The 15 Most Common Questions I Get Asked About Theatre
And How Their Answers Might Change Your Mind
Being an established director/choreographer for over a decade, I get asked lots of questions. And I mean LOTS. Here they are, with answers based on my experience in many different places of work:
1. How do you calm nerves?
I use them. I channel that nervous energy into focused energy that fuels my performance. Box breathing is my number one trick. Breathe in for 4 counts, hold for 4 counts, exhale for 4 counts, hold for 4 counts until you start again. I usually like to increase the count-number each time, maximizing at a count of 7 or 8, depending on my body that day.
2. Why didn’t I get cast? I think I’m perfect for the part.
You may be, but not for every production. Each director and creative team has a different vision of the show, and that includes the variation of character. They have a very specific outcome in their collective head. One that requires putting puzzle pieces together. You may not be the right fit for their puzzle, and that’s okay. There’s nothing wrong with that. I’ve seen many actors take casting beyond personally, which leads me to my next question.
3. How do you NOT take rejection so personally? Being an actor is full of it.
That’s exactly it. Rejection is part of the job. Being an actor requires you to experience it. At the end of the day, you must realize that casting is not a deeply personal attack toward you or your talent. Try to shift your perspective. Here is a creative team with a specific vision for a production. They’re most likely sitting through days of submissions and auditions. With each person, they’re looking for the actor that fits their vision. My suggestion is to stop thinking about you, and start thinking about the concept of casting. How intricate and complicated it must be. Is your life going to end if you don’t get this role? No. There will be more auditions. There will always be more auditions.
4. What’s the best way to audition?
Do what the audition call asks. This is an indication if you can take direction, something you need for the entire rehearsal process.
5. What is a slate?
A slate or slating is something you do at auditions to introduce yourself. For on-camera acting, you usually show your profile so the casting directors can see what you look like on film from different angels.
For theatre, you usually introduce yourself by saying your name, the part you're auditioning for, and if it’s a musical theatre show, what song you’re singing. Here’s an example:
Hi, My name is Lola Marina. I’m auditioning for the role of Patty and I will be singing ‘Good Morning Baltimore” from the musical, Hairspray.
6. What’s the best monologue to audition with?
Pick something that resonates with you. Something you can feel. Something you relate to, that will make you feel more comfortable, and guess what? That will most likely help with memorization. I would suggest picking something that is not well-known. Do an online search but refrain from typing “best monologues” in the search bar.
7. Why do rehearsals always go later than expected?
With any production, there are a plethora of people trying to get a plethora of things done in a limited amount of time. If actors are cooperative and understand blocking and choreography right away, rehearsals will most likely go smoothly. If actors are not cooperative, or need time or a learning curve, chances are rehearsals will go later. Directors often get pulled in many - for lack of a better word - directions, so unintended interruptions, mishaps, or meetings are always possible and quite often are. So it all comes down to circumstances out of any one person’s control, and cooperation.
8. Why does it seem like nothing is ready?
Life is never ready. The theatre or a dance recital or show is exactly the same way. Things happen. Time gets away, and there’s never enough of it. This is why in my experience, it’s important for the actors to be on top of memorizing their lines, blocking, and choreography from the very beginning. The actors alleviate the stress that undoubtedly crashes with the weeks leading up to the performance. Those weeks are vital. They’re less about the actors and more about lighting, costumes, set, anything that makes a show a show that’s not a performer. If you’re an actor, you’ve definitely experienced this.
I would like to note that every production, every theatre company, every creative team works differently. Your experience could be due to my answer above, and is probably a reflection of how the company/team works.
9. How do I know I did a good job at my audition?
Did you have fun doing it? Ask yourself that question. That’s how.
Don’t let the result of your audition dictate your value of work. Don’t throw your self-belief to the people on the other side of the table to validate or invalidate. If you went in there and did the best you could while having fun, you did a good job.
10. What is cheating out? And why do I have to do it?
Cheating out is a way to stand on stage so the audience can see you, fully. It’s also so the audience can hear you, clearly. Cheating out is usually used during scenes where people are talking to each other face-to-face. If actors do this on the stage like they would in real life, the audience loses their face. They lose your volume. If you stay in profile, this is when the older crowd would start complaining that they can’t see your beautiful face. Loudly. From their seats. In the middle of the scene.
Cheating out means to angle yourself so it looks like you’re speaking face-to-face with your scene partner, but your body is still presented to the audience for clear expression, annunciation, and projection. If you don’t cheat out, you’re doing a disservice to yourself and the people who have paid to watch you.
11. What does upstaging mean? Why is it such a big deal?
There are 2 types of upstaging. 1: Upstaging another actor sharing the stage with you. 2: Upstaging yourself.
Upstageing basically means you’re blocking someone else, or yourself, from being seen on stage. I like to think of scenes as pictures, making sure every detail and element is highlighted and configured together to make something beautiful. If someone is upstaged, it not only feels crappy, but puts a sore tint in the picture.
12. How long is the casting process?
Truly, it depends on multiple factors. I've cast shows overnight and didn't hold callbacks. I’ve cast shows within a week. I’ve cast shows in stages over a period of time.
It depends on the company, who auditions, and the creative team to come to decisions. In the professional world, there are actors who go through rounds of callbacks for months before casting is final. Have an open mind, and I know it’s tough, but try to go with the flow. You have no idea what is happening on the other side of that creative table.
13. Does not getting a callback mean you're not cast?
Absolutely not. I’ve personally not held callbacks for roles because I knew who I wanted to cast from the first audition. Getting called back doesn’t mean you’re automatically cast, so the opposite stands true. Just because you didn’t get a callback does not mean you didn’t get cast. Please don’t dishearten yourself. Again, you have no idea what is happening on the other side of that creative table.
14. Am I allowed to decline a role?
Of course you are! Casting lives strictly in the realm of offering roles to actors and performers. If your heart’s not in it, or you have other circumstances affecting your ability to commit, then say No. The creative team and company goes through this all the time. They’re prepared. You’re not going to hurt anyone. Remember, casting is not personal. It’s something that exists.
15. What’s the best way to memorize lines?
That depends on how you retain information. For me, I’m a person who needs to know my blocking before memorizing my words. The blocking serves as choreographed dance steps for me. It determines where I’m moving or what action I’m physically exerting on certain lines and words. I like to say I marry the blocking and lines. I’m a dancer first, so you see how this makes sense.
I have a friend who is the complete opposite. He memorizes his lines first then adds blocking. His brain works that way. I’ve known others who memorize simultaneously. It all comes down to what works best for you.
16. BONUS QUESTION. Am I good enough?
This question has not been one asked to me directly, but rather through other questions that exert this core-belief loaded one. Here’s the short answer I have for you: yes.
Unless you are plainly and unabashedly bad due to no training, you are good enough. If you get cast in a role, you’re good enough. If you get a callback, you’re good enough. If you had a fun time at your audition, you’re good enough.
Look, with everything, things take time. No one is on the same journey. So stop comparing yourself. Yes, I know that’s an ironic thing to say given the competitive nature of auditions, but I’m here to say it doesn’t have to be a comparison of your talent, character, heart, or work ethic.
It’s not about you vs. them. It’s about finding the puzzle piece that fits the overall vision of the production. Stop bringing yourself down and realize the validation you’re seeking comes from inside YOU, not the people on the other side. Believe in yourself.
If you want to know what casting is really all about, read this post. I encourage you to audition and participate in a theatrical production with a new perspective, while keeping your heart alive and your nerves calm. There are a bunch of other theatre tip blogs on my website. Check them out.
It makes me nauseous to see so many misconceptions out there, and I can’t stand by to see beautiful people get discouraged. I’m here to help your heart radiate forward.
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