ACTORS GUILD. JUNE 2012
A plug for Neil Rutherford's new book which I highly recommend.
*Sondheim-underplay
because the music is clever in itself.
*Think
within the context of the song.
*Sing
and Act. Where’s the vocal and hear it.
*Show
a wide range-height and depth and a range of emotions. Be versatile in the
first round and show off your voice.
*Some
casting directors one can sing to (not DG) but don’t sing love songs or angry
songs directly to a casting director-too intimidating. One can do a little bit
of playing to the panel but not all of it and where’s the focus.
*Think
like American’s and do it 150%-go far enough with energy and don’t apologise
for auditioning.
*9-5
had 4,500 applicants and they saw 300.
*Some
casting directors like Sondheim but some pianists find it difficult to play.
Make sure the song is no longer than 2.5mins.
*If
there are similar verses cut the repetition.
*Don’t
choreograph in a song just stand and sing.
*Know
the sense of the production. Do your research.
*DON’T
CHAT!
*Choices
like Jason Robert Brown can be long and self- indulgent.
*One
needs to look like the production e.g.: Legally Blonde has a type.
*Enjoy
auditions. Don’t sing to one spot-place a person you are singing to and move
around the room if needs be.
*Narrative
is easier to play.
*Love
songs are gushy, sometimes embarrassing and harder to play. Is the song
endearing or funny?
*Don’t
wave hands or move them to the beat.
*Have
music printed with cute already there and ready to play so one doesn’t have to
explain it to the pianist. Have it neat and printed properly.
*Dress
as if you have made an effort and do the background work needed for the show
setting: period, what’s my character within the show; suggest a look, Youtube
etc.
*Apple
Tree is a lovely song so don’t do too much.
*Don’t
give away where the story is going. How much funnier is the song is it isn’t
about what it believes to be?
*Don’t
give the story away right at the beginning. Have somewhere to go. Let it build
bit by bit. Remember how many bars are left otherwise we have heard it all
before.
*Where’s
the energy? Have your motor going.
TEXT:
William Gaskill-Words into Action.
Nick
Hern Books. London. 2011
*If
the ending finishes on a low note take it up because it might be a better
finish.
*Don’t
go too far with the piece but think about it. E.g.: Putting a top note
somewhere because this character does this type of song in the show? Adapting
the audition song for the show. If it’s too whacky tell the panel why you are
doing it e.g.: wide range. Adapt in initial call but not recalls.
*Casting
panel can see through he mistakes. If there are 3 people up for the same role
and 2 don’t get it, it could be because the first one can cover more?
*Casting
directors expect the material to be learnt and even 24hrs before. Be
professional.
*What
is the key to this song? Key lines or title?
*Own
the audition. I’m in control to take the dramatic moments. Be brave.
*Song
example: Gimme, Gimme-with cuts and there are money notes. Act.
*Don’t
be too manic e.g.: leg kicks.
*Agent
should have CV’s and Photos.
*Some
casting directors like post cards with your details because it shows you are
being pro-active. Say hello at functions as well because they are working.
*Go
and look at a casting directors website for details or breakdowns.
Article: Don’t Panic: Musical Theatre Audition Advice
We asked Neil Rutherford what he believes are the most important things to remember when auditioning for musical theatre.
1. Preparation
Preparation of Material, Background Knowledge, knowing about the creatives you are auditioning for, researching the writers of the piece, and the piece itself.
Knowing all of that information is invaluable. At various levels of the audition process, you might need to know slightly more than you did at the beginning, but there is absolutely no point going in if you don’t know about the key things and the people you’re dealing with.
2. Ownership of the Audition
Yes, an audition might go horribly wrong, but you’ve got to find a way to take charge, take control, and let it be your audition.
3. Let it Go
Once you have left the room, when you know you have done the best you can do, throw it on the floor and let it go, cause you can’t change it at that point.
That’s about sustaining your life within the business, really!
4. Be Brave
Be brave, not foolish! Don’t do something completely new and untested, but be brave enough to play with the creatives and try something. Don’t get stuck in your ways that you can’t open out to a suggestion — that’s part of the process.
It’s important to remember that auditioning is not about final performance, it’s about showing what the possibilities are. It’s about showing as many possibilities and assets to you skill base as you possibly can. It’s not about delivering the final performance yet — that’s why we have rehearsal!
It’s about showing “I’m capable of adapting, and listening” both of which are valuable traits!
