Open Forum

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

I start every audition with a speech about how casting works and the needs of the play rather than the actors who want to participate. I point out that the best cast may not be you even if you were the" best actor" for that particular role. Looking at the cast as a whole is part of the audition process and all potential actors need to understand that. I also encourage students to come get individual notes AFTER the entire audition process is complete. I will not answer any questions from anyone while casting but am happy to address individuals after the cast has been announced. I also do not answer parents. If a student would like to get individual notes about the audition including, but not limited to, strong choices, weaker choices, how they did (or didn't) fit into the cast, why they received a specific role or weren't cast I am happy to do so for the week following the announcement. I keep all of my audition notes so I can refer back to them as needed. After that, the notes are gone and the kids are out of luck... unless they made specific arrangements. I also only do this face-to-face. I will not provide this information in writing. I like to be able to have the personal interactions with the kids.

I start every audition with a speech about how casting works and the needs of the play rather than the actors who want to participate. I point out that the best cast may not be you even if you were the" best actor" for that particular role. Looking at the cast as a whole is part of the audition process and all potential actors need to understand that. I also encourage students to come get individual notes AFTER the entire audition process is complete. I will not answer any questions from anyone while casting but am happy to address individuals after the cast has been announced. I also do not answer parents. If a student would like to get individual notes about the audition including, but not limited to, strong choices, weaker choices, how they did (or didn't) fit into the cast, why they received a specific role or weren't cast I am happy to do so for the week following the announcement. I keep all of my audition notes so I can refer back to them as needed. After that, the notes are gone and the kids are out of luck... unless they made specific arrangements. I also only do this face-to-face. I will not provide this information in writing. I like to be able to have the personal interactions with the kids.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

I start every audition with a speech about how casting works and the needs of the play rather than the actors who want to participate. I point out that the best cast may not be you even if you were the" best actor" for that particular role. Looking at the cast as a whole is part of the audition process and all potential actors need to understand that. I also encourage students to come get individual notes AFTER the entire audition process is complete. I will not answer any questions from anyone while casting but am happy to address individuals after the cast has been announced. I also do not answer parents. If a student would like to get individual notes about the audition including, but not limited to, strong choices, weaker choices, how they did (or didn't) fit into the cast, why they received a specific role or weren't cast I am happy to do so for the week following the announcement. I keep all of my audition notes so I can refer back to them as needed. After that, the notes are gone and the kids are out of luck... unless they made specific arrangements. I also only do this face-to-face. I will not provide this information in writing. I like to be able to have the personal interactions with the kids.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

I'm working on a story for Dramatics magazine about dealing with theatre rejection and I'm finding this thread to be very helpful. Would any teachers be willing to speak more on the topic privately (and potentially connect me with stories of students who have successfully overcome initial rejection)? Thanks in advance if you can help out!

I start every audition with a speech about how casting works and the needs of the play rather than the actors who want to participate. I point out that the best cast may not be you even if you were the" best actor" for that particular role. Looking at the cast as a whole is part of the audition process and all potential actors need to understand that. I also encourage students to come get individual notes AFTER the entire audition process is complete. I will not answer any questions from anyone while casting but am happy to address individuals after the cast has been announced. I also do not answer parents. If a student would like to get individual notes about the audition including, but not limited to, strong choices, weaker choices, how they did (or didn't) fit into the cast, why they received a specific role or weren't cast I am happy to do so for the week following the announcement. I keep all of my audition notes so I can refer back to them as needed. After that, the notes are gone and the kids are out of luck... unless they made specific arrangements. I also only do this face-to-face. I will not provide this information in writing. I like to be able to have the personal interactions with the kids.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Some directors will do emails/letters referred to as "Thanks but no thanks" and they are sent to each student that was cast giving them specific notes on what to improve or why they may have not been selected as a cast member.  I think this helps the students have some 'reason' and helps deter any hurt feelings.  It is quite the time commitment if you chose to do so, BUT it may help.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

When I started at my current school I took instituted "best actor for the part gets it". The results in terms of quality of work was fantastic. The other result was parents complaining after every cast list went up - sometimes all the way to the superintendent! 
I have adopted a few policies that have pretty much stopped this (a few years ago I still had a parent go to the super - but she was cray-cray so, what're you gonna do?). 

1) All students get an audition packet which states clearly that they are auditioning for a part in the play - NOT a specific part in the show.

2) At the Audition workshop I verbally reiterate that - and also tell them if they cannot handle getting a chorus part instead of the lead, they should not audition,

3) I use a casting panel - this is the scariest thing I have ever done, because I cede all control, but it has also been the best. When i decided to do this, I decided that the panel had to be legit, not a rubber stamp for my wishes. I usually actually say nothing on casting when we decide the list. I facilitate, but the panel decides who is in, out, and in what part. The rules are that the panel must come to consensus, and they may only consider the audition they saw that day - not previous roles, classwork etc.  The panel is usually 7 people including myself, and while almost every show they cast a little differently than I would have - they have never been wrong! 
This panel allows me to invalidate all the "favorites" accusations etc. that come with this job. Though i think the parents and students still think I secretly control the outcomes.

4) The day the cast list is posted, after school, the panel will stay and meet with any student who wants feedback on their audition. ALL CONCERNS are handled at that time btwn. the panel and the student. I don't take phone calls from parents about audition. Students understand we will only discuss their audition, not anyone else's and that we will give them feedback on how to improve. 
This meeting with the students is similar to what sports does, and they do not take calls, so I implemented it as well. It can be painful, a lot tears sometimes, but I have also seen it completely change the way a kid auditions the next time - as they apply what we told them and make it work. It's a very valuable tool for students, and sometimes illuminating for us as well.

anyway, that was longer than I wanted, I run on. I also have a contract they sign, etc. If you want I can post a sample of this year's audition packet.

Jeff

Some directors will do emails/letters referred to as "Thanks but no thanks" and they are sent to each student that was cast giving them specific notes on what to improve or why they may have not been selected as a cast member.  I think this helps the students have some 'reason' and helps deter any hurt feelings.  It is quite the time commitment if you chose to do so, BUT it may help.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Please post it. It would be excellent, Jeff Davis. I am seriously thinking of going in this direction this year.

When I started at my current school I took instituted "best actor for the part gets it". The results in terms of quality of work was fantastic. The other result was parents complaining after every cast list went up - sometimes all the way to the superintendent! 
I have adopted a few policies that have pretty much stopped this (a few years ago I still had a parent go to the super - but she was cray-cray so, what're you gonna do?). 

1) All students get an audition packet which states clearly that they are auditioning for a part in the play - NOT a specific part in the show.

2) At the Audition workshop I verbally reiterate that - and also tell them if they cannot handle getting a chorus part instead of the lead, they should not audition,

3) I use a casting panel - this is the scariest thing I have ever done, because I cede all control, but it has also been the best. When i decided to do this, I decided that the panel had to be legit, not a rubber stamp for my wishes. I usually actually say nothing on casting when we decide the list. I facilitate, but the panel decides who is in, out, and in what part. The rules are that the panel must come to consensus, and they may only consider the audition they saw that day - not previous roles, classwork etc.  The panel is usually 7 people including myself, and while almost every show they cast a little differently than I would have - they have never been wrong! 
This panel allows me to invalidate all the "favorites" accusations etc. that come with this job. Though i think the parents and students still think I secretly control the outcomes.

4) The day the cast list is posted, after school, the panel will stay and meet with any student who wants feedback on their audition. ALL CONCERNS are handled at that time btwn. the panel and the student. I don't take phone calls from parents about audition. Students understand we will only discuss their audition, not anyone else's and that we will give them feedback on how to improve. 
This meeting with the students is similar to what sports does, and they do not take calls, so I implemented it as well. It can be painful, a lot tears sometimes, but I have also seen it completely change the way a kid auditions the next time - as they apply what we told them and make it work. It's a very valuable tool for students, and sometimes illuminating for us as well.

anyway, that was longer than I wanted, I run on. I also have a contract they sign, etc. If you want I can post a sample of this year's audition packet.

Jeff

Some directors will do emails/letters referred to as "Thanks but no thanks" and they are sent to each student that was cast giving them specific notes on what to improve or why they may have not been selected as a cast member.  I think this helps the students have some 'reason' and helps deter any hurt feelings.  It is quite the time commitment if you chose to do so, BUT it may help.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Some directors will do emails/letters referred to as "Thanks but no thanks" and they are sent to each student that was cast giving them specific notes on what to improve or why they may have not been selected as a cast member.  I think this helps the students have some 'reason' and helps deter any hurt feelings.  It is quite the time commitment if you chose to do so, BUT it may help.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Re. the idea of the director offering "reasons" for not getting cast.  I don't know that I find this compatible with the nature of auditions.  I don't view auditions as a teachable moment the way some do.  Often casting boils down to things outside the actors' control i.e. height or look etc.  Often an actor will work their hardest in the audition, but someone was simply better.  I'm not sure that hearing these hard truths help young actors. 

Some directors will do emails/letters referred to as "Thanks but no thanks" and they are sent to each student that was cast giving them specific notes on what to improve or why they may have not been selected as a cast member.  I think this helps the students have some 'reason' and helps deter any hurt feelings.  It is quite the time commitment if you chose to do so, BUT it may help.

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Contracts are a good idea as is some sort of statement that students sign on their audition information sheet stipulating that they will accept any or no part given and that they will work to the best of their ability to produce the needs of the script.

Some things I have found to help make the process of casting easier on all through out the years is to build a program that 1) features a lot of student talent 2) seeks to place students in the "right part" but also seeks to spread around the wealth of those opportunities through out the season or over the years.

Understudies and swings are also a really good idea, too.  It is very nice to have people to fill in parts when actors are not available and one can learn a lot from understudying a role.

A student parent night before the cast list is announced or before auditions is a really good idea, too.  There you can explain to the students and parents your philosophy and your goals for the program, that goes a long way.

Looking to form a parent leadership team also helps.

As does having another colleague sit in on auditions to get another set of ears and eyes so to speak as well.

I think judging from your post, you are headed in the right direction.

Best

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Oh, the anxiety around casting!  I feel your pain.  A few tips that have made my life easier...

1.  Allow audition feedback ONE WEEK after auditions.  I find that this allows for parents and students to remove the emotions from the situation.  It is important that this policy is publically placed prior to auditions.  I also only give feedback to the student who auditioned, not their parent.  At each audition feedback session, I start with two questions. What were you proud of in your audition?  What do you wish you could have improved on?

2.  I find that theater teaches students (and parents) how to deal with rejection, but for the most part, we put out a cast list and the kids have to figure out how to handle the rejection for themselves.  We as teachers often miss the crucial step of modeling or explaining how they should handle the "rejection."  I write a letter that accompanies our cast list to help students (and parents) through this process.  I also always try to humanize myself in the process (helpful to remind others that we are, in fact, humans!).  The last letter I wrote sounded like this:

"When I am not cast after what I feel is a great audition, my first reaction is a mix of anger and self-doubt. I prepared the material, I cried on cue, my tactics were unqiue—so why wasn't I chosen? I inevitably turn inward and start to rip apart my performance and consequently, myself.

These feelings are pretty normal and natural, but they’re also not very helpful. So, take a breath and remember, many casting decisions are not about how talented you are, but who is the right fit.  As much as we love Will Ferrell, he would never be cast as James Bond, or Amy Poehler as Katniss.

When I am not cast, I take the time to review my audition and write down what I did well, and what I can work on.  I turn my 'rejected' feeling into motivation. Download the music from 'Rocky' and start focusing on your next move. Get pumped. Set goals. Use that energy to make changes and improvements for your next audition."

3.  Look at the way you run your tech theater program.  Will everyone who wants to be able to join crew?  How can you make crew feel just as important as the cast?  Hopefully, you've built an awesome community that the students simply want to be a part of. To expand opportunities for our crew, we costume our ushers in something similar to the show, and they work every show.  For our upcoming musical "Mary Poppins," they are dressed as chimney sweeps.  

4.  We created production assistants.  Production assistants are essentially understudies.  I have one girl and one boy.  They fill in for any actor or actress who is missing during a rehearsal.  They also help me with all producer type jobs: collecting forms, ordering t-shirts, program layouts, etc.  This position is my right-hand and is often fairly coveted because I hand pick them and it comes with a lot of responsibility.  I find this model preferable to understudies because I hate to ask understudies to do all the work to study a role and never get to perform.

While those are a few tips of what's worked for me in my situation, I do have an idea for something to "expand" your "cast."  The music program at your school is very strong, and your students are capable of teaching and arranging their own music.  What if there was period music sung by your students?  You could do this live backstage with a mic or pre-record it.  You could even ask them to perform as the house music before the show and at intermission. It could allow more students to feel involved in the performance aspect without having to add parts to the show.  Because this is a skill your students already have, it could potentially be very low maintenance and involvement for you. 

Contracts are a good idea as is some sort of statement that students sign on their audition information sheet stipulating that they will accept any or no part given and that they will work to the best of their ability to produce the needs of the script.

Some things I have found to help make the process of casting easier on all through out the years is to build a program that 1) features a lot of student talent 2) seeks to place students in the "right part" but also seeks to spread around the wealth of those opportunities through out the season or over the years.

Understudies and swings are also a really good idea, too.  It is very nice to have people to fill in parts when actors are not available and one can learn a lot from understudying a role.

A student parent night before the cast list is announced or before auditions is a really good idea, too.  There you can explain to the students and parents your philosophy and your goals for the program, that goes a long way.

Looking to form a parent leadership team also helps.

As does having another colleague sit in on auditions to get another set of ears and eyes so to speak as well.

I think judging from your post, you are headed in the right direction.

Best

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Have you read anything by Jo Beth Gonzalez? Her philosophy has really changed the way I handle casting. She points out that we are producing theatre in an educational environment, and yet we handle casting in like it's handled in a business environment (aka The Real World). It can be a humiliating and fearsome process for our students, and we often neglect the feedback that is second nature to the rest of our teaching. 

So, she suggests handling it like this:

• Create a form that the director or casting panel use for each student. The form requires both positive and critical feedback about each student auditioning.
• Cast your show.
• Create a letter for each student (I used some fancy Google footwork make this part less labor intensive) that details whether or not that student has been cast and gives that student both positive and critical feedback curated from the form... each and every student who auditioned gets this. And each receives the feedback.
• On casting day, put each letter in an envelope with the student's name on it.
• The stage manager hands out the envelopes and the rule is that nobody can open their envelope in the room. (Some open it just outside, others wait to go home and open it with mom, others hole up in a bathroom.)
• The cast list is posted when everyone accepts their roles.

Since having adopted this, casting has been such a positive experience! Students (both those who were cast and those who weren't) love getting the feedback. Since everyone gets equal parts positive and critical feedback, there's no comparing of scores. Students know what they do well and know what can be improved. The anxieties are dissipated, as those who need support can get it. 

It's definitely more work, but I've been able to set up a Google Form > Google Spreadsheet > Autocrat Mail Merge > Google Doc workflow that helps automate things. The most time-consuming part is curating comments from the auditions and putting those into the letters. But it's time well-spent. I enjoy looking over what comments the students receive. It helps me teach them more effectively in the long run.

Break a leg!

Danielle

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

This is one of those, "why didn't I think of that before?" moments!

Do you - or does anyone - have an effective feedback form that you're willing to share? My auditions are next week and I'm definitely going to try this!! I generally post the cast list online anyway - and always on a weekend - which has worked wonders to alleviate pressure, but I LOVE the idea of ALSO providing audition feedback in a positive, educational manner. 

Have you read anything by Jo Beth Gonzalez? Her philosophy has really changed the way I handle casting. She points out that we are producing theatre in an educational environment, and yet we handle casting in like it's handled in a business environment (aka The Real World). It can be a humiliating and fearsome process for our students, and we often neglect the feedback that is second nature to the rest of our teaching. 

So, she suggests handling it like this:

• Create a form that the director or casting panel use for each student. The form requires both positive and critical feedback about each student auditioning.
• Cast your show.
• Create a letter for each student (I used some fancy Google footwork make this part less labor intensive) that details whether or not that student has been cast and gives that student both positive and critical feedback curated from the form... each and every student who auditioned gets this. And each receives the feedback.
• On casting day, put each letter in an envelope with the student's name on it.
• The stage manager hands out the envelopes and the rule is that nobody can open their envelope in the room. (Some open it just outside, others wait to go home and open it with mom, others hole up in a bathroom.)
• The cast list is posted when everyone accepts their roles.

Since having adopted this, casting has been such a positive experience! Students (both those who were cast and those who weren't) love getting the feedback. Since everyone gets equal parts positive and critical feedback, there's no comparing of scores. Students know what they do well and know what can be improved. The anxieties are dissipated, as those who need support can get it. 

It's definitely more work, but I've been able to set up a Google Form > Google Spreadsheet > Autocrat Mail Merge > Google Doc workflow that helps automate things. The most time-consuming part is curating comments from the auditions and putting those into the letters. But it's time well-spent. I enjoy looking over what comments the students receive. It helps me teach them more effectively in the long run.

Break a leg!

Danielle

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

This is one of those, "why didn't I think of that before?" moments!

Do you - or does anyone - have an effective feedback form that you're willing to share? My auditions are next week and I'm definitely going to try this!! I generally post the cast list online anyway - and always on a weekend - which has worked wonders to alleviate pressure, but I LOVE the idea of ALSO providing audition feedback in a positive, educational manner. 

Have you read anything by Jo Beth Gonzalez? Her philosophy has really changed the way I handle casting. She points out that we are producing theatre in an educational environment, and yet we handle casting in like it's handled in a business environment (aka The Real World). It can be a humiliating and fearsome process for our students, and we often neglect the feedback that is second nature to the rest of our teaching. 

So, she suggests handling it like this:

• Create a form that the director or casting panel use for each student. The form requires both positive and critical feedback about each student auditioning.
• Cast your show.
• Create a letter for each student (I used some fancy Google footwork make this part less labor intensive) that details whether or not that student has been cast and gives that student both positive and critical feedback curated from the form... each and every student who auditioned gets this. And each receives the feedback.
• On casting day, put each letter in an envelope with the student's name on it.
• The stage manager hands out the envelopes and the rule is that nobody can open their envelope in the room. (Some open it just outside, others wait to go home and open it with mom, others hole up in a bathroom.)
• The cast list is posted when everyone accepts their roles.

Since having adopted this, casting has been such a positive experience! Students (both those who were cast and those who weren't) love getting the feedback. Since everyone gets equal parts positive and critical feedback, there's no comparing of scores. Students know what they do well and know what can be improved. The anxieties are dissipated, as those who need support can get it. 

It's definitely more work, but I've been able to set up a Google Form > Google Spreadsheet > Autocrat Mail Merge > Google Doc workflow that helps automate things. The most time-consuming part is curating comments from the auditions and putting those into the letters. But it's time well-spent. I enjoy looking over what comments the students receive. It helps me teach them more effectively in the long run.

Break a leg!

Danielle

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

I have never had many complaints about casting after my first couple of years in a school.  I think there are probably a few reasons for that.  The most important, I believe, is that I am utterly consistent in my methods of handling auditions and casting.  

All auditions are open.  Every single person auditioning watches every other person auditioning.  (I love those moments when the absolutely right combination of actors reads together and the whole room knows it.)

I do cold readings for every extracurricular show besides Shakespeare, where I ask each student to prepare a one-minute monologue in addition to doing cold readings.  I read every student in the room before I read any student a second time. 

For class shows, I teach an audition unit first, then have formal auditions where students have numbers and go in order, then do cold readings.  

At the end of the second (and final) day of auditions, I allow 10 to 15 minutes for students to grab scene partners and read any character for which they do not feel sufficiently read.  Once in a while, a student will show me a quality I didn't see previously, but the main thing is they don't leave saying, "I would have gotten that part, if I had had a chance to read for it again!"

I send an email to myself, with all the cast members as BCC, listing the cast and welcoming them aboard.  

I send another email to myself, with students not cast as BCC, with the subject "I'm sorry I couldn't cast you."  I send the cast list, explain about Saturday work days and other ways they can be involved in the show, and encourage them to audition again. 

I make no apologies for casting a senior who has taken four or five theatre classes over a younger student who may have talent, but has not taken classes, because I can't predict how much closer that unknown student may progress over the rehearsal period, and I know the skills and work ethic that senior has developed.  (If a talented student who has taken several classes with me isn't a better candidate than a student with just raw talent, I am grossly overpaid.)

My Thespian troupe has my back about casting.  And I love them for that.  They trust me.  

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

------------------------------
Jason Peck
St. Luke's School
Ridgefield CT
------------------------------

If you are offering everyone a position backstage who auditions, how do you make sure that your "technical" students get positions and are not aced out by on stage performers who did not get a part?  There are several of your students who will have no interest in performing on stage but want to be involved.

Technical theater gives the quietest students a voice. 

*EDIT*  I would also argue that looking at a backstage position as a "consolation prize" devalues what we do in the technical side of theater.

Thanks,

Jeff

------------------------------
Jeffrey Koontz
Technical Associate
Omaha NE

Original Message:
Sent: 08-25-2016 07:33
From: Jason Peck
Subject: Cast List Let Down

Next week we hold our auditions for our Fall production of ALL MY SONS.  This is my second year at the helm and we had a great fort year together (last Fall's production of Lisa Loomer's DISTRACTED won the prestigious Connecticut Halo Award for "Best Contenporary Play" in the entire state.) up to this point our school has operated from a "you audition, you are cast" mold.  But for the first time I am instituting a Fall casting policy that dimly states that auditioning for the play does not guarantee you a role.  I've added a caveat that for all who audition I will find a role backstage.  I am bracing for some potential fall out- going as far as having parents and students sign a co tract prior to auditioning stipulating they understand the policy but I am sure their still will be parent phone calls/emails and tears.  Can anyone let me know how you best deal with cast list disappointment?  We are a private school so simply stating that I will not field any questions about casting isn't really an option.  Love to hear your thoughts!

Best,

------------------------------
Jason Peck
St. Luke's School
Ridgefield CT
------------------------------