Break a Leg

Here's a blog from our very own Hugo Martin -- though you may know him (albeit briefly) as Mint's bandmate, Tahko. He was also the guy who we almost ate in the Halloween minisode.

Hugo is a local actor (as well as musician) here in San Francisco and he's going to try and write weekly about his experiences. Perhaps we can get the other actors to join on their acting experiences.

Here we go:

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 In the short time that I've been auditioning in the professional world of theatre in the Bay Area, I've learned a few important thing.  Although rejection stings, and the point of auditioning is getting the job, a "failed" audition is an invaluable learning experience. Besides toughening you up to be the war-battered veteran actor you aspire to be(actors love military references, at least those who feel they let daddy down by becoming an actor) a rejection, with perspective, can teach you how to prepare the next time around and hopefully get a little closer to landing the gig. Here are a few rules that I've learned from going on only 5 different auditions. "What?" you say "5 auditions?, should you really be doling out advice after so few experiences?" I answer: probably not, but here it goes anyway, with the reservations that its a short list of advice and it applies perhaps only to my region's theatre scene.

Lesson number 1:  Expect nothing.

If you know someone who has auditioned with sed theatre company before you, consult them, taking their advice with a grain of salt. Even if you think you know how its going to go, be prepared for a number of twists.

Twist number 1:  They may ask you to prepare 10 songs and a dance sequence, but when you get there, they ask you to recite a monologue (you hadn't prepared for) and bark like a dog to Beethoven's 5th. It can and will happen.

Twist number 2:  Your gut, or your "source" told you they audition in a large room with great reverb, but when you get there their air-conditioning is out and they've relocated to the alley behind the building where boeing jets pass every 5 minutes. You can hardly hear the sound of your own hyperventilation.

Twist number 3:  They are ahead of/behind schedule and you come late/early and have to wait way past what they told you to expect. You seethe at the injustice.

Twist number 4: They Lost your headshot and/or resume you previously sent them. All you have is your prom picture in your wallet.

Twist number 5: You get into the audition room and there are much more/less people than you expected. They are quieter/louder, friendlier/meaner than you expected. This startles you.

And there are many many more twists that I'm not thinking of or haven't yet experienced.

My advice, in order of twists.

Twist 1) Prepare everything they ask you to prepare, thoroughly and expecting to perform it(didn't you say expect nothing?). However,  do not be dissapointed if they decide to nix it all and make you bark like a dog instead. It can happen. Have an additional monologue/song that you can perform, even if they didn't request it. It is not so unusual for a director or casting agent to say: "what else you got?" Also, wear comfortable clothing in the off-chance that they ask you to do movement/dance. It is pretty rare that they ask you to do dance moves when it was not stated before, but at least wear clothing you can move in. The point is: Artistic types like to change their mind rapidly, in any other field it would be a warning sign to fire the person, in the arts it is a sign of creativity. If you want dependability go work at UPS.

Twist 2) Rehearse your monologue in a variety of venues. Shout it over the waves at the beach or in the cozy intimacy of a bathroom stall. Be prepared for the eventuality of both extremes. If its possible to rehearse at the actual venue(like for a shakespeare festival) do it. If not, inform yourself to the best of your knowledge and be prepared to use more or less projection to fit the space.

Twist 3) This happens frequently. Stake out your audition spot early! If you can, put aside time before and after in the eventuality(it will happen) that it goes over-time. Bring a lunchables and the play or your favourite harry-potter. Though, if you're the kind of actor who is 28 and spends your spare time reading harry potter over chekov you might consider that there's more than one reason why you aren't being cast more often, or your parents don't take you seriously.

Twist 4) Always bring an extra copy of your headshot or resume.

Twist 5) This is the variable that may be the least predicatable until you actually get to the audition. You may want to ask whoever is at the desk how many people are casting, or perhaps someone who went before you to set your mind at ease, but most likely your experience will be completely different than anyone elses. Don't ever depend on their being more than one person casting you. If you wanted to adress your monologue to an actual person, don't. Looking an auditoner in the eye can make them nervous, so its never a good idea even if they give you permission, but that's audition skills and is a whole other story. There may be one old artistic director that is fully awake and receptive of you, or ten measly interns who rudely talk over your audition. Just prepare what you've got and deliver it. In my experience, I'm usually more surprised at how friendly people are when they're auditioning you. Don't be afraid, but don't expect a cuddly atmosphere either. You really never know what you're going to get.

The moral of the story is: Be prepared and be flexible. Be an informed and fully prepared actor, but buddhist enough to abandon all your artistic possesions and adjust to what is asked of you.

Next time: (My first professional audition out of school) 42nd Street Moon.