Newsletter
October/November 2003

AUDITIONING ADVICE TO REMEMBER
by Andrea Emmerton

One of the most frequently asked questions received by Theatre Ontario, is “How do I prepare for an audition?  What does the auditioner want from me?”  We created this article to make the auditioning process easier for you.

The first thing to know about auditioning is that it’s highly unlikely you will do your best work in an audition.  As a matter of fact, if you are like most good actors, you’ll probably walk out of an audition feeling as if you’ve just sucked the life out of the room.  And even if you think you’ve “nailed it,” it’s still no guarantee that you’ll land the role.  There are too many variables that are out of your control.  The trick is to zero in on what is within your control.  If you are fully prepared (which always gives confidence) then you are able to silently state “I AM COMMITTED AND DEDICATED TO MY CRAFT.”  That work ethic is what will make the auditioner remember you—even if there isn’t a role for you this time. 

Auditions take place for one reason only: to determine without any doubt that you have the ability to be yourself in the given circumstances of the monologue or soliloquy that you will be delivering. Most auditioners are not going to cast a performer, they are casting a person, a human being.  They are going to cast an actor who best exemplifies the characteristics and traits of the character as written.

Remember that auditioners want you to succeed.  They are not setting you up to fail.

Do’s

  • Make sure you do your homework.  Find out as much information as possible about the project.  Dates, location, accessibility of rehearsal space, some background on the company and the director.
  • Ask yourself why you want to work with a particular director or with a particular company.
  • § Become familiar with the play that they’re casting.  Think about matching your audition piece to the role you’re seeking in the play.
  • Choose an audition piece that resonates with you.
  • Read the play that you are auditioning from.  It will give you and the audition piece ‘context’.
  • Get coaching, if you think you need it.
  • Take the time to memorize all of your audition piece.
  • Show your range of delivery.  The easiest acting choice is anger.  Auditioners get tired of being yelled at during auditions. Subtlety will not be unnoticed.
  • Warm up before entering the room for the audition.  To do otherwise is a waste of the auditioner’s time.
  • Be pleasant and personable, but allow the auditioner to set the tone for chatting, asking questions or shaking hands.
  • Appear confident even if you are feeling nervous.
  • Take your time to focus before beginning and be aware of the finish (fade-out—as opposed to an off switch ‘scene’).  This will show the auditioner that you have a process with which to work.
  • hink of the audition as the delivery system for your personality and potential.

Don’ts

  • Don’t be late. Always keep your designated appointment.  If you have booked a time, make sure that you are there early and ready to go.  Nothing will annoy an auditioner more than someone who shows up late or not at all or who cancels at the last minute. You will be remembered and could be prevented from doing auditions in future.
  • Don’t apologize for having a cold or being unprepared. Just do the best you can.
  • Don’t look at the auditioner while delivering your audition piece.
  • Refrain from using violent or overtly sexual language.  Unless the show you are auditioning for requires it; it’s best to avoid it.  Too often actors think they are being brave in their choices but it is often a mistaken belief.  You may make everyone (including yourself) uncomfortable.  It’s not about the words themselves, but rather the character and situation.
  • Don’t use a piece you’ve written or that a friend wrote for you or a poem or a piece from a novel.  Auditioners want to see actors.  You will be evaluated on how you interpret writing for the stage.  There’s plenty of established work to choose from.  That being said, there are some speeches that are done too often, e.g. Viola’s Ring Speech from Twelfth Night , Catherine in Waiting For The Parade and two from Wild Abandon —the “Cat Speech” and “Devil’s Eyes.”
  • Don’t take a bow after the audition.  This is not a performance.  Do not expect applause or laughter.
  • Don’t suddenly remember that you are not available for some of the dates of the performances after auditioning.

“Most important, as an actor I subscribed to this theory and it served me very well:  An audition is only partly whether the people behind the table want to work with me.  It is just as important whether I want to work with them.  This is my choice.  While they may choose to offer me work, I may choose whether to accept it or not.  You have every right to evaluate the person behind the table—their manners, their conduct, and the general ‘vibe’ you get off them.  You are sharing something of yourself, and they should be gracious, kind and supportive.  And sometimes, they are just as nervous and stressed as you are.  Sometimes more.”  Trevor Schmidt, Artistic Director, Northern Light Theatre, Edmonton.

“Don't go into an audition wanting the part. You can't know what the director wants. Go to work, to introduce yourself, to meet the director. Go to know more about yourself, the work and the director. An audition is an investment.” Micheline Chevrier, Director.

The above article was written in consultation with instructors at our summer courses:

  • Ralph Small, actor, resident writer and director for The Edu-tainment Co. Toronto and an instructor at University of Toronto Erindale/Sheridan College;
  • Tom Diamond, Director, (Dora Mavor Moore Award) for Iron Road and an accomplished acting teacher across Canada and the United States;
  • Micheline Chevrier, Director; Associate Artist at CanStage, former Artistic Director of Great Canadian Theatre Company.
  • Vinetta Strombergs, actor, writer, director and the Professional Theatre Coordinator for Theatre Ontario.

MEMBER PROFILE
 Kay Kanbayashi
by Tim Watermeyer 
Kay Kanbayashi

I first met Kay Kanbayashi during the Association of Cultural Executives (ACE) annual general meeting last year where she was the recipient of the 2002 Pfizer Award for Emerging Arts Managers. The award recognizes outstanding contributions to Cultural Management in Canada and is presented to an individual who has proven exemplary leadership and recognizable contributions to the industry. Kay certainly represents all the qualities—passion, diligence, intelligence, and charm needed to win this award.

Known as a skilled administrator, enthusiastic promoter, volunteer fundraiser, organized stage manager and mentor, Kay started her carer at the tender age of 16, helping her father with the administration of the Ottawa-Hull Ice Carvers Society. That’s where her exceptional organizational abilities and fundraising skills were first discovered. A 1999 graduate of the Arts Management program at the University of Toronto at Scarborough; she played the role of stage manager for the touring company of The Taming of the Shrew, spent 11 days in Prague and worked with 35 people from Toronto and Prague on a collaborative creation and a 2-week cultural exchange in Toronto through the University of Toronto at Scarborough. Kay was also the first student representative on the Arts Management Advisory Council at Scarborough, an important position that ensured the students’ voice was heard. Her work includes producing and publicity duties at Canada Dance Festival, theatre organizations involved in the 2001 World Theatre Day initiatives, Ottawa International Jazz Festival, Great Canadian Theatre Company and Talk Is Free Theatre. In 2003, she was invited to become a member of the Performing Arts Advisory Committee at the Laidlaw Foundation.

Upon graduating with a distinction from the University of Toronto, Kay got her first introduction to Theatre Ontario working as the Communications Coordinator. This challenging position entailed organizing and running Theatre Ontario’s weeklong Summer Courses as well as carrying out important research into public school board policies as it related to theatre rentals for outside groups.  Kay joined the Board of Theatre Ontario in 2000, became part of the Youth Theatre Training Committee and was elected Vice-President of Theatre Ontario in 2002. “This leadership position at Theatre Ontario keeps me connected with theatre all over the province,” said Kay.

For the past two years Kay has been working at the Canadian Music Centre (CMC) as Executive Assistant and Project Coordinator. The CMC is a not-for-profit organization that is dedicated to increasing and enhancing the image and profile of its Associate Composers and their works. Kay has been instrumental in this feat by creating an initiative to digitize the thousands of original scores that the CMC houses in its collection. She is also kept busy by coordinating CMC special events such as CD launches and fills in her spare time with writing grant applications.

For the past eight months Kay has been working on an enormous new website project which culminated in the launching of the website on July 24, 2003. The new initiative saw the collaboration between CMC and ecentricarts.inc to completely remodel, revamp and redesign the CMC website, making the new site modern and user friendly.  Users will now be able to access a wide database of Canadian New Music and information about its Associate Composers as well as listen to the audio samples online. There is also a fun interactive part of the site entitled Sound Progression, which allows children as well as adults to follow the music on the screen while it is playing. The site is also filled with other unique features such as bringing up different composers biographies each time you revisit the site.  Over all, the new website is a complete success and should be visited at www.musiccentre.ca.

When asked about her ambitions and goals Kay had this to say, “I've had many opportunities and experiences working in the performing arts, learning much about creation, presentation and artistry. I am continually awed and inspired by the talents, passions and dedication of those who work alongside me, especially my mentors. But having worked in the realm of the arts service organisations for almost 4 years now, I hope to return someday soon to work in a creative team setting. I also look forward to sharing my experiences and mentoring other emerging arts managers and artists.”