Theatre 7

Auditions for Theatre 7 shows are open to anyone who is interested. For more information about specific auditions, please call 423-2107 or e-mail mail@theatre7.net

Below are the audition dates for our current season, and some tips for auditioning.

Auditions for 2010-2011

SUDS: The Rockin' 60's Musical Soap Opera

Auditions for this show have already occurred.

Blithe Spirit

Auditions for this show have already occurred.

Play On!

Auditions for this show will occur on Tuesday and Wednesday, February 15 & 16, 2011, in the Schmalz Rehearsal Hall on the third floor of Theatre 7 Headquarters. Auditions will run from 6 to 8 p.m. Those wishing to audition should try to be there prior to 7:30 p.m. if they can't be there by 6 p.m.

The cast requirements are somewhat flexible. Men and women of all ages are encouraged to audition.

• Aggie Manville- a stage manager and prompter- any age
• Geraldine/Gerry Dunbar- a director- over 30 years old
• Louise/Louie Perry- an overworked sound, light, and sound technician- about age 35
• Phyllis/Phil Montague- a somewhat eccentric novice playwright- between 42 and 57
• Henry Benish (Lord Dudley)- Leading man- mid 50’s
• Polly Benish (Lady Margaret)- A “diva” somewhat concerned and teased about her weight- mid 50’s
• Marla “Smitty” Smith (Doris the maid)-pretty but awkward- about 17 years old
• Saul Watson (Dr. Rex Forbes- the villain)- about 45 years old
• Billy Carewe (Stephen Sellers)- future leading man- about 25
• Violet Imbry (Diana Lassiter- an Ingénue)- about 22 years old

Auditioning Tips

Before the audition

• PREPARE - PREPARE - PREPARE!
• Read the play in advance, if you can, and see what parts you want to audition for. If you haven't seen the script before the audition, be sure to arrive early so you can look it over.
• Make some action and voice decisions about the characters you will audition for.
  • For instance, you might decide one of the characters is awkward, loud and tactless. You might choose a voice that is rather booming, maybe abrupt and gruff. You might choose broad, sweeping, abrupt, movements, that lack any grace or poise.
  • Don't try to do too much with your voice and body. Make three or four voice and action decisions, then go with them. Keep gestures and movement to a minimum. Make them meaningful, not too literal. Don't wave your arms about in meaningless gestures or wander aimlessly. If you don't have a reason to move, don't.
  • Be brave and bold. Make sure you convey a positive attitude of excitement. Auditions require a firm, no holds barred attack. This is not a time to be shy. Even if your choices are wrong, a director wants to see you make definite choices and commit yourself to those choices.

At the Audition

• Go to as many auditions as you can.
• Dress appropriately. Relatively conservative dress is always better. You want to call attention to your talent, not your wardrobe. Dress in a manner similar to the dress of the character you are auditioning to play. You do not want to audition for a part as a 1950s greaser dressed in a suit and tie.
• Bring a list of dates (conflicts) when you will not be available to rehearse.
• Have at least two monologues prepared for auditions, one comedic and one dramatic.
• Speak clearly and loud enough to be easily heard at the back of the house.
• Expect to read a scene from the play with several other actors.
  • If you've already read the script, you'll have an advantage over those who are doing a cold reading.
  • A cold reading is reading from the script without having memorized the lines and perhaps never having seen the script before. Look up from the script as much as possible - you are supposed to be acting not reading. Look at your script and become familiar with it, but don't waste time trying to memorize it.
• If the auditions are a group kind of thing, where everyone is in the same room and can watch each other audition, then try not to go first. Try to get a feel for the scenes or monologues the director is using for the audition. Watch and listen to what the other people are doing with their auditions, then don't do those things. Do other, more interesting and creative things with you voice and body.
• Do not look at casting directors while auditioning.
• Remember, the casting director wants you to succeed. He or she wants you to be the ideal person for the role. Never take rejection personally. Its not about you, it is about what the director needs at one moment. Always leave the casting director with a positive impression of you. Thank him or her for the time spent with you, and state your interest in the role. Remember that a theater or director will always have other projects.

Auditioning for musicals

• Be prepared to learn a brief dance step.
• Bring the sheet music of a song or be ready to sing a song from the show for which you are auditioning.
• Select songs that demonstrate your vocal and emotional range, typically one up-tempo song and one ballad. Choose a piece that you can easily handle; well within your range. This is not a time to challenge your voice by stretching for notes higher than you can comfortably reach. Sing a song that is in the same general style as the score of the show you're auditioning for. It's a good idea to always know who wrote the song you're singing, and from what show it's from. You want to appear as knowledgeable as possible when asked questions at your auditions. Do not imitate - use your own style.

If you are not cast

Don't be discouraged. There are lots of reasons director's cast a show the way they do and you may have an opportunity in another show. Check out this article called "Top Ten Reasons You Didn't Get Cast" at the Community Theatre Green Room.

If you don't get a part in a play, then volunteer to help on the stage, costume, set design or lighting crews. Becoming involved in theatre productions, even behind the scenes, will give you important experience in how the performing business works and can be included on a theatrical resumé as well. Remember, even the best actors started with behind the scenes work and small parts. Take whatever parts you can get. As you improve your skills and experience, you will get better and better roles. Learn the craft slowly, improve your knowledge and skills step by step. You'll find building that resumé a lot more fun and much less discouraging if you take a smart and methodical approach to your training.