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youth theater directing

How to Audition Children for a Play or Musical

March 4, 2020 By dhcbaldwin Leave a Comment

How to Audition Children for a Play or Musical

This is a subject near and dear to my heart.

I became a youth theater director by accident.  My college friends would say they thought that’s what I would end up doing with my theater degree.

I had no idea, really. But it stuck with me.  I really did enjoy it!

How to Audition Children for a Play or Musical

In thirty-eight years of teaching and directing, I directed over 250 plays and musicals with adults and children alike.

During that time, I started the careers of several child actors who have gone on to be Broadway performers or work in the industry.  That’s a really cool thing.

In addition, there are probably several hundred who are still involved in theater in their communities.  I love that even more!

If you think of all the people which I’ve auditioned– just crazy!

As a result of these experiences I’ve learned a thing or two about auditioning and directing children.

Of course, It depends upon the age of the child and the production, but here are some questions to ask yourself prior to auditions if you plan to direct them.

How to Audition Children for a Play or Musical

How to Audition Children for a Play or Musical

Here are some questions to ask yourself:

(I’m assuming you are working in a community theater or semi-professional.)

  • How young can a student be to audition for the production?
  • Is there anything in the production that would be too adult for a young child to comprehend?
  • Could an older student portray the role?
  • What is more important to me–to cast someone who is the essence of the character or someone who is the true age of the character?
  • How essential is it to me that the child’s parents are cooperative?
  • Are the parents allowed to sit in auditions?
  • Can parents sit in on rehearsals?
  • How many late evening rehearsals are planned?
  • Will I send the child home early?  Why or Why not?
  • How many conflicts will I accept from the child (school functions, sports games, etc.)
  • Some children don’t do well at cold readings.  Will I allow children to see the script beforehand?
  • Should the child bring in their own monologue for their audition?
  • If the show is a musical, do I expect them to sing a song from the show for their audition?
  • Will I hold callbacks for the child role?
  • How will I handle their callbacks?  Will I run them through a series of improvisations?
  • Should I cast two students in the role with one an understudy?
  • Would it be better to double cast the child role?
  • Do I expect the child to say any swear words written in the play or will I substitute something for them?

Tony Award-Winning Child Actors

How many child actors go on to make a career of it?  When I was researching this topic, I found several biographies on Wikipedia.com.  I remember seeing these four perform.

They were absolutely stellar.

Daisy Eagan started her early theatre training at the Neighborhood Playhouse School of the Theatre’s Junior School where she had classes in acting, singing, and dancing in the early 1990s. She then went on to star on Broadway in “The Secret Garden” with Mandy Patinkin and Rebecca Luker. She became the youngest recipient to receive the TONY award for featured actress in a musical.

 

How to Audition Children for a Play or Musical

The Billy Elliott Boy Dancers

David Alvarez is one of the three boys originally cast to play Billy in the Broadway production of Billy Elliot the Musical, along with Trent Kowalik and Kiril Kulish. He needed to study tap, acrobatics, voice and acting for the role and spent July 2007 through March 2008 preparing. Billy Elliot the Musical began previews in New York on October 1 and officially opened on November 13, 2008. His first preview performance was on October 2, 2008. He played his final performance on January 3, 2010. Alvarez’s portrayal of Billy Elliot was highly praised by the critics.

Alvarez, jointly with Kiril Kulish and Trent Kowalik won Tony Awards for Best Actor in a Musical 

How to Audition Children for a Play or Musical

Kiril Kulish was born in San Diego, California on February 16, 1994. His parents, Raisa Kulish and Phil Axelrod, are Jewish immigrants from Ukraine. His older brother, Victor, is a singer/songwriter and recording engineer, and his older sister Beata is a TV/film producer. He grew up speaking Russian, Ukrainian, and English. He started studying ballet at age five and ballroom dancing at age 8. He studied at the San Diego Academy of Ballet and was the youngest male to be admitted to their junior company.

Kiril was the winner of the Junior division Grand Prix at the Youth America Grand Prix in 2006, 2007, and 2008  and won the Hope Award in the Pre-Competitive division in 2006. Kiril Kulish won first place in Latin Ballroom at the USA National Dance Championships in 2006 and 2007. In 2012 and 2013 Kiril Kulish became the Youth USA Champion in Latin DanceSport and will represent the USA in Beijing and Paris.

Trent Kowalik was born in Wantagh, New York, the son of Lauretta (née Splescia), an organist and pianist at St. Raphael’s Roman Catholic Church in East Meadow, New York, and Michael Kowalik, a surveyor. He has three older sisters. He started dance lessons at the age of three at Dorothy’s School of Dance in Bellmore, New York. At age four, he began instruction in Irish dancing. At age six, he was competing at the highest level, Open Championship. He danced with the Inish free School of Irish Dance.

In April 2006, at age 11, Kowalik won the youngest male age group of the World Irish Dancing Championship (Irish: Oireachtas Rince na Cruinne) in Belfast. He is a five-time undefeated North American Champion and a World Champion. He holds multiple national titles in Scotland, England, and Ireland, and continues to study ballet, tap, jazz, and lyrical dance.  He graduated from The Jacqueline Kennedy Onassis School–Pre-Professional Division American Ballet Theatre in 2013. He graduated from Princeton University in June 2018. He was a member of student dance groups Princeton University Ballet and BodyHype Dance Company.

Note:  Most child actors grow up to lead lives away from the stage.

However, if you have the chance to get them started take heed of my questions.  They will help you immensely.

If you’d like a lesson concerning Billy Elliott, check out Billy Elliott The Broadway Musical Lesson

How to Audition Children for a Play or Musical

For more information about working with children, check out these posts:

Double Casting a Show? Here’s Advice

How to Make Your Drama Class More Successful–Lessons Learned from 38 Years of Teaching Drama-Elementary

How to Make Your Drama Class More Successful –Lessons Learned from 38 Years of Teaching-Middle School

What child actors have you started?  I’d love to hear about them.  Contact me at dhcbaldwin@gmail.com or DeborahBaldwin.net

 

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Filed Under: arts education, community theater, directing experiences, drama education, youth theatre Tagged With: 'tweens, auditions, child actors, directing tips, drama education, Middle school, professional theater, youth theater, youth theater directing

Beginning Director’s First Step

April 23, 2014 By dhcbaldwin Leave a Comment

director overseeing rehearsal

image

   When I was ten years old, I came down with pneumonia on a camping trip with my parents.  I remember very vividly what happened.  We took a walk in our campground in a rain storm which was an uncommon experience for us.  My parents were older, they had me when they were forty years old (which back in the 50’s was really old) and they allowed me to play in the mud puddles.  I was thrilled!

   The next morning I had a high temperature and I was coughing like my lungs would fall out.  My dad, who was a Radiologist, took me to a small health clinic to have some x-rays done.  Sure enough.  I had pneumonia.  And thus, my life as a play director began.

    Well, not quite.  Our trip had just begun and my parents weren’t too keen on going home early.  So, they bedded me down in the backseat of the Oldsmobile, shoved a HUGE  antibiotic pill down my throat and hoped I would recover soon.  I slept the entire trip in the car. 

    Touring Colorado on that vacation, I had very little to do to occupy myself, except my huge imagination. Of course, there were no fancy hand held computer thingies or glitzy cell phones.  But I do remembering bringing two things with me– my Big Red Chief tablet which I drew in religiously and my beloved book of Mary Poppins.  Before our trip, I had seen the movie.  I think we traveled to Kansas City and attended the movie in a massive  theater with a theater screen just as massive.  I was simply mesmerized.  I loved movies. In fact, they were the catalyst for my passion for theater.

    I wasn’t much of a player with dolls, but I did order my Barbie doll through an advertisement on a cereal box. Even though I didn’t play with her much, I dragged her along with me. I liked the Mary Poppins outfit I bought for her and dressed her in that most of the time…of course!

    With not much to do but eat, sleep and live in the backseat of our car and bored out of my skull, I decided to direct Mary Poppins in my backyard when I returned home. Now understand that I had NO experience acting in a play (I mean, I was only ten) much less directing and hadn’t even read the book!  I just owned it. (As I recall, I thought the book was boring). It was pink with a photo of Julie Andrews on the front cover. I loved Julie Andrews–she was so everything I wasn’t–pretty, slim and British.
So back to my play debut. It seemed simple to me:  I would have my dad rent a helicopter (?) for my first entrance as Mary as she floats through the clouds with her umbrella.  My neighbors, Tammy and Kirk would play the Banks children and all my friends would be in it, too.  I don’t know if I figured out where the costumes, sets, props would come from, but I imagine I didn’t think that would be a big deal to accomplish. What’s the problem with that? 

    I don’t remember much more about my plan.  I know that for my birthday party in August, I recall my mother telling my friend Cindy Byrd that she shouldn’t cry because I would make a place for her in the play. I guess I had announced my plans to my birthday party guests.  Gosh, even my mother appeared to believe I would direct it! My mom wasn’t very involved in my life and so for her to even show any interest in something I was doing made a great impression on me. 

   Soon school began and I rummaged around in the basement and found an old pair of roller skates and decided I would become a professional ice skater. Like most children of that age, my intense love for my Mary Poppins play idea went by the way side just about as quickly as I got over the pneumonia that summer. I continued putting on little plays with my cousin, Sharon but I never revisited the Mary Poppins play idea.   

    I grew up and attended Stephens College and pursued my BFA in theater.  I had so much to learn, it never occurred to me that I could direct a play.  In fact, I didn’t direct my first play until I was twenty-two and it was The Phantom Tollbooth.  When I was ten,  I liked that book much more and actually read the whole thing. To this day, it is still one of my favorites along with Charlotte’s Web.

   Over time,  I kept volunteering to direct because well, someone had to do it and I had the most experience (you know….one show under my belt). The rest of my directing history is a slippery slope to present day.  Right now, I am finishing directing four musicals at once (all school shows, mind you). That’s with kids, ages ten to seventeen with about one hundred different levels of skills and abilities.  This summer, I’ll direct sixty-five more.  Sometimes it’s like herding cats–no joke.

    You would think I tire of directing.  Nope.  I tire of the stresses of directing in community and youth theater.  I deal with issues such as finding a venue in which to produce the show, volunteer parent committees who dodge their responsibilities, students playing lead roles who come down with laryngitis the day before the show, lack of money, losing rehearsals to snow days, shortened classes, etc. And from what I hear from other drama teachers around the country, in some respects, I have it easy. 

   What I love about directing is that I fall in love with theater arts all over again.  I get a real thrill out of watching my actors as they find their characters and begin to understand the power of the word within the script.  I am very touched when one of my actors discovers he is good at something he never even thought of doing before–like dancing or singing.  It’s fascinating to watch a person grow in their understanding of a concept or idea. 

    Theater is a magnificent art form.  If you really understand it, you know it’s value to everyone.  Obviously, it is an important part of humanity because it’s been practiced for thousand of years.  Even the cave dwellers told stories.  I like knowing what I do has a historical significance and is embedded in our DNA in some form.

    So, that’s it. We’ll blame all this directing falderal on Mary Poppins. I’ve never touched Mary Poppins again.  I don’t re-read books and if I don’t like a book, my husband would tell you that I am known to throw the disliked book across the room and exclaim a “Yuck!” as I do so.  I don’t admit to that myself.  But I do love a good story or a movie.  They get my creative juices going all over again.

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Filed Under: Uncategorized Tagged With: Charlotte's Web, childhood pneumonia, community theater directing, Mary Poppins, The Phantom Tollbooth, youth theater directing

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