@TheaterHiringCo I sent you a pm
@TheaterHiringCo also I’m not sure I’m encouraged by the last paragraph of your post. I mean what’s a parent to do if their child doesn’t get into one of those top 5-7 schools? The word canyonesque is unsettling to me lol
@TheaterHiringCo Thank you so much for taking the time to respond. It means a lot to hear the thoughts of those who are hiring. Thank you! And keep posting!
@theaterwork - Perhaps a flair for the dramatic with canyonesque (expect anything less).
And I mean 5-7 who COME to SETC. There are probably 30-40 programs doing great work on the East Coast (where I am most familiar).
@TheaterHiringCo - thanks for once again sharing your perspective and expertise.
D, along with her Western Michigan classmates, have been in summer stock auditions up against CCM and Michigan students and they have had just as many or **more ** callbacks. However, WMU students don’t have matching jackets, like an “East German Bobsled team” (smile).
What I’ve learned in my many years of auditioning post-grad (hah- note the sarcasm- almost 3) is that there’s a huge difference in presentation and response in the kinds of auditions one can go to.
When I was doing these mass conferences, I had a certain package that I did consistently. It was timed to a T. It said “I look young and can play young”, “I can belt high”, “I am funny/quirky”, “I am a small character actress who can move”. And that’s it. That’s all it did for me outside of showcase my “talent”. Honestly, there’s so much more to me as an artist than those things, but when you’re auditioning against 2000 other people in such a short span of time, and you’re only given 90 seconds, it’s important to not only have a strong package but clear representation of “you”. Not every facet of you, but the easiest you to sell. Make the casting director or theatre representatives job as easy as it can be, and then show more of you in the callback. Make the initial impression strong and memorable and specific.
A lot of schools are better at teaching their students that than others. And I think these top schools are REALLY good at teaching their kids to audition. Not discrediting how talented those students are (trust me, I’ve worked with people from almost every “top MT” school there is), but there is an art to the audition, and a LOT of schools nail that. BW specifically comes to mind on knowing exactly how to sell their students/alumni. And it works. A lot of the newer or smaller programs may have amazing training, amazing talent, but aren’t as up to date or knowledgeable about the “sell”. That comes with time (and money to bring current industry professionals in).
On the subject of New York auditions, it again depends on the kind. For a giant open call for a season where I only get 16 bars, I dress and audition much differently than I do when I’m one on one in an appointment or callback. You’ll dress and audition differently depending on the KIND of production it is. All of these are things one can learn, and it gives people an advantage when talent becomes a given at a certain point. And I’m by no means saying I have it nailed down, but I’m constantly working on it. It’s an art in and of itself.
Thank you, as always, to @TheaterHiringCo for your opinion and for sharing your experience. It helped me tremendously when I was auditioning at SETC and is invaluable. I wish we got more insight like yours, but unfortunately there always isn’t much room for that kind of honesty in the biz. Everyone is just too busy! And I also appreciate your kind words on the Coastal kids. We are working hard to get outside insight and help the students be the very best they can be in the audition room, rehearsal studio, and in performance.
Always grateful for @TheaterHiringCo wisdom shared here. There were great takeaways from your post.
Having @AlexaMT continue to post here is GOLDEN! I often save your posts to send to my S at the appropriate moments. Your personal, first hand experience is very appreciated.