Audition Advice - Kevin Heckman

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1. Choose shorter rather than longer, based on the time. If we ask fortwo minutes, give us 90 seconds. Better too short than too long.

2. Choose a piece with a beat change. Nothing is more tiring than watching one long dramatic moment. Change it up.

3. There is nothing wrong with humor in a dramatic monologue. Not that it should be funny, but a chance to laugh is always welcome.

4. Take advantage of silly questions on audition sheets. I like to ask people’s favorite comic strip. It gives me a quick look at their sense of humor. I used to hate those as an actor, but when I don’t have time for an interview, it’s a good quick chance to get to know you. Give me some kind of answer. People who don’t read comic strips have told me they like “The Simpsons” or “Family Guy.” Whatever. That’s helpful too.

5. Be on time. Please god. And if you’re not coming...call. People who blow off auditions or are lateare so noted in our files. I’m sure that’s true for others as well.

6. Return audition calls. I’m consistently blown away by how many actors never call me back. If you can’t audition or can’t do the project, call me back and tell me. If you don’t want to do the project for some reason, call me back and lie. Don’t explain why this project isn’t worth your time. Just lie. That’s fine. People who tell me they can’t be bothered leave a bad taste in my mouth that I remember.

7. Be polite. You’re not just auditioning for me, you’re auditioning for everyone who ever directs at Stage Left and everyone who ever calls me looking for an actor. I recommend lots of people for lots of different size projects and I keep a list of actors I like—many of whom I’ve not worked with personally.

8. Be prepared. If you’re called back for something and I’ve made the script available...read it. At least enough to talk intelligently about it.

9. Accept development work. I often cast an actor I don’t know in a reading of some sort before I consider them for a full production. It gives me a chance to figure out whether they’re a pain in the ass, whether I like working with them. And remember, it’s just a staged reading. But I’m evaluating you the whole time. If you do a crappy job, are late to rehearsal, whatever, I will remember and won’t be calling you again.

10. See theatre. I’m embarrassed, now, at how little theatre I used to see when I was primarily acting. Partly it was cuz I worked weekends, but still. Someone’s always papering, always having industry nights. First of all, I will remember the actor who says, “Oh, I saw the last show here and thought such and such.” I will even better remember the actor who actually saw the last show *I* directed. Also, this will help you identify who you want to work with and who, perhaps, you don’t.

11. If you ever have the chance to watch auditions, do it. It’s boring and tiring, but you don’t really appreciate the difference between a pro and a diva until you’ve been on the receiving end.