Unified Auditions Review

Yesterday I audited the annual Unified Auditions in Austin, Texas. Wow. This year I saw a tremendous amount of talent and plan to call several of you in to audition for upcoming projects. It was impressive, actually.

I realized afterwards it might be good for you to understand what goes on from the auditors side such as what the process is, how we rate your performance, and so on.

As auditors we know each other for the most part, but we don't discuss our individual rating systems with each other. We're handed a packet at the registration table which has all of your headshots and resumes, along with a typed list of the order you'll appear. We're given a note that asks us not to leave early because of course that would be unfair to those at the end of the list.

The series of actors begins, and we're given a few seconds between each to assess. I personally rate actors on a scale of 1-5 by evaluating two things: skill (training) and engagement (talent), then add intuitive remarks. For example, I might enjoy a performance and rate it a 3, but write "early," next to the score. This doesn't reflect age, it just means they need more training for one reason or another. If I believe I can coach them through one-on-one rehearsals during a production, I'll mark "CW" as my last comment. This stands for "Can Work" which means he or she seems directable or coachable, and is partially based on an actor's attitude. I may write other notes like "Quirkier than headshot shows."

I've attended a few of these events and yesterday I was reminded that it must be a little vague to the actors. I could tell many were unsure of the structure of the audition such as where to stand, where to direct your monologue and so on. So here are a few tips for future auditions when there is an auditing "audience."

POSITION. First, there are two ways to block your monologue for this purpose, and either will work. As a rule of thumb if your monologue is from a two person scene, you'll need to place your "scene partner" strategically. Remember that we're there to evaluate your performance, and that will mean seeing your face at some point. If you perform entirely in profile it's difficult to get a read on your abilities. So at the very least imagine your scene partner is on a diagonal with the audience. One way is to place a chair downstage and make that your scene partner.

Second, if your monologue is one where you're completely alone (generally stageplay monologues, classics), face the audience directly and focus on one location just above mid-row, fixating on one spot (not a person). Make that spot the person your character "wishes" he or she could speak to at that moment.

STARTING. We understand you may need a few seconds to go from "My name is..." to the beginning of your audition. Rather than turning your back to us, consider walking away while you transition, then walk back "into" the scene. The "room" should be the same one you imagine the play or film scene taking place. Feel free to move about and use the space with that set in mind.

SOUND. Many of you were way too quiet. Even if you planned your audition for film, the Unified Audition room is large and full of people, not like a typical film audition. So you have to increase your volume a great deal. You shouldn't change your performance, just your volume. As a guide, it probably isn't audible to us until it feels too loud to you.

SELECTION. Several did scenes that involve more than one participant. For example, a teacher in a classroom, or a lawyer delivering his or her closing argument. This seems like a good idea because there is more than one person in the auditing audience. But we need to observe you as you connect to the person in your scene. So for the purpose of this 1-2 minute monologue it's better (for you and us) to choose a scene or monologue where you're speaking to one specific person. Forget about directing your monologue to us. Let us watch you direct your monologue to the person in your scene.

PROPS. I would encourage you to bring minimal props. It's okay to have business as you deliver your monologue or scene. No one will mind if you bring something easy that you can fit into a briefcase or handbag, such as a stack of bills, a magazine, and so on. That will help anchor you and keep you in the moment, directing your focus to the person in the scene. Some of you did this, those were some of the better performances.

Again, this was a wonderful group of talent. Congratulations on your commitment to putting yourself out there and being willing to grow. If you ever feel you need coaching, whether a one-time coaching session, or regular coaching sessions, you can always sign up for a free consultation through this website through our "Services" page. Or write to me (kat@iseeyouproductions.com) ~ Kat

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