Hey! their fabulous performers.

Welcome back to casting actor's cast,

the podcast that helps you navigate the

wild world of auditions with confidence

and skill.

I'm Jeffrey Dreisbach, your casting

director, your teacher.

And, oh, I don't know, I guess I'm your

industry cheerleader here to give you

the inside scoop on what really goes

down in the audition room.

Recently, I had the pleasure and the

challenge of sitting behind the table

at both equity chorus calls eccs for

singers and dancers, an equity

principal auditions epas.

Wow.

I did see some fantastic talent.

But you know what?

I also noticed a few common habits that

could be holding performers back from

booking the job.

So let's break it down.

If you want to up your audition game,

stay tuned, because I'm about to share

some audition Gould to day it's actors.

This is the final installment of our

three installments.

Dancers, singers now actors in epas.

I'm Geoffrey driesbach.

And this is casting actor's cast.

Well, hello, and welcome to today's

episode of casting actor's cast.

I'm casting partner Jeffrey Dreisbach

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00:01:41,401 --> 00:01:43,3

I'm with the McCorkle group in New York.

How are you hope you haven't a good

day?

I'm never a really good day.

And I'm really looking forward to the

audition

portion of an open call, the e.

P a's equity principal auditions.

But first, this is that moment of the

podcast where I simply get to say thank

you so much for tuning in to casting

actor's cast.

I invite you to check out the

websitecasting actors cast, all one

word dot com there.

You're going to find some free stuff if

you fill out that form that says, dive

into the talent pool.

I'm excited that my book is doing

pretty well.

It's called jeff's jots.

The actor's career playbook there's a

link right there on the website.

Plus there's jeff's jots.

The blog it's a weekly blog that

corresponds to each of the

corresponding episodes that you hear

and see on YouTube and here on the

Broadway podcast network.

So lot going on there, so do check it

out.

I'm also getting really excited to start

I'm kind of biting my tongue, but I am

excited about

an opportunity in New York City for

a live

broadcast recording of the podcast

taking place.

It's going to be happening in the

spring.

So it's not quite there yet.

I'm not quite ready to kind of give out

the full blown introductions, but with

the help of actors connection and the

Broadway podcast network, it looks like

there's going to be a really, kind of a

cool, fun

thing for you to show up.

You and I get a chance to meet.

again, I can't kind of give it all

away, but I hope that you stay tuned

for that.

I'm excited to share that with you.

All right, my shoutout actor's

connectiondot com.

They're just awesome.

Do check them out.

So let's talk about acting audition

tips.

But first I want to set up the scenario

of what takes place

in an e p, a equity principle audition

for actors.

So this was for Barrington stage

company doing their entire season.

So there are several

roles that we are casting.

And so the breakdown went out.

That breakdown went out through actor's

access,

breakdown services

also some other outlets, so that actors

actors.

Equity actors could then go ahead and

they can do this online by signing up

for an audition.

And then they come to what's called the

holding room, where there is an equity

monitor who checks those actors in.

Then each actor has one minute to come

into the audition space, and we've

requested a one minute monologue.

So it's really a matter of just coming

in, doing the monologue and then exiting.

The resume is given to us in advance so

we can look at your resume, we can see

your picture as well as experience you

acting.

And that all happens at a one minute

period of time.

It feels crazy,

because you have to sort of get into

the rhythm of that because that's

awfully fast, right?

And so I've got some tips and some

suggestions that hopefully you're going

to ease that kind of nervous hyperness

that is experienced by both performers

as well as those sitting behind the

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00:04:52,25 --> 00:04:52,192

table.

So those are the audition tips that

we're going to be setting up.

we'll talk everything from a material

to what you're going to be wearing,

and, you know, that kind of thing we're

going to go through.

Plus I've got some tips.

So if you're a singer, or you're a

dancer, and you've enjoyed these past

two podcasts.

This is no different.

And if you're an actor, I think you're

going to find some useful tips here.

But I think that there's information

that is valuable in all of those

arenas, those eccs,

as well as the epas.

All right let's first jump in and talk

about clothing.

So my advice about clothing is to dress

smartly, but comfortably that's it.

We're something that reflects the

essence of the role without going into

full costume mode.

That is such a turn off.

It's a period piece.

A slight nod to the Era in your

clothing can help, but please, please

don't overdo it.

Above all, I think you should make sure

that your outfit allows movement,

and it really just doesn't distract

from your performance.

I think that there's

in my experience with these epas.

I think some performers think that they

have to wear something

a little

a little out there, a little kind of

out of the norm, thinking that that's

going to actually help them get

remembered.

You know what?

That doesn't happen.

It doesn't what happens is the

experience of your acting gets remembered.

Combine that with your picture looking

like you.

And I've said this the past two

episodes as well.

But that has to look like you.

I don't find it unusual at all to see

actors wearing the same clothing in

their picture that they're actually

wearing in their audition.

If you want some help on that, I've got

plenty of pass episodes in the archives

talking about the actor's wardrobe.

I suggest you check that out.

Now let's

talk about that one minute monologue.

I think

this is something that freaks out a lot

of people

because it's about the kind of

monologue and choosing the right monologue.

I think it's important to match the

show's style and the period,

right?

I mean, you get that your monologue

should feel like it belongs in the same

world as the show.

You're auditioning for

a classical monologue for a

contemporary play, and probably

really not the best choice.

Look, something that aligns with the

tone and the style and the energy of

the production as you see it.

You might get that information

about the style of the production

through breakdown.

So make sure that you scrutinize

all of the information about that

production as much as possible, and

then find the material that really does

work for that

role that you're looking for.

Now here's the other thing, especially

this epa for Barrington stage.

We were looking for several roles.

So then it became up to the actu to

make a decision about how

the role they are most interested in,

but they also want to be available for

more than one role.

Well, that's just something that your

creative

energy can decide.

If it's a larger role, and it's kind of

got a heightened language quality to

it.

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00:08:20,100 --> 00:08:21,1

That would be the material.

The association of that with material

that is similar to that production

piece, is a really good idea.

Ok, I hope that that makes sense.

Let's move on from there.

Nervousness.

I want you to own it.

Please don't fight.

Nerves

they're natural.

They are part of the human condition.

They don't control you,

and they don't have to control you.

You need to take some kind of control

back when you're feeling nervous

again.

Nervousness is something that I like to

see on occasion, because it's showing

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00:09:02,8 --> 00:09:03,476

me that this is important to you.

But being able to

stay and obtain some level of control

over those nerves that's important too.

Take a deep breath before you start.

I want you to plant your feet.

I want you to give yourself a moment

before you begin

listen.

If your hands are shaking, just don't

try to hide it.

I would suggest trying to channel it

into the scene, into the character

you're playing, if possible,

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00:09:30,36 --> 00:09:31,4

if not that's, ok.

Don't let that be something that you

are overly

conscious of or aware of.

In my experience,

confidence simply grows

with experience.

That's my experience,

more of yourself than what is just

right there in that moment.

It's really, really ok.

I need you to kind of make moments,

don't make more nerves.

That would be a great little t shirt.

All right, let's talk about this pacing.

Now, I hated this note when I was an

actor, and I don't want to give this

note now, but

I don't know how to tell actors to slow

down.

Because the actors know that they only

have one minute to get through this

audition.

They often rush through their

monologues because they're afraid of

taking too much time.

It's as if the time is more important

than the moments.

But when you speed through, you lose

nuance, you lose clarity, and you lose

opportunities for really interesting

moments.

So take your time.

Use pauses,

give the words room to breathe.

Let me see the emotional connection

you're making with that character.

That

is such a useful tool for us to see,

because it speaks to your technique as

an actor.

It's not about you coming in, saying,

I've got to get through this, just to

let them see what I can do.

A

that's not the right attitude at all.

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00:11:07,0 --> 00:11:09,269

It's an opportunity to perform.

You're an actor,

Embrace an opportunity to perform.

All right?

Next.

Moving on from there, I'm positioning

in the room.

I think that there's a sweet spot

for actors

in terms of where they stand in the

room.

And here's my suggestion.

You see the back wall, and then you see

the table where the casting team is

sitting, or the creatives are sitting

right between the back wall and the

table.

Boom, that's your spot, if you're

standing half way between those two things,

it's the perfect placement for you.

Because being too close, and you might

feel like you are invading our space,

and then, of course, too far, you

become distant.

The right positioning helps with

presence and with connection

to sit or not sit.

I think sitting can work,

but here's a cautionary tale

sitting often limits your energy.

And of course, it restricts your

movement.

So unless the piece absolutely calls

for it,

standing keeps your performance, dynamic

and engaging.

I prefer it.

I also think that I've seen monologues

where the character starts from a

sitting position and then moves to a

standing position.

I think that that's fine, as long as

it's organic.

I know, I know that word,

but as long as it's truthful authentic,

as long as it makes sense

and not an arbitrary choice, I think

there's value in that as well.

Going from standing to sitting

could also be useful.

But again, it has to come from the

character, not from a direction you

were given to keep it interesting.

Moving on from their readable resumes,

I promise you, less is more,

a cluttered resume with tiny fonds and

too much information.

I promise you, that just is

overwhelming.

I don't have a lot of time to watch you

and read your resume at the same time.

So please keep it clean, easy to read,

and, of course, relevant to the job at hand.

I am still, I can't believe I have to

say this it's true.

I'm still getting resumes where the

actor has handwritten in their latest

thing or handwritten a little note to

casting.

If you're a local hire, for example,

you don't need to ride local hire.

You could certainly do that.

When you say hello and coming into the

room, that's fine.

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That works.

Let me make that note.

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Please don't feel you have to embellish

with little hearts and smiley faces.

I still get that.

And for those actors of a certain age

who have just done a ton of work, now

is the time to scrutinize that resume.

You know, what have you thought about

having a few different resumes?

One that is appropriate, that for that

particular kind of style of production,

if that makes sense?

Or, you know, you've got your

Shakespeare and one resume, and you've

got your contemporary work on another.

Those are all things that are at least

worth considering.

So anyway, you want to make sure that

it's easy to scan.

In terms of me being able to see the

salient points, ooh, good word.

While I'm also simultaneously watching

your work, I need to make that association.

I'll tell you, I often quickly just

look at the theatres that you've worked

at, or the film or television projects

that you've been on.

I don't really spend as much time on

the roll, but I will when I have more

time.

But in that epa,

boom I'm looking at the theatres, and

maybe who you worked with.

Those are more important to me as I

scan it.

Now, other casting people might say

something different.

That's just my approach.

We're going to continue the conversation

right after this.

Are you wishing for acting success?

Are you ready with audition techniques

for theater, film and television?

Are you ready with proven methods for

growing your talent?

Are you ready to boost your business?

It would help if you had a playbook to

guide you?

Now there's jeff's jots.

The actor's career play book by

Geoffrey driesby jeff's jots at

amazondot com.

Casting actors cast up Tom, available

in paperback, hard cover or e book.

Stop wishing and start doing with

jeff's jobs.

The actor's career play book.

All right, let's move on from there.

And this is a biggie, and I am so

surprised that I have to say this,

exiting the room too quickly.

You've done your audition.

I've literally seen the actor say the

last word and then turn and walk out.

They've never thought about creating

that last beat, that last moment.

So I don't want you to make it feel

mechanical,

like I'm done now, and I'm leaving

some actors.

They finish their monologue, and then

they bolt for the door before we've

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00:16:16,9 --> 00:16:18,78

even processed what just happened.

So I want you to take a moment.

I want you to hold that presence in

that space,

you know?

What a simple, thank you.

And then an unhurried exit that just

simply shows professionalism and confidence.

And it really does make a point.

I have to say it this way.

I see the lack of emotional investment

in these epas.

It's as if just reciting the monologue,

trying to attach some kind of emotion

to it, and then exiting quit.

the thought of that benefiting you is

absolutely misplaced.

Emotional investment,

if you find the balance,

going too deep into an emotional state

can also be hard to stay in control.

So you need to make moments.

But it cannot be so infused with an

emotional state of being, because if

you get overwhelmed by the emotion,

then it starts to affect your pacing

and your clarity, or your connections.

It's just too much.

So think about staying present.

Remember it's a performance,

it's not therapy.

So you're

kind of projecting

Is that a word?

Let's just make it a word

defeatedness.

When you end your monologue and say

thank you and exit, it's like you've

done that so much now.

That it's becoming habitual

when

working towards being in the moment and

making it a fresh opportunity for

somebody new to see you in character.

That's something to Embrace, that's

something to celebrate.

And it might feel like it's costing

more than you have.

But that is the job of being an actor.

I don't want to see the technique.

I want to feel it.

Acting is behaving.

Let me see how your character behaves.

Even in an epa, that kind of solid,

connected work can go a long, long way.

So I hope you found this helpful.

This ends our three part series on the

eccs.

Epas doing those auditions can be a lot

of fun, if you approach it in a

positive way.

It can also be tedious for those non

equity people that have to wait a long

period of time.

I promise you I'm a guy who sees

everybody who shows up to audition.

So please,

m, if that is something that you want

to do, is get seen and you're not a

union member, you can still participate

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00:19:02,8 --> 00:19:03,343

in those auditions.

The only thing I say no to is drop

offs.

And that means that if an actor wants

to have some kind of consideration but

only has the time to drop off a resume,

that does not interest me at all.

I think that makes sense.

If you're there to to make an effort to

show up and want to audition.

I make sure that we see non equities in

the slots that are available, of course.

So anyway, I hope that this has been

helpful.

I look forward to working and working

with you, seeing you, talking with you

and sharing this

entertainment educational platform

called casting axer's cast.

Thanks so much.

It's been great having you in our

talent full today.

Your support means the world to us.

So please consider sharing, liking and

reviewing this episode wherever you

jump in.

I'm megging.

Grace Martinez.

Thanks

from other lots.

to every so

for you

pretella's lost.

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showing the journey with Jeffrey trice

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