TIP#41– I was recently asked this question – “I’ve been called-in to audition (by the Director) for this great part in a new play which I really want to do. The only problem is – I am going to be out-of-town for one of the performance dates. Should I mention this now, or just go into the audition and bring it up when/if they actually offer me the job? I think they’re going to have understudies and I really want to be seen for this role!”
Without hesitation, I told this actor, that the Director must be told ‘tout de suite’ about the conflict. Get everything (rehearsal/performance conflicts, days you might be away for weddings, graduations etc) out on the table BEFORE going into the audition, otherwise it could cause you (and the Director, Casting Director) serious problems down the line. From a casting perspective, there is nothing worse than (after possibly seeing hundreds of people after days of auditions) finding out that your number one choice for the role, is not available. Does this actually happen you ask? You bet.
A couple weeks ago, I was holding auditions for an immediate replacement in a Broadway show. (The ‘immediate replacement’ part was stated clearly on the breakdown and reiterated to every agent on the phone when my associate was putting out calls. Whoever this replacement was, he/she had to be able to start the day after the audition!) After two days of seeing people, we finally got down to our final three contenders– one person being a clear favorite with the entire creative team. In the audition room, I mentioned to this actor that we wanted him/her to come in the following day for one final callback. I got this response… “Oh I can’t come in tomorrow, I fly out tonight.” I immediately panicked but calmly asked “Where are you going?” to which the actor replied “I’m doing a show in Houston until the end of the month.” The creative team looked at me, and I had ‘egg’ all over my face.
Sure, I had done everything in my power to ensure that our top choice was going to be immediately available, but it didn’t matter. I was the Casting Director and the buck stopped with me. I had, in effect, ‘wasted all our time’ (not to mention the money spent for studio time etc) and therefore had to bear the brunt of the responsibility. I was miffed at the actor, but I was going to kill that agent! 
Eventually the agent and I were able to work things out amicably and the actor still booked the job, (thank god) but many times it doesn’t end so neatly. I completely understand that actors want to be seen at all costs – and it’s tempting to think: A) “If they want me, they’ll be able to work things out.” B) “It’s a big call and I probably won’t book it anyway, so I’ll not mention my conflicts until it’s an issue.” C) “I know I won’t be avail for this job, but I really want to be seen by the director, so I’ll go in, make a strong impression and hopefully I’ll get cast in a future production.” But please note, THIS IS FAULTY THINKING and can lead to a BAD IMPRESSION.
Bottom Line: 1) If you have a conflict with the rehearsal/production dates please alert your agent (many times actors don’t let their own agents know!) to this fact. 2) If you don’t have an agent, let the Casting Director and/or Associate know prior to coming into the room. You will not get docked any points for not being N/A. We may be disappointed that you’re not able to make our call, but you’ve let us know in advance and we SO appreciate this!
(Duncan & Alaine)
Duncan Stewart is the Executive Director of Southgate Productions, (Theater/TV casting) and contracted by the National Artists Management Company (NAMCO) where he acts as the Director of Casting. In this capacity, he is responsible for casting the Broadway and National touring companies of Chicago the Musical as well as all other projects for legendary Broadway producers Barry and Fran Weissler. Current projects include the upcoming Broadway production of La Cage Aux Folles (starring Kelsey Grammer) and Clueless the Musical (Stephen Trask). Duncan also provides talent consultation for numerous television projects now under development by/for Cineflix International, a London based company. Most recently, Duncan was the featured judge and panelist for “The Great White Way”, a reality-based TV show produced by Osaka Television.
Alaine Alldaffer – is the Casting Director for Playwrights Horizons. Credits include “Grey Gardens” (B’way and PWH) most recently “This” and “Circle, Mirror, Transformation and Clybourne Park. Present Laughter with Victor Garber for “The Huntington Theater” and “The Roundabout”. TV credits include Knights of Prosperity aka Let’s Rob Mick Jagger for ABC. Assoc. credits include “ED” (NBC),”Monk” (USA). Theaters include the Long Warf, Soho Rep. ACT in San Francisco and The Arena in DC. Festivals include Williamstown and Humana. She casts for The Huntington Theatre in Boston and the Women’s Project NYC. Coming up is the New York premiere of the Edward Albee play “Me Myself and I” with Elizabeth Ashley.
