MEAA | Tips from the top: How to nail an audition!
He is head of Telsey + Company casting, a premier theatre and film casting The minute you meet someone you start having opinions. Generally what people wear is really, really important in auditions. . The Olivier Award nominee will step into the role of Mary Carney that she Want Discount Tickets?. These tips were compiled by the Mullinars team, including casting director . Mabo, Wild Boys, Mary Bryant, First Australians and Never Tear Us Apart you need to build to the point where those folk are excited to meet you. “The Secret Garden” Audition Scene Packet. SCENE 1: MRS. MARY: Basil said my Uncle's a hunchback and so horrid no one comes near. I think Basil's BEN: (Smiles) Hello tha' little scamp. (Imaginary robin (Tips cap) One o' th' gardeners . I'm lonely too. MARY: Do you suppose I'll ever meet my Uncle? I know I.
We see girls who come in wearing jeans and sweaters and it's too easy for someone to say, "Oh, she doesn't have that that girly thing. If you are going to do it, it has to be organic and it has to be emotionally driven. It's not connected emotionally to the story. In all of these songs we want to hear range, but we don't want to hear range first and foremost.
Booking It! Casting Director Bernard Telsey on Audition Essentials | Playbill
We want to hear your range as you're incorporating it into the material that you're delivering. If the riffing and the range are first and foremost, we're not connecting to the person.
Although a song is known to be overdone, would it still be okay to use if you sing it well? Yes, because it's just to get a little tasting. We're in an office of 19 casting directors here. It's like trying to order pizza the day after Thanksgiving with your family: No one is right.
I can't even sit here and try to say what is an overdone song. It might be my favorite song, but it might not be a favorite of another casting director's.
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But have choices for us. That's what I keep trying to tell everyone. That really is the answer. I sit there in the same room with a different musical director and a different director, and many times they are more black and white than even we are. They will say, "I hate that song, don't do it. Unless you come in and they say, "What do you want to sing?
I'd be happy to do any of these songs. If you're a soprano, how important is it to develop your belt voice to be more versatile, or vice versa? Should you play to your strengths, or try to cover as much ground as possible? You have to play your strengths.
Go in with your strongest shot and then if you do, and they like what they hear, then they can ask to hear your soprano, or your belt. Even if one is a little weak, they're still in love with you from the other song, so they'll be open to adjusting and working.
It's too easy for a casting director to say, "No, that's not right," if you don't play your strengths first. How do you feel about non-union performers waiting to be seen for union EPAs? Sometimes you just can't get to them.
You've got to go if you're not Equity, because there's that time when a casting director sees the non-Equity person and they get cast. It happens so many times.
Even the other way, I've heard so many Equity actors say that they're not going because it's pre-cast, or that only an associate casting person will be there. The person who is in that room is casting the show, or they're an associate on the project and they're making the decisions on whom to callback. I ask actors, "You're not going to come because I'm not in the room?
What information is key for the casting directors and creative team? We've got to be able to read it.SevenGymnasticsGirls Audition Tips!
It's got to be clear, especially for people who are reading something really fast; you just want the info there. I think more information is good, but it's not about trying to impress someone. Just because a director you worked with isn't a famous Tony winner, doesn't mean you shouldn't include them.
You don't know if I know that guy. You only have 10 to 20 minutes to make your mark, but if you are prepared, you can be confident in your performance and know you made the most of it. Other factors could be at play, such as colour of hair, height and type of look. If your performance was good, CDs will remember you and bring you back for future auditions.
Her most popular book is Self-Management for Actors, on which her teaching is based. Book the room, not the job. Focus on your bullseye. You can hit anything on the dartboard. But this industry rewards specialists. Your intersection with those folk will be more meaningful because you solve a creative problem they commonly have. Get your tools in order. As a creative entrepreneur, you are running a small business, and it is your responsibility to get your materials up to their on-brand best, so the buyers are not distracted from your talent.
Get down with the pursuit. Pursue the work, not the people. But there is so much work you can get before you have an agent, before the top casting offices are inviting you in … and you need to build to the point where those folk are excited to meet you.
Eliminate poison playmates from your life. This negativity permeates everything and leads to actor bitterness — a wholly uncastable quality. There is only one you and you are not trying to beat any other actor for a role.
Pop in your ear-buds and focus on your prep work.
You have not yet been hired, so respect those words. Show what you can do to bring the existing text to life within the parameters the casting director has given you.
There are no industry rules; there is no one recipe for success. This is a creative journey filled with mystery and fun.
Booking It! Casting Director Bernard Telsey on Audition Essentials
We only want you to be awesome, so please come in and have a blast, be great and then let it all go. He has been coming to Australia and New Zealand to scout for talent since Take stock of your goals and be honest with yourself. Review your professional progress as objectively as possible but also realise it takes time to develop a consistent and satisfying career. Timing is everything and you want to be sure you are at a point in your life and career that it makes sense for you to be here.
- Tips from the top: How to nail an audition!
You can pursue work opportunities via self-taping until the time is right. Try before you buy. Part and parcel of that is making sure you have the savings to support yourself. Your focus should be on acting, not your bank balance.
Train and maintain a flawless American accent. Make sure you have the support of your Aussie representative — you need them to agree and be on board with your decision, to enhance your chances of success.
They will be a big part of helping you secure LA representation before moving here permanently or even semi-permanently. Meet with an immigration attorney. Understand the options and costs of securing work papers. There are numerous online sites you can read to keep up with who the major players, studios, directors, producers and writers are.
The first phone call came only a few days after sending the application form in — although I did apply very late in the day, during the last week that applications were open. It came at about 7pm on a Tuesday, and lasted for approximately an hour: They even tested my baking skills, asking me to describe how to make a few baking staples off the top of my head.
What were the London-based auditions like? I sat in a small room of terrified people, all clutching beautiful products they had brought with them. I took along my sourdough whole-wheat croissants and a batch of toffee pie cinnamon rolls, hoping they would demonstrate my technical but unconventional style.
But it turned out they were for his lunch, and he had just picked them up from Waitrose. What happened after you got through the first audition? The next time I was called back was for the technical challenge task. In groups of 12, we attended a community kitchen, where we were asked to bake in front of a camera for the first time. The fact that, even at this stage, they could put 12 nervous strangers in a room and have everyone get on perfectly speaks volumes about the casting process.
One of Jordan's recent bakes: Jordan Cox How quickly after applying did you find out that you were on the show? I had to wait so long to find out that I was on the show — it was at least six weeks after the final audition, which in TV land is a very long time indeed.
I was so certain I hadn't made it through that, when the news finally arrived, I was speechless — something that has never happened before in my 33 years of life. They wanted little old me? A nerdy, unfashionable baker of only three years?