Into the Woods Performing Arts in Children’s Education July 2004
Critical Steps in Selecting a Play or Musical: Casting
Today, I want to discuss the critical steps in selecting a play or musical: Casting. Have you ever seen someone do something that you know is very difficult to do? Have you thought that they make it look easy? Me, too. I’ve been watching the Olympic Games and in particular I’ve enjoyed cheering on Simone Biles as she catapults herself all over the gymnastic mat. Incredible!
An experienced director looks much the same way. They make it look effortless. It is not. Casting a production can be challenging, or easy and even fun but it can also be hugely nerve wracking.
In this series on selecting a play or musical, this is the next item to consider–casting
Assessing Talent Requirements: Matching Roles to Performers When Casting
1. What abilities are required of performers for this production?
First, you have to look at the roles and decide who is most essential. Does the show require tap dancers for 42 Street (not easy to come by in adult actors) or singers who can sing in six part harmony for Sweeney Todd (not easy to come by either)? How many men? Men aren’t in great number in community theatre. Many plays and musicals require more men than women (aint’ it the way ?)
If the play calls for a thirteen year old female for The Diary of Anne Frank, do you have one who can play the character? If an elderly man is needed for King Lear, do you have person who can play it? How about someone who can dance the ballet in Oklahoma? Or juggle in Barnam? Or you think could learn to juggle? Really take the time and be honest with yourself about what the production requires. My advice: If you don’t think you have the people (or at least l/2 of them) that you need BEFORE you hold auditions then change shows.
The Diary of Anne Frank Fine Arts Guild of the Rockies 2012
2. What artistic expectations do you have of the company for which you are working?
If you are a guest director, I’d survey the theatre company you are working for and ask for their mission statement. It may express something about including all community members participating in their productions. Looking to cast a youth theater production? Check out: Ten Steps in a Play Rehearsal in Youth Theater
What does that look like exactly? If they expect you to cast someone with a physical challenge, such as a blind person or one with hearing loss and you are directing The Miracle Worker for them, then you need to know that right up front.
Some companies leave everything to the director to decide. That’s nice. However, sometimes the company will return to you later and request, “We need you to cast So-and-So because his father is a board member.” Have a personal opinion about such “favors” before you begin. It will save you heaps of time and headaches, I guarantee you. Make your wishes known as you pre-plan the show.
The Music Man Theatre Reading Young People and Schools 2001
3. Casting is a bugaboo
As I mentioned, casting has the capacity to be difficult. Experienced directors will share with you that casting can be very random. When casting productions I use my intuition to select the actors. If the essence of the character seems to be a part of the actor’s persona. When I am unfamiliar with the actor auditioning, I will attempt during auditions to direct them in the characterization I’m seeking.
If we (and I do mean “we”) can reach a common vision for the character, then I will be interested in casting them. I don’t always have success with this method, but I am wiling to take a chance.
Unfortunately, there are directors that pre-cast their productions. I really dislike that. If Sue is cast that was not pre-cast like Mary, somehow Sue will find out that Mary was selected ahead of time and that can make for hard feelings within the cast. Play fairly.
Assessing Talent Requirements: Matching Roles to Performers When Casting
I think it is all right to invite people to audition for my shows, but I have a disclaimer clause that I mention to them, “I can’t promise you a role, because that wouldn’t be ethical. But I am interested in hearing you read several parts. If I cast you, I will treat you like every other cast member as I know you would want me to do. That’s only fair.” That’s sort of a salesman’s assumptive close, because it implies that the invited person would want to earn the part on their own merit, OF COURSE and not cheat to win it.
4. The Talent Pool
Do consider whether you have actors who can sing the roles, dancers who can play dancing roles and actors with the hutzpah to carry off a two hour show. If not, then I’d change shows. Sure, there are directors who say, “Well, we will make it work.” Really?
If the theatre company you are directing for has no problem with unqualified actors portraying roles, then give it a go. Will you be so distracted by the duck-out-of-water person that you can not fully engage with the show? Trust me, I’ve learned the hard way. Once I cast a woman who was an incredible actress when she was young, but hadn’t acted in thirty years. She was anxious about her lines, consequently taking herself out of the performing experience– inebriated. I knew in my heart that this experience would be too much for her, but I went ahead and cast her anyway.
Consequently, I had to replace her with myself! I should have known better.
Some award-winning performers quotes about auditioning
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Hugh Jackman (actor, musical theatre performer):
“Auditioning is really about being present and showing who you are—not trying to be what you think they want.”
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Lin-Manuel Miranda (creator of Hamilton, In the Heights):
“Auditions are weird—you’re not trying to play a role; you’re trying to convince them you could play it.”
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Philip Seymour Hoffman:
“Auditioning is a chance to act, so I never thought of it as torture. It’s a chance to play for five minutes.”
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Alan Rickman:
“Talent is an accident of genes—and a responsibility. Auditions are where you prove you know what to do with that responsibility.”
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Kristin Chenoweth (Broadway performer):
“Every ‘no’ in an audition is one step closer to the ‘yes’ that’s meant for you.”
A Secret of Mine
If you are there to set the benchmark for future directors and productions, then by all means only cast the very best. I’ve directed all skill levels, some brilliant artists and some not so great. I’ll tell you a secret:
If audience members are judging you by one actor’s performance, then they need to go home. 🙂
Herding cats is easier than directing.
Go to my next blog concerning set design and construction.
What insights to do you have about auditioning? I’d love to learn about them? Contact me at Dhcbaldwin@gmail.com