<p>My son was most fortunate to get cast in the Virginia Shakespeare Festival’s Julius Caesar this summer. (He’s an incoming college freshman and auditioned for the role in January of senior yer of high school.) At the time, he auditioned because he thought-- if cast-- it would look good on his audition resume. Now, I’m thrilled he got cast, because he’s going to college for MT in the UK and will most likely miss the summer stock season during his few years away. His summers will be spent making as much $$ as he can so he can travel.</p>
<p>Remember to encourage your children to video audition. In today’s day and age, it works (not as great as live auditions, but I like videos). I cast two actors this year through video. Make sure they have a clean audition video, and a dance reel (unbelievable how many BFA students DON’T). If we like what we see, we will ask for more - and they can often do it through video, again.</p>
<p>Very few mid-level stock opportunities will turn down videos. (Admitted - I DO NOT read each headshot/resume that I get! I <em>do</em> watch every video!)</p>
<p>Just to add to what you’re saying, TheaterHiringCo: My D video-auditioned for all her internships. Although most places take video auditions, and it’s good for you to bring this up, I am not convinced that you are on an equal footing compared to live auditions. It is better than not auditioning at all, of course, and yes, you can land a role. But if you have a choice, go if you can. When the theatre feels they already have a few potentials on hand for callbacks or sides, a video audition is a drawback. But it depends on the place and the competition as well, and your own resume.</p>
<p>I’m not convinced about the equal footing either but it is certainly encouraging to know that there is at least one “theatrehiring” person out there that takes that method seriously so thanks for sharing that. I’ll pass it along.</p>
<p>What I saw witnessed in my daughter’s quest is that it’s already hard enough with some of the regional theatres that one tries to break into where you are an unknown and there is often an entrenched and well loved group of actors that may not ever be considered for the lead roles, but certainly are waiting to catch any and all of the ensemble roles. Maybe that’s fair but it is something you need to be prepared to adjust to because there are unexpected consequences that come with it.</p>
<p>What happened quite a bit during this year’s summer stock chase for my daughter was that (to her surprise) she got called back for the (or a) female lead, almost everywhere she auditioned. That was unexpected and thrilling of course but was also completely willing to play “toad stool #2” and just wanted in. She would have fully committed to being the best “toad stool #2” that regional theatre ever saw. And then she’d do well at the callbacks for the lead and leave thinking, well I may not get the lead, but I know I did well and they will use me in something. And then she’d get (this is my new verb and you can all have it now) “Cassied” <a href=“- YouTube”>- YouTube;
<p>Has anyone else run into the situation where you are only considered for a lead and not considered for the ensemble no matter how well you do nor how willing you are? “Cassied.” I saw it in high school casting but I didn’t know it would also happen where people don’t know who you are at all. I promise I’m a realist and this isn’t code for “she actually sucked.” She’d be the first to admit sucking and does when she knows she did. </p>
<p>Anyway, the take away from all of that is that he plan is to show up for auditions at many of these same theatres next summer, maybe she will again be considered for the lead and will get it or not. But the hope is that she will at least be remembered in which case maybe, just maybe, she’ll be considered an honorary local and will get “toadstool #2.” </p>
<p>:-)</p>
<p>Read all this and still giggle at the new verb @halflokum coined – “Cassied”. =)) All I can add is that parents should buckle in, because once the college auditioning is over, the REAL fun begins: school show auditions, workshop auditions, summer stock auditions, regional theatre auditions, real auditions(!!!). Welcome to “the new normal”. </p>
<p>LOL. Wasn’t Cassie’s problem that she was aging out of the chorus? It’s too early to be Cassied. Sigh.</p>
<p>Cassie’s problem was that she was too good for the chorus. (At least that’s how I remembered it.) It was a terrible movie so sorry for the clip. I think the “at the ballet” was the character who was aging out. Somebody correct me if I am wrong because I’m kind of liking my verb and I’ll fix it if it is wrong. :-)</p>
<p>“Cassied” describes it perfectly @halflokum. She had been a “star” earlier but now just wanted a job.</p>
<p>Right, she pulled focus and didn’t blend. Since she had a “history” with the director and was older than the rest of the cast (not in the movie, in the show) I always took that as an easy letdown but the kids are telling me I am wrong. Again. Keep your verb. lol</p>
<p>OK good! Thought it worked. Remember it because it will easily happen to any of your kids’ too. 
She ended up with a happy “beginning” after all that “Cassie-ing” and she is in the ensemble of a show that she was called for a lead for that went to a gal they had worked with before and whom I’m sure deserved it. Fortunately, the director spent enough time to truly flesh out that yeah… she’d still do it, offered the lead or not and … was a good enough actress to blend if that was the gig. (And besides… the cast is very talented so that won’t be an issue anyway.) Meanwhile she is building her NYC area network outside of NYU and I’m sure will have fun and is a part of a great cast. It’s all good but it took an intense spring of planes, trains and busses on top of school etc. to get 'er done… College auditions look pretty easy in comparison. </p>
<p>Oh don’t say that!! (“college auditions look easy in comparison”) I need the blissful denial of at least the summer before thinking about gearing up for the next step!! =; </p>
<p>I honestly think college auditions (and MFA auditions if that happens) are very different from any other sort of audition. My S brought this up during this audition season. He was just so nervous and I asked him why since he actually is a pretty experienced auditioner, and he looked at me like I was crazy. “For any other audition, it’s just one show. If you don’t make it, you move on to the next show. For college, it’s FOUR years of your life. It’s <em>college!</em>” </p>
<p>I think he has a point. The college auditions have a lot riding on them, although of course you can’t quite think that way when you’re auditioning. But for all other auditions, it’s just the one show. If they don’t make X internship and Y summerstock, then they don’t make it, and they move on. </p>
<p>That’s how it’ll be in the ‘real’ world too. It’s a different kind of stress. It’s the stress of stamina and self-conviction, the strength to keep moving when you keep getting rejected as well as the resilience to self-reflect to see if you need any improvements, to see if you can create your own work, or branch or, or focus inwards more. </p>
<p>Most of any arts business is rejections. Learning to deal with that long term is a large part of being successful. But the college stuff…To me, that’s a weird, particular sort of stress!</p>
<p>The beauty of a video audition should be that if you make a good one you can send it out to dozens of theaters and it only takes a short targeted cover letter and a youtube link. </p>
<p>It IS true that they are not on equal footing, but they do get the benefit of “trying til its good”. </p>
<p>That being said, video auditions are comparable to early audition season stuff. SETC is always my last audition stop, and all things being equal, I will usually hire an actor at SETC over a Local Call - simply because they are fresher in my mind.</p>
<p>The best solution is be REALLY good.</p>
<p>As LEAD callbacks and not getting ensemble - type is probably huge in this way. Also, ensembles need to have a look that makes sense. I might hire an A- over an A+ if it makes the look work better. My ensemble females this year are all tall - so I missed out on some great short girls. Last year my female leads were all short, so my ensemble girls had to be short, too.</p>
<p>PS - When I direct younger actors my mantra for the ensemble is always “No Cassies!” I usually take it to mean someone drawing focus from other ensemble members.</p>
<p>@toowonderful, my, “easy in comparison” is coming from the fact that finding summer work, while you are already in an intensive BFA program requires time that you just don’t have as well as schedule flexibility to attend auditions which gets messed up by required studio classes, rehearsals or performances. Senior year in HS when you are out doing college auditions if you miss some school here and there it’s generally a so what? Most schools expect HS seniors to miss some school for their college hunt. Other than the time/flexibility factors, I agree with connections. There is a lot at stake for college auditions which adds to the stress of a specific audition. </p>
<p>@theaterhiringco, I’m sure you are right about type being a big factor in ensemble casting. That makes complete sense. But I also assume sometimes the type that is needed is a variety of type vs. a uniformity of type. (Like if you are casting villagers etc.) So it’s hard to tell what’s really behind casting decisions and if you are only called back to play a “Cassie”, you don’t really get the chance to show that you know not to draw focus and can turn Cassie off. I’m not sure if that matters and maybe directors can tell. In my daughter’s case, the ensemble role she did get was with the only theatre that called her back for leads in 2 shows (on separate days - different directors) and also the ensemble for one of the 2 on another day. As it turns out, she ended up in the ensemble of the other show (the one she was only called for the lead in) but that director was also at the ensemble call back she attended though it wasn’t his show. Did that play a role? No idea except he did speak to her at that ensemble callback to ask if she’d only be willing to take his lead spot and she had the chance to say she’d be happy with any opportunity. </p>
<p>Interesting discussion. My D did 5 auditions for summer work and had one show that was pretty much a guaranteed chorus role at worst that she passed on since she worked with that theater last summer and felt that additional training would be a better strategy at this point. Anyway, the others were extreme reaches and she was thrilled just to make it past the first cut twice. Here’s the question. She’s not a dancer and after the singing audition and some chatter at the table she was asked if she was a “dancer-dancer”. So, she told the truth and that was the end of that. Now, her impression was that the lead is also going to be expected to dance in the chorus. I think we are looking at a summer of dance and part-time non-theater jobs, And, that’s okay. But, she’s no “Cassie” when it comes to dance and never will be. sadly. I just think it’s too late and honestly that is not her desire, anyway. She was flattered that anyone would even have to ask.lol. But, what do you say? She’s fairly certain saying yes would have gotten her to the dance call. But, that would probably have been pointless. </p>
<p>Might have missed this but who is Cassie?</p>
<p>A Chorus Line</p>
<p>@actingmt, my daughter is no Cassie when it comes to dance either. I’m using the Cassie character as a metaphor and not specifically referring to dancing. </p>
<p>I agree with you. It’s too late for dance. You can’t catch the highly trained dancers no matter how much training you throw at it at this point. You can get better but if the highly trained dancers also continue to train, they will always be better as this is just the physics of the whole thing. (Physics… maybe there is a better word but that’s the one that pops out of my head.) I think one can catch a highly trained singer, and even a highly trained actor if they truly have superior natural talent but dance… I doubt it.</p>
<p>That doesn’t mean that additional dance training isn’t valuable. It could be what makes the difference between getting through a dance call and not. I’m all in favor. However I’m also a mean mom. I’m not paying for it outside of the training she is receiving in college and she can’t afford it herself because she is not living at home this summer. I’m also not paying for her housing and expenses this summer while she in in NYC either and nor would I if she were working in a theatre in the Poconos which also provided housing. She has chosen or more accurately, ended up with a tough path but it is one that comes with pretty solid life training. I hope she can pull it off. The hunt for the survival job continues… </p>
<p>Everyone casts differently, but my guess is they wouldn’t pass you over for an ensemble for being too good. You just might not have fit what they were doing.</p>
<p>With my leads (and this varies), I almost invariably use Voice first, Acting second, and Dance last (obviously this changes show to show, but USUALLY). With ensemble it is (again varying) DANCE first, voice second…….acting a distant third. So criteria might change, too. Your daughter may have been a 9.5/10 for a principal role, but 8/10 for ensemble because of her dance abilities. </p>
<p>Who knows? Analyzing too much will drive you crazy, though.</p>
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<p>So VERY true. College auditions/admissions is just the start. In this field, it is ongoing and never-ending as most “jobs” are short and so one is always “job hunting.” And it gets even MORE competitive than college auditions! </p>