| Meet the actors opening our season |
In the coming weeks, we'll hear more about each of these actors; their past stage experiences and the roles which they will play on our stage. For now, an introduction to the members of Canadian Rep's ENSEMBLE: Canadian Youth Theatre/Théâtre Jeunesse Canadien and our production of Tideline:
Left to right, top to bottom:Danny Ghantous, Erik Mrakovcic, Angela Sun, Cassidy Sadler, Madeleine Heaven, Augusto Bitter, Allister MacDonald and Kwaku Okyere
Biographies soon to be posted here>> |
Final few days to send in your submission
|
Hart House Theatre is now accepting submissions for
 MUCH ADO ABOUT NOTHING
By William Shakespeare
Directed by Carly Chamberlain
Deadline for submissions: Friday, August 12, 2016 - early submissions are encouraged.
Non-union (ACTRA or Equity), Non-paying
Those contacted for auditions will be seen August 18-21, with callbacks on Sunday, August 28. Only those contacted for an audition will be seen. Performance run: November 4-19, 2016
Please send headshots/resumes to auditions@harthousetheatre.ca.
If Carly (the director) is already familiar with your work, please make a note in your submission detailing the role(s) for which you would like to be considered.
Artists of all ethnic/cultural/sexual/gender identities are strongly encouraged to submit.
More details including audition requirements may be found here >> |
| How to stand out - in a good way |
 Some casting relies very little on your performance in the audition room. Very often qualities like attitude, reliability and self-knowledge play a huge factor in whether or not you are considered for a role. Throughout the years of auditioning talent for our shows, we've stumbled upon, been told about and witnessed a few tried-and-true ways of presenting oneself as an actor that we'd like to share:
- If requesting an audition over email or by an online submission form, be sure to make your file attachments easy to read and name them professionally. While "sexyblueshirt" might be a name that means something to you, it's not a very professional name for your headshot.
- Assume that everyone you interact with throughout the whole process has influence over whether or not you get the gig. From the director and producer to the person who answers your email or gives you a pen to fill out a form, behave kindly and respectfully.
- When it comes to picking the appropriate piece to perform, follow the guidelines provided. You'll rarely score points for doing a Mamet monologue when the audition calls for Shakespeare.
- When choosing a piece, try to avoid anything from a movie. Unless you're as good as Pacino or Blanchett, all you're doing is reminding the director of the performance those actors gave.
- In the same vein, when choosing a piece, try to avoid ones where the character dies, gets violent towards the audience or uses a lot of props. There's a chance you'll be left lying on the floor and have to make an awkward rise and explain that you're not really a maniac, or you'll have dropped a lot of stuff that you'll have to spend time cleaning up. All of this can make you look awkward, unprepared and takes away from your time in the room.
- To look at the panel or not? Some people coach to always look the panel in the eye as you do your piece and others say that it's too invasive and uncomfortable. When in doubt, ask.
- If asked to read sides, there's nothing wrong with asking for time to review. You may be asked to do so as the panel sees someone else, but that's great - more time to prepare and show your work at its best!
The most helpful thing to remember is that everyone on the audition panel wants you to succeed. While the process may be intimidating, keeping that small fact in mind can give your time in the room that boost of confidence that helps make your audition a stand-out.
Break legs out there! |
