Part 2:
- How many auditions do you typically go to?
I’m bad. I’m a very specific type so even at the height of audition season (Jan-April) I probably go to 1 open call a week. Summer stock seasons usually aren’t great for me. I focus on self submissions (I don’t have an agent) and get a solid amount of appointments, so I tend to go to those more than hitting the ground.
However: chorus boys and girls, triple threats, ingenues… get ready. You can hit 4 or 5 auditions a week (sometimes more than one a day) in the winter. If you count equity calls, you may not always be seen, but even for the non union stuff there’s a lot going on.
I auditioned much more in the beginning than I do now. And I think that was good for me. Even if the show wasn’t perfect for me, I went for experience and to be seen. I think it’s important to do that when you are first getting started because it helps take away the nerves and perfect your skills. Now I’ve narrowed down what’s actually worth going to for me. And knowing what calls I actually had a chance of being seen at and which weren’t worth staking out (in terms of EPAs)… although I’ll be equity next season so it’ll be a whole other ballgame!
- How important is it to have an agent when you first get to the city?
It’s not. At all. It’s a plus, sure, and having someone on your team to get you seen is amazing- if they are a good fit for you. But it really doesn’t matter that much. I still don’t have an agent and am about to go on my 5th gig since graduating (3rd tour, the other 2 were in the city- all I booked myself through self-submitted appointments). This next one is getting my equity card so when I get back, I may try harder to be signed but even then I’m hoping that equity calls will lead to better relationships with CDs- that’s who really gets you in the room.
- If you don't already have an agent, how do you go about getting considered by agents?
The best way is to be referred by someone. People definitely do get signed through those “pay to plays” but almost everyone I know booked through their showcase or were recommended by a current client.
- What sorts of jobs are not good for the resume?
That’s hard to say. The best job…
-pays you a living wage
-makes you connections
And
-is artistically fulfilling
So if you can hit 2/3 of those I think it’s worth having it on your resume. So if you do a non-paying showcase show but it’s a dream role and you’re working with a great director, it could be worth it (if you can afford to do so). Vice versa, you could do a children’s tour that really isn’t your dream show or a terrible cruise ship cabaret- but they pay amazingly and have a great casting team attached. You get where I’m going.
I think it’s important to work as many different places as you can. I see people returning to the same theatres/companies over and over again and it’s great to show that you are liked/want to be hired back by those people, but it doesn’t always open more doors or expand your resume.