. Try to find material that isn't being done by everyone else and that suits you in all ways including physically.
-Be brave, be confident and be prepared!
First impressions make a BIG difference. Be aware of how you walk and carry yourself. Come in confident and dressed nicely. Low cut blouses, shirts, just don't cut it and neither do slit dresses or ripped jeans.
-Do monologues from new works. Take a chance on original pieces. choose monologues that display your strength.
-Your talents amaze me and stand out, so why do so many of you choose to use really vulgar language at an open audition?
-Pick pieces that are more interesting and make a lasting impression. Nothing was real memorable.
-1. Know your casting type, and choose pieces that demonstrate your strengths. 2. Dress for the stage--not for the street. 3. Avoid wearing black when there is a black backdrop. 4. Prepare! Even over-prepare. Including your entrance. 5. Accept this concept: you will not "blow someone away" from this audition. Your best scenario is to impress us enough with your talent, professionalism, and personality to want us to invite you in to read, interview, or audition for a part. This is step one--not a final performance. Auditioning is only a cousin to acting, a tool to market yourself as a professional. You want to be remembered and placed in the "let's invite" file. Very rarely, if ever, will you be offered a role from just a monologue at a general. Look at this as an extension of your headshot and resume. This will a. take pressure off you, and b. will save you from trying to show absolutely everything you have in 2 minutes.
-Don't be afraid to take risks! If your audition is outstanding and unusual you will be remembered. If it is safe and bland, regardless of how technically good it might be, will not stand out with this many people auditioning. What may get you called back in an audition with less people won't be enough to get you remembered here. The good news is if your audition doesn't go well, we probably won't remember because we see so many people each day of auditions. So there is no need to be afraid to take a leap!!
-Most of the actors did not use the space.
-Have fun, and remember that we want you to do well. Be mindful of the selection of the pieces that fit you.
-Please take the time constraints seriously. They show preparation and ability to take direction on your part. Choose a monologue for a role you could actually be cast in. (i.e. Eighteen year old boys should not audition with a monologue of King Lear's.)
-There is no substitute for deep preparation.
-Take a moment before you start your pieces. Take a beat before transitioning to your next piece. Give the auditors a few seconds to see the real you before beginning.
-One monologue is enough if you haven't had time to prepare two!
-Present concise slates. Format resumes/pix at industry standard: staples in 4 corners, 8x10. If non-union, don't put "non-union" where union affiliation would be. Definitely do not put Fi-Core on your resume. Follow assignment: two contrasting monologues. Don't go overtime. No direct address to auditors. Monologue should be part of dialogue with scene partner slightly above left or right of auditors. Use appropriate volume level for space. Don't use props. Choose material that is appropriate for your type, age, etc.
-Be your best self for two minutes---block your pieces and demonstrate that you can fill space physically. Be sure that you demonstrate a range in character and material (and not just the simplistic classic v. contemporary contrast.) I would much rather see two short radically different slices of what you are capable of then one two minute monologue---even if it is beautifully delivered. This is often my first chance to get to know you, and with only one piece, I will often only imagine you for that type of character in the future, instead of fully imagining the chameleon I'm sure you are.
-Dress appropriately - this is a job interview. Get professional coaching - it's clear who has it and who doesn't. Be creative.
-Avoid dressing provocatively or flashily, I want to remember you, not your clothes. Avoid "broken relationship" monologues ("he/she must now die" type material - there was ALOT of it this year)...as it's challenging to know/sense if you will make a good ensemble member.
-Please DO present yourself nicely at the audition, and be sure you are actually comfortable in the clothes you chose to wear. Try to approach your audition slot with some joy--you get to do a three-minute performance for an engaged audience that WANTS to see you succeed! Also, ask yourself how you could be a bright spot in OUR day.
-You are brave and kind. Keep the monologues short - we have what we need in 30 seconds. It sounds crazy, but it's not.
-Actors are heroes. I admire your courage for getting out there and spilling your guts for your two measly minutes so a bunch of (potentially) cranky "experts" can scribble on your resumé and decide the future of your life. It sounds like hell to me. But I sure enjoy seeing everybody's work! And these auditions help keep theater alive and healthy. Thank you.
-The "um,er" school of acting is not what we want to see. Choose contracting pieces and make sure you contrast them Clean up your transitions from one piece to another
-Choose material that is as rich in emotion as you can find. Comedy is nice and makes us laugh but the heart of an audition is seeing some emotional transformation.
-This is just like a job interview, leave the skinny jeans, t-shirts, and brightly colored thongs at home. Singing auditions aren't really for people who CAN sing, they are for people who are very good at it. By only doing one monologue, you are crippling your chances when we are looking for someone who can play more than one type.
-Look with a critical eye at your monologue choices - what does my choice of material say about ME? TIME YOUR AUDITION. Putting your monologue info on your headshot is a nice touch.
-Great job! Love to see the passion and energy!