There has been a lot more buzz around auditions in the past few weeks, with TPS Generals and other major auditions going on at the same time. One of the most frequently asked questions has been whether a monologue or song is overdone, or whether X song from a musical on Broadway was off limits.

As a director, my personal belief that nothing is off limits. Last year, during TPS Generals, three women did the exact same Juliet monologue. On the same day. But you know what? I remember one of them. She was brilliant. The others I have no idea who they were. And she wasn’t the first one.

While I might wince at a novice performer trying to sing “Defying Gravity” from Wicked because it’s their favorite show, someone who can nail the song should sing it. The same goes for Sondheim – there is this belief that you should never sing Sondheim at an audition, especially for a Sondheim show (I’d like to know who came up with that one.) If you can perform a mind-blowing version of one of Sondheim’s songs, then please do; I want to see excellence at an audition.

So while careful consideration must be given to whether a monologue or song is right for you, you shouldn’t concern yourself with whether it’s overdone or not if it’s the piece that best showcases your skill.

Audition notice for The House of Bernarda Alba by Federico Garcia Lorca in a new adaptation by Emily Mann, Directed by Charles Waxberg and Roy Arauz

Audition Date

Saturday, February 18, 2012
1:00-4:00 pm*

*UPDATE: most slots between 1-4 pm are now taken. We are now scheduling auditions from 4:00-5:00 pm.

Email auditions@arouet.us for an appointment. Please attach a resume and headshot if available.

Audition Requirements

• 2 monologues, maximum 4 minutes total length
• 1 – A monologue of size and intensity
• 2 – A classical monologue

Lorca’s final masterpiece, The House of Bernarda Alba centers on Bernarda as she tyrannically rules over her house and five daughters, cruelly crushing their hopes and needs. The play explores themes of suppressed sexuality, passion, and the oppression of women.

All Roles Open

Bernarda—A widow who exerts excessive will over her daughters.
María Josefa—Bernarda’s mother. Bernarda keeps her locked in her room.
Angustias—Bernarda’s eldest daughter, is sickly, desperate to marry and be free.
Magdalena—Bernarda’s daughter, devastated by her father’s death.
Amelia—Bernarda’s daughter, gossipy but submissive to her mother
Martirio—Bernarda’s daughter. The martyr, she feels weak and inferior.
Adela—Bernarda’s daughter. The only one to defy her mother.
La Poncia—the sturdy housekeeper
A maid—another maid of the household
Prudencia—dinner guest

Production Information

Rehearsals begin Saturday, March 24, 2012

Performances

May 4-19, 2012
Performances at The Ballard Underground, 2220 NW Market Street, Seattle

Compensation

Arouet is a profit-sharing company. (All profits will be shared equitably)

FAQ

What is your criteria for a classic monologue?

• A classic monologue, in this case, would be heightened language. Technically, classic is before Ibsen (1877), however we want to hear you handle poetic language or heightened language, so for example G.B.Shaw is okay as well and most verse plays.

Can you clarify what you mean by a monologue of size and intensity?

• A monologue of heightened emotion, stakes, and passion. We want to see that you can handle the intensity of the play with truthful commitment.

A few weeks ago I took a trip back east to visit my sister in DC and some friends in NYC. The main purpose of the trip was to see friends, but I had scheduled some time to see a reading of my friend Doug DeVita’s play, BBQ.

I had read the first few pages of the play before, so I had an idea of what to expect. I already had an actor in mind for the male lead, and it was quite interesting that the gentleman reading the part was the “same type”. That was definitely a good omen!

Needless to say, the reading went very well. I loved the play and the actors that read the parts. The reading was followed by a lively discussion afterwards where we all gave our feedback. It was a little surreal for me to be doing that in New York City with professional actors.

Late that night, after the party that followed, sitting in the living room over a great conversation I decided to produce BBQ next year. As Doug puts the finishing touches on the script, I am now on task: fundraising, finding a space, scheduling, and the getting those rushes of adrenaline again.

Who would’ve thunk six years ago when I first logged into BroadwayWorld that it would lead to this? For now, visit our page for BBQ and stay tuned for casting and production dates.

Your reputation is important. Seriously. I’ll wait while you look it up.

Okay, so earlier I addressed how you begin to establish your reputation at the audition stage. You may have spent years establishing a good reputation, but all it takes is one mistake to damage it; the kind of damage that could take years to overcome and that will never be forgotten by anyone. Even though this is true of all areas of life, this is particularly true of tight-knit professional communities such as the theatre community.

If I see in a resume that you have worked with someone I know well, I contact them to ask how you are to work with. I listen to the production team when they have an opinion about you.

When I was stage managing, you can bet that I spoke up when an actor that was particularly difficult to work with was considered for a role. If I’m producing, then I will most likely block said casting.

Of course I’ve had my share of missteps. For example, once I was choreographing a show where the director and I simply didn’t get along: at times we even argued in the presence of the cast. That experience established my rule of keeping the peace in front of the cast and crew: when disagreements crop up, they are addressed privately. In another instance, the director for a show I was stage managing and I had some major communication issues that surfaced during the tech/dress rehearsal process. This lead to a very stressful – and long – tech. Unfortunately, my reputation precedes me at those theatres: it is unlikely that I will be asked to work at either company again.

In the age of Facebook and Twitter, gratification is instant, status updates are immediate and the filter between your emotions and pithy comments isn’t always functional: remember that everyone is reading your profile updates. Previous status updates and Facebook behaviors have been a factor in my casting decisions and I make mental notes of what you’re saying long before I am even considering you for a gig.

I had an actor audition for a show that I was directing. She kicked ass from the moment she walked in: she had great presence, a beautiful voice, and she did a great reading. I wanted to consider her for all the female leads, she was that good! Alas, the minute she stepped out of the room there was a resounding “No!” from the rest of the production team. It turns out she had a reputation for being extremely difficult. I looked up her previous experience, and saw that she was someone a friend had stage managed before and he had warned me about her. She wasn’t even called back.

Particularly difficult is dealing with children. Ok, not children. Personally, I love working with children. Their parents are another story. I have not cast a child before because their parent had a reputation for being demanding and a pain to the production crew. After stage managing dance recitals and choreographing a couple of shows with children, I set out a rule when I direct that parents are not allowed at all in the rehearsal room, unless invited in. Even though this has created some unhappiness at the start, in the end it has been best for all.

Theatre companies and spaces also have a reputation to observe. Do you treat your hired directors professionally and with respect? Do you provide what you promise? Do you provide actors with reasonable rehearsal conditions? There are theatres that I won’t work at because of the experiences of others there. There are also theatres that get it right, and when that happens I make sure to let everyone know too. Arouet’s contract not only states what is expected from actors, it states what actors can expect from Arouet.

Be respectful of everyone you work with. I remember how I have been treated by other directors; some I liked and some not so much. I do my best to emulate the ones I liked and remind myself of what I didn’t like and steer clear of those behaviors. I am more likely to work again with a stage manager that’s honest and willing to learn, even if he/she is a bit green than one that thinks they know everything and fights me along the way. A stage manager that doesn’t treat the cast well will come off my list immediately.

So be mindful of how you treat others, from audition to closing night and beyond. The slightest misstep will come to haunt you later, as I know from personal experience.