TIP#37– I really think this is one of the most important audition tips there is – when you get the callback (yay btw!) prepare, but don’t over-prepare. Do you know how heartbreaking it is to see an actor (that we LOVED in round one) come in for the callback and completely blow his/her chances through over-preparation?! I know it comes from a good place, (a dedicated actor doing his/her job) but it’s very frustrating.
So, what do I mean by over-prepare? Here is what I think happens: an actor comes in for round one and gives a spontaneous, in-the-moment read. There is something unique and fresh about what we have just seen. We are surprised and excited by the choices made. The call goes out (to the agent or actor) and the callback is set. Now, you the actor are so ‘pumped’ by the fact that you’ve got the callback that you immediately get into an “if-they-liked-me-before, they’re really-gonna-like-me-this-time-round!” mode. If there’s a complete script to be found, you track it down, read it and make new discoveries (“OMG I didn’t realize his mother died of a mental disorder when he was 17. That explains everything!”). If there’s no script to be had, (perhaps all you’ve got is that one scene in that one episode) you scour the initial sides for more ‘clues’ that you might’ve missed the first time round. You carve out your beats. You make sure your objectives are clear. You do everything you are trained to do as a ‘professional’ actor. You are really going to blow them away, ‘cuz you are armed, ready and prepared!! And then you come into the room and the magic that was there the first time round…disappears.
Why? Because you’ve worked the sides too hard. (You can’t bring the entire play into that one scene!) Instead of being in-the-moment, you’ve ‘played the ending’ (spelling death). You’ve brought your entire knowledge of the entire play into the sides, and as a result, the scene is bloated and overly-complicated/clever. Your over-preparation has killed the spontaneity and (very possibly) your chances of getting the part. So what can you do to guard against this? First and foremost, remember that what got you the callback was what you did in that audition room in the first place. We liked what we saw! Unless you’re given an adjustment or the Casting Director gives you specific notes, there is no need (and not a lot of room) for excess embellishment. Sure – read the script. See if there is anything you missed from the first time round, but don’t obsess about it. It’s ok to find some new things, but don’t go overboard. I’ll say it again for emphasis – we liked what we saw the first time round and that is why we gave you the callback.
This rule applies to what you wear to the callback as well. I’ll give you two examples: 1) In my recent La Cage Aux Folles auditions, we were casting the role of Jacob (the maid). The trap with that role is to play him too ‘mincey’ (i.e. mince for mince sake with no real motivation as to why Jacob moves/speaks/acts the way he does). We were looking for smart/classy acting choices, and the gents who understood that Jacob was an ‘artiste’ that desperately needed to be heard/appreciated, got the callback. Without getting into specifics, let me just say that an excess of feather boas and platform heels in round two, tripped a lot of people up (literally and figuratively). 2) A few years back Alaine and I were casting day players for an ABC pilot. One guy (perfect look/perfect type) came in for a plumber/handyman role and gave us such a simple/effective read (he WAS the part!) that we almost hired him on the spot. Instead, we gave him a callback, and his over-preparedness almost cost him the job. Not only had he over-worked the sides, but he arrived wearing ‘handyman gear’ – complete with tool belt, hammer, nails, tape-measure and a collection of pens/pencils in his breast pocket! It was all too much. The Director had to stop the audition and tell the guy to take everything off and simplify, simplify, simplify. (I’m very happy to report that the actor took the adjustment brilliantly and it was a successful ending!)
(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.
