[NEohioPAL]Results from Survey for Directors

[LynnetteGuttmann at aol.com]

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Thank you for making this project possible.
The 45 respondents respresent the range of the PAL; directors from community 
and professional theater, directors of plays, commercials, TV, film, casting 
directors,  teachers from art centers, high schools, and universities, new 
and experienced.

To present the findings, we listed the most "popular" responses first, then 
some unique ones:


1.    What is your best/worst experience with young actors?

BEST
A well-prepared, positive young actor appears, ready to audition, work, 
perform with humility and joy!

A young actor who is open to try what the director suggests, is willing to 
learn.

A young actor who is willing to grow and surprise himself.

A young actor who understands ensemble, and is supportive of the entire 
project.

WORST
A young actor struggling through an unprepared, ill-chosen audition.
A young actor affecting "diva" behavior at any point in the process.
Stage Parents pushing at auditions.
Stage Parents "re-directing " the young actor's performance.
A young actor who never surpasses audition and first read-through.
Lack of commitment.
Closing night hijinx.
Messing around with props, set, costumes.
Lack of reading skills.

2.    At an audition, what grabs you/makes you sit up?

PREPARATION
       re:  audition materials
       re:  audition requirements and rules
       re:  having knowledge of the play and possible roles

Presence
TRUTH, HONESTY, SIMPLICITY
Fully engaged, committed
ENERGY
courtesy 
Bold choices
"A Spark"
Originality


Interesting, appropriate material presented in an exciting, focused way
Showing some unpredictability, complexity with choices.
Connection to the material presented.
No cheesey choreography or hand motions

Willing/Able to take direction
NO APOLOGIES for ANY REASON!

That magical "I can't wait to work with this person" thing...

3.    What 3 songs will make you scream if heard at an audition?

TOP 3
TOMORROW from ANNIE (won by a landslide!)
HAPPY BIRTHDAY
ANY A.L. WEBBER

Anything from LES MIS
Anything from RENT
Anything from PHANTOM

Age-inappropriate songs
Range-inappropriate songs
Show-inappropriate songs
Pop/Rock songs
Any song NOT memorized
Actor has NO music
Actor has music in key other than he wants to sing in.
Sheet music is NOT accompanist-ready

4.    What are your pet peeves regarding an audition?

TOP 3
LACK OF PREPARATION
NEGATIVE ATTITUDE
TALKING WHEN OTHERS ARE AUDITIONING OR DIRECTOR IS TALKING

ANY APOLOGY ABOUT ANYTHING
INAPPROPRIATE SHOES/CLOTHES FOR CHARACTER OR MOVEMENT
CANNOT TAKE DIRECTION

Being needy, late, wanting to go first, last, again.
Stage Parents, Stage Significant Others

No understanding that casting is complex, not just best voice, etc.
Auditioning for an obviously inappropriate role with regard to age, sex, 
voice, experience, etc.

Presenting a "package deal".  My (fill-in-the-blank) and I MUST do this show 
together.  "I will only play BLANK if my child is BLANK."

This question raised the big topic "WHERE TO LOOK".
Here are some suggestions:
When entering the audition space, DO make eye contact with audition table.
Never direct song/monologue to floor, to side, or at chair.
Most directors DO NOT want to be part of your scene, therefore, direct your 
focus just above or just to right or left, however, DO NOT glue your eyes to 
a dot above director's head.
If monologue or song is a story, OK to look at director and larger 
"audience".
If monologue or song in context is to some other, specific person, find that 
person in
an audience-friendly place in the audition space.

5.    How important is it to have a headshot and resume?

All agreed that headshot and resume are basic tools of the trade, and are 
definite indications of commitment and a professional attitude.

Most indicated that while both are necessary for professional auditions, a 
headshot is not expected for community or school auditions.

Almost all agreed that a resume is STANDARD and expected for ANY audition at 
any level.

Resumes should be one-page, clear, truthful.
Resumes "fill in vital info" (what you've done, where, with whom)

A headshot, or for younger performers, a good photo, helps insure that you 
will be remembered.

6.    What are the most important rules of rehearsal behavior?

TOP 3
BE ON TIME
BE ON TIME 
BE ON TIME

Be prepared.
Be ready to work
Be there when you're there

BE OFF-BOOK ASAP (memorize music, choreog., blocking ASAP)

Be supportive and courteous to ALL directors, music directors, 
choreographers, stage managers, designers, crew, fellow actors.
DO NOT be disruptive to work when you are not onstage, etc.

BE OPEN/TRY IT!
Try all director suggestions before complaining, arguing, etc.
Do not argue with director during rehearsal.
Make suggestions to director via phone call or private conversation, after 
careful thought.
Respond to director notes with either YES or I DON"T UNDERSTAND.
Do not correct/direct fellow actors.

7.    What spells integrity and dedication to a show for you?

Most respondents said something about being there, no matter what, no 
excuses, i.e., Can't come to rehearsal because it's my birthday...
Woody Allen was quoted, "90% of success is just showing up."

Commitment to the process
Collaboration
Commitment to the project/the big picture
Keeping in mind the real reason for doing theater

Being present, energetic, and in character
Taking risks, going the extra mile
No limits
Integrity and Truth onstage and backstage

NO WHINING

8.  What are the 3 characteristics of a spectacular show?

TOP 3
PACE
ENERGY
DIRECTORIAL VISION

The audience is moved, transformed
Honest communication
strong acting
happy actors
collective positive energy
FUN
strong technical elements
believability

"We open knowing we have a gift to share with the audience, and it is 
communicated in every moment.  The audience gets it."

"Good storytelling; well-drawn characters from the playwright, A Director who 
evokes both of those elements and finds "touchstones" in key moments, and 
utterly truthful, nuanced acting with a genuine understanding of the 
characters' guts."

9.    When someone you have directed really stands out, do you recommend them 
to other directors?

All responded YES
Most said ABSOLUTELY
Many noted that the other side is also true.  An actor who is "difficult", 
etc., will be discussed, etc.

An actor's technique, talent, skills are combined with work ethic, attitude, 
sense of ensemble to make his reputation.

Many respondents reminded us that "the theater world is a small one..."

Some respondents noted that they do not give out recommendations unless 
asked, others feel it is an obligation to do so, others feel they cannot 
escape recommendations, good or bad, whether they solicit them or not.


We hope you find this information interesting and helpful.
Perhaps there are no real surprises, but we do have a clear, concise statemen
t of many issues important to us all.

Here's to bold, well-prepared auditions and renewed commitment to strong and 
meaningful theater!!!

Sarah Myer
Lynnette Guttmann



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Thank you for making this project possible.<BR>
The 45 respondents respresent the range of the PAL; directors from community and professional theater, directors of plays, commercials, TV, film, casting directors,  teachers from art centers, high schools, and universities, new and experienced.<BR>
<BR>
To present the findings, we listed the most "popular" responses first, then some unique ones:<BR>
<BR>
<BR>
<B>1.    What is your best/worst experience with young actors?</B><BR>
<BR>
<U>BEST</U><BR>
A well-prepared, positive young actor appears, ready to audition, work, perform with humility and joy!<BR>
<BR>
A young actor who is open to try what the director suggests, is willing to learn.<BR>
<BR>
A young actor who is willing to grow and surprise himself.<BR>
<BR>
A young actor who understands ensemble, and is supportive of the entire project.<BR>
<BR>
<U>WORST</U><BR>
A young actor struggling through an unprepared, ill-chosen audition.<BR>
A young actor affecting "diva" behavior at any point in the process.<BR>
Stage Parents pushing at auditions.<BR>
Stage Parents "re-directing " the young actor's performance.<BR>
A young actor who never surpasses audition and first read-through.<BR>
Lack of commitment.<BR>
Closing night hijinx.<BR>
Messing around with props, set, costumes.<BR>
Lack of reading skills.<BR>
<BR>
<B>2.    At an audition, what grabs you/makes you sit up?</B><BR>
<BR>
PREPARATION<BR>
       re:  audition materials<BR>
       re:  audition requirements and rules<BR>
       re:  having knowledge of the play and possible roles<BR>
<BR>
Presence<BR>
TRUTH, HONESTY, SIMPLICITY<BR>
Fully engaged, committed<BR>
ENERGY<BR>
courtesy <BR>
Bold choices<BR>
"A Spark"<BR>
Originality<BR>
<BR>
<BR>
Interesting, appropriate material presented in an exciting, focused way<BR>
Showing some unpredictability, complexity with choices.<BR>
Connection to the material presented.<BR>
No cheesey choreography or hand motions<BR>
<BR>
Willing/Able to take direction<BR>
NO APOLOGIES for ANY REASON!<BR>
<BR>
That magical "I can't wait to work with this person" thing...<BR>
<BR>
<B>3.    What 3 songs will make you scream if heard at an audition?</B><BR>
<BR>
<U>TOP 3</U><BR>
TOMORROW from ANNIE (won by a landslide!)<BR>
HAPPY BIRTHDAY<BR>
ANY A.L. WEBBER<BR>
<BR>
Anything from LES MIS<BR>
Anything from RENT<BR>
Anything from PHANTOM<BR>
<BR>
Age-inappropriate songs<BR>
Range-inappropriate songs<BR>
Show-inappropriate songs<BR>
Pop/Rock songs<BR>
Any song NOT memorized<BR>
Actor has NO music<BR>
Actor has music in key other than he wants to sing in.<BR>
Sheet music is NOT accompanist-ready<BR>
<BR>
<B>4.    What are your pet peeves regarding an audition?</B><BR>
<BR>
<U>TOP 3</U><BR>
LACK OF PREPARATION<BR>
NEGATIVE ATTITUDE<BR>
TALKING WHEN OTHERS ARE AUDITIONING OR DIRECTOR IS TALKING<BR>
<BR>
ANY APOLOGY ABOUT ANYTHING<BR>
INAPPROPRIATE SHOES/CLOTHES FOR CHARACTER OR MOVEMENT<BR>
CANNOT TAKE DIRECTION<BR>
<BR>
Being needy, late, wanting to go first, last, again.<BR>
Stage Parents, Stage Significant Others<BR>
<BR>
No understanding that casting is complex, not just best voice, etc.<BR>
Auditioning for an obviously inappropriate role with regard to age, sex, voice, experience, etc.<BR>
<BR>
Presenting a "package deal".  My (fill-in-the-blank) and I MUST do this show together.  "I will only play BLANK if my child is BLANK."<BR>
<BR>
<B>This question raised the big topic "WHERE TO LOOK".<BR>
Here are some suggestions:<BR>
</B>When entering the audition space, DO make eye contact with audition table.<BR>
Never direct song/monologue to floor, to side, or at chair.<BR>
Most directors DO NOT want to be part of your scene, therefore, direct your focus just above or just to right or left, however, DO NOT glue your eyes to a dot above director's head.<BR>
If monologue or song is a story, OK to look at director and larger "audience".<BR>
If monologue or song in context is to some other, specific person, find that person in<BR>
an audience-friendly place in the audition space.<BR>
<BR>
<B>5.    How important is it to have a headshot and resume?<BR>
<BR>
</B>All agreed that headshot and resume are basic tools of the trade, and are definite indications of commitment and a professional attitude.<BR>
<BR>
Most indicated that while both are necessary for professional auditions, a headshot is not expected for community or school auditions.<BR>
<BR>
Almost all agreed that a resume is STANDARD and expected for ANY audition at any level.<BR>
<BR>
Resumes should be one-page, clear, truthful.<BR>
Resumes "fill in vital info" (what you've done, where, with whom)<BR>
<BR>
A headshot, or for younger performers, a good photo, helps insure that you will be remembered.<BR>
<BR>
<B>6.    What are the most important rules of rehearsal behavior?</B><BR>
<BR>
<U>TOP 3</U><BR>
BE ON TIME<BR>
BE ON TIME <BR>
BE ON TIME<BR>
<BR>
Be prepared.<BR>
Be ready to work<BR>
Be there when you're there<BR>
<BR>
BE OFF-BOOK ASAP (memorize music, choreog., blocking ASAP)<BR>
<BR>
Be supportive and courteous to ALL directors, music directors, choreographers, stage managers, designers, crew, fellow actors.<BR>
DO NOT be disruptive to work when you are not onstage, etc.<BR>
<BR>
BE OPEN/TRY IT!<BR>
Try all director suggestions before complaining, arguing, etc.<BR>
Do not argue with director during rehearsal.<BR>
Make suggestions to director via phone call or private conversation, after careful thought.<BR>
Respond to director notes with either YES or I DON"T UNDERSTAND.<BR>
Do not correct/direct fellow actors.<BR>
<BR>
<B>7.    What spells integrity and dedication to a show for you?<BR>
<BR>
</B>Most respondents said something about being there, no matter what, no excuses, i.e., Can't come to rehearsal because it's my birthday...<BR>
Woody Allen was quoted, "90% of success is just showing up."<BR>
<B><BR>
</B>Commitment to the process<BR>
Collaboration<BR>
Commitment to the project/the big picture<BR>
Keeping in mind the real reason for doing theater<BR>
<BR>
Being present, energetic, and in character<BR>
Taking risks, going the extra mile<BR>
No limits<BR>
Integrity and Truth onstage and backstage<BR>
<BR>
NO WHINING<BR>
<BR>
<B>8.  What are the 3 characteristics of a spectacular show?<BR>
<BR>
</B><U>TOP 3</U><BR>
PACE<BR>
ENERGY<BR>
DIRECTORIAL VISION<BR>
<BR>
The audience is moved, transformed<BR>
Honest communication<BR>
strong acting<BR>
happy actors<BR>
collective positive energy<BR>
FUN<BR>
strong technical elements<BR>
believability<BR>
<BR>
"We open knowing we have a gift to share with the audience, and it is communicated in every moment.  The audience gets it."<BR>
<BR>
"Good storytelling; well-drawn characters from the playwright, A Director who evokes both of those elements and finds "touchstones" in key moments, and utterly truthful, nuanced acting with a genuine understanding of the characters' guts."<BR>
<BR>
<B>9.    When someone you have directed really stands out, do you recommend them to other directors?<BR>
<BR>
</B>All responded YES<BR>
Most said ABSOLUTELY<BR>
Many noted that the other side is also true.  An actor who is "difficult", etc., will be discussed, etc.<BR>
<BR>
An actor's technique, talent, skills are combined with work ethic, attitude, sense of ensemble to make his reputation.<BR>
<BR>
Many respondents reminded us that "the theater world is a small one..."<BR>
<BR>
Some respondents noted that they do not give out recommendations unless asked, others feel it is an obligation to do so, others feel they cannot escape recommendations, good or bad, whether they solicit them or not.<BR>
<BR>
<BR>
We hope you find this information interesting and helpful.<BR>
Perhaps there are no real surprises, but we do have a clear, concise statement of many issues important to us all.<BR>
<BR>
Here's to bold, well-prepared auditions and renewed commitment to strong and meaningful theater!!!<BR>
<BR>
Sarah Myer<BR>
Lynnette Guttmann<BR>
<BR>
<BR>
</FONT></HTML>
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