TIP#38– Aside from talent and expertise, another crucial factor that we on the audition panel take into consideration when deciding who to hire, revolves around one’s reputation in the business. A good reputation can get you hired without an audition. A good reputation (“We loved working with this guy!”) precedes you before you even walk into the room. Conversely, a bad reputation can cost you the job (despite giving a fierce audition) and haunt you for years and years. (Do you know how are you perceived in the industry?)
The important thing to always keep in mind is that people do talk. They WILL talk about you. If you are beloved and thought of as a true professional – great! On the other hand, if you’ve caused some major/minor disruption, it could prove problematic down the line. Let’s face it, bad news travels faster than good news. So, the stage manager that you argued with while out on the first national tour of Dr. Doolittle, will (if asked) mention that you were ‘difficult’ to work with. The company manager that reads the show reports about how you are consistently late for rehearsals because of too much partying the night before will (if asked) let potential employers know that you were a ‘bit of a wild one’. Even single incidents can have serious repercussions and thus: one line of coke at a party can = ‘drug issues’; wine on your breath from dinner can = ‘came in smelling like alcohol’; not picking up the steps/lines quickly can = ‘lazy’. This is not to say that you, as an actor, can’t have a good time. No one is asking you to be a nun or a priest and we all appreciate that ‘things happen’. But keeping an eye on your how you are perceived in the industry and your reputation is important.
I’ve had situations where stage managers (from other shows) have called me to let me know that ’so-and-’ was a serious problem and that I should know this before bringing them into the room to audition for my show. I’ve gone through scenarios where my directors/producers/creatives see a name on the audition call sheet and immediately know they either will or will not work with that actor, based upon past experience and reputation. I’ve had final callbacks where the creatives can’t decide who to go with. They look down at the resume and say, “Well, this actor worked with my friend who directed that show. Let me give him/her a call”. Sometimes the feedback is good and an actor gets hired, sometimes the opposite is true. At the end of the day, the questions we all ask ourselves is ‘Can I Work With This Person?’ and ‘Will They Be a Good Company Member?’ Make sure the answers to these questions (when it refers to you) are a resounding ‘YES’!
(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.
