You Got Called Back. Now What? - The Audition Chronicals
Being called back is a really exciting! It means you were successful in what you set out to accomplish in your audition - which is to make the production team feel like there might possibly be a place for you in their cast. That being said, participating in callbacks is one of my least favorite things, but like auditioning - it is a skill you have to master.
Callbacks are an inherently competitive environment. You'll see a lot of posturing from your peers and if you're anything like me, you'll feel so far out of your element you'll begin a steep decent into an existential crisis with every passing hour.
The ultimate goal of a callback is to stand out and help the production team cast you in their show, but you can't do that when you're too insecure to function. So here are some tips I've learned along the way that might help you find the fun or at least feel better prepared.
There are two types of callbacks that I've experienced with pros and cons to each, but both are important to learn from.
The Little Prep Callback
These are callbacks where you are given less than 24 hours to prepare for your callback.
These types of callbacks can be scariest because it puts a lot of pressure on the actor to perform well in very little time.
Music
I'm a terrible sight reader and always have been even though I took piano and choir for most of my life. Oh how I wish I was good at it though. It's a very specific skill (probably not that impressive as a party trick), but it really comes in handy for callbacks. Even if you're an excellent sight reader - this is how I would prepare for a vocal callback.
Make sure you have some device that will allow you to either:
1) Look up the music that you've been given and listen to it.
2) Play the notes of the music you were given. via GarageBand or some sort of piano app.
3) Record the music you were provided so you can play it back for yourself.
Bonus points if it does all three! Which is why I use my phone.
Something else to keep in mind if you're going to a callback that same day is being prepared for literally anything. That begins with your voice warm up. I have a specific warmup recorded on my phone that covers all my vocal bases - low, high, belt, legit and diction.
Dance
Being prepared for anything also includes what you bring for the dancing portion - what clothes are you going to dance in? What dance shoes are you going to bring? I personally love dancing in a skirt or dress because I live for the drama of a good skirt twirl and sometimes it gives me something to do with my hands. So I have a very specific blue dress that I'll pack because I like how it looks on my for the singing/reading portion of the night and because it's cotton with a flowy skirt - looks great for the dance portion. Also, don't forget some tap pants or leggings to throw under if you do wear a dress or skirt. Sometimes you wanna get crazy with your characterizations while dancing and while I think flashing the production staff is one way to be remembered, I'm not entirely sure it will get you cast in community theatre.
Acting
Flexibility is important with the acting choices you make. Especially when it comes to cold reads. Read through the material you're given - as many times as you can, but each time you read through it - try to come at the material from a different angle. What if the character is happy during the whole scene? What if they are angry? What if they are so hungry and have to pee? Maybe it's a little bit of all of those things, but you need to make strong choices and really commit to the scene. Chances are it might be kind of awkward - there are going to be stumbles either from you or your scene partner, but stay in character and stay focused.
Also, when you're in the room - notice how the others called back for the same part as you play the scene. I was recently in a callback where I was the last to go. Everyone before me played the character in roughly the same way - perky, upbeat, eager to please. So because I wanted to experiment and see what would happen, I decided to play the exact opposite (within reason - don't compromise the script) - bored, annoyed, and unafraid of her boss. Now I don't know if it was successful and I'm positive that this probably isn't the way the character would actually be played, but I got a laugh from the production team so I at least know that they were paying attention.
I've heard this from a couple of different directors: I can fix wrong choices once we're in rehearsal, but I can't teach you how to choose. So show them you know how to make a choice!
I've tried to play it cool in little prep callbacks like this and pretend that I'm not even nervous and that I am totally prepared, but unless you are 100% sure you're prepared - don't be that person. Everyone will be preparing in some way in between each portion and you should be too! Callbacks have this electric undercurrent that consists of nerves, confidence and (if you're at Centerpoint) Chick-fil-a. People are usually up for running lines, letting you look at the printed sides or music if you need to, and maybe even practicing with you. Theatre people are the best in moments like this - super friendly and happy to help.
The Mega Prep Callback
These callbacks are the most common in my experience. You are usually given anywhere from a couple of days to a week to look over the provided material and in some cases, you are told who else has been called back.
If you are called back with time to prepare there are a few things to focus on:
Music
This is usually part singing or principal singing depending on what you got called back for. Part singing is important because the team wants to check your basic comfort level and ability to learn music. I've never been provided a pre-recorded track for the music, so this is where having a basic knowledge of how to plunk out a few notes on the piano comes in handy. I've been to maybe two callbacks where they've actually throughly reviewed the parts for each group - usually you're expected to learn it on your own and come prepared to sing without any review.
I've been to callbacks where they asked us to purposely not blend in our groups to see who had a good grasp of the harmonies, but I've been to others where the entire point was to blend with those around you. It really depends on the music director and what they are looking for so be prepared for either scenario.
How I like to prepare: I either use a piano or GarageBand to prepare as many parts as I'm able to sing and record. I can feel like I have my part down really well, but then lose it all as soon as I have to sing around a Tenor or Soprano. And since that's kind of the point of part singing - I try to combat that by finding the part of the music from an OBC and record the notes I need on top of the music so I can hear how it sounds with all of the parts represented.
When it comes to singing roles for principal characters - so much of that is showing how you can act through song. So it's just as important to know the music as it is to really know the character you're trying to portray.
Acting
All of the advice I mentioned for the same day callback applies in this instance, but now that you have more time - I would maybe encourage "loose memorization." This is where you are pretty close to memorized - you know who speak before and after and roughly what you say, but you aren't word perfect. I personally like holding onto my paper with the sides because what do I do with my hands? And also, it relieves a bit of the stress and allows you to really focus on characterization and your interactions with your scene partners.There is also the chance that you might have to read for a different role at the last minute, so make sure you have your sides in hand to reference!
Dancing
Not my strong point - in case I haven't mentioned this enough and you need the reminder. The new trend I've noticed in the last couple of auditions I've been to is clinics before the actual audition date or recorded videos with the combination. I LOVE this. I can learn a dance if I have a week or so to practice it really good, but it's the in-the-moment stuff that worries me. In the cases where they've taught the dance combination beforehand, I've noticed that the callback dance is usually some variation of the dance you already know.
But just in case you're asked to learn a whole new combination, here's what I would say:
Characterize the crap out of everything you do. Even if you're some Fred Astaire prodigy and just the best at picking up dances really fast - make sure you're in character and selling it. I've known many people who got cast despite their poor dancing and it was because of their ability to keep a smile and keep the production team engaged in the story they are trying to tell.
When they are teaching you the combination, ask questions if you don't understand a move! I guarantee that someone else has the same question as you.
Also - here's some great advice from a friend who was getting cast when I just wasn't having any luck: No matter if you're really good at the dance or not, always volunteer to try it again.
There seem to always be uneven numbers at dance auditions, so if you can step up and fill in a spot even after you've already danced - do it! It shows the production team that you're willing to keep trying and it might turn out better than your first pass.
Attitude
Be nice to the production team definitely, but also to the other actors there with you. Be nice to the people who help get you registered when you first show up. Be nice to the accompanist. Be nice to any and all people you encounter. Not only is this kind of a basic, human decency thing, but no one wants to work with a jerk. Before you're mean to someone at the audition/callback - remember that word travels fast in a very small, tight-knit community like theatre.
Refreshments
I once grossly underestimated the time I would be at a call back and was still there at 11 PM without dinner or water. By the time we got to the singing portion I couldn't have cared less about being cast - I just wanted dinner and something to drink! Bring snacks and water.
Confidence
You deserve to be there otherwise you wouldn't be there - so act accordingly! And once you're done, be proud of the job you did.
What are your callback tips? I'd love to hear more on the Musical Theatre Monday Facebook page.
Read the earlier installments of The Audition Chronicles here:
Accepting Rejection
Auditioning
Callbacks are an inherently competitive environment. You'll see a lot of posturing from your peers and if you're anything like me, you'll feel so far out of your element you'll begin a steep decent into an existential crisis with every passing hour.
The ultimate goal of a callback is to stand out and help the production team cast you in their show, but you can't do that when you're too insecure to function. So here are some tips I've learned along the way that might help you find the fun or at least feel better prepared.
There are two types of callbacks that I've experienced with pros and cons to each, but both are important to learn from.
The Little Prep Callback
These are callbacks where you are given less than 24 hours to prepare for your callback.
These types of callbacks can be scariest because it puts a lot of pressure on the actor to perform well in very little time.
Music
I'm a terrible sight reader and always have been even though I took piano and choir for most of my life. Oh how I wish I was good at it though. It's a very specific skill (probably not that impressive as a party trick), but it really comes in handy for callbacks. Even if you're an excellent sight reader - this is how I would prepare for a vocal callback.
Make sure you have some device that will allow you to either:
1) Look up the music that you've been given and listen to it.
2) Play the notes of the music you were given. via GarageBand or some sort of piano app.
3) Record the music you were provided so you can play it back for yourself.
Bonus points if it does all three! Which is why I use my phone.
Something else to keep in mind if you're going to a callback that same day is being prepared for literally anything. That begins with your voice warm up. I have a specific warmup recorded on my phone that covers all my vocal bases - low, high, belt, legit and diction.
Dance
Being prepared for anything also includes what you bring for the dancing portion - what clothes are you going to dance in? What dance shoes are you going to bring? I personally love dancing in a skirt or dress because I live for the drama of a good skirt twirl and sometimes it gives me something to do with my hands. So I have a very specific blue dress that I'll pack because I like how it looks on my for the singing/reading portion of the night and because it's cotton with a flowy skirt - looks great for the dance portion. Also, don't forget some tap pants or leggings to throw under if you do wear a dress or skirt. Sometimes you wanna get crazy with your characterizations while dancing and while I think flashing the production staff is one way to be remembered, I'm not entirely sure it will get you cast in community theatre.
Acting
Flexibility is important with the acting choices you make. Especially when it comes to cold reads. Read through the material you're given - as many times as you can, but each time you read through it - try to come at the material from a different angle. What if the character is happy during the whole scene? What if they are angry? What if they are so hungry and have to pee? Maybe it's a little bit of all of those things, but you need to make strong choices and really commit to the scene. Chances are it might be kind of awkward - there are going to be stumbles either from you or your scene partner, but stay in character and stay focused.
Also, when you're in the room - notice how the others called back for the same part as you play the scene. I was recently in a callback where I was the last to go. Everyone before me played the character in roughly the same way - perky, upbeat, eager to please. So because I wanted to experiment and see what would happen, I decided to play the exact opposite (within reason - don't compromise the script) - bored, annoyed, and unafraid of her boss. Now I don't know if it was successful and I'm positive that this probably isn't the way the character would actually be played, but I got a laugh from the production team so I at least know that they were paying attention.
I've heard this from a couple of different directors: I can fix wrong choices once we're in rehearsal, but I can't teach you how to choose. So show them you know how to make a choice!
I've tried to play it cool in little prep callbacks like this and pretend that I'm not even nervous and that I am totally prepared, but unless you are 100% sure you're prepared - don't be that person. Everyone will be preparing in some way in between each portion and you should be too! Callbacks have this electric undercurrent that consists of nerves, confidence and (if you're at Centerpoint) Chick-fil-a. People are usually up for running lines, letting you look at the printed sides or music if you need to, and maybe even practicing with you. Theatre people are the best in moments like this - super friendly and happy to help.
The Mega Prep Callback
These callbacks are the most common in my experience. You are usually given anywhere from a couple of days to a week to look over the provided material and in some cases, you are told who else has been called back.
If you are called back with time to prepare there are a few things to focus on:
Music
This is usually part singing or principal singing depending on what you got called back for. Part singing is important because the team wants to check your basic comfort level and ability to learn music. I've never been provided a pre-recorded track for the music, so this is where having a basic knowledge of how to plunk out a few notes on the piano comes in handy. I've been to maybe two callbacks where they've actually throughly reviewed the parts for each group - usually you're expected to learn it on your own and come prepared to sing without any review.
I've been to callbacks where they asked us to purposely not blend in our groups to see who had a good grasp of the harmonies, but I've been to others where the entire point was to blend with those around you. It really depends on the music director and what they are looking for so be prepared for either scenario.
How I like to prepare: I either use a piano or GarageBand to prepare as many parts as I'm able to sing and record. I can feel like I have my part down really well, but then lose it all as soon as I have to sing around a Tenor or Soprano. And since that's kind of the point of part singing - I try to combat that by finding the part of the music from an OBC and record the notes I need on top of the music so I can hear how it sounds with all of the parts represented.
When it comes to singing roles for principal characters - so much of that is showing how you can act through song. So it's just as important to know the music as it is to really know the character you're trying to portray.
Acting
All of the advice I mentioned for the same day callback applies in this instance, but now that you have more time - I would maybe encourage "loose memorization." This is where you are pretty close to memorized - you know who speak before and after and roughly what you say, but you aren't word perfect. I personally like holding onto my paper with the sides because what do I do with my hands? And also, it relieves a bit of the stress and allows you to really focus on characterization and your interactions with your scene partners.There is also the chance that you might have to read for a different role at the last minute, so make sure you have your sides in hand to reference!
DancingNot my strong point - in case I haven't mentioned this enough and you need the reminder. The new trend I've noticed in the last couple of auditions I've been to is clinics before the actual audition date or recorded videos with the combination. I LOVE this. I can learn a dance if I have a week or so to practice it really good, but it's the in-the-moment stuff that worries me. In the cases where they've taught the dance combination beforehand, I've noticed that the callback dance is usually some variation of the dance you already know.
But just in case you're asked to learn a whole new combination, here's what I would say:
Characterize the crap out of everything you do. Even if you're some Fred Astaire prodigy and just the best at picking up dances really fast - make sure you're in character and selling it. I've known many people who got cast despite their poor dancing and it was because of their ability to keep a smile and keep the production team engaged in the story they are trying to tell.
When they are teaching you the combination, ask questions if you don't understand a move! I guarantee that someone else has the same question as you.
Also - here's some great advice from a friend who was getting cast when I just wasn't having any luck: No matter if you're really good at the dance or not, always volunteer to try it again.
There seem to always be uneven numbers at dance auditions, so if you can step up and fill in a spot even after you've already danced - do it! It shows the production team that you're willing to keep trying and it might turn out better than your first pass.
Attitude
Be nice to the production team definitely, but also to the other actors there with you. Be nice to the people who help get you registered when you first show up. Be nice to the accompanist. Be nice to any and all people you encounter. Not only is this kind of a basic, human decency thing, but no one wants to work with a jerk. Before you're mean to someone at the audition/callback - remember that word travels fast in a very small, tight-knit community like theatre.
Refreshments
I once grossly underestimated the time I would be at a call back and was still there at 11 PM without dinner or water. By the time we got to the singing portion I couldn't have cared less about being cast - I just wanted dinner and something to drink! Bring snacks and water.
Confidence
You deserve to be there otherwise you wouldn't be there - so act accordingly! And once you're done, be proud of the job you did.
What are your callback tips? I'd love to hear more on the Musical Theatre Monday Facebook page.
Read the earlier installments of The Audition Chronicles here:
Accepting Rejection
Auditioning
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