UPCOMING AUDITIONS

THEATRE

Martin Luther King Celebration (Televised Live!)

Actor 30-60 to play Martin Luther King

Contact Richard Mason: actingincolumbus@yahoo.com

Columbus Children's Theatre

Snow White and the Seven Dwarfs Auditions December 8–9, 2008 running February 5 - 22, 2009 Contact Theatre for Details: www.colschildrenstheatre.org

Curtain Players

The Twilight of the Golds by Jonathan TolisDirected by April Olt Auditions January 4 & 5, 2009 Contact Theatre for Details: www.curtainplayers.com

Emerald City Players

Messiah on the Frigidaire By John CulbertsonDirected by: Brian Cheslik Auditions: Sunday, November 23, 2008 - 7:00 PM Monday, November 24, 2008 - 7:00 PM

Contact Theatre for Details: http://www.emeraldcityplayers.com/audition.htm

Gallery Players

Parade Written by Alfred Uhry Directed by Frank BarnhartAn open audition for the Gallery Players' Winter Musical will be held Sunday, Dec. 21, from 5 to 7 p.m., and Monday, Dec. 22, from 7 to 9 p.m. Those auditioning should bring sheet music and be prepared to sing 16 bars from that music. A pianist will be provided for the auditions. Monologues are not necessary, as readings from the script will be used for auditions.

Copies of the script may be obtained in advance by contacting Jared Saltman at jsaltman@columbusjcc.org, or calling (614) 559-6248.

FILM

Ohio University's School of Media Arts and Studies

Casting for a student feature film based on the book "Trailerpark" by award winning author Russell Banks. They have three male lead roles left to cast. There is some pay involved. The auditions will be on Saturday, December 13th in the Worthington area. Click on this click for more details: http://actingincolumbus.net/page009.aspx

AUDITION TIPS

How to choose a monologue

Most auditors will want you to perform two monologues, of contrasting character, for a total of two to four minutes. Choose monologues from characters that are closest to your experiences and age. Do not choose a monologue with violent behavior patterns and vulgarity. The auditors do not want to hear or see such a monologue. Show them talent, not a violent temper tantrum. Use your own judgement when it comes to content of a monologue. Would you like to sit in their place and watch you perform this monologue?

Contrasting monologues
What are contrasting monologues? Two completely different characters from two different plays and play genres. One classical and one modern piece is the norm. Make one a comedy and the other dramatic. One character may be slightly psychotic (if that fits your personality...) and the other character may be a complete Mamma's Boy. One character may be a love-struck fool, the other a hacker nerd who let loose a devious computer virus. Contrast is day and night. Not shades of gray.

Timing is everything

Keeping your monologues under the time limit is the way to go. If you run over, you will be stopped. They will not let you continue past the time period stated. Do not abuse this. To be honest, if you can give them great stuff in less time, the better. You do not have to use your full four minutes (or whatever) for your monologues. They will appreciate your brevity. Trust me on that one.

Avoid "telling a story"

Try to choose a piece of the monologue where you are speaking to someone actively, but with little to no interruption from the other character. Try to avoid "telling a story". There are a hundred and one monologues where the character is telling a story of what happened to them at a party, or on a hunting trip, or on the subway... you get the picture. Or worse, they are telling a story about what happened to someone else! Don't do it. It is boring. You want your character to be active, not sitting and telling a boring story (out of context) to some other character who is also probably bored. My advice: Stay away from them. Make sure that it is a monologue that you like. Nothing like going into an audition with material that you are uncomfortable performing. This is your audition. Choose your monologues well.

Practice..please!

I cannot emphasize this point enough: PRACTICE, PRACTICE, PRACTICE! Sorry for shouting there, but I had to drill that in. The more comfortable you are performing your pieces, the better. When you walk into that audition you must be ready to go at the drop of a hat. Forgetting your lines is bad, very bad. Practice.

Wanna know a secret?

The best monologue you could ever choose for yourself is from the play or plays in which you have just recently performed. Hunh? Didn't think of that one, did you. If you happen to have been in a play or are currently in one, why not use a monologue from the character you are portraying? You've been working on it for weeks, performing in front of a live audience, use it! All the work has been done already, just get up and "perform" your snippet for the auditors. Also, put that monologue in your repertoir to pull out at a later date.

Be friendly and personable.
Walk into the room with confidence. Introduce yourself. If they ask questions before you begin smile, relax and answer them. Take your time. Present yourself well. This is your time and your audition. They want you to do well!

How to prepare a monologue

Step1 Read the entire play from which your monologue comes, several times.
Step2 Memorize the monologue thoroughly.
Step3 Break down the character. What does the character in the monologue want? How will the character get it?
Step4 Make sure you are communicating. Imagine the person you're speaking to in the monologue, and keep them in your mind's eye. Imagine their reactions, and see the other person in the piece. Remember, monologues are really dialogues in which the other person doesn't speak.
Step5 Practice performing the monologue first to an inanimate object. Then perform it for a trusted professional, such as a fellow actor or an acting coach, and get feedback.
Step6 Try performing the monologue in several different ways. Be prepared to perform it more than one way at the audition.
Step7 Time yourself and make sure the monologue fits the length acceptable for the audition (usually one to three minutes).

Professional Regional Auditions

The Unified Professional Theatre Auditions (UPTA) are set for February 6th - 9th, 2009 in Memphis, Tennessee. With 104 professional companies audition slots fill quickly and are given on a first-come, first-served basis. Upload of registration materials by registration close DOES NOT GUARANTEE AN AUDITION SLOT. Actors must upload photos/resumes. (Equity actors see Equity Facts) Your photos and resumes should be 8"x10" (or other 5:4 aspect ratio image for best results.)

Go to: http://www.upta.org/ for more information

Illinois Theatre Association Announces 2009 Professional Auditions

The Illinois Theatre Association will conduct its 30th Annual Professional Auditions on Saturday, January 31st, 2009 and Sunday, February 1st, 2009 at the University of Illinois at Chicago’s Theatre Department. Saturday’s auditions will focus on musical theatre, and Sunday’s on non-musical theatre. Actor applications must be received by the ITA office no later than Saturday, January 10, 2009. Complete audition information and actor applications are available online at the ITA’s web site: www.illinoistheatre.org

The League of Cincinnati Theatre Unified Auditions.

The LCT Unified Auditions will be held usually in Late February. They are open to actors 18 years of age and older. Actors will have two minutes to perform two contrasting monologues or a monologue and a song. Scheduling priority given to members of Actors’ Equity Association and the first day of auditions.

Go to: http://www.cinstages.com/LCT/Auditions.asp for more information

THEATRE ROUNDTABLE UNIFIED AUDITIONS

SATURDAY FEBRUARY 28, 2009 at The OSU Drake Center, Roy Bowen Theatre

"An opportunity to showcase your talent to many producers at one audition…"

For Adult Actors

The Theatre Roundtable of Central Ohio is now accepting registrations (and 30 copies of resumes, with 30 copies of headshots attached to the back) for its 10th Annual Unified Auditions, to be held Saturday, February 28rd. Those auditioning will come before a panel of Artistic Directors and Producers representing 20-25 theaters. These auditions are for adult performers (H.S. Seniors applicable), both Equity and Non-Equity. If you are unable to be present for the actual audition process that day, you may still submit your resumes and photos for the producer packets to be distributed that day.

Why should I audition?

• This is your chance to “Strut your stuff” in front of casting directors representing theaters from Central Ohio. With this one audition, you will make an impression on many theaters at once, as opposed to taking the time to schedule individual auditions with every participating theater.

• If you have worked with one or more of the organizations, this will be your chance to remind the casting directors who you are and what you are capable of and perhaps how you’ve grown in your craft (and just maybe what they will miss out on if they don’t include you in an upcoming production)!

• This is a chance to have your name, resume, and headshot put in the hands of casting directors throughout Ohio (even if you are unable to attend the auditions on the 23rd, remember that getting your name and information in front of people can be just as important as an audition).

Membership

The Unified Auditions event is FREE for all Individual Members of the Theatre Roundtable that have paid their 2008 dues in full. If you are not an Individual Member of the Theatre Roundtable, but would like to audition, there is a registration fee of $20. This fee, in addition to participating in the auditions, will also entitle you to a membership in the Theatre Roundtable as an Individual Member (benefits listed on the application form).

Aspiring Young Actors

Students and Children are encouraged to submit 30 copies of their resume (complete with attached photo) for inclusion in each producer theatre packet, but will not be participating in the actual day of adult auditions. Theaters who need to cast young actors will contact you individually when a need arises. Registration is free for those who might already be paid 2008 RT Individual Members. Otherwise the registration fee of $20 must be included. This will entitle you to an Individual Membership (and applicable benefits noted on membership form).

Click here for more information: http://www.centralohiotheatreroundtable.com/

ACTING OPPORTUNITIES: Theatre Companies in Central Ohio

Here is a list of theatre companies in Central Ohio. To research each company, click on hte links provided below. Most companies post their audition notices on their websites. Better yet, go see a show and support our local theatres!

ABBY THEATRE OF DUBLIN
http://www.dublin.oh.us/recreation/theater/

ACTORS' THEATRE OF COLUMBUS
http://www.theactorstheatre.org/

AVAILABLE LIGHT THEATRE COMPANY
http://www.avltheatre.com/

CENTER STAGE PLAYERS
http://www.centerstageplayers.com/

CLOAK AND DAGGER
http://www.cloakdagger.com/

CONTEMPORARY AMERICAN THEATRE COMPANY
http://www.catco.org/

COLUMBUS CHILDREN'S THEATRE
http://www.colschildrenstheatre.org/

CREATIVE DRAMATICS
http://www.creativedramatics.com/

CURTAIN PLAYERS
http://www.curtainplayers.com/

EMERALD CITY PLAYERS
http://www.emeraldcityplayers.com/

GALLERY PLAYERS
http://www.jccgalleryplayers.org/

LITTLE THEATRE OFF BROADWAY
http://www.ltob.org/

MADLAB
http://www.madlab.net/

PICKERINGTON COMMUNITY THEATRE
http://www.pickeringtoncommunitytheatre.org/

PHOENIX THEATRE
http://www.thephoenixonline.org/

RED HERRING ENSEMBLE
http://www.redherring.org/

ROSEBRIAR SHAKESPEARE
http://www.rosebriarshakespeare.org/

SENIOR REPERTORY
http://www.sro-theatre.org/

SHADOW BOX CABARET
http://www.shadowboxcabaret.com/

THEATRE LAB
http://www.thetheatrelab.com/

THEATRE COLUMBUS STATE
http://www.cscc.edu/comm/theatre_columbus_state.htm

UJIMA THEATRE COMPANY
http://www.ujimatheatre.com/

WEATHERVANE PLAYHOUSE
http://www.weathervaneplayhouse.org/

AUDITIONING TIPS: MFA TRAINING PROGRAMS

Photo: MFA program at A.C.T. www.act-sf.org/

Eight Steps to a Solid Audition for an MFA Program

From researching schools and preparing monologues to filling out applications and making travel arrangements, getting accepted into a school’s MFA or BFA program can be complicated. But all that research and paperwork can pay off: Actors who apply to graduate school have decided to postpone an immediate career to pursue training that will, hopefully, expand them as artists and make them more-versatile actors.

1. Find a Coach

There are over 100 MFA acting programs in the United States, and their websites are the place to start in finding the one that’s right for you. If one of them is nearby and looks interesting, go see a show or ask if you can sit in on a class. American Theatre magazine is another good source of information. See other resouces and links posted below.

2. Select Your Monologues.

Rarely performed monologues are often recommended, though a familiar one is fine as long as you can do it better than anyone else.

3. Find a Coach

An experienced hand to guide you is vital in preparing your monologues. Some actors choose teachers they’ve studied with or older actors with whom they’ve worked, while others prefer an experienced director.

4. Treat your audition as a performance.

Give your audition the same time you would if you were rehearsing a show. Make an appointment to meet with your coach about three months before your first audition, and discuss the monologues you might want to do and ask for alternatives.

5. Schedule Your Auditions!

There are two ways to be seen: You can sign up for group auditions through U/RTA, or you can set up a private audition. See U/RTA’s website, http://www.urta.com/ for further details and a list of schools attending.

6. Keep Studying.

Schools like to see students who are committed to their craft and who won’t quit under the rigors of grad school training. Some of them — such as American Conservatory Theater in San Francisco — offer summer programs with the same instructors who teach in the MFA program. It’s a good way for them to get to know you better, it gives you a taste of the grad school experience, and it could help you stand out when auditioning for the school in the future.

7. Get Some Experience.

Schools also appreciate professional experience some even prefer it. It's okay to take time off and try and work professionally.

8. Be Yourself.

Most important when auditioning for graduate school is to be yourself. I think the key with these auditions is being comfortable in your own skin. The most important part about auditioning is not who you know, what show you’ve been in, or what reviews you’ve gotten, but rather that you are yourself. That you’re a person interested in not only furthering your own abilities but also sharing the arts with others. People that are themselves are always the most interesting and honest, and the most fascinating on stage.

Here are some links to online resources:

www.urta.com: Your guide to group auditions for graduate schools. It is a good place to get a list of some graduate schools. Know that there are many schools that have MFA programs that are not apart of U/RTA.
http://www.actorslife.com/MFA.html: Are you not sure if you want an MFA? Read this article to see if helps you make your decision.
http://actinglikeakid.blogspot.com/2005/11/college-foractors.html: An unofficial ranking of some of the top graduate programs.
http://theatre.uoregon.edu/MFA.html: A list of MFA programs (some schools not listed).

BOOK OF THE MONTH

Smart Actors, Foolish Choices: A Self-Help Guide to Coping with the Emotional Stresses of the Business by Katherine Mayfield

Here is the first and only book entirely to the emotional side of the performing arts. Smart Actors, Foolish Choices is a resource for anyone who needs to know how to deal with ego-bruising rejection, with anxiety and fear, and with the numerous other challenges of staying happy--and sane--in the turbulent world of show business.