Thank you for your submissions. The 2010 Combined Auditions are now closed
We take great pride in making sure that we host auditions that respect the actor and provide the best possible circumstances for them to do their finest work. Below you’ll find a compilation of tips from the auditors who have watched years of auditions as well as "pearls of wisdom" gleaned from publications that help actors get ideal results from their audition time. If some seem obvious, please forgive us, but we have seen a lot of auditions and each "mistake" mentioned has happened more than once.
Processing your appointment time:
We receive dozens of resumes for each available time slot. It is imperative that you call to confirm your slot by the designated deadline. If, after confirming your slot with us at the NJ Theatre Alliance, you are unable to make your appointment on the day of the audition, or are going to be late, you MUST CALL AND LEAVE A MESSAGE for us at (201) 446-1206. This is a personal cell number only to be used the day of your audition.
It allows us to give an alternate your slot with appropriate preparation time. Please be aware: if you do not comply with this request you will not be eligible to participate in future auditions.
Please be considerate and polite on the phone. We are receiving a lot of calls, juggling a lot of people, and the same people who are confirming your audition will also be running the auditions.
Material selection(Non-Singers):
Length: You have 2 1/2 minutes. In order for us to stay on schedule, you will be timed. Please make sure your material fits easily into the allotted time frame. Do not try to fit a lot of material into this short amount of time. It is wiser to simply do what you do best and not rush through your material.
Versatility: Two contrasting monologues are preferred: one contemporary, one classic; one comedic, one dramatic. Show us your range and your strengths as an actor; introduce us to who you are. Select material which is well rehearsed. You can also perform one monologue, if it is your best. Just make sure it shows range and fits into the time frame.
The theatres range widely in the type of material they produce. While few actually present Shakespearean plays, most are interested in seeing evidence of classical training. If you do not have a Shakespearean monologue that YOU DO WELL, consider another classic writer who does not write in verse.
Appropriateness to Performer: Select material that is appropriate to your age, experience and your type. If you are 18, do not select Amanda in Glass Menagerie; try Laura. Seems obvious, but too many people are drawn to a monologue because it is strong, funny or because it provides emotional material. A good monologue is not a good monologue unless it shows us your range, your essence and how we might cast you. Be realistic. It should be a character you might actually play.
Appropriateness to Company: Do some research before you determine the most appropriate monologue material. We suggest you check our website www.njtheatrealliance.org/whatisplaying.php to see what our member theatres are producing.
Originality: Do not be afraid to use over done material. If it is a great monologue and one where you excel, use it. Monologues are usually overdone because they are terrific monologues. Trust in the well-known playwrights, they are usually well-known for a reason. Writing your own monologue, adapting a poem/song, or picking a monologue that is not from a play/musical is usually not the way to go.
It is also risky to do monologues that bemoan the fate of the actor or attack the auditor. It can sound like sour grapes or whining, and can shut the auditor down.
Taste: The most prevalent complaint our auditors want you to know: PLEASE DO NOT CHOOSE MATERIAL THAT IS VULGUAR, OBSCENE, OR TASTELESS. Do not attempt to grab our attention or be memorable by using insulting language or images. Do not take off your clothes. Certainly, you want to be memorable, but be memorable because you have made us laugh or moved us. For the same reason, do not pick a piece for shock value; it is ineffective in getting the audience's attention.
Well Written Material: A strong monologue should have a journey. There should be an arc, a peak; a resolution…something about the character is different at the end than at the beginning.
The audition:
Appearance: Remember this is a job interview so dress appropriately. Be neat, organized and in control. Be yourself. Not only are we deciding if you are right for a particular role, but we are also consciously (or unconsciously) deciding if we would enjoy working with you.
Your Introduction: The way you enter, look at the auditors and say your name, and the title of your piece(s) is as important as the audition itself. Do not explain your piece…it should work on its own. If you need to explain it, you do not have the right piece.
Point of Focus: You should NOT direct the monologue to the auditor. It can make us very uncomfortable. We suddenly feel that we have a responsibility to react to the actor and keep eye contact with the actor so we do not throw them. What we want to do is evaluate the actor’s work, review their resume and take notes. We prefer it if you do not talk to a chair; but, select a point of focus somewhere over the heads of the audience, in the center, or on stage, where the other character would be. Do not select a point that makes you face upstage for most of your monologue so we only see your back.
Body and Voice: These auditions take place in a theatre; we need to know that you can fill it. This does not mean you should scream at us, but you should not perform your monologue as if you are in a small audition room. Let us know you can project and that you can move. If you play one monologue sitting, play the other moving, or at least standing. We are not looking for histrionics, but let us know you can walk, talk, and think - all at the same time.
Running Overtime: If the timekeeper cuts you off before your piece is finished, accept it with good grace. It is not the timekeeper’s fault, and glaring at him/her will only make you appear difficult in the eyes of the auditors.
Resume: Please make sure your resume is stapled to your picture and that it is trimmed to the same size as your picture. It is easier for the auditors to keep their files organized if all resumes are a consistent size.
Make sure your vital statistics are up-to-date and accurate, and be sure a current and valid phone number is listed.
Musical auditions
To Sing or Not To Sing?: You should sing if you believe you can be cast in a professional production in a singing role. People who can carry a tune should not sing just because they can. You do not want people to hear you do something that you can not do really well. Obviously, Moonface in Anything Goes does not require the same technique and ability as Ravenal in Showboat, but if you look and act like Ravenal and sing like Moonface, you should not sing.
If you consider yourself a singer and actor you should do a monologue along with your song. Most of the auditors are casting for both musicals and non-musicals.
Preparing your Music: Make sure your sheet music is in good shape, in the right key, and clearly marked for the accompanist. Do not expect the accompanist to transpose your music for you on the spot.
Music should not be on single sheets, printed front and back. It should be mounted accordion-style or put in a ring binder.
If your music was produced by a computer, have an accompanist proofread it and be sure to indicate chords and tempo/dynamic markings and lyrics.
If you are transposing your song, consider the easier key for the pianist.
Make sure the pianist knows your tempo, even if it is a famous song. It is not helpful to say "not too fast" or "medium" because the accompanist might have a different idea of what that means. Softly sing or speak the first line of music at your speed.
Singing a song that is too unique and obscure can potentially throw the pianist off, and ultimately hurt your chances at impressing the auditors.
If the pianist has misunderstood you as you start to sing the song, stop, say "I am sorry, I guess I did not explain" (even if you did) and indicate the correction quietly at the piano. It is never a good idea to attack the accompanist- it only makes you look temperamental and hard to work with.
We suggest you consider singing AFTER your monologue. It gives the accompanist a chance to look at your music while you are doing your monologue.
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Sources:
Summer Theatre Directory 1995, Edited by Jill Charles. Theatre Directories, 1995.
"NJ Theatre Alliance Audition Tip Survey" advice submitted by our combined audition auditors.
