TIGER DRAMA AUDITIONS

From classes to productions to community, state, and national festivals; Tiger Drama offers multiple ways to get involved. During their time in our department, many students get the opportunity to work on a variety of backstage crews, be onstage, design and build production elements, take master classes from industry experts, see full live productions, and be an active part in creating art within our community.

Tiger Drama Audition Questions

What is an audition?


An audition is an opportunity "try out" for a role in a performance. In theatre, auditions are how the directors and producers of a show cast (assign) the roles in that show. Actors show off their talents and abilities so that the people casting the show can see who they have to work with and put the best cast together that fits their artistic vision for the production.




What will I be asked to do at a Tiger Drama musical audition?


Start by reading and filling our your audition packet for the show. These are available outside room 129 or online. You will fill out your audition form, check your conflicts, and prepare material before the audition begins. At our initial audition, you will dance and sing in small groups and participate in some cold readings. DANCE CALL: As a large group, you will be asked to learn a dance combination. Please wear comfortable clothing that you can move easily in. You will dance in small groups (5-6 people). VOCAL AUDITION: Auditionees are asked to learn a small cut of a song from the show. Please read the audition packet for the show for more information on song selection and potential callback music. We will practice the music as a entire group and then you will be asked to sing in small groups (4-6 people). At our initial auditions, no one is asked to sing alone. COLD READS: "Sides" are selections of dialogue (two or more characters talking) that the director chooses from the show being cast. These are called "Cold Reads" when actors have not seen them in advance of the audition. When given a cold read, the actor is expected to read the dialogue with as much character and purpose as they can, given the limited amount of time they have had to view the lines and prepare. It is understandable that cold reads will not be memorized, so actors will generally perform them with the scripts in their hands. Come in with a developed character and be ready to react off of what your scene partner does. Understand the objective that the character you are playing has and what tactics they are using in the scene to get what they want. Be ready to experiment with the scene as the director may give you feedback, ask you to try something a different way, or switch you around to read with various partners.




What will I be asked to do if I get a callback?


If you are called back, you could be asked to do a variety of things: VOCAL CALLBACKS: You could be asked to perform one or more of the callback songs listed in the auditon packet. Sheet music is available at tigerdrama.com. Callback songs should be learned and rehearsed prior to the callback and you will get a chance to sing as an ensemble a few times before auditioning by yourself. DANCE CALLACKS: You could be asked to perform the choreography taught at the initial audition. Sometimes we teach new choreo at the callback to test different skills and styles. You will be told if you need to bring special shoes. Please wear comfortable and appropriate clothing. COLD READS: We typically like to see readings with different pairings of students. Do your best to listen and react to your scene partner in an authentic manner. This is your opportunity to show a glimpse of what it might look like if you were to play this role.




What are callbacks?


Directors hold callbacks when they want to learn more about particular actors after an initial audition. The director may call back certain actors for certain roles to see how they fit those particular roles or just to see what else those actors can do. Callbacks are only held at the discretion of the director and they are not always needed. While callbacks can sometimes feel like an elimination round in a contest, it is important to keep in mind that the director could still cast anyone in any role, even if they have not been called back. Often, directors only need to look at a handful of actors in greater depth for a few specific roles. Nobody is entitled to a callback, as they are purely a tool that the director uses to help him/her build on the decisions that have already been made after the first round of auditions. For a musical callback, usually actors are called back for specific roles and asked to prepare particular sections of songs and dialogue (sides) for those characters. Sometimes, a dance callback may be necessary as well.




How does the director decide who to cast?


Our Production Team is committed to thoughtful casting/crew selection. This means we cast the person best suited to the many factors involved in the production. There are not enough roles/positions for everyone to have a part in every production. However, we are also committed to providing as many performance opportunities as possible through our multiple showcase nights, all school productions, class productions, and Regional and State Festivals. Below are the primary qualities taken into account when considering a student for a role: Attitude: Do they have a positive attitude? Do they work well with and respect directors and peers? Reliability: How well have they fulfilled previous commitments? Ability/Type: Can they play a particular role(s) well?
A student who meets all three criteria for a role, however, is not necessarily going to be cast in that role. Casting a show is like putting together a puzzle; everything has to fit together just right. If one piece of the puzzle is moved somewhere else, it changes where all of the other pieces can fit. In an educational setting, we regularly come across situations in which there are many students that would be good for one particular role while also finding that we have a very limited number of students that can effectively execute other roles. This means that the director has to look at the big picture and cast for the good of the production as a whole. Sometimes, the person who is best for a certain role in a vacuum is not always cast in that role; in our setting, that person's skills may be needed somewhere else in the production. The idea is to create the best overall production so that students can benefit from collectively being a part of something that is far greater than any one individual. Performing in a production is a privilege for those students that are willing to hold themselves to a high standard of behavior and responsibility. The way a student treats others, represents our program in the community, and dedicates themselves to their craft will always be a major component of casting.
Successful actors, both at the high school and professional levels, are the actors that are able to be humble and put just as much enthusiasm and effort into small roles as they do into large ones. Keep in mind that the "leads" are not the only performers that need to be highly skilled. Often, ensemble actors carry a much heavier workload than leads and are needed to perform multiple roles, learn lots of choreography and music, and function together as a well-oiled machine while navigating precisely through complex and risky obstacles both onstage and off. A busy ensemble member may very well grow more from their experience in a show than an actor playing a lead. No matter the size and scope of the role, an actor always has a valuable contribution to make to the production and ample opportunities to learn. Sometimes, that involves a lot of doing and a little bit of watching. Other times, it involves a lot of watching and a little bit of doing. Either way, directors put a great deal of faith in every actor that is cast and there is no limit to what a student actor can learn regardless of how they are cast in a show.




What should I do if I am disappointed in the cast list?


Learning to handle disappointment is one of the most essential skills for every actor to develop. It is equally as important for actors to learn to evaluate themselves objectively and own their strengths and weaknesses; this is the only way to grow. It is absolutely normal to feel disappointed when finding out that you weren't cast in a show or that you weren't cast in a role you had hoped for. These feelings can intensify the closer a student gets to graduation. The first thing to do is to let yourself feel those feelings and grieve. It is important, also, to keep everything in perspective; there will always be more shows to audition for even if not at LC. Students recover from these feelings fastest if they focus on what they can learn and how they can grow from their experience. This may include both learning through the role they have in the show as well as learning from how their audition went. While emotions might be running high and students/parents may feel the desire to contact the director right after a cast list is published, we respectfully require conversations about casting to wait until emotions settle down. The director will typically schedule times for audition feedback, during which student can receive specific critiques on their auditions and recommendations for how to improve. It is best to focus on this. It is never acceptable to criticize the director's judgement. That is their job and their job alone; often, it is very painful for a director to have to put a cast together of students he/she cares about because it means telling some of them "no." We encourage students to ask for feedback. It is not okay to criticize the director's judgement or artistic decisions. When parents and students take their feelings out by placing blame, it impedes the student's ability to be resilient and grow from the experience.




How are shows selected for the season?


Many factors are considered when choosing productions. Cast size, quality of material, rehearsal time requirements, set design requirements as well as educational and performance challenges are just a few of the factors. Occasionally, productions chosen may contain some material that may be objectionable or inappropriate for some audience members. Decisions to choose such productions are not made lightly. Tiger Drama endeavors to provide high quality shows that are a stretch for high school students as they learn performance and technical elements of theater. We “rate” all of our productions using the same guidelines as the movie industry. We try to balance seasons with a little bit of everything but that can be challenging with the size of our department and the availability of scripts. If there is ever a concern about material, please feel free to contact us.




How can I apply to work backstage/on crew?


Crew applications are available 2 weeks prior to auditions outside room 129 and online. Those interested in applying to be on a crew should thoughtfully fill out the application and rank your crew preferences in order (1 being the crew you would most like to serve on). If you are not wanting to work on a specific crew, please say 'NO' in the appropriate box. As we are working on casting the production, we also 'cast' our crew members so they are in on the process from the first day. Crew members attend and assist at our first cast and crew read thrus and may be asked to attend/participate in work days throughout the reherasal process. At casting, we also 'cast' crew leads. These crew members are in charge of managing their specific crews. The crew leads often (but not always) come out of our Satgecraft class.




What are the requirements for cast and crew members?


  • All cast and crew and their parents must sign a performance contract and the GSL Co-Curricular Contract online in FamilyID. Violation of either contract is grounds for dismissal from the production.
  • Attend all scheduled rehearsals. There will always be an accurate rehearsal schedule at least a week in advance.
  • ALL Cast and crew are required to attend EVERY dress/technical rehearsal and ALL performances.
  • Cast members will be allowed only two (2) excused absences from rehearsals before being replaced. (An excused absence is one that is prearranged, in writing, and unavoidable.) Please make necessary arrangements so appointments are not scheduled during rehearsal time.
  • Cast and crew members are required to attend a minimum of a HALF DAY of school on any dress rehearsal and performance days. Students who do not comply with this requirement will not be permitted to rehearse or perform on that day per WIAA Regulations.





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