First auditions for OVER THE TAVERN were last night. Three males and ten females. Further breakdown: two boys and one man; three girls and seven women. Not bad for a weekday and the first audition date. Most of the people who auditioned I know; most have been in a play before. Most seemed very relaxed; they all sat around small round tables and shared scripts. Only a few times did I have anyone get up out of their seats. Everyone read really well. It’s a cold read for most of them; only a few had read the script before.
During auditions I don’t worry too much about which emotion or expression or approach is taken/offered: I just want to see if a person is able to have some expression…some varied expression, whether it fits the particular line or not. Since it is a cold read, and we begin reading the scene oftentimes in the middle, it’s a bit tough to know really what is going on. Everyone had lots of expression, lots of variety in their pitch levels…and I think lots of fun.
I’m much more aware of eyes. Sometimes in the past I’ve wondered what is “off” about an actor…why I have trouble believing him/her. I’ve been reminded of the crucial importance of eyes. It’s easy to see in movies with close-ups; even the slightest flicker or change of focus can be powerful. In live theatre on the stage I think actors and directors miss it, perhaps because they think that due to the distance of the audience from the actor something as small as an eye isn’t going to be seen. I’m focusing on eyes and eye contact and what is happening with the person’s eyes.
I also have worked with some actors who are thinking so hard about the scene or blocking that their eyes become empty. I’m not sure how to help an actor through this, but I know that it greatly diminishes their capacity to communicate to an audience.
Of course, last night in the auditions it’s tough to evaluate the eyes since everyone has theirs on the script…but I found myself watching eyes last night.
I was reminded…painfully reminded…again last night of the little things involved in casting. Size of the person. Hair color. Hair style. Voice quality. Voice projection. Age. Perceived age. Height. Weight. ….and Eyes. Some of these can be altered or modified with costuming and make-up and haircuts. Others cannot. And two or three or four or five women between the ages of 30 and 50 might be able to act equally well and play the mother, Ellen: but if one of the above qualities or conditions above doesn’t quite fit, that could help make the decision. The painful and challenging point: there’s only one mother in this play…and so far we’ve had six women who have auditioned specifically for that one role.
I’m looking forward to Saturday night and round two.
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