TIP#43– Unlike TV/Film where there is a certain ‘freedom’ and leniency towards paraphrasing or adding to the text, for Theater auditions it is best to speak the lines as written. (This includes the way the lines are punctuated!!) Actors that come into the room with an ‘ad hoc’ approach to the text risk coming across ‘sloppy’ or worse – ‘disrespectful’ of the playwright. Never a good idea.
I remember being in the audition room when we were casting a new play by a major American playwright. Many of the actors had not taken the time to work the text carefully and therefore were fumbling around with the words and in this particular case, the punctuation – which admittedly, was tricky. Time and time again, the playwright, (who was on the panel), asked “Why are these actors butchering my lines? Don’t they know I’ve written them a certain way?? When you f#ck around with the lines, you f#ck around with the meaning!!”
With this tip, I am not referring to the actor who, (due to audition jitters), happens to ‘mess up’ a couple lines. We all understand that this happens and can forgive a few minor mishaps. Instead, I’m referring to A) those actors who thinks that a ‘casual’ approach to the text will work in their favor (Note – It won’t. It just makes you look careless, flaky and non-professional) and B) those actors who feel that they are ‘smarter’ than the playwright and can come up with a ‘better idea’ for a certain line. Coming up with a better idea (and I’ve heard many an actor in my scene study classes rationalize their choice for doing so) only indicates one thing – that you don’t understand the line.
I guarantee you that if you commit to what is written on the page and take the time to work through the text; you will discover meaning and essential clues about your character.
(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.
