AUDITION HINTS

 Auditions for Rabbit Hole are coming up Aug 27th followed by the auditions for the family theater show, Mulan, at PCA.  I thought I would list a few of the things that make a difference when I am looking at actors during an audition. 

1     DRESS AS IF YOU WERE GOING FOR A JOB INTERVIEW.  Show some

       respect to the director and the staff.  (no costumes!)

 2    READ THE SCRIPT!! ( don't laugh, you would be surprised at how many people don't read the 

       entire script before they get up in front of me.) If you are auditioning with original material, read 

       carefully the sides you are given. Get to know as much about the character as you can.

 3    (if it is possible) CALL THE DIRECTOR AND FIND OUT HIS OR HER VISION.

 5    MAKE SOME CHOICES ABOUT THE CHARACTER.  These choices may not be

       the ones you will make if you get the part, but they will tell the director that you can,

       at the very least, make choices.

 6    STICK WITH YOUR CHOICE THE ENTIRE AUDITION UNLESS TOLD 

       OTHERWISE.  For example: Don’t make the choice that the character is sarcastic in

       a scene only to drop the sarcasm half way through the scene. This is especially true if 

       you are using an accent to audition. Hint: I would rather NOT hear an accent unless I have  

       specifically stated that I want one.  I will cast a good actor without an accent and get accent   

       coaching for that actor during the rehearsal process but I will not cast an actor who auditions 

       with a bad accent and can't maintain it for the entire audition.

 7    BE WILLING TO ADJUST THE CHARACTER IF THE DIRECTOR ASKS. 

       Don’t get so tied into your choice that you cannot do what the director asks of you.

 8   STAND STILL!!  Unless you are moving with purpose, don’t fidget!!

 9   PROJECT AND SPEAK CLEARLY!

"Rabbit Hole"

I have had many people telling me that they want to work on "Rabbit Hole" if they don't get cast.  If you want to work on the show please come to the audition and talk to me.

We at PCA have such a hard time with our volunteer program.  The problem is ours and we are trying to find a simple way to rectify it.  Our problem is that we get volunteer applications and don't really have a need for that particular volunteer at the moment so they tend to fall between the cracks.
Here is what I want to suggest to anyone who wants to volunteer at the theater.  First fill out the form, then look up the shows that are coming up and either contact the director yourself (yes, a little scary but none of us bite and I think that every one of us would welcome the call) or come to the first night of audition and talk to the director in person.  It is an imperfect system but right now it is a sure fire way that you are going to get your feet wet in the theater.

Volunteers need to realize up front that working on a show is a HUGE commitment.  It involves rehearsals and attending every show.  There are a few jobs that might not involve quite as much time; the costumers sometimes need people who sew to alter or make costumes. Normal makeup and hair don't really join a show until dress rehearsals start (artistic and period hair and makeup is a much longer commitment and usually takes some expertise in that field).  People who gather props as well as the ones who build and paint the set can do that in advance and not have to be at each show, but the majority of the jobs require that you be at EVERY SHOW AND REHEARSAL!  I have seen people's eyes glaze over when I tell them this.  We are all a little nuts and if you have the theater bug bad enough to do what we do for the love of the craft then please join us!

As you all know, I am casting David Linsey-Abaire's "Rabbit Hole" on August 27th with call backs only on August 28th.

I have been asked a lot of questions about my vision for this show.  At the back of the play, Linsey-Abaire states that one should avoid over-sentimentality when directing this play.  It is a sad play but should not be done with histrionics or it will flatten out and become a bad movie of the week.   No extra crying unless the script calls for it, no embracing or holding of hands.

It is very rewarding to me, as a director, that I already had this in mind before I came to the author's note.  This play is such an honest representation of the grieving process, and is so beautifully written, that even though the material is difficult, I fell in love with it. The humor in RH is the thing that makes it bearable and it is the thing that makes life bearable after the death of a loved one. I think RH represents the importance of family - whether you are blood related or just not.  After all, a family is a circle of friends who love you.  Love and laughter make grief bearable.  PERIOD.   

The characters in this play love and respect each other.  There are moments when they get angry at each other, but they are not caustic.  Even Becca's anger at Nat is tempered with caring and love.
That is all I want to say about the characters.  I would like you to come up with your own interpretation, remembering that these characters are real - don't overact them.  If we don't let the audience in on the love and caring of this family they will leave the theater.

Hope to see lots and lots of you at audition:)