When we post audition notices, we state that we’re looking
for “actors experienced with heightened language, the ability to play multiple
characters, the ability to take direction well, lots of energy and awesome
attitude.” That’s all. As actors, having a clear set of expectations
for an audition is very important to us.
It helps us determine if we’re right for the show and tells us a bit
about the people we’ll be auditioning for.
As directors, we are letting actors know what’s expected from them
before they even sign up for an audition slot.
The Unrehearsed Cue Script Technique is not for the lazy actor. It is not for the shy, timid actor. It is also not for the Divas. We are trying to put together a troupe of
players that work together well, are giving, dynamic, and have wonderful
personalities that shine through even during difficult moments on stage. We want to give our audiences a unique
experience where they can enjoy themselves as much as the actors. The first step is proper casting.
We don’t like prepared monologues for our Unrehearsed
auditions. We want to see what you can
do with a bit of Shakespeare that you may not know perfectly, which is why we
do cold readings for our auditions. When
the actors show up, they are given a short selection of monologues from which
they choose to do for their 10 minute audition slot. Yes, we use the whole 10 minutes, but more on
that later. So, the actor who shows up
early for their audition gets some time to work on the monologue a bit, and
then comes in to perform it for us. This
first part is very important because it shows us their comfort level with the
language, how they approach a monologue on their own, and their choice of
monologue also tells us how they type themselves. Then we explain who we are and what we
do. One of us gets up from the table and
goes to stand by the actor and talk with them.
We talk about our process, talk with them about something interesting
we’ve seen on their resume, and ask them if they have any questions. We try to ease them and to let them know more
about us. Then we give them directions
and have them do the monologue again.
Depending on the actor and how we are casting the show, we may have the
actor do another cold monologue. The
important part of this process is to determine whether or not the actor truly
fits all the criteria we are looking for:
1.
Experience with heightened language (their first
go at the monologue tells us this straight away)
2.
Ability to play multiple characters (leads also
play character parts, so can this actor do both?)
3.
Ability to take direction well (how does this
actor take direction from us during their brief time here?)
4.
Lots of energy (do they use the stage? Do they
use us as the audience? Are they not afraid to move?)
5.
Awesome attitude (the discussion we have with
the actor shows us this)
Throughout all this, we look for another vital element: a
sense of humor. Can they have fun with
the monologue and can they be funny?
This isn’t something we can teach them.
It’s something that every actor either has or doesn’t have, and with
this technique the ability to find humor and to use it well is imperative.
This is also the time for the actor to decide whether or not
they want to work with us. We may not be right for every actor, and it is
better for everyone to find this out in the audition rather than after the
process has started.
If, during that 10 minute audition, an actor shows us that
they can bring to the table everything we’ve asked for, then why call them back
to confirm it? If, on the other hand,
we’re unsure about an actor who maybe gets 50% of what we’re asking for, then
we just review our notes from the audition and decide if we think they’ll get
the rest with a bit more Unrehearsed training.
Of course, if an actor comes in with a bad attitude or doesn’t seem to
get what we’re asking for at all, then we are not the right company for
them.
We tried doing callbacks once for this technique a couple of
years ago, which didn’t work. They were
wonderful actors to begin with, and we knew we would like to work with them,
but sometimes it just comes down to “type” or “look”. If we already have two actors with similar looks
or types in the cast, then we’ll hold on to this third actor’s info for our
next show. Aside from building a troupe
of players, we also want individuality and eclectic-ness.
That 10 minute initial audition has always told us exactly
what we need to know about an actor – especially when we combine it with the
other elements that happen during or before an audition. A callback is just one
more audition that they might stress over, or have to take time off of their
‘pay the bills’ job to arrange. If we,
as the director and producer, use our time with the actor to talk with them and
put them through some Unrehearsed technique paces, then why call them back to
do it again?
Luckily, we have been spoiled for choice at our auditions
with the amount of talented actors with awesome personalities who have shown
up. Yes, we want that to continue. We want actors to give us difficult choices
because they’re all amazing. Maybe
they’re not right for this show, but they may be perfect for our next
show. Not doing a callback for USP is
also our way of saying not only do we trust our cast, but we hope they trust
our decisions.
-Elizabeth
Ruelas & Andy Kirtland
The
Unrehearsed Shakespeare Project
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