Why doesn't HOME produce audition classes to get the point of view of casting directors/agents?

Because we are focussing on doing professional level work so that you will have the best material to show you off when you audition for casting directors/agents. Having been to my share of classes with casting directors/agents, I've found there are a some who genuinely want to help you by giving constructive feedback. However, there are enough casting directors and especially agents doing these classes that have the attitude that if you have to take this class, you aren't talented enough for them anyway. Not only don't you get constructuve feedback from them, but you actually hurt your chances of getting seen by them for something you would be good for, because they will always remember you as being from that class. I have helped performers find and rehearse material that got them signed with agents and called back by major casting directors plenty of times. Your time and money is better spent honing your craft and working your audition material so that you have the best material for each audition you attend. Meeting casting directors and agents at networking functions once you have good material is the best way to go.

At some point in your career, you will probably decide it is a good idea to do a combined audition. There are many benefits to participating in these auditions. For one, you will get to be seen by many more auditors than is generally possible trying to get to one at a time. And there are several draw-backs to this kind of audition structure- mainly the time constraint.

The truth is that no human being has the ability to sit and focus 100% for 8 hours straight for days on end listening to 5 minutes of audition material per performer for 200 performers. Add to that the reality that the auditor will be typing in/out as you walk on the stage and that auditors really do know if you know what you're doing within the first 3 moments. Beyond that it's a matter of keeping focus, making your transitions, and telling the story.

Here are some pointers in preparing your audition:

1. Always, always, always have someone else time your entire audition from beginning to end with the introduction (if it's included in your time) and the transition.

2. Do your best to contrast your pieces on several levels. Style, tone, character age range, and physicality are all levels beyond just comedic vs.dramatic on which you can contrast and show your castable range. Do this with a song and a monologue as well as with 2 monologues.

3. Do new audition material in front of people you don't know well before the audition. You'll get the nerves out.

4. Wear something you can move in that is fairly neutral type-wise but has one element that is "you". If you have long hair, make sure it stays out of your face. Look as much like your headshot as possible. Make sure your shoes will not slip.

5. If you can sing, sing. If you can't, don't.

6. If you can speak verse coherently, do some. (Unless there is nobody there who does classical shows- but that is pretty rare.)

7. Get as much sleep as possible the night before. Bring bottled water and a snack that will not muck up your throat with you. Leave your valuables home if you can. Bring extra headshots- just in case.

8. If you don't have a professional headshot, don't bother auditioning. Save the money and get a good professional headshot and then apply for audition appointments. You do more harm to yourself and your reputation than good by passing around bad headshots. It sucks- but it is true.

9. If you can, do some research on who will be watching and what kind of material they are doing and tailor your audition material to the parts you are castable for and really want to play.

10. Be prepared and you won't be nervous. If you're nervous, take a deep breath and remember that this is just like being in a micro-show. Enjoy your time on the stage as much as possible. Smile before you go out there.

Auditors ask for monologues for a reason: they want to see how balanced a performance you give with material you know well and have rehearsed. So what makes a balanced monologue? Three things: language, thought and body

•  Language

Naturally we start with language because as actors that is our starting point. We are given a script which is the language the playwright tells us our character uses. The word choice in a script is never arbitrary. Therefore, the language we are given is our first great tool to break into who our character is. Primarily it begins to tell us how our character thinks.

• Thought

Our character's thought process drives our moment to moment actions. It tells us what is happening in between and underneath the words. It tells us what we are doing in every moment and it makes it clear to the audience who we are and why we are in the world of the play. This sense of personal logic also informs how we feel. How we feel and what we do informs our connection to our body.

• Body

How our character uses our body must be informed by how they think which is going to be different from us as the actor. How and when we move is informed by how we feel. How we move and hold ourselves informs how we use our voices. All of this informs how we use our language to express our thoughts, and accomplish our actions.

In order to have a balanced performance an actor must explore all three legs that hold up the performance stool. If you have neglected one of the legs, the stool will fall over. Likewise, an un-balanced audition performance will not carry you to a call-back.

Why should you work the same monologue with more than one coach? Well, if you are auditioning full time, you probably intend to do the monologue for more than one auditor at more than one audition. Since what the auditor is looking for in a monologue is as subjective as what physical characteristics they are looking for for each character, it's a good idea to have worked your piece from more than one point of view. Chances are you are going to get some direction either before you enter the room or after you've done your piece. Having worked your piece in different ways will help you adjust to what they need to see.

For example, the monitor says "they are looking for people who move well so please don't choose a piece where you just stand or sit there." You have the perfect monologue but it has never been blocked and you usually do the whole thing from a chair. One of two things is going to happen. Either you are going to focus on "I have to move" which is going to throw you and probably cause you to make strange movement choices leaving a bad impression with the auditor on your ability to move. Or you will do the piece as you worked it and they won't get to see what they need from you. Neither of which will produce a positive result. If you've worked the piece both in a still context and a movement oriented context, you can make that adjustment without any stress or nerves.

Another scenario is you do your piece and the auditor says "That was lovely. Can you do it again but with a lot more energy?" If you have only worked this monologue from the grounded, sensitive, speak when you feel it place (a valid approach), you will probably end up saying the words really fast. This is not the auditor's desired result. Saying the words faster creates longer gaps between speaking or "air". The auditor is hoping that you will not speak faster but that you will THINK faster which will result in "picking up your cues" or "taking the air out". Having practiced different set-ups that support each way of doing the piece will allow you to make that adjustment smoothly and will impress the auditor.

We hope you'll join us for our Monologue Madness workshop on February 6th. See the " Classes and Teacher Bios" page for details. Sign up at the "Register Here" page.

Start with the ones you feel you have the best chance of getting cast in. I know- big duh. But you'd be surprised how often people don't follow that advice. For example, if you are not in the union, leave the EPAs for a time when you have less going on...unless you know someone on the casting team who has said you should come because you're perfect for so-and-so. If you are a singer, prioritize the singer call over the dance call and musical theater over the Shakespeare showcase. If you know there is a role that you are perfect for or a director you've worked with before, go to that one first. If you've played the role before (and are still castable for it), go to that one first. If you are a strong mover, look for those words in audition notices. Do your best to get to know as many shows and their characters as possible so that you do not have to rely on casting notice descriptions to decide for you. In the back of your audition notebook, keep a list of shows and character names you are good for. Plan out your week by ranking the importance of your intended auditions and writing the numbers in your datebook to remind you.

Use common sense. If they are looking for 6 feet tall blondes and you are 5'4" with light brown hair, don't waste your time or theirs. Take risks with auditioning but not on that level.

Ideally, you should have one that shows off every type you can play in every style you are interested in doing. I know it sounds daunting, but it's not that bad. Start with contemporary- 1 comedic and 1 tragic. Add to that Shakespeare at least 1 verse- 1 comedic and 1 tragic. Try to have at least one of the four show your youngest range and one show your older range. From there, you'll want 1 in the style of your favorite playwrights Shaw, Williams, Ibsen, Chekov, Musical Theater, etc. You want to work one in every dialect you do expertly. And you'll want at least one out of them all that is very physical and one that is very still. Most of them should be under 1 minute but you should have one piece that is 2 minutes and one that is about 30 seconds. If you are an actor of color, have at least one piece that can only be played by someone of your ethnic background and most of your pieces be for general casting. I used to have at least 9 ready to pull out on any day and it served me well as I rarely had to miss an audition because I wasn't prepared.

Buy a small notebook, large enough that each piece will fit on one page when written neatly. As part of your learning process, write your monologue in this notebook in your best penmanship, paying close attention to every word and all of the punctuation. Take this with you every day. That way if you stumble upon an extra audition you'd like to do or they ask you for an additional piece, you can give it a quick look over to make sure it's fresh in your mind. If you need help finding good pieces, see a coach.

The Equity Center is primarily for Equity Members, even though they do open it up under certain circumstances to non-members, and so there are rules as to how and when non-members can use their facilities.

Check with Equity to be sure that these rules have not changed.

1. Non-members may not enter the audition center main area for any reason unless invited in to audition. No reason means: not to use the bathroom, not to look at the postings for apartments etc, not to drop off a resume, essentially not at all.

2. Non-members may wait in the small area to the left of the elevator bank in hopes that they may be called in to audition; however, this area shares a wall with one of the audition rooms, so Equity will rescind this invitation if the noise level in the waiting area is disturbing the auditions. Be considerate, quiet, and professional.

3. Once invited to audition, a non-member may use the bathroom and changing room to freshen up before their audition. It is understood that non-members will remain with the monitor who has brought them into the audition area, and not dawdle after they have been seen.

4. If the monitor comes to the waiting area to call non-members from the list to line up and you are not there to answer when your name is called, they will cross your name off the list and move to the next name. You may re-sign up at the end of the list when you return.

If you are not an Equity Member, you can still go to an EPA. BUT, and this is very important, you must keep in mind that the primary purpose of the EPA is to cast Equity members. It is up to the Casting Director in charge of each audition as to whether or not they will have time to or have the desire to see non-Equity performers at their EPA. Sometimes they make this decision in advance. If you are interested in trying to be seen, you should go to the audition site and first look for anything posted that says whether or not there is a list for non-Equity, if they are accepting pictures and resumes from non-Equity, or if they are not interested at all. If there is no information posted, wait patiently for the monitor's attention and politely ask if they are planning to see any non-Equity that day. Do NOT argue with the monitor not matter what the answer is. Not only will it get you nowhere for that audition, but they will remember you and it will hurt your chances of being seen in the future. I know how frustrating it can be, but really, swalloing hard, smiling, thanking them for their help, and waiting until you get home to let out that frustration is undoubtably the best choice.