Organic Auditions: For Actors Who Don't Yet Know They're Good
- Rebecca Burnham
- Nov 5
- 6 min read
In the exhilarating world of musical theatre that builds the Beloved Community, how do you conduct auditions that nurture budding actors?
That was the subject of a presentation on organic auditions by educator, counselor and veteran director Manuel Leybas at the LDSPMA conference for creatives I attended last month, in Utah. I’d never heard of the "organic" school of acting but the subtitle – “a gentler, more caring way of conducting auditions” – pulled me in, and I was struck by Mr. Leybas’ warmth and his intentional approach to introducing newcomers to the stage. Here are his tips, gathered from careful study and the experience of auditioning 120 productions.
Put aside any notions you have about being “a king, or queen or emperor.” Auditions are not about the director. They are an opportunity to discover “good actors that have not yet discovered they’re good actors.” Greeted with gentleness and treated with care, they can be molded into actors that deeply connect with their work. “The environment where things grow has to be cordial and kind and gentle.”
Prepare for auditions in a way that builds professionalism while reducing the anxiety of newcomers.
Start with a pre-audition meeting where you introduce the directing team “so they realize you’re just real people” and explain the entire audition process ahead of time.
Go through the audition sheet with them, in a calm and encouraging way, so they know what information you’re requesting and why you’re requesting it.
Let them know that it's okay if they don’t have experience yet. Every actor has a first play. If you see someone has anxiety, offer reassurance and let them know that’s normal.
Explain what you’ll want them to prepare (two monologues – one serious and the other comedic – for a straight play, in order to see their contrast range).
Let them know the audition will also include a short interview where you’ll ask them about how they connect with the show and what drives them to be a part of it.
Teach them how to meet professional expectations: ie, they’ll want to arrive in professional attire (that still allows them to move) or dance attire, rather than in costume; if they’ve worked with a member of the directing team before, they’ll want to treat this as a fresh experience and avoid behaviour that suggests they have an in; they’ll want to show up on time.
Have them sign up for a 10-minute audition slot, and ask for 24 hours notice if they have to reschedule.
At auditions
Rather than a “cattle-call” approach, where everyone auditions in front of each other (and judges each other), invite them in one at a time, because they’ll connect better and you’ll get a better sense of their potential.
Ask them whether they want to start with a monologue or their interview, so they feel a sense of control.
Videotape the audition so you can refer to it later during casting, and also so you can look back, in future years, on how far they’ve come.
Give them your undivided attention, saving conversation among the crew for later.
If you might need a call-back, ask their permission: “If needed, would it be okay if we called you back in, along with some others?”
Ask if there’s a particular part they’re really interested in and then, whether they would be willing to take the intensity of that part to a smaller role, really making it stand out.
Ask them how they would like to be told about casting decisions: a phone call, a text, or a public post.
Cast with pictures, so you’re casting people, not names.
Mr. Leybas notes that this is not the way auditions are generally conducted at university or regional theatres. But you don’t need to subject new actors to traumatizing experiences in order to prepare them for the “real world.” Once you’ve helped them discover confidence in their abilities and they’re secure in themselves, you can “prepare them for uglytown auditioning.” They will then be able to face it, with self-respect intact.
And while we're talking about auditions, let's also address what I've found to be the most painful aspect of casting a play: the inevitable disappointment of actors who had their hearts set on a certain role and didn't get it. There can be a downside to the emotional sensitivity that deepens an actor's connection to their character and makes them convincing to the audience: self-doubt is common and disappointment can be hard to process.
That's why we have a worksheet for actors who are struggling with casting decisions. Here's the content:
You gave a killer audition. But they didn’t give you a part, or they’re offering something that leaves you feeling deflated. You’re disappointed, hurt, or even angry. You might also need to decide whether to accept a disappointing role at the same time that you wonder if you even want to be in the show. How do you find your way forward?
First of all, take a deep breath and a step back for perspective. Assembling a cast is like putting together a puzzle. The pieces all need to fit together and the ensemble needs to be full of versatile actors and vocalists. Sometimes, there are legitimate factors unrelated to your abilities (like relative age and height) that might have an impact on where you fit best. Then there are goals beyond one production that might have an influence: a community theatre with a mandate to foster local talent may choose to spread lead roles around or cast locals before out-of-towners, while a theatre trying to increase its audience may give an edge to an actor from a neighbouring community or with a reputation that will bring a crowd. There might even be a combination of such factors. These considerations have nothing to do with the strength of your audition, but could make a difference in where you fit.
“Don’t take it personally” is generally good advice, but it’s hard to swallow when you suspect injustice; when prejudice, cronyism, or some limiting belief in your director’s or the public’s minds may prevent them from really seeing what you have to offer.
Whatever is going on with them, you matter. And so does the story you tell yourself about this. These journaling exercises will help you to process your frustrations and fears, and choose a story that lets you get on with your wonderful life. So grab a pen, and let’s go!
(Page 2) Fill in the left column below with the ugly story your fears and frustrations are telling you right now. Don’t hold back or worry about being fair. Just get it out on paper so you can deal with it later.
What is it about your “ugly story” that really hurts? What were you longing to get from this part?
What was that thing you were longing for going to do for you?
Keep asking these questions until you get down to gold, something that resonates with your whole self and your values.
Take a moment to listen. What does God or your inner knowing say about the issue you identified in #4?
Now, go back to your ugly story and circle everything that is actually factual. Example: “They hated my audition” is an assumption, not a fact unless they told you they hated it. “They didn’t laugh at my comedic monologue” would be a fact.
How can you reframe your facts and your fears as opportunities for growth? Example: “I’m not funny” vs “I need to work on my comedic delivery." Or “They’re prejudiced against me” vs. “I still need to win them over.”
In what ways might the part you’ve been offered be an opportunity?
Who else has needs that ought to be considered in this situation? What needs?
What is the story you want to be able to tell about this moment 5 -15 years from now? Go back to Page 2 and write it in the column on the right.
Tear Page 2 in half. Rip up the story you were stuck in and throw it away. Now, post the story you choose somewhere that you can see it often.
Will accepting the offered role help you create that story?
Congratulations! You know what to do. Go create the story you want from this!
If you'd like to share this resource, you can do so with this link (which I would LOVE to have you share because it also gives recipients the opportunity to subscribe to this newsletter). If you have thoughts or suggestions for improvement, please comment below.
Thanks for your support for Summit Stages! If you liked this post, please consider sending it on to a friend.
If you are not already subscribed to my weekly newsletter, I'd be delighted if you'd do so here.
And a deeply, heartfelt thanks to those who've contributed to my tip jar Your support is greatly appreciated!
Comments