I was a bit flippant in the last post I put on the Audition tips thread but I'll try and be a bit more serious. I do look at, in fact ask for, prepared pieces particularly from performers I do not know. I do cold readings at most of my auditions. (The relevant excerpts from the script are given to the actor at the call time if I have appointment times but I don't see them for 15 minutes.) I use the cold reading to watch an actors approach to a script. How do they read, can they pick up cues from the text as to basic characterisation, how do they respond to others etc. If a performer advises me that they have a specific reading disability I make other arrangements.
I realise this can be a threatening approach for some performers but this is not a comfortable industry to work in. If you aren't prepared occasionally to go out on a limb should you be here?

In the end Jeff you have to make up your own mind. What is going to acheive the result you want. I really do wish you luck and I envy you a bit. I'd probably like to be doing my first show all over again. The excitiement is never really as good as the first time.
Tony Moore

Hi Jeff,
The most common method used in amateur theatre seems to be either to have a reading about a week earlier for those who are keen and interested, and then conduct the audition by choosing chosen pieces of the script in groups.
You can do the audition as an open or as a closed audition. Open auditions are more fun for the auditionees because they are not sitting around waiting with nothing to do for ages.
The othe common way to do the auditions if you are not doing a reading prior, is to have all the actors together and give everyone a chance at reading the same audition pieces in front of each other. Although this may give the later actors a slight advantage as they have processed other performances and work out how they will approach the role, you can always give the "starting group" another go after if they wish.
The idea of doing a monologue (no matter how short)in an audition for an amateur theatre one acter is certainly very intimidating and will put some of your potential actors off (Especially older ones who do not have monologue prepared that they can just rattle off!) This in turn may reduce your pool of potential actors for the roles.
My personal preference is just to do an open audition and read in front of the other actors.
Hope this helps.
Chris

Jeff,

I am an actor, with professional training and credits, and as stupid as this sounds, I enjoy doing auditions. Why? Years ago I came to the understanding that auditions are to the actor what quotes are to the builder - an essential part of the trade. Sometimes people will go with your quote and other times they won't.

Auditions can be a vulnerable process for actors because as humans we innately fear rejections and if the job carries money then the stakes seem higher.

In my opinion the method of auditioning is a personal preference on the part of the director and in response to his/her perceived 'vision' of the play. It's about what you are looking for. My personal preference, as an actor auditioning, is to do improvisation (group, duo or solo)over simply reading a text or 'preparing a piece'. Why impro? Cos it's fun. You get to look another actor in the eye, say words, move around, use your instincts and create.

Auditions are like the boogey man in the cupboard at home. If you allow them to stay shrouded in mystery and only tackle the beast when you are forced to, then fear will always sabbotage the process, for both actor and director. I do lots of auditions - often for things that I know I have no real chance in and no burning passion for. I treat each audition as a fun performance opportunity. I meet the people involved, chat to other actors and 'take chances'. I am often offered call backs for all sorts of stuff. Yes, I have mucked up some auditions spectacularly. I am no expert.

We actors are strange creatures. We cling to text and firm direction as guide rails to get us from one point to another. Pre reading the text and stressing over getting a monologue right to impress a director are all part of this. Despite this panic to be organised what we actors really love, and crave, is the chance to 'play'. Trust me. At the next audition you conduct toss away the scripts, get your actors looking at each other, suggest a topic, put on some silly music and let 'em go. Watch, as before you, nervous, stiff, tentative bodies show you the qualities that you are really seeking for your play. And remember, 80% of what we perceive from the world around us is visual. Great speeches and eloquent monologues are one thing, but interesting, committed and compelling physical acting is quite something else.

Happy playing - they are called PLAYS for a reason!

I have recently been involved in a production where the director cast from a series or prepared pieces only. No workshop or cold reading. After about two weeks rehearsal he felt the need to "sack" and actor who was apparently able to present a stunning reading of a monolgue but is apparently unable to learn lines and movements together or take any direction.
A possible pitfall.

Life's too short to stuff a mushroom
www.tonymoore.id.au