Auditioning

Auditioning in the Department of Theatre

The Program
The Department of Theatre does not require an audition for acceptance. A student need only be accepted to the University of Maryland and declare Theatre as a major. Within the program, some performance courses do require auditions.
Course Auditions
There are some performance courses that require auditions. These auditions are usually held in the weeks prior to the opening of the registration period. The auditions are open to all UM students who have met the prerequisites for the course and are announced in the undergraduate newsletter, the Theatre Listserv, and on the Callboard.You must sign up for an audition time.
Mainstage Productions
Auditions for mainstage productions are typically held sometime during the middle of the semester before registration begins. This is done in the semester prior to the production. Therefore, incoming freshman and transfer students are ineligible to audition for the fall performances but may audition for those in the spring. Auditions, which are open to all members of the campus community, are announced in the undergraduate newsletter, the Theatre Listserv, and on the Callboard. You must sign up for an audition time.
Off Center Season
Off Center productions are student (undergraduate or graduate) produced and directed projects, which take place in the Laboratory Theatre. Directors typically hold auditions during the semester in which they mount the production, thus freshman are able to audition for Off Center productions their first semester. Auditions, which are open to all members of the campus community, are announced in the undergraduate newsletter, Theatre Listserv, and on the Callboard.

General Tips on Auditioning:

Always be professional in your manner and dress
Be sure to introduce yourself and announce your audition piece
Select a piece in your age and range
It is strongly suggested that you select from a contemporary play and not a book of monologues or original work
Although much of the literature available might be controversial or have explicit language - these may not be appropriate as audition pieces
Beware of works that may be too challenging to showcase you best (Shakespeare)

Advice on Auditioning
by Mitchell Hébert, Head of the Performance Area

Many folks have asked me what they did "wrong" at an audition—based on their not being called back or cast. The truth is, you can give a great audition and not be called back. There are issues of "type" and are you "right" for the part. Is the fit right between you and the role - and that's out of your control.

First, in my opinion, the only thing you can do "wrong" at an audition is not share your authentic self with the director and others in the room. That's what we're looking for—YOU. It is so important to make the audition about sharing yourself and your work and not about a validation of you or your work. Assume you can act. Directors cast confidence as much as anything.
Second, unless your character is talking to the audience, don't make the director your scene partner. Look just to left or right of the director at your eye level.
Third, don't use any empty chair as your scene partner, your vision invariably drops down to seat and, well, 'nuff said.
Fourth, bring a TYPED resume. No one wants to try to decipher your handwriting. It also speaks positively about your focus and professionalism if you have the "tools" of the audition with you. A photo, while not strictly a requirement here, is helpful as well. It helps the director remember you.
Finally, ask yourself these questions: "How did I prepare for the audition? Did I practice my breathing? Did I take some quiet time when I got to the audition to focus or did I gab in the hall? Did I read the play? When did I learn my audition material? How long and in how much detail did I work on it?"
It makes a difference.

Auditioning Tips from a Guest Director

If the director gives you a choice to make, make it. Don't, in an attempt to be obliging, try to put all decisions back on the director. It's a little test. Those who make an immediate and definite choice show confidence and preparation.
In making the choice of which to do first, do not reveal which you think is your stronger skill. Those that say, "I'll do X first and get it over with," start with a negative mark against them before they've even begun.
NEVER APOLOGIZE for anything at the end of an audition.
If the director gives an adjustment, LISTEN to it and TAKE IT. The test is not about making the "right" adjustment or making the "right" choice—it's about the ability to make different choices and take any adjustments.
If you are called back, FAMILIARIZE yourself with the material.
In the choice of audition pieces, steer away from the sexual, the scatological and the violent.
Have a title for your piece and an author. Know how to pronounce names and words.
The ability to walk on the stage and take it with confidence is a big part of the audition.
Don't ask the director "when will we know." Ask the stage manager or the person at the front desk.
Finally, if there is a multi-day audition, don't wait until the last day. This sends the signal that you leave everything to the last minute. Will you be that way with learning lines?

Tips for auditioning with a Guest Director
by Jane Beard

What you did well:

Most auditioners came into the room with confidence. Many of you came directly over to me to give me your headshot/resume, and waited for some signal that I wanted to shake your hand. That was great – some directors don’t want to shake hands, so waiting for a cue was smart. A few folks kind of slinked in and asked where to stand, before even saying hello or even handing over their headshot and resume. I know you are nervous, but directors make snap decisions about people and need a darn good reason to revise their instant opinion. Slinking in and not handing over a basic document tells me you are too nervous to think clearly, which gets you into the “no” pile before you open your mouth.
Most auditioners had read the play, and had an answer ready when I asked them about a scene or character. Good for you.
Most auditioners tried very hard to take the adjustments I gave them. Only a very few resisted what I was asking for, with excuses about not really knowing the scene well or not feeling well. That was not so good. Another handful listened, and before they began asked for clarification, so that we were both sure we were talking about the same thing. THAT was spectacular, and THAT is the kind of actor I want to work with.
In a few instances, people came in prepared to read for one character and I asked them to look at another. Every single person said thanks, and went out and prepared. Hurrah for that!
Some of you asked how to pronounce certain things before you began the scene. That tells me you are someone who will take care of yourself in the rehearsal room, because you want to get that worry off the radar screen so you can work.
Nobody asked me the audition equivalent of "was it good for you?" Which WAS good, for you and me both!

What needs improvement:

If you are auditioning for a character who wears sneakers or flip flops, wear them. But if they don’t, or if you are not sure, or if it’s a classical piece – don’t wear them. They change the way you move, and that can only hurt your audition. If you have to go barefoot, do so, or get a pair of audition shoes. But – no more sneakers or flip flops or other shoes that are not neutral in terms of movement.
Don’t apologize. If you haven’t read the play, don’t give me a single reason why you didn’t. If you were late, no stories about why that happened. What you are really doing is making excuses, and there is nothing directors like less.
If I ask you which side you would like to tackle, have an opinion and stick to it. It’s not a trick question. I can tell a lot about an actor who knows what side they want to do, and why. I also can tell a lot – and it’s less favorable – about an actor who is so afraid of making the wrong choice that they practically beg me to tell them what to do. That person will drive me nuts in the rehearsal room, and goes into the “no” pile.
Take your address off you resumes, girls especially. You never know where these things end up, and I am here to tell you that stalkers happen. Don’t make it easy for the wrong person to find you. And don’t put your social security number on the resume, either – not that any of you did.

Some other things I want you to know and hope you’ll remember:

Take care of yourself, so you can do your best work. If the three people who signed up ahead of you are late, and you arrived early to take a look at the sides, DO NOT GO EARLY just because time’s awasting. You didn’t cause the back up and its not up to you to fix it. Use that time to be thoroughly prepared. This is one instance where being Mr. Nice Guy does NOT pay off.
If you get handed new sides to prepare, don’t feel like you have to rush. I want you to be familiar enough with the scene to know what’s going on, what might be going on, and have a few ideas about intentions and obstacles, so you can swing when you get in the room. In trying not to waste my time by making me wait – you end up wasting an opportunity to be better prepared and possibly really wow me. Do your work.
If you need a minute to focus when you get in the room and start reading, take it. But don’t do your stretches and thinking there in front of me. That tells me that you are someone who probably will do your homework in front of me in rehearsal instead of, doing it at home.
If you have stuff you need to drop off – shoes, purse, jewelry, whatever – drop it off on the side of the room near the door, and not the opposite way. Most people want to get the heck out of the room when they are done reading, and you are spared some of the awkwardness of packing up if it comes as part of your exit from the room. It’s a teeny thing, but it will make you happier in the long run. Directors probably don’t care about it, so don’t feel like you got “points off” or something if you did this. This is a tip that comes from long, hard, personal experience as an auditioner myself.
Finally, if you have the presence of mind after you finish – thank your reader. They help you more than you know, and they are volunteering their time. Our readers made every one of the auditioners better at their work…just like real scene partners would do.