The stage, with its vibrant lights and the promise of captivating stories, class those who dare to dream. If you’ve ever felt the allure of the spotlight or the excitement of bringing characters to life, then auditioning for theatre pieces might be your golden ticket. In this article, we’ll delve into the art of auditioning and explore how it’s not just about securing a role but creating a dialogue with the director.

1. Embrace the Challenge

Auditioning can be nerve-wracking, but it’s also a thrilling opportunity to showcase your talents. Embrace the challenge with a positive mindset. Remember, auditions are not just about getting a role; they’re a chance to learn, grow, and connect with a community that shares your passion for the performing arts. More importantly, auditioning is about creating a dialogue with the director. When auditioning, you are showing your skills as an actor and where you can take a role. It’s about taking risks and showing a wide range of possibilities so that the director can view how you could bring to life a character. Sometimes, the director might have a clearly defined view of how the character needs to be played, but this does not mean that you can’t still surprise them. Additionally, the director might not see you as fitting for a role but keep you in mind for another possibility. So, the important thing is to show up and do your best. The worst that can happen is that you will learn something and meet new people. The more you do it, the better you will get, and the more at ease you will be at navigating auditions.

2. Preparing

Preparation is key. Whether it’s a monologue, a song, or a dance routine, familiarize yourself with the material. Understand the context, the emotions, and the nuances of your piece. The more comfortable you are with the material, the more confidently you can express yourself during the audition.  Additionally, research the director’s style and background. This not only demonstrates your commitment but also opens the door to a meaningful conversation during auditions. Show that you understand the director’s vision and are ready to collaborate as a team. While auditioning, choose pieces that highlight your range as a performer. Sing, dance, and act – directors often seek versatility in casting. Your ability to seamlessly transition between different aspects of performance can make you an asset to the creative team.

4. Dress the Part

First impressions matter. Dress appropriately for the character or role you’re auditioning for. This doesn’t mean wearing a full costume, but rather capturing the essence of the character through your outfit. This can be as simple as tying your hair in a certain way. Show the directors that you’ve put thought into your presentation. Another option is to dress in all black, so that you can showcase your abilities and leave room for the artistic team to see how you could fit aesthetically into the role.

5. Be Open to Direction

View the audition as a collaborative effort. Directors may offer feedback or suggest different approaches – be open and adaptable. Consider the feedback as a part of the collaborative process, a conversation aimed at refining the performance and capturing the essence of the piece.

6. Confidence and Authenticity

Confidence is crucial, but authenticity is equally important. Be yourself, let your personality shine, and don’t shy away from taking creative risks. Directors seek individuals who not only possess skill but also bring a unique energy and passion to their performances.

7. Stay Positive, Regardless of Outcome

Not every audition may lead to a role, and that’s okay. Stay positive and view each experience as an opportunity to learn and improve. Every audition is a stepping stone on your theatrical journey, contributing to your growth as an artist.

Auditioning for theatre pieces is an exhilarating experience that goes beyond individual performance. It’s a collaborative dialogue with the director, an opportunity to express your creativity, and a chance to connect with like-minded individuals. So, step into the spotlight with confidence, embrace the magic of the stage, and let your passion for the performing arts shine!

Break a leg!

The post Unveiling the Art of Auditioning: A Dialogue with the Director first appeared on Simply Theatre.

What classes will you be teaching at Simply Theatre?

We’ll mostly be teaching dance for the Performing Arts courses. We’re really looking forward to this, as we’ve choreographed quite a few musical theatre numbers in the past and that it’s a dance style which we really enjoy teaching.

We’re looking forward to working with a group of youngsters who have the same passion for the performing arts as we do. We love the fact that students in this school often not only dance but also sing and act, and we’d like to try and motivate pupils to really enjoy the dance part of the courses too. 

What would you say to anyone wanting to take up dance who hasn’t quite found the drive to go for it yet?

Give it a go! You might be surprised at how much you enjoy it. It’s not always easy to take up dance, as there are a lot of fundamentals you need to learn in the beginning. It might help to start with a dance style which really motivates you, and maybe from there on you can try and expand to other styles. That’s what happened to us! When we were younger we absolutely loved tap, but we refused to try ballet because we didn’t think of it as being fun. The director at our dance school finally managed to talk us into trying one ballet class, and now we couldn’t imagine our life without ballet! Sometimes you need to give it a try, you never know what might come out of it.

And what would you say to people who are wanting to take their dance to the next level?  What top tips do you have for them?

If you want to be a good dancer, you have to work for it. You have to remember that even though dancing is a lot of fun, it’s also very difficult and physically demanding. You can’t be a good dancer if you don’t practice, and that doesn’t mean only in the studio! We can remember spending hours when we were smaller practicing our steps in front of the mirror, or going over and over a difficult tap sequence which we couldn’t quite get until it was perfect. Sometimes, when people see dancers perform, they only see the finished product, and they don’t realize the hours of rehearsals that go into even a single performance. As a dance student there are always things you can improve on: learning new technique, improving your facial expressions, building your strength and stamina, working on your flexibility, etc. Just remember: ‘Hard work beats talent when talent doesn’t work hard’!

What would you be doing if you weren’t dancing or teaching dance?

We’re actually both qualified secondary school teachers in the Swiss school system. So if we weren’t doing anything dance-related (which we can’t imagine), we’d both still be teaching!

The post Part 2 of our interview with Swiss and World Tap Dance champions Olivia and Rebecca Grobety, who join the Simply Theatre team in September first appeared on Simply Theatre.

Which is harder? Getting into drama school or getting your first job

I would honestly say getting your first job. There is so much to consider. Half of the problem is to just get a casting director to take a chance on you. Drama school is hard but they look for potential. With a job you have to stand out from the thousands of other recent graduates and get the better of your own nerves too. There is just so much competition. I’m lucky in that I managed to get a casting director who liked me (Pippa Ailion) pretty early on and would always get me in the room. Then it was up to me to perform but it gave me confidence. You have be honest with yourself about your strengths and weaknesses and just keep going in the knowledge that eventually you’ll get that opportunity, and then it’s up to you to work hard and repay the trust shown in you.

What is the best thing about playing Henri in An American in Paris?

I never dreamed I’d get to ‘dance’ like this on the West End Stage. I honestly thought the job would be given to a dancer. I knew I could sing it and act it well enough but expected the movement to be the most important consideration. Therefore I am so grateful for the opportunity that James Orange the casting director has given me here, and for backing me. I love the fact that Henri has been a real challenge for me as a performer. That even now 14 years after graduating I am still learning, still growing, still having to work hard to achieve. His big number ’Stairway to Paradise’ is a dream come true, and I pinch myself every night. I also love the fact I get to work with such a talented cast who make coming to work so enjoyable. I feel very lucky.

Looking back on your successful career to date, what words of wisdom can you give to our young performers?

Enjoy it! I know performers who suggest you have to LIVE TO ACT! But I’ve always thought you have to enjoy it first and foremost. When you stop enjoying it, your should maybe stop doing it. Also be honest with yourself. Learn from each audition or experience. If you don’t get the part you want then why? Did you forget a line? Or was the other person taller than you? Or even was the audition panel distracted? But try to learn from it and act accordingly next time. We don’t learn from our successes. We learn from our mistakes and disappointments. I didn’t get Henri by being cast in every audition I have ever had, and have failed more times than I have succeeded. Still I have tried to learn from each experience and have confidence in myself through it all.

The post An American In Paris – Part 2 of our interview with Haydn Oakley first appeared on Simply Theatre.

“We were excited to see the show, given its string of 5 star reviews. The whole design concept of the show was superb – it brought you back to a bygone era of the glamour of musical theatre. It was truly beautiful with the scenery seeming to be drawn before your eyes!” said Jenna, who has a particular passion for all things Parisienne. Tom added “It was a superb show. The show has a high level of dance content for a musical theatre show, and I thought the way it added to the storytelling and exuberance of the production was beautiful. Oh, and Haydn was, of course brilliant!”

Tom asked Haydn, who trained at the Guildford School of Acting to answer a few questions for our students.

Haydn, you left school and began studying Ancient & Medieval History at Birmingham? What made you change your mind and decide to go to drama school?

I always knew I loved performing and wanted to pursue it at some point. Both my parents were teachers and they were very keen on me getting as much of an education as possible before I went to DramaSchool. But once I got my MPhil in Late Antiquity even they couldn’t refuse me the opportunity of auditioning for GSA. In fact I initially applied for Drama & English at different red brick Universities but got 6 straight rejections from UCAS. History was perhaps my second love and I figured it allowed me the opportunity to continue to act and sing in my free time with my peers if nothing else. By my fourth year I had perhaps 2 hours of class time per weekwhilst I wrote my Thesis… The rest of the time I acted, sang, directed, presented on the University Radio Station, and did what I loved.

How did you get your first job on leaving drama school?

I had a few auditions where the nerves got the better of me straight after drama school. Nothing can ever fully prepare you for standing in front of a panel of people who hold your dreams in your hands. I remember one audition where I forgot my lyrics perhaps 5 times in a row… eventually I got them right and pretty much ran out of the room. However, I was pretty grounded about it all. I just wanted someone to pay me to do what I loved.

My first job was an unpaid showcase at the Kings Head Theatre in Islington. I auditioned and got to sing songs from Tick! Tick!… Boom and Parade. This allowed me to sing professionally on stage and learn a lot of new contemporary music from composers like Jason Robert Brown. My first paid job came perhaps 3 months later, when I was cast in a TIE (Theatre in Education) play touring Ireland and Wales. I played a boy who was involved in a road traffic accident. I just tried to be myself and enjoy the process of the audition.

It’s funny how expectations change though. At first I just wanted a job, then a paid job, then a west end job and so on. Now I’ve reached a principal West End role, and next… Well there’s always TV and a professional Shakespeare I guess. The old saying goes “How do you make an actor unhappy?… Give them a job!” and it’s sadly true. There’s always another rung up the ladder and it’s hard to stay in the moment sometimes.

WATCH OUT FOR PART 2 OF OUR INTERVIEW NEXT WEEK…

The post An American In Paris – 2 part Interview with Haydn Oakley: Part 1 first appeared on Simply Theatre.