What questions can I ask during the audition process? When is it ok to ask them?

You are definitely wanting to read the energy in the room for this one. If they seem very formal, with a polite but closed off “hello”, best to stick to business—they are likely behind schedule or some other arbitrary thing that has nothing to do with you personally.

Also, be sure to read the audition sheet and all the materials they have out or have sent out carefully (audition listing(s), company info sheet, etc.) so that you are not asking questions that have already been answered. For every audition you go on, no matter how many you have that day, do the simple prep work of jumping on their website and seeing what information they already have up about the show/season you are auditioning for. Usually, this information includes general rehearsal schedule timing (i.e. “weeknights and weekends”, etc.); performance dates, times and venue(s); whether there is pay; perhaps the role(s) they are casting.

If you haven’t done the research ahead of time, glean what you can from the audition monitor—without badgering them. Don’t ask your fellow auditioners in the waiting room—they are focusing and doing their own internal prep work.

So, then, what can you ask and when?

Most questions should be asked after you perform, but questions you might ask before should pertain to the performance you are about to give:

• “May I use this chair?”

• If their energy is especially welcoming, and if the listing offered only one option for an audition piece: “Would you prefer a Shakespeare monologue or a song?” (Always base this on the options they asked for. Also, only ask if you are feeling great about both—otherwise, if you prefer one over the other, do what you prefer.)

Not much else to ask before; so hop to it and enjoy the ride.

After you perform, it’s customary to simply say “Thank you!” in a positive way and head out, but if they ask you a question or invite your own questions, your best bet is to make it a conversation—albeit a brief one. Feel free to ask them anything about the production, while perhaps showing you’ve done your research. For example, after answering their question you might ask:

• “I notice you are only asking for 6 actors total; are you planning to have folks play multiple roles, ensemble style?”

Something like that shows that you have looked into their company, as well as a willingness and excitement to do ensemble-style work if that is indeed their plan.

Other questions you can ask about if you know the information isn’t out there already:

• What is the general rehearsal schedule?
• When are performances?
• Are roles double-cast?
• Who is directing?
• Is this a new play/musical (if it’s not published)?

These types of questions are professional, show an interest, and might even open up the conversation to include more inquiries into your own experience, or even something personal that you share with an auditor.

Break a leg at that audition. And remember, if you go in smiling and eager to perform, instead of treating it like a test, you’ll have a ball and do great.

What other questions are you wondering if it’s ok to ask?  Ask below!

Emotional Connection with Fellow Actors

Here’s a pertinent question I was asked today:

How can I improve my ability to connect with scene partners weaker or stronger than myself? I want to bring emotion to the work but I don’t want to force the issue or blow my partner off the stage.

Outdoor rehearsal of Curious Frog Theatre Company’s “Two Gentlemen of Verona”.

With this, I can only give general advice since I cannot sit in on a rehearsal.

From those cast members who you perceive to be weaker than you, use their text and what you know the intention under the text is, whether they realize that intention or not. Make sure they are playing at least some semblance of that meaning before you react to it though, simply by listening. If they are not, play the meaning as best you can but don’t overdo it or you end up looking like you are overacting.

For those cast members who you perceive to be stronger than you, just have 1) full intent behind what you are saying, and 2) a very active inner monologue as you are listening to their words.

Additionally, go back and make sure you have your script broken down into major beats within each scene, and that each and every beat has an objective in the form of “I want/need to (transitive verb) in order to (desired result).” Write that objective out beside the text of that beat’s section.

“I want/need to (transitive verb) in order to (desired result).”

If you feel full intent and very clear underneath each objective you are playing in rehearsal, then great—your objective is working well. If not, your transitive verb is probably not accurate nor strong enough. And remember, you can never “get” or “make” anybody do anything, so make sure those words never appear in any of your objective sentences.

In my humble opinion, never play emotion. Play objectives as hard as you can. Emotion is inside of us all the time, whether we want it there or not. You can go on stage and emote the whole time but the audience wants INTENT and TEXT and STORY. So, stick to the text and keep amping up/strengthening your objectives, using that sentence formula.

“I want/need to (transitive verb) in order to (desired result).”

The stronger your objectives, btw, the more your fellow cast members will become caught up with you in scenes; both the weak and strong actors. Play what you are hearing AND what you are getting, but most of all, play your objective and the story.

Questions?  Get in touch by commenting below or email me at renee@organicactingcoach.com.

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Organic Acting Coach

Renee has been teaching for the past 17 years, with credits as a private acting and vocal coach and university instructor, working and playing with actors of all ages.  Her students have been able to increase their callback rate exponentially under her tutelage; additionally, many have gained admission to the top drama schools in the United States and England.

Some have described Renee’s teaching style as “individualistic,” “dynamic,” and of course, “organic.”  Her philosophy is that “you are enough,” and all that’s needed is working toward removing blocks, increasing skills, and enhancing what is already there in you as an actor.