2014 UGA: Auditor Survey Results

Here are the results from the 2014 TPS Unified General Auditions Auditor Survey.  46 auditors answered the survey (though not all answered every question.)

The comments are opinions from individual auditors, each with their own personal preferences.  Do not take any single comment as a truth about what should or should not be done with your audition!

Coming soon I will post statistics on actor applications.

We attended this General to cast for projects occurring between: (Please check all that apply)

March – July 2014

41.30%

August 2014 – January 2015

63.04%

2015 or beyond

47.83%

We keep headshots/resumes on file for currently unscheduled projects.

86.96%

 

How many 2014 UGA actors potentially fit a future project of yours?

Less than 10

8.70%

11-25 actors

45.65%

26-100 actors

21.74%

I keep all or most of the actors on file.

23.91%

 

Auditors received black and white printed headshots and resumes and/or a digital CD with full-quality versions of all. How were the printed headshots?

I prefer the black and white over color.

41.30%

I prefer color but only if I did not have to pay more to attend.

26.09%

I prefer color and would be willing to pay extra to cover this cost.

2.17%

No answer

30.43%

  • Black and white is fine for the printed headshots – I can look on the CD for the color ones I’m interested.
  • I have no problem with the black and white photos. If you can do color and it doesn’t add more to your cost that would be fine but what you’re doing right now is fine.
  • Black and white works great for this process and usually we end up with headshots from the actors we like at specific show calls.
  • Thought it was great this year.
  • I opted to just have the CD and then uploaded them onto my Ipad or computer.  I thought that rocked.  That way, I can pass the disc onto our casting team and we don’t kill trees!
  • Whichever has less impact on the environment, IF one does. Otherwise, I don’t care.
  • The quality of the black and white headshots and resumes exceeded my expectations.  I think you did a wonderful job with them overall.
  • We didn’t get a binder last year either
  • B&W is fine. No need for the extra expense. All B&W is a level playing field.

Auditors can also receive full-quality headshots and resumes on a CD. The disc also includes a spreadsheet with additional actor details.

The CD contains everything I need already.

63.04%

I have no interest in digital version of headshots/resumes.

8.70%

I want more things on the CD (list in comments)

2.17%

I want digital files but in a different format/style (mention in comments)

4.35%

  • It would be so awesome if we could download them from some sort of cloud!
  • Again, I loved this option!
  • Easier to read details about actors representation,
  • From electronic submissions, I am accustom to receiving a series of headshots from talent rather than a single headshot.
  • I am old school. the head shots and binders,and organization of the actors were fabulous.

What were the most surprising, enjoyable, memorable moments from actors?

  • The kids.
  • Whenever someone was polished, professional, and talented.  Always a surprise!
  • Actors who are not nervous but comfortable and look like they enjoy the audition process.
  • Great new performers and not too many repeated pieces on day 1
  • Always enjoyable when the actor performs rather than audition. As nervous as the actors are, the auditors are hungry for some entertainment.
  • Great comedy moments with great timing.
  • Seeing more than one African American at the auditions.
  • The new people.  Also seeing growth in the old.
  • Some actors — very few — were exceptional in what they presented within two or three minutes. It made you want to consider them further and perhaps call them back. Just to see what might come next. They were actors one might like to work with.
  • When they stepped out of the “actor-tools” box and connected with auditors on an emotional level
  • This seems obvious, but when the actors actually enjoyed what they were presenting, it was apparent and very enjoyable to watch them play.
  • I enjoy actors to genuinely said hello, good morning, afternoon, etc.
  • More intimate auditions.  I think the space necessitated that.
  • I very much enjoyed watching the occasional actor come in an nail their audition. I was surprised to see some actors who I know from around town as strong actors have weaker auditions.
  • I appreciated the actors who at some point made a warm and human connection during their monologues and also with the auditors. I liked to see actors with the versatility to work at different paces in their two monologues.
  • I wish I could think of one. Maybe I’m a tougher audience after so many years, but I can’t come up with a single instance this year of an actor doing something genuinely surprising, original or inventive. Which isn’t to say that most of the work wasn’t just fine, but it seemed to me that just fine was pretty much all it was in most cases.  There was a kind of midline competence to the majority of the auditions this year that was not, over four days, very compelling to me. Naturally not everyone shows at their best in a general audition situation,and I think we suffer each year more from the emphasis in training programs on film and television technique, but even so you can generally spot it when there’s a spike in the graph and for some reason this year hardly anybody really took hold of the room.
    • That being said, people did seem to have put an effort into finding and using strong comic pieces, which was a pleasant change.  (Remember the Year of Rage? The Year of Men Are Awful and Deserve to Die?)
  • original, comedic monologues
  • I appreciated everyone who was professional, prepared, and stayed within the time limit. I also appreciated those who powered through despite noisy distractions from outside the windows.
  • The woman who said before her audition, “Yeah, I know. You’re thinking ‘another 20-something brunette.” and then she did an audition that was a 20-something brunette audition. lol
  • When [actor] went over her time while singing, the timers said “thank you”, and she thought they were wanting her to keep going!  Nathan did.
  • Auditions from actors who recognized the experience as simply an opportunity to make a good impression and showcase their talents.
  • The musical afternoon performers surprisingly included many interesting dramatic performances as well. Any performer who exhibited enthusiasm was always memorable and enjoyable.
  • Friendly greetings to the auditors as they entered the room.

What were the most common mistakes made by actors this year?

  • Running too long.
  • There were a few that actually said “scene” at the end of their monologues, which more or less erases anything else I saw.  There were more that didn’t introduce their monologues than I expected as well.  There was an overall lack of training in how to audition, in how to physicalize and establish character, and how to best choose monologues to display range, but I think that’s not so much a mistake as lack of experience and training.
  • A lot of the material seemed to lack contrast.
  • Dressing pedestrian.  Going over time.
  • Nervous during slates. Low volume.
  • Rushing through / not specific enough transitions. Quite a few times I was confused whether an actor had gone into their second speech or not.
  • Spending too much time explaining either the piece or about themselves
  • If you don’t have an amazing classical piece, don’t waste your time. So many awful classical pieces were followed by wonderful contemporary pieces. Do two contrasting contemporary pieces rather than show how mediocre your grasp of classical text is.
  • No need for an introduction of what they have been working on. Just state their name and piece and do their monologues.
  • I don’t think most actors have a plan for the audition–they don’t know what they want to show. So for many we just know that they can walk and talk, but don’t see strengths.
  • Mumbling their introduction. Volume. Acting on the floor too close to the auditors, so that we couldn’t see you in back.
  • Running over time.
  • Beat work…
  • Lack of pausing and specific focus. We want to see or sense some thinking or feeling. In life, people pause and focus when they, say, are facing a question or recalling something worth relating to us. Personal pauses and focus draw us in. They’re valued.
  • Not showing full range of skills but having one tone throughout
  • Actors who were unprepared and so mindful of the time restraint that they couldn’t just relax in their time space.  Also energetic entrances are the best!
  • Don’t pick monologues where you play someone who is nervous.  Very hard to distinguish if they are brilliant actors or just actually freaking out.
  • Chair strike- going over
  • Many actors chose inappropriate or poorly prepared songs. It would be helpful to include a “How to pick the right song” workshop or something along those lines. In addition, most monologues seemed to be about sex or swearing at the audience. “Shocking” does not equal “good audition material”, generally speaking.
  • Time mostly.
  • Selection of material that is wrong/inappropriate for who they are.
  • A number forgot to introduce their pieces. Many didn’t raise the dramatic stakes of their monologues, or didn’t seem to have a clear understanding of the dynamic possibilities of the text.
  • Doesn’t anyone own a clock?  Some kind of reliable time piece? A LOT of auditioners failed to time their presentations properly (allowing for laughter etc) and running over was a real problem.  Having time called is hard on everybody – embarrassing for the actor and frustrating for the auditors.
    • Quite a lot of people didn’t seem able to “read” the size and acoustics of the space appropriately and as a result were difficult to hear even in such a small space. For God’s Sake, people, if you can’t feel your ribs expand and your diaphragm drop when you take a breath, then you probably don’t have enough support under your voice. (And yes, I know it wasn’t the liveliest room in the world for sound, but still…)
    • Dialect – this wasn’t a pervasive issue by any means, but we saw several actors who had chosen monologues that clearly call for a dialect, both in language and content, and didn’t do it.  Different Casting Directors feel differently about the question of dialect, but my feeling is if it’s a skill you have, then show it to me; if you pick a dialect piece and DON’T do the dialect, then it tends to feel like you’re actively showing me something you CAN’T do. (It also suggests to me that possibly you haven’t read the entire play, or really looked at the language and music of the speech you’ve chosen.)
  • not putting back the props
  • Going over the time limit. Picking story monologues. Not projecting enough. Getting too close to the auditors. We only had a few people who made “distinctive” unprofessional entrances.
  • Limiting themselves to a Shakespeare (Classical) and either a contemporary piece or a song. Our company is not likely to ever do a classical play. I am much more interested in emotional range than classical technique. Unless an actor aspires to be a classical actor (and has the chops for it), why audition with one?
  • Thinking that they needed to do over the top crazy characters.  We need to see what you can do, not that you can go to the extremes to get our attention.
  • coming in/out different ways; not putting things back; going over time
  • Rushing to complete pieces w/in the time. Remember it’s about the acting, not the pieces.
  • Saying “I’m going to do two pieces for you today.” It’s enough to say what they are.
  • Droning on with no apparent stakes (why should we care?), or blowing our hair back with a diatribe (not giving us an opportunity to care). Go nuanced or go home.
  • Rushing through, not taking their time where it benefits material to slow down.
  • Length in presentations.  A lot of people were cut off for running over.
  • Many focused upon mastering the words over performance.
  • Selection of audition pieces.
  • Non-existent transitions between pieces.

What were the most overused pieces, playwrights, plays, done by female actors?

  • There seem to be endless plays about private, personal petite angst (how about that for alliteration?). Not so much the fault of the actors but rather the fault of the dull writers who are writing them. Seems to be true for women’s pieces rather than men’s.
  • The Blue Window by Craig Lucas, Troilus and Cressida, Coriolanus.
  • the anal probe monologue, cannot recall the name of the play/playwright at this time but it was three in a row each time it came up. funny but overdone.
  • End Days
  • I feel like an actor shouldn’t have to worry about this. Pieces trend and it’s a fool errand trying to anticipate that.
  • Shakespeare repetition for females is inevitable. But unless your classical piece rocks, don’t make us watch another mediocre female classical piece. We’ve seen them all already.
  • Shakespeare, Imogen
  • Probably lady Jane from Richard III
  • Neil La Bute End Days
  • Midsummer…
  • Comic cutesie stagy bits (often performed with an affected or unconscious nasal tonality). A cute performance (that may get laughs) is just one type of performance. By choosing to present only that, the actor suggests that’s all they can do or would want to do.
  • Shakespeare
  • So much Shakespeare. So much Midsummer (Helena or Hermia).
  • End Days
  • Break up diatribes get old fast. Pushing the audience away, rather than bringing us in.
  • The “I didn’t ask for the anal probe” monologue. Some of the Shakespeare pieces were overdone.
  • Next to Normal “Super Boy & the Incredible Girl”
  • The mother’s speech from End Days. Cymbeline monologues. Portia’s monologue from Julius Caesar.
  • Lots of variety this year, so kudoes to everybody for hunting up new and different monologues. The trend seemed to be not so much towards particular speeches as towards a repetitive energy among the women, many many many neurotic/daffy/crazy-lady monologues – I found myself longing for a grown up by Wednsday afternoon.
    • As a footnote to that, I would add specifically that Cressida’s “Hard to seem won…” monologue is really not great for general auditions IMO; if you like the energy and personality of it, try Juliet’s “Thou knows’t the mask of night…”  It’s better poetry and the transitions are more fluid.  If you like Cressida as a character, “Words, vows, gifts, tears…” is a stronger speech that lets you show more of her depth and complexity.
  • playground mom piece
  • Cressida, Cymbeline, the Jesus monologue from End Days. I appreciated that there were fewer Neil Labute monologues this year.
  • Shakespeare – any.
  • Cymbeline, Troilus and Cressida
  • Nothing comes to mind.
  • Those pieces that referred back to acting and auditioning.

What were the most overused pieces, playwrights, plays, done by male actors?

  • Kinda the same as above but to a lesser extent. It’s a tough task for actors, but those who take the trouble to find an original piece of writing that works for them always do best in my book.
  • Richard III
  • I feel like an actor shouldn’t have to worry about this. Pieces trend and it’s a fool errand trying to anticipate that.
  • Not sure there was.
  • Shakespeare, Iago
  • I though it as pretty balanced
  • Neil La Bute
  • Picasso at the Lapin Agile
  • There are fewer males auditioning, so I am not sure that any pieces were overused, per se.
  • Shakespeare
  • Othello
  • Lots of Will. But that;s expected.
  • Death of a Salesman- Biff
  • The guys did ok – we had only a couple of “Thou nature art my goddess” and I think only one “I’m nice” (JACK AND JILL), which are usually the wearying ones for the men.
  • Jesus and sheep monologue (sorry theatre is not my forte)
  • Shakespeare – any
  • Julius Caesar
  • Anything by Shakespeare.
  • The few overused pieces were also the more blase presentations.
  • Neil LaBute

General comments you wish to make to actors who may want to do the general auditions in the future.

  • Remember that auditioning is about sales, not art. That comes later. Who are YOU? That’s all I want to know.
  • Please make sure that what you choose displays what you can do as an actor.  Simply selecting a contemporary and a classical monologue doesn’t do it.  Know yourself and your range, choose a package that accurately represents that, and trust yourself to do it well.
  • Don’t wear black in a black-box space. Time your pieces to be fifteen seconds UNDER.
  • Please do not use monologues from tv shows.
  • Really rehearse your audition. Find a coach and work with them.
  • Sing if you can sing!
  • Show your strengths rather than do what you think is expected. Make sure your pieces are contrasting in content. Don’t sit in both pieces. Don’t get on the floor unless you are far upstage. No one can see you. Time your pieces. Too many people were overtime.
  • Have your music in a binder with clear plastic sheet protectors with sticky notes showing beginning and end and tempo clearly marked. Don’t make piano player turn a whole bunch of sheets while playing. Consolidate the music onto two pages if possible. Singing auditions take way too long when the actors has to describe in length their piece to the pianist.
  • Take the stage, give us something special. If you cant sing, don’t.
  • we all want to hire you.  Relax, take your time to give a proper audition, and let us see your energy/excitement.
  • Relax. We’re on your side. Don’t be afraid or anxious. If possible take a pause at the end of your piece –in character. Give us a moment (and perhaps then say “thank you” out of character if there is time). Please don’t say “scene” at the end of anything.
  • Choose UNIQUE and ORIGINAL material, so you stand out in the large crowd
  • Pick something engaging. Don’t be safe. Don’t be staid. Pick something that you really believe in. We can tell and it’s the most interesting to watch.
  • I want to see monologues or songs performed from pieces of work that the actors would like to do.  If you want to do romantic comedies, perform pieces that are from romantic comedies, etc.  Also perform pieces that show of your wheel house!
  • Be original. Make me remember you with quality.
  • Tell the story.
  • Bare minimum, at least read the play that you are pulling the monologue from to ensure it’s appropriate for you and that you understand what it’s about. Yelling, screaming and other forms of anger show me nothing. It’s cheap and easy for the actor and extremely hard on the auditors. Try something else.
  • Have fun!! The TPS Generals are a great to see actors and think not only about their talent but how fun (or not fun) it would be to work with them.
  • Prepare well, and enjoy yourself while you’re there.
  • See above:  time your pieces carefully; use your intro to gauge the “bounce” in the space and adjust your projection accordingly; oh, and ladies….what’s the deal with the five-inch stilettos?  It’s hard for me to concentrate when I’m worrying that you’re going to fall over, and unless you live every day of your life in them they radically change/inhibit the way you move.  Your legs will look just as nice in a 2-3″ heel.
  • you only have a few minutes; make it count
  • You need less time than you think you do.
  • Play to your strengths. Pick pieces that are age-appropriate and for which you have the right look. Stay away from classic unless you have the chops.
  • Make sure you are choosing pieces that show off what you can do.  Too many just went for over the top crazy.  Also contrasting monologues don’t just mean classical and contemporary.  It also means range.  If you have a piece with angry heightened emotion, make your second piece softer and show a different side of what you can do.
  • Keep studying—for the rest of your life. Then you’ll keep getting better for the rest of your life.
  • Relax! Own the space and your time in it without arrogance, but be genial and confident. We want to see you succeed. You’ve worked hard on your audition pieces, so please don’t mumble when announcing them.
  • If a piece almost at it conclusion and time is called, that’s really not too bad.  At least the arc of the piece is seen.  If you are in the midst of a piece (or still in its introduction) and time is called, that’s no good.
  • Make sure your choices are all about putting your best foot forward. That may mean choosing a simpler but stronger piece, not wearing the uncomfortable heels that limit your movement or simply taking a second to breath/center before beginning?
  • Please be aware of the time limit.

 

In late spring or early summer, we may have a single day of “student auditions” featuring upcoming graduates from various local colleges. Would you attend?

Yes

53.66%

No

9.76%

I don’t know/maybe

29.27%

No answer

7.32%

 

  • Good idea.
  • It would depend on what I’m casting for.  Right now I only need two college aged actors for my upcoming season and I’m hoping I can find them locally.
  • Undergrad or grad students?
  • Seeing college age actors is much needed. We are always looking for young talent and don’t see enough in generals.
  • If my schedule allows. I’ve done such things with KCACTF before and enjoy being involved with college theatre education.
  • Probably yes, but I’m not the one to make that decision.
  • Depending on the preparation level of the auditioners, assessed prior to the audition.
  • I think that’s a great idea.  Particularly for companies that do park shows or have “intern” positions
  • Depending on the date.
  • If I’m in Seattle, I would like to attend.
  • If schedule permits, absolutely
  • Not casting for these roles this year.  Maybe next year.
  • I think that would be a wonderful program to start new actors on their chosen career path!

Would you attend a mid-day “tech fair”, on a day separate from the General Auditions, where local designers (costume, lights, scenic, etc.) could present examples of their work? How would it benefit you the most? Or, how would it benefit the designers most?

Yes

31.71%

No

17.07%

Maybe/I don’t know

34.15%

No answer

17.07%

  • We’re a newish program, so I’m always looking for designers.
  • Its difficult to hire from just a resume so sample of their work might be a good idea—
  • If my schedule allows. USITT does some of this at its conferences at a professional level, and it’s a good thing. And KCACTF has programs for college kids (tech olympics, etc)and that’s good too.
  • I’m not the one to make that decision.
  • I feel like if the Generals were held over the weekend (like some other conferences) this could be similar to a showcase mixed into those events.
  • Many of our season shows are staffed by our full-time staff. While new to town designers may find it helpful to have the introduction to the community, it would be important to gauge the interest and necessity for the designers.
  • ABSOLUTELY!  Even if that could be available in the same vein that the head shot CD’s are.  That’s a great idea.
  • Absolutely! I think the benefit of getting the tech resumes is one of the most valuable parts of the auditions. Designers are such an important part of theatre and it can not be done without them.
  • we would certainly hope to have someone there for a tech fair, but it would want to be someone from our Production department and their availability is of course dependent on the production schedule.
  • As a relatively new company, we currently have to rely primarily on referrals and some whose work we have seen. It would be great to have designer put forward their best work, ’cause that’s what we want.
  • I would be interested in attending, it would depend on when.
  • I am open to thinking “outside the box” and am interested in collaborating with any designer who exhibits creativity, excellence and enthusiasm.
  • I am interested, but would want to view resumes in advance if possible.
  • It would benefit my TD and I simply to haev those resources in our system. We are in a small outlying community and it would be greatly appreciated to see others work and availability.

in the 2013 General Auditions, actors applied by going to a “pre-screening” to determine audition eligibility. In 2014, the pre-screening was removed and instead actors had to meet certain guidelines. the guidelines were: -have 4 or more stage credits (fully staged, not self-produced or academic); OR -have a BFA/MFA; OR -be a member of Actor’s Equity (AEA) or Equity Membership Candidate (EMC) Actors that did not meet those qualifications were welcome to signup for a “waitlist” and the remaining spots were filled by those actors.

I prefer pre-screening over the 2014 guidelines

14.29%

I think the 2014 eligibilty process was acceptable

45.71%

I prefer different eligibility guidelines

2.86%

I don’t really care which guidelines you use

34.29%

No answer

2.86%

 

  • This was my first year, so I don’t have a frame of reference.  However, I do wonder about the validity of a BFA as a reasonable criterion – the programs are so variable.
  • I would suggest 4 credits within 6 years, and perhaps something similar might apply to auditors.  A previous track-record could go through a case-by-case screening for those returning to the craft.
  • I felt like there were a lot of actors who shouldn’t have been there this year because they were not ready. There were also a lot of mistakes (like time, introduction and speech transitions) that could have been fixed at the pre-screening. I also feel like the pre-screening forces actors to prepare earlier and we might get a lot less cancellations. I would be willing to volunteer to be a pre-screener.
  • Acting was really much better this year with the guidelines. Though I’m concerned I might have missed some great younger talent which I will hopefully see in the student auditions.
  • I did notice more people going over on their time this year, at least if felt like it.  I think that is just something the actors have to be aware of.  No matter how often you tell certain people, they’re not going to hear you.
  • The eligibility of an actor based on their resume did not take into account actors who erroneously added credits to their resume. For example, one actor listed themselves as playing Hero in Midsummer Night’s Dream. There is no such character in that show and I’d question whether the company listed exists at all.
  • The pre-screening panels were a good first step in the right direction, and needed to be assessed/evaluated rather than abandoned after one attempt. I wish TPS would offer free or low-cost ongoing (year-round) audition clinic, and I’d be willing to help make this happen. We seriously need to raise the threshold in this town, and training is the way to do it. [Editor’s note: The TPS Pre-Screening program actually ran for 2 years, not 1.]
  • I am all about it being feasible for TPS staff.
  • If you keep the guidelines, drop the degree requirement. People get to their art through many paths, not just collegiate degrees. In fact, some of the best this year did not list degrees and some with the most impressive collection of degrees were among the worst!
  • Did you check EMC cards? Many who claimed it don’t have it on their resumes.
  • Although I did not see the 2013 UGA, there were a few actors (not too many) who should have been removed through a pre-screening.  Note: I found BFA’s the weakest qualifier and AEA & EMC far and away the strongest qualifier.
  • I wonder when was the last time they were auditioned?
  • There were two people I saw who I felt were in need of a great deal of work. Some I thought were just off their game- the vast majority were prepared and talented.

This year TPS held general auditions in the 4th floor of the Armory, in Theatre4. While we intend to move back into the Center Theatre next year, we’d still like to hear your thoughts on the venue.

I prefered Theatre4 to the Center Theatre.

2.86%

Either venue works for me.

25.71%

Please oh please don’t bring me back to Theatre4; Center Theatre only for me!

68.57%

  • This was my first year of attendance to UGA. Theatre4 seemed small to me and it heated quickly with the lights. Also the noise from open windows was distracting.
  • The benefit of theatre 4 was the that you actually got to know other auditors. But the chairs…nah.
  • This size venue was closer to the size of venues that we use, so it was good to see them “to scale” if that makes sense. Chairs sucked over long periods of time however.
  • If not Center Theatre, a hotel ballroom or convention center room would be fine. Theatre4 really should be crossed off the list
  • Theatre4 was much more intimate, much preferred.
  • Theatre4 was ill-equipped to house that many auditors for that length of time, and the window vs. outside noise conflict became a bit distracting for some of the more vocal auditors.
  • I mean, obviously it happens where it happens.  But Theatre4 was a little rough.  I could only imagine how it was for the actors!
  • The gracious TPS staff and volunteers made the atmosphere comfortable. 🙂 But a little more elbow room would be nice too.
  • I found Theatre4 a TREMENDOUSLY difficult space for both actors and auditors, partly because of the conditions that go with it (poor ventilation, uncomfortable chairs, ambient noise from the Seattle Center Campus) and partly because all of those conditions add up to a very oppressive energy and atmosphere that made it much more difficult for the auditors to sustain good positive energy for the actors, and for the actors to push through the sludge to engage our attention.  If the Center Theatre isn’t available, I would prefer a completely other location to Theatre4.
  • If the venue were better, I might have tolerated a 5th audition day.  Four days in Theatre4 is definitely its limit.
  • It’s live theatre. Some of the complaints were off-putting puffery. We don’t all work in mega million dollar facilities. We often deal with community noise, ineficient heating or cooling, trains, planes, and sun!

What things would make the General Auditions more beneficial to you or your organizations?

  • There are many actors who have been working in Seattle for quite some time who feel it’s not worth the bother to do TPS, since they’ll be getting their invitations to audition for theatres where they are known. If there was some way – perhaps a special day – perhaps some kind of incentive (easy for me to say) to bring them in that would be excellent. I know this to be true, not just from conversations with other theatre directors, but also from my own experience.
  • A “meet and greet time” to meet the actors, other than just seeing them do monologues.
  • Maybe a list of the actors and their times maybe three day ahead of auditions–that way we could skip a session, if we needed or wanted to, that had too many people we already knew
  • Recruitment of minority actors
  • I missed seeing the students who are just about to enter the world.  I know you are talking about having the student day, but [Organization] and many other companies use plenty of interns, and these people are very useful for that and younger roles.  Often times they have way more chops than someone who has done 5 shows at a E. WA. community theater.
  • Receiving the auditioners’ materials prior to the audition days would better help us plan travel and coverage around actors we are interested in, based on what we’re casting (some seasons 4 musicals and two plays, others 2 musicals and 2 plays etc.)
  • I’ve never auditioned, so I don’t know what you give to the actors, but maybe a more official list of who is auditing so the actors know more who’s watching them.
  • Better trained, more disciplined actors.
  • Personally I would be able to make it easier in the afternoon and weekends.
  • I was watching primarily for the sake of casting short, independent films. I know this is not your focus. But it would have been helpful to me to see actors auditioning with film in mind since some of the actors were obviously talented at filling a stage, but it wasn’t clear whether they could do the same thing in a more contained manner. Unfortunately, there’s probably not much that can be done about this but to have a film general audition – which would be great!!!
  • Same old thing for me really – it would be awesome if it could be negotiated for the UGA Equity Day to count as a contractually required EPA Day for LORT/AEA houses as it used to do.  I know the reasons why not, but since you ask…
  • Have a sign-up option specifically for agents with an applicable rate
  • No, I think you all do a fantastic job every year, even when you’ve got a lot of things working against you. Thanks for coordinating a super-professional general audition this year. It can’t be easy to please that many strongly opinionated people.
  • Getting to see actors that we otherwise might not ever see. I cast two shows last year in which reviewing last year’s notes and viewing headshots and resumes resulted in casting a couple of actors who did not initially audition for us.
  • if the actors would fill out every question instead of leaving some blank
  • Greater ethnic diversity?

General comments to TPS.

  • Nice work by all involved!
  • Always impressed by how smoothly y’all pull it off every year.
  • LOVE YOU GUYS & GALS- you are the best.
  • Thanks for all your hard work!
  • You are doing such a great job for us in this community. Hats off!
  • You guys are great! Thank you for all of your hard work!
  • You do such an excellent job setting this up and treating everyone so well and serving our community. You are very much appreciated and wish you had even more money and staff to do even more wonderful things for the performing arts community. Everyone one of you are wonderful, hard working and visionary. Thank YOU!!!
  • While it didn’t look effortless, the auditions did run smoothly. Great job!
  • Great job, one and all, Thanks!
  • I’m sure this event was an organizational challenge, and I appreciate the effort in making things run as smoothly as possible. Nice work!
  • You guys are great 🙂  Thank you!!
  • You guys are the best.  You work hard and get a lot of things accomplished.  I don’t know how you do it!
  • Thank you!!
  • Thanks for all you do!!!
  • Please do not give actors a bad time for fully using their two-minute time slot. If they hit the time limit, simply cut them off, thank them and move on. That’s what happened about 20% of the time this year anyway and we were none the worse for wear for it.
  • We love you! Thank you for all you do and for asking for feedback.
  • THANK YOU!
  • I can’t even begin to imagine the amount of work and organization it takes to pull this annual event together and make it run so efficiently – so grateful to the whole TPS crew for making it happen, and especially this year for rising to the additional challenges presented by the change in venue.
  • Keep on doing the great work.  We’ve taken on some amazing actors who have booked a ton of on-camera work in this area…all due to seeing them at TPS.  Thanks for letting us attend!
  • I didn’t see a question about repercussions for going over time. I would appreciate it if those who go over time are placed at the bottom of the scheduling pool for next year. There’s no reason that we shouldn’t give the standby actors a chance when the actors we’re seeing can’t be prepared enough to keep to the time limit.
  • Keep up the great work!!!
  • Great job by Shane and co. It was wonderful most of the time.
  • Thank you.
  • It was a hoot! Lots of talent. Thanks to all for a great job!!!
  • GREAT JOB!  It felt super organized and ran really smoothly when I attended.  A HUGE THANK YOU to everyone who made that happen.
  • Thank you Shane and crew for exhibiting the epitome of grace under pressure, flexibility,humor and endurance for theatre’s sake. If directors/agents don’t like it they can always go through the arduous attempt at creating their own audition process in their own venue!

 

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