BackStage Utah

My dear, dear friend Melissa Hillman is the AD of Impact Theatre in the San Francisco Bay Area.  She posted this on their website.  WARNING: There are some choice profane words used throughout, but her advice is sound, IMHO.  Some advice is very particular to auditions that happen in the Bay Area, but you'll get the general idea. 

http://www.impacttheatre.com/splatter/2007/01/top_ten_noholdsbarred_audition_1.p...

I clicked on that link two hours ago, at least.  Have I finished reading it?  No.  yeesh.

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... or old.   


Which is exactly why I refrain from naming names of those with whom I've had horrific experiences and/or will not work with.  My experience & opinion is mine & mine alone.  Somebody else may have an entirely different experience/opinion altogether.

My favorite audtionion tips, which never fail, are:

Women: Be blond

Men: Be tall.

Talent and experience are neglible.

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Nah.  Just show them that you're perfect for the part.

craigaltonw wrote on Feb 5^th, 2007 at 4:59pm:

If you think it's different elsewhere, you're sorely mistaken.

Directors everywhere like to work with people with whom they have an existing relationship and some trust and history.

If you do a great job in a show, delivering a stunning performance while behaving professionally .... shouldn't that count in your favor next time you audition for that director/theatre? Don't you want your theatrical life to be determined by more than a monologue or cold reading?

And - just speaking from personal experience - I don't think Utah is as closed as people would make it out to be. Good auditions will definitely get you noticed. And cast.

mr. spiker wrote on Feb 5^th, 2007 at 5:07pm:


Well, I SURE TRIED.

The Professor wrote on Feb 5^th, 2007 at 3:12pm:

And if you're a particularly good actor, you could just BE perfect for the part....

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I promise, as a 5'5" blonde, it doesn't necessarily mean squat.

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I've never taken an audition class or anything, so I always wondered about that.  I've done it both ways, and realized that it was less annoying to EVERYONE when I didn't "use" the directors.  I only did that once...  I sometimes regret not finishing my acting major.

I should save that article for future reference.

Ok, I'm reformatting my resume, but I have a question:  What is more important to include in the experience part, WHEN the show was done, or WHO directed it?

I love being clueless.

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I would say the director.

spiker wrote on Feb 18^th, 2007 at 11:22pm:


Thanks (and thanks to BeechCraft).  Now, I have another dilemma.  What if you've done a show multiple times (such as Christmas Carol or Sweeney Todd) under two different directors?  How is that listed?

Beech Craft wrote on Feb 19^th, 2007 at 2:46pm:


What if BOTH directors are well known, but one of them is dead...?  I did the show twice under one director (who, sadly, passed a couple of years ago) and once under the other director.  Should I put the most recent director?

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Were you playing the same role each time?

I include the play, theatre, and role. I, personally, don't include the director.  But if you've worked with someone whose name carries weight, I would include that.

In terms of what comes first, I generally have my "best" credits at the top so that if they just grab the first credit off the page it's the one I think will make the most impact.

Remember the purpose of the theatrical resume is really just about making the production staff comfortable. Ideally, you want them to say "they played that/there ... they must be OK".

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I've heard it described as "showing your confidence", "being personable", "making sure they remember you", and "getting them involved/invested with you".

It's awful advice, regardless the reason.

mr. spiker wrote on Feb 19^th, 2007 at 8:48pm:

I get that logic.... but you've always got the entrance and exit portion to connect to the auditors.....  During these time I absolutely encourage eye-contact.

Once you step into character however....

I know I've said this a few times on these boards.

But, seriously, read Michael Shurtliff's (sp?) "Audition." �Soooooooo informative, an easy read, and totally worth it.

I have NEVER used a director or anyone behind the table as a partner at an audition, even when they are reading lines with me.  That requires them to "work" too, and they already have enough on their plate. When I had my callback for Wicked a couple months ago, it was so nice because Fiyero was in there to read lines with, and so I had an actual partner, and not some random stage manager reading lines without emotion.  Those are the only times I make eye contact with someone while at an audition.  It's awkward for all parties, otherwise.