Two-Part Series: The Musical Theatre Audition Experience
by Jenna Pastuszek
Part Two: What to Expect at a Musical Theatre Audition
Meta description: Heading to a musical theatre audition? In the second of a two-part series, a Broadway voice teacher explains what to expect on audition day and after.
So it’s AUDITION DAY!!!! WOO!!
Breathe.
No, seriously, breathe. (This is coming from a voice teacher, remember?)
While your brain and body might be reacting as if you’re about to be eaten by a tiger, you aren’t! You’re just going to sing a song (that you love!) out loud for other people to hear.
What a gift for them! And for you!
Last month, we covered how to prepare. Now the big day is here, so let’s walk through it.
The holding room: where the waiting happens
When you arrive, head to the check-in table. Depending on the kind of audition (an invited call, or an open union or non-union call), you'll fill out a form or let someone know you're there. The person running the sign-up list and calling actors into the room is the monitor. Sometimes it’s the casting director or their assistant; other times it's a monitor from Actors' Equity Association or someone hired by the theatre. If it's a union call, you'll show your union card to get on the right list. If you're non-union, ask where the “unofficial list” is. That's where you'll want to put your name.
Once you've signed in, you'll wait in the holding room (yes, that's really what it's called). Depending on the audition, you might wait ten minutes or several hours. At big open calls, especially union calls, you may not be seen at all that day depending on how crowded it is. The monitor will make an announcement either way. Unfortunately, that's normal, not a reflection of your talent. If you’re in NYC and need to leave and come back later, you can always check Audition Update to see how the call is moving.
It's easy to let the holding room energy rattle you. It can be crowded, loud, too hot, too cold, and full of people doing vocal warm-ups while curling their hair. So pull a Marie Kondo and focus on what sparks joy:
Tune out the noise. Headphones, a good book, or a calming playlist can save your sanity.
Get your tasks done early. Change your shoes, find your music, and warm up BEFORE they call your name (hot tip: some rehearsal studios offer “warm up room rentals” for 15 minutes. Ask at the front desk).
Skip the comparison game. Try not to size up the person in the fancier dress or listen through the door to figure out "what they like." Remember, you had a plan and showed up ready. Focus on doing YOUR thing.
Make a real connection. Chat with someone about anything other than the audition. Some of my favorite theatre friendships started with holding room small talk.
Once you're in line: do "The Jenna P"
At some point, if you're being seen that day, the monitor will call your name. They'll either let you know that you're next or ask you to line up with the next group. Now’s the time to grab your book, take a quick sip of water, and mentally prepare yourself.
Years ago, a friend reminded me of some advice I'd once given her, which she'd nicknamed "The Jenna P." Right before you do something nerve-wracking, like walking into the audition room, shrug your shoulders, exhale, and say to yourself: F*ck it. (Or, if you’re keeping it PG: Here goes nothing.)
Trust that you've done the work, stay in the moment, and have fun.
In the room: what actually happens
Here's the part everyone wonders about. The whole thing usually takes just a few minutes, and it tends to go like this:
You walk in and exchange hellos. There's usually a team behind a table: often a casting director, and sometimes a director, music director, choreographer, or an assistant. Sometimes producers and/or theatre board members too. Hand over your headshot and resume if the monitor hasn't already.
You get set up. If you’re singing, show the pianist your CLEARLY MARKED music, point out your cut, and give them your tempo by quietly singing or tapping a few bars on your body. Be kind and clear. If you were sent material in advance (often called “the packet”), whoever’s running the room will tell you what they’d like to see first.
You find your spot and perform. There's no X on the floor- you get to decide where to be. FWIW, I think it's a safe bet to stand somewhere close enough for the table to see your eyes clearly but far enough away so that you don't accidentally spit on them. You might "slate" first (say your name and what you're singing), or if you’ve already done introductions, they may just nod for you to start.
They might ask for more. A different song, another scene from the packet, or an adjustment like "try it again, but angrier." This is a GOOD thing. It means they're curious.
Someone will end the audition. They may say "thank you for coming in" or "that's all we need from you today" or "great work." You'll simply say your version of "thanks and bye" while you collect your things and leave. No need to linger or explain. Walk out with your head high. You did it!
After the audition: what happens next
Sometimes you'll hear back quickly with a callback, which is an invitation to come back and audition again, often with new material from the show. Sometimes you'll hear back weeks later. Most of the time, you won't hear anything at all. In this industry, silence usually means "not this time," and it's rarely personal. Maybe they needed someone taller, shorter, or who looks like the actor playing your character's mom. Maybe they just liked someone else better.
Auditions are like a bagel store: Sometimes you’re craving a bacon-egg-and-cheese on a toasted everything, and sometimes you’re in the mood for a cinnamon raisin with cream cheese. It’s not because one bagel smelled bad, looked horrible, sounded terrible, wasn’t funny, etc. It’s just the bagel they’re more in the mood for that day!
As tempting as it is (we’re storytellers after all), try to avoid making up the ending since you don't have all of the facts. Instead, treat yo’self and celebrate showing up in service of chasing the thing that you love. I personally enjoy chocolate chip cookies, a manicure, or calling my mom.
Every audition is just another rep at the gym. You can't book every job (you can only be in one place at a time!), but you CAN use every audition to practice something small, like taking a breath before you start or really listening to the director. Pick one thing, celebrate it on the way home, and then let the rest go.
PS- Parents, this is a great moment to ask your performer what they're proud of instead of "Did you get it?"
Audition lingo, decoded
Term
What it means
Breakdown
The audition notice listing the roles, the dates, and what to prepare
Equity (AEA)
Actors' Equity Association, the union for professional stage actors and stage managers
EPA
Equity Principal Audition: an audition for lead or featured roles, held under the actors' union rules
ECC
Equity Chorus Call: a singing audition for ensemble roles, sometimes with a dance portion
Open call
An audition open to anyone who shows up, usually seen in sign-up order
Invite only / agent appointment
An audition where you're given a set time slot in advance, usually through an agent or a direct invitation from casting
Monitor
The person who runs the sign-in list and calls actors into the room
Holding room
Where actors wait before being called in
Unofficial list
The sign-up sheet for non-union actors at a union audition; they're seen if time allows
Audition Update
A user-led site where actors post live updates from auditions, like how long the wait is and whether non-union actors are being seen
16 bars / 32 bars
A short cut of a song, measured in bars of music or time (16 bars = 30 seconds to one minute, 32 bars = one to one and a half minutes of music).
Your "book"
Your repertoire binder of audition cuts
Sides
Short scenes and/or songs from the script that you perform at the audition
Slate
Saying your name (and sometimes your piece's title) before you perform
Callback
An invitation to audition again for the same show, sometimes for more people behind the table, with new or the same material
Happy audition season, y'all.
Go book it!
Jenna
This was originally published on Broadway World. Head here to read it.