For all types of auditions, you will read and complete the audition packet found online or outside room 129. Anything you need to prepare ahead of time will be explained in the audition packet.

PLAYS:

• MONOLOGUES: For plays, everyone prepares and presents a small section of a monologue. Details and examples can be found in the show specific audition packet.

• COLD READS: For both plays and musicals, everyone will cold read from the script. "Sides" are selections of dialogue (two or more characters talking) provided at the audition. Cold reading means actors have not seen the sides in advance of the audition. The actors are 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. (See the tips & tricks section for more details.)

MUSICALS:

• VOCAL AUDITIONS: For musicals, everyone prepares a small cutting of a pre-selected song listed in the audition packet to sing in small groups (4-6 people). At the initial musical audition, no one is asked to sing alone!

• DANCE CALL: As a large group, you will be asked to learn a dance combination. Please wear comfortable clothing and shoes that you can move easily in. You will dance in small groups (5-6 people).

• COLD READS: For both plays and musicals, everyone will cold read from the script. "Sides" are selections of dialogue (two or more characters talking) provided at the audition. Cold reading means actors have not seen the sides in advance of the audition. The actors are 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. (See the tips & tricks section for more details.)

Directors hold callbacks when they want to learn more about specific actors after an initial audition. The director may want to see how certain actors fit specific roles or just to see what else the actors can do. 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 them build on the decisions that have been made after the first round of auditions. For a musical callback, actors are often asked to prepare sections of songs and dialogue (sides) for specific characters. Sometimes, a dance callback may be necessary as well.

BOTH PLAYS AND MUSICALS:

COLD READINGS: You will be asked to do more cold readings from the script. 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.

MUSICAL CALLBACKS:

VOCAL CALLBACKS: You could be asked to perform one or more of the callback songs listed in the audition packet. Sheet music is available at tigerdrama.com. Callback songs should be learned and rehearsed prior to the callback. You will get a chance to sing as an ensemble a few times before singing by yourself.

DANCE CALLBACKS: You could be asked to perform the choreography taught at the initial audition. Sometimes we teach new choreography at the callback to test different skills and styles. You will be told if you need to bring special shoes. Remember to wear clothing appropriate for dancing.

Our Production Team is committed to thoughtful cast/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 considered in casting actors and crew members:

• 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. (Sometimes this reliability is demonstrated in classes/shows or other activities/clubs at LC.)

• Ability/Type: Can they play a particular role(s) well?

Casting a show is like putting together a puzzle; everything must fit together just right. In an educational setting, we regularly come across situations where many students would be good for one role while also finding that we have a very limited number of students that can effectively execute other roles. This means that the Production Team considers the big picture and how to make the puzzle work best for the whole production. The idea is to create the best overall production so that everyone benefits from being part of something that is far greater than any one individual.

Learning to handle disappointment is one of the most essential skills young artists must develop. It is equally important for all of us to learn to objectively recognize and evaluate our strengths and weaknesses; this is the only way to grow. It is normal to feel disappointed when finding out that you weren't cast in a show or that you weren't cast in a role/crew position you had hoped for.

The first thing to do is to let yourself feel your feelings and grieve. It is important to keep everything in perspective; there will always be more opportunities, even if not at LC. You recover from these feelings fastest by focusing on what you can learn and how you can grow from the experience. This may include both learning through the role you have in the show as well as learning from the audition process.

While emotions might be running high and students/parents may feel the desire to contact the director right after a cast list is published, communication will be more effective if some time has passed. We encourage students to ask for feedback to grow in resiliency and focus on future opportunities. Directors can meet with a student who would like feedback on how to learn from their audition experience focusing on how to prepare for the next audition. We understand there will always be disappointments and we seek to help everyone grow through the process.

TRY YOUR BEST & COMMIT: Directors can tell when you are engaged and making an effort! When you commit to any acting/dancing/singing choice you make, it shows that you are willing to try and that makes you a smart and directable actor.

SPEAK LOUDER THAN YOU THINK YOU NEED TO: The LC auditorium is very large and filling the space with sound is very important. If you feel like you’re speaking uncomfortably loud, it’s probably just right for the Production Team trying to hear you from far away.

COLD READS: Hold the script at a distance you can see without covering your face. Listen and react to the person/people with whom you are reading. Try not to do your reading with the same physical/vocal choices other people have made.

HAVE FUN! Even if you’re nervous, remember that auditions can be fun and you can make friends who are in the same nervous boat. It’s great to work with those who can make stressful situations more comfortable. Be that person who makes the room a positive place to be!

Our rehearsals typically run Monday-Friday from 2:45-5:00 in the LCHS Auditorium. Check out the rehearsal calendar for specific time, place, and cast members called for each rehersal.