I used to hate auditioning. Simply, I didn’t know how to audition. It wasn’t till grad school that I realized what a fun process it can be. When I graduated from The Actors Studio Drama School, I considered myself a full-fledged director and waved good-bye to the actress that was Malini. I became Malini Singh McDonald the director (well, I got married and added the name).

However, a couple of audition notices came my way that made me go, ”Oooh”. The nervousness and anxiety of the THOUGHT of CONSIDERING to go to an audition completely overtook me. Then I realized that being a director also means understanding the audition process. I couldn’t go through life precasting my shows. Well, I could but at some point, we’ll need young people in our productions. So I decided to start auditioning again. I asked the actress who I had sat in the dressing room until I cued her to ”pull it together”. We were going to play.

And play we did. I was able to play because I remembered my teachers telling us how to prepare for an audition, how to audition, and then how to feel after the process.

It was completely liberating. I went to auditions not even worrying about getting cast. I was just so happy to audition for various roles. I auditioned for plays, short films, tv. I saw it as the only time that this director could be an actress. When I did get cast, the actress in me was psyched to tell the director in me to sit this one out. Sit there. Be quiet. And observe.

My artistic life is complicated and completely schizophrenic.

And with that, here are my tips for auditioning:

If the play is already published, read it. If it isn’t, try to learn a little bit about the play and the role. With the advent of the internet, most of that information is at your fingertips.

Have a repetoire of monologues to pick from: they should include Greek, Shakespeare, Moliere, Ibsen, Contemporary, etc.

Pick a monologue that you love not what’s expected. Know that monologue like the back of your hand.

Make sure your attire is clean and appropriate for the audtion.

Be on time. You know the saying ”time is money?” Yes. It is.

Walk into the audition as if you are going to a job interview. Be professional and warm. I can’t tell you how many auditions I have held where the audition went well but the actor was not friendly. This is the first time the panel is meeting you. Make it memorable.

Give the panel your headshot and resume (Also, if you are AEA, there’s no need to make mention of that. We can see it on your resume).

It is always okay to ask if you can use a chair or the space. You don’t have to stand CS and do the monologue fourth wall.

After you have delivered your wonderful and passionate monologue, you may be asked to read sides – this is why you should dress for the audition and be prepared.

Say thank you and leave.

And as you walk to your next audition you ask yourself what did I learn from that last audition? What would I do differently?

Usually you will hear a response within the week of your audition. If not, don’t despair, get ready for the next audition. An actor will never know what a director or casting director is thinking.

Much Ado has been cast, the parks have been booked, the rehearsal schedule has been constructed. Race will have auditions at the end of the month, is in its early marketing phase, is getting it’s name out to the public.

I’ve been thinking a lot of the audition process as I’ve been living it. I am going to share how directors and producers view the initial step in the audition process: The sending of the cover letter, headshot and resume.

We already have an idea of who we are looking for when we send out the audition notice. So when that letter/headshot/resume comes in, there’s a checklist that’s already engrained in our brains.

- Does this picture accurately represent who you are in real life?
- Are you really serious about auditioning for the part?
- Did you proofread your cover letter? How is the grammar? Did you use spellcheck?
- Is your resume well-designed? Is your resume in the same font?

These may seem trivial but they’re not. Think about the blogs and sites you visit. Why are they your favorite? What makes them special? Why do you keep going back to them?

Thank you. Point made.

My advice is to have 2 other people look at your letter and resume. Auditioning for a part is not any different from interviewing for a job. The producer and director are serious about their show and want actors who are serious about their craft. Keep in mind that your letter/headshot/resume needs to shine through your competition.

When it comes to your headshots, you should ask a trusted source who can objectively look at the picture and give you feedback. The worst people to ask are your parents and your significant other. Ian and I are able to look at each other’s headshots objectively but we still ask others for their advice. Inevitably, there’s one picture that captures a moment that brings back a special memory. See what I’m saying? Ask an objective party.

NEXT: The Audition Process

Oh wow. I forgot the excitement of going through headshots and reading resumes. It’s so fascinating how many of us are out there wanting to do art in this city.

In the meantime, still waiting to hear from Brooklyn and the Bronx about doing the Much Ado there. Apparently, there’s a higher demand for a grassy knoll. Just give a some grass and some trees. We can do theater anywhere. We can do theater on the corner of a busy intersection off of the highway. It would be challenging but we could do it.

This week screamed, ”BHP, you do know you are simultaneously producing two shows?!”

We had a great read-thru of Race McCloud last night. We were in a room where everyone involved in the production, and guests, were able to hear the latest version of the script. It was great to meet the cast and express how much our company enjoyed their work in last summer’s Fringe Festival. And most importantly that we so enjoyed it that we knew we wanted to produce it.

Now it’s time for Mr. Hoefner to finalize his script, the production team to start their own work (marketing timelines, art design, rehearsal prep). You know, the stuff that the average theatergoer doesn’t know.

Also, we finalized our audition dates for Much Ado. Ian will post that info tomorrow. All in all I call it a good week in theaterland.

More to come…

This past week consisted of fun producer schtuff. Forest Park called to let me know that the bandshell won’t be available for Much Ado. It is under reconstruction and was supposed be done by May but it doesn’t look like it’s going to happen in time. We are back to the Wallenberg Square which I originally wanted in the first place.

We were also asked to participate in Immigrant Heritage Week in April (http://www.nyc.gov/html/imm/html/imm_heritage/imm_heritage.shtml). As a company of working artists, sometimes it’s difficult to accept all the offers we are given on short notice. However, it is under consideration and I have to give an answer tomorrow.

Also, we are finalizing the audition info on Much Ado and that should be up by the end of the week. Hopefully, we will have confimation from Van Cortland and McCarren park by then.

Thanks to everyone who has donated. Every penny counts these days in producing art in NYC.