Well…a little bit about “type” </p>
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<p>I beg to differ on the point that we are actors; hence, as long as the age of the character is appropriate, we should consider ourselves capable of playing ANY role. While that may be true in different settings (especially once you have already been accepted to a school, company, tour, etc.), I haven’t found that to be the case in university (and professional) auditions. I deal with this in my classroom ALL THE TIME, believe me. I tell the students to find out who others perceive them to be on first meeting - NOT who they ARE, but who others THINK them to be (sometimes a very different thing altogether).</p>
<p>For this purpose, I use a rudimentary hierarchy of “character types” or “sterotypes” that most people clearly fall into via the actor’s “center.” The “center” corrolates to a dominant physical energy center that leads all other movement - either head, chest or pelvis (see below). So first, you have to ask others (especially those who will be HONEST with you, and those whom you have just recently been introduced) which category you most closely fall into, followed by a second and third center, and thus you will come up with a hierarchy of qualities for your signature “type” - a trusty barometer for helping you choose appropriate characters (those that won’t challenge the auditors’ suspension of disbelief too much):</p>
<p>Head centered = intellect. The brain/nerd, usually quiet OR spouting off witty, clever and/or intelligent statements. Can be the romantic lead, but not the traditional one. Think of Doody or Eugene in Grease, Marian Paroo in The Music Man, Babe in Pajama Game, Matt in The Fantasticks, Linus or Schroeder in Charlie Brown, etc.</p>
<p>Chest centered = emotion/sensuality. This is the stereotypical ingenue. The love interest, usually their worst problem is that their boyfriend/girlfriend doesn’t love them anymore. Think of Sandy in Grease, Maria or Tony in West Side Story, Luisa in The Fantasticks, Laurie in Oklahoma, Raul in Phantom of the Opera, Marius and Cosette in Les Mis, Arthur in Camelot, Kim and Chris in Miss Saigon, etc.</p>
<p>Hip/Pelvis centered = sexuality/dominance. This is the stereotypical floosy, womanizer, or carnal-minded aggressive character. Not a shrinking violet! Gutsy, the best-friend with a sassy mouth, the hooker with a heart of gold, the bad boy who loves 'em and leaves 'em, are all under this type. Think Rizzo, Marty, Sonny, Kenicke and Vince Fontaine in Grease; Jigger, Billy and Carrie in Carousel; Ado Annie and Ali Hakim in Oklahoma!; El Gallo in The Fantasticks; Fantine in Les Mis; etc.</p>
<p>First, find what your primary center is, then choose roles appropriate for that “type.” If your secondary center is nearly equal to the primary, then you have a little latitude for cross-over between types. But playing the temptress when your type is obviously the good girl, or the macho guy when you are more suited to the nerd, you will give the auditors distraction thinking “why did they ever choose this piece?!?”</p>
<p>I tell my students to pick something that they could play PROFESSIONALLY (like on Broadway) TODAY. Not one, two or five years from now…today! If this show were being cast today, would you be called in/back? If not, don’t use it in your audition.</p>
<p>You see, auditors have very little imagination (we are wearing blinders of sorts) in the high pressure environment and cram-packed schedule that auditions mandate. And when you as an actor are in such heavy competition as auditions for the most competitive programs in the nation, why give us anything to think about except for how great you are, and “Gee, I could cast them in this role, or that role, or that other role, and…” On and on.</p>
<p>Show us nothing but potential (and limit as much as possible your liabilities). You see? </p>
<p>Honestly, if someone who is not an ingenue comes in with a prepared ingenue piece (whether singing OR acting), I think that the student has no self-awareness of their physical type and how I would likely cast them. And, if I do accept them or call them back, at some inevitable point I (as an educator) will be forced into the terribly uncomfortable for me (and potentially damaging for their self-esteem) position of telling them, “Darling. You are not an ingenue. What are you thinking?” Either that, or I am thinking that their ego is WAY overblown - and they haven’t accepted the gifts that they DO possess. Either way it’s detrimental to the audition - meaning, I’m not seeing you in the best possible light.</p>
<p>Take it from me - who have spent half my life looking like Laurie in Oklahoma!, and singing like Jud! It is hard to find the “perfect piece,” and it takes a lot of research (reading, researching, going to the theatre, buying CDs, etc.). But that is the industry you have CHOSEN in which to make a career. It won’t change for you; so step up to the plate and realize how it works (so you can capitalize on it).