Open Forum

Having a hard time dealing with some major cast list dissapointment. I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome! ------------------------------------------- Jason Peck Brentwood School Los Angeles CA -------------------------------------------

I have this note on my website about the casting process:

Auditions at Olathe South are very competitive. We cast students that do the best on the day of the audition. Not every show has roles that fit every student. One of our former students who is a professional actor, did not get the lead in the musical his senior year. He was clearly our best actor, but he was not right for the lead role in the musical. Several times, our best performer has gone from being considered for the lead to not making the show at all. This is hard to explain and even harder to deal with when it happens to you or your child. Putting together the cast/crew of a show is a complex puzzle. You have to fit the pieces together in a way that will help all of the students shine in each particular production. Sometimes you get the lead, sometimes you are in the ensemble, sometimes you are on crew, and sometimes you don't make the show. 

This can be difficult to understand for students and parents. It is the worst part of a theatre teacher's job. Casting students is exciting, but cutting kids is painful for everyone. Unfortunately, dealing with rejection is part of theatre. If you want to be involved in Olathe South Theatre, you need to be excited to audition for any role, and willing to be a part of the crew. 

Learning how to endure the rejection, continuing to work, and coming back to audition are the way to succeed in theatre. 

In the Repertory Theatre classes, we read Audition by Michael Shurtleff. Mr. Shurtleff was a legenadry 

Broadway and Hollywood casting director. He wrote this book to help other people learn about the audition process. The following are two short passages from the book that deal with not being cast. We share these passages with students, but we think they are also important for parents to hear, as well. 

Why Didn't You Get the Role? 

"Actors must not worry about why they don't get a role; they should only concern themselves with doing the best ... audition they know how to do. ... Many times I have heard directors say about an actor: 'That is 

the best audition we'll ever see of that role. Too bad we can't cast him.' Their regret is genuine. But there has to be a balance in casting-the parts must fit like a jigsaw puzzle-and there are times when the best auditioners don't 'fit.' An actor cannot concern himself with that; there lies madness. Just go ahead and 

audition well, cry a little when you don't get the role you want, but never ask why. The why is usually a series of imponderables over which the actor has not control." 

How Do I Find Out Why I Wasn't Accepted? 

"There is no value in finding out why you weren't accepted; you'll rarely learn the truth, anyhow. Since all the considerations in casting are relative, what good will it do for you to find out you're too short for the leading lady or too tall for the leading man? The solution would be to go home and cut your leg off or put on a pair of stilts; neither will help you. Casting is a very subjective process for the auditors, naturally, no matter what objective criteria they use. Given readings of equal excellence, they are more likely to decide because "I like 

her." There's nothing you can do about that, so it's better not to concern yourself with it. The reasons for not choosing you are likely to be myriad and complex, from the fact that you look too like another actor already cast to their subjective reaction of not liking your looks or the timbre of your voice to the fact that you remind them of their first wife-reasons you can do nothing to control or alter." 

We hope that if you like theatre, you continue to audition. We announce auditions in the community through Remind (sign up on the Thespian page of the website). If you are still looking for performance opportunities this semester, you might check out MTYP, CYT, or Culture House. There are lots of ways to get on stage. Just keep auditioning and don't let anyone stop you from achieving your dreams.

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David Tate Hastings
Olathe Public Schools
Olathe KS
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Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

I'm amazed you can even do "Cabaret" at a high school!!!  If I tried it, I'd be run out of town.  Kudos!

The key is Marketing. You've got to sell your show and that includes selling your cast (and thus their parents) on how they are going to contribute to the show.  I found the only way to limit disappointment (you'll never eliminate it) is to have a non-cut program: everyone that auditions for the big musical is in the big musical.  You can't do this for every show, but for at least one musical, it's essential.

You did the 100% right thing (putting everyone in the show), but as you now realize not all of them know that.  Why? You didn't market it appropriately - you clearly separated one group of kids as "the show" and another group as the "pre-show."  To borrow a term from sports: you separated them into a practice squad and the team that will play on Sunday.  Both important, but only one is considered "glamorous."

Here's a possible solution: PUT EVERYONE IN THE SCRIPTED PART OF THE SHOW. This will allow you to market the show (and your program) as being inclusive.

How to do this? Have the group you were going to use as "pre-show" in "Wilkommen" "Tomorrow Belongs..." and the party scene. You can still have them do a pre-show section if you think it's needed, but they need to be in the show itself as well.  (Two suggestions for the pre-show: A medley of other Kander and Ebb songs and/or popular songs from the period such as: anything from Vera Lynn, Brecht/Weill, and "La Vie En Rose") 

It will require more time and energy to add staging for this group, but that staging/choreography can be very simple. The main focus will still be on the kids you cast in the leads, but now everyone is in the show and will learn from the process.  This can seem daunting at first, but the benefits for your future shows is immeasurable; you'll gain more parent support, build a larger audience, and grow the scope of your program.

Break A Leg!!!

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Josh Ruben
Fine Arts Head, Northwest Whitfield
Chattanooga TN
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

Hi all,

Yes, setting expectations in writing and in the audition contract is a good idea.

But, parents will be parents - even more so these days. So, you will always have to fight this battle. Even when you get it all right, the highest compliment you will hear is, "finally someone has realized the talent innately present in my child." 

And then, when you lead diva graduates you might here, "How will you ever survive without my wonderful child. She really made your program?"

Welcome to upper class independent school life.

We just did play that makes fun of this. It is called "the Audition." I found the play to be a bit hokey, but the themes about parents are` quite on point. I wonder how many of our parents saw themselves in the characters. It is a short play - it ran about 45 minutes. Maybe you could work it into your arts festival.

You do have an arts festival? You know where everyone can present a monologue or scene in a black box setting? When only 5 people show up to see that one student perform, maybe something will sink in....IDK. Just riffing.

John

Do you put up ads for auditions at theatres in your area?  That may take some pressure off of you.  

-------------------------------------------
Vicki Bartholomew
Playwright
Sherwood OR
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

There's been some good responses already about how to deal with parents/students. If admin gives you pressure, I'd pull the sports card. No one tells the football coach he can't put juniors on the starting squad or let a sophomore pitch in a finals game if they were deemed to be the best. If they want a quality program, they need to trust you. If they don't want hurt feelings, they are willing to tell kids they will get things simply by demanding them. Also, would they really make you take a part from a student once the cash list has gone up? ------------------------------------------- Nicole Pedroche Drama Teacher Covina CA -------------------------------------------
Original Message: Sent: 11-22-2014 12:27 From: Jason Peck Subject: Cast List Dissappointment Having a hard time dealing with some major cast list dissapointment. I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome! ------------------------------------------- Jason Peck Brentwood School Los Angeles CA -------------------------------------------

Nicole, I use that same sports language!  Great minds... :)

Handling parent expectations is always tricky, of course, even more so if the disappointment stems from a student not making the show at all, but as long as we're talking about a student who IS in the production, just not in as large a role as he or she wanted, I think parents and students need to be told explicitly that a good experience in theatre is not a function of how many lines, songs a kid has.  We, as theatre folk, know this, of course, but I think we forget to say it sometimes.  Heck, I've done a lot of acting in my life, and a lot that time (most!) has been in the chorus.  And, still, I've made this my "day job," as well as my hobby.  I don't look back on my own experiences and say "gee, my life in theatre would really have been great, had I been a featured character or a lead more often."  No, I treasure my experiences and welcome more.  And if I really believed that the productions I direct at school were only a good experience for those who have a lead role, I don't think I could find the strength to get out of bed in the morning.  I mean, I've directed thousands of students at this point, and a handful of them were the lead.  I don't look at those who were not and say, "gosh too bad they had a lesser education," and the reality is that, after the fact, neither do they, even years later.  Again, these are things we all know, but I think we need to talk about them more overtly.



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Ryan Moore
Ferndale MI
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Original Message:
Sent: 11-23-2014 23:27
From: Nicole Pedroche
Subject: Cast List Dissappointment


There's been some good responses already about how to deal with parents/students. If admin gives you pressure, I'd pull the sports card. No one tells the football coach he can't put juniors on the starting squad or let a sophomore pitch in a finals game if they were deemed to be the best. If they want a quality program, they need to trust you. If they don't want hurt feelings, they are willing to tell kids they will get things simply by demanding them. Also, would they really make you take a part from a student once the cash list has gone up?
-------------------------------------------
Nicole Pedroche
Drama Teacher
Covina CA
-------------------------------------------

Thank you all so much for your feedback!   Really helpful.  

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

Realize that it is part of the process from high school to professionals. I often work as a guest director in colleges and I hear the same arguments and complaints (although rarely from parents). There can only be one Juliet as their can only be one first string quarterback. I acted in an original script by Howard Sackler (author of Pulitzer Prize-winning The Great White Hope) directed by Ed Sharon (Broadway director, co-creator and executive director Law & Order). Half way through the rehearsal process, Sackler gathered the cast together; stated that the play wasn't working and that with permission from the playwright's estate was rewriting the play, which included cutting half the characters. He thanked the actors dismissed and went on with the production. I learned a powerful lesson. In theatre, disappointment is part of the theatre process. There are Broadway shows that close within days of opening (read Willaim Goldman's The Season for a great inside look at the highs and lows of a Broadway show). Leads change. Sutton Foster got her break because they fired the actress playing Millie. Great story for Foster, not so much for the Erin Dilly. Broadway-bound shows close out of town. The production of Lone Star Love, or the Merry Wives of Windsor, Texas had out-of-town tryouts in Seattle, Wash.  It was delightful country western retelling of Shakespeare's Merry Wives of Windsor, except  it was ruined by the performance of Randy Quaid as Col. John Falstaff. He changed his costume and hairstyle without consulting the director or producers. He was abusive to cast and crew. His behavior was so offensive that the entire Equity cast complained to the union which banned Quaid for life from appearing in an Equity production. Unfortunately, the show did not make it to Broadway. Disappointment! 

-------------------------------------------
James Van Leishout
Olympia WA
-------------------------------------------


Original Message:
Sent: 11-24-2014 17:21
From: Jason Peck
Subject: Cast List Dissappointment

Thank you all so much for your feedback!   Really helpful.  

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

There have been some great responses. Something I do before I begin the cattle call is tell everyone that I am casting the show for the best overall cast. Auditions are open (including callbacks) and someone may be the best for a specific part BUT not the best actor when I am looking at the cast as a whole. I also point out that I will choose the best perosn for the show. It doesn't matter what grade the person is in. If it is a close call I will choose based on seniority but only when 2 people are almost neck-in-neck.

I also invite any students, regardless of the coasitng, to come ask specific questions about thier perosnal audition. I pull out the notes that are taken over the course of the entire audition process and go over all of them. I do specify that the kids need to come to me themselves for explanations.

It was a little rough when I first instituted this policy (which I did my first show after I got to the school). By now, it is an excepted part of the program. :)

-------------------------------------------
Shira Schwartz
Chandler Unified School District
Chandler AZ
-------------------------------------------


Original Message:
Sent: 11-25-2014 10:55
From: James Van Leishout
Subject: Cast List Dissappointment

Realize that it is part of the process from high school to professionals. I often work as a guest director in colleges and I hear the same arguments and complaints (although rarely from parents). There can only be one Juliet as their can only be one first string quarterback. I acted in an original script by Howard Sackler (author of Pulitzer Prize-winning The Great White Hope) directed by Ed Sharon (Broadway director, co-creator and executive director Law & Order). Half way through the rehearsal process, Sackler gathered the cast together; stated that the play wasn't working and that with permission from the playwright's estate was rewriting the play, which included cutting half the characters. He thanked the actors dismissed and went on with the production. I learned a powerful lesson. In theatre, disappointment is part of the theatre process. There are Broadway shows that close within days of opening (read Willaim Goldman's The Season for a great inside look at the highs and lows of a Broadway show). Leads change. Sutton Foster got her break because they fired the actress playing Millie. Great story for Foster, not so much for the Erin Dilly. Broadway-bound shows close out of town. The production of Lone Star Love, or the Merry Wives of Windsor, Texas had out-of-town tryouts in Seattle, Wash.  It was delightful country western retelling of Shakespeare's Merry Wives of Windsor, except  it was ruined by the performance of Randy Quaid as Col. John Falstaff. He changed his costume and hairstyle without consulting the director or producers. He was abusive to cast and crew. His behavior was so offensive that the entire Equity cast complained to the union which banned Quaid for life from appearing in an Equity production. Unfortunately, the show did not make it to Broadway. Disappointment! 

-------------------------------------------
James Van Leishout
Olympia WA
-------------------------------------------


Original Message:
Sent: 11-24-2014 17:21
From: Jason Peck
Subject: Cast List Dissappointment

Thank you all so much for your feedback!   Really helpful.  

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

Hi Jason,

This is always a tough one.

One of the ways I handled it in the long run was to have a set of standing, explicitly stated, policies in place in regard to casting and production roles. The most important of these was that I rotated my leads. It was standing policy that if you got a lead in the Fall show, you would not get one in the Spring. Same for a lead in the Spring to the next Fall. You might get a supporting role, or a bit part, but you knew going in that you worldn't get a lead. (Example: My Romeo in the Spring went on to play Mustardseed in the Fall. He was great in both roles. My Lady Montague went on to play Titania. Also great.) I also had no Senior privileges and it didn't matter what your parents did for the boosters. (It became a kind of standing joke that to get a lead in my shows, you needed to be a Sophomore.)

What effect did this have on the program? Generally, a student might be disappointed, but she knew, up front, that she wasn't going to get every lead. Overall commitment to the program was more important. Take on a bit part. Take a tech position. I have been contacted by a number of universities receiving my students with compliments about how great their attitudes were when they arrived at college. They showed up with a sense of craft, no attitude, and ready to work. They already knew they weren't going to get every lead and they had learned the value of those smaller roles.

-------------------------------------------
Robert Smith
VA Co-Chapter Director
James Madison High School
Vienna VA
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

-------------------------------------------
Jason Peck
Brentwood School
Los Angeles CA
-------------------------------------------

I have had many problems in the past regarding casting/ audition issues and other selection related issues. This year I created this criteria (similar to what many people have stated):

GENERAL AUDITION AND REHEARSAL POLICY

1. PREFERENTIAL TREATMENT: UPPERCLASSMEN, THESPIANS, or GOVERNING BOARD MEMBERS are not subject to preferential treatment. Casting is determined by the quality of the audition, attitude of the performer, and commitment to the theatre company mentality.

2. SENIOR RULE: Everything will be done to guarantee a senior who meets "Active Participant" (5 Thespian points within one school year) requirements a role in the final show of the year. This does NOT guarantee them a lead role. Likewise, Honor Cords are only awarded to Active Participants.

3. EQUITY: Students who have previously played a lead role in a main stage may be deemed ineligible for another main stage lead role. This is to give new performers the opportunity to shine. As a former lead performer it is expected that you will offer support and camaraderie to less experienced performers. Students in non-leading roles should learn from those that have performed lead roles. Look to these individuals for guidance and encouragement.

4. GRADES. If you are incapable of maintaining your grades you will miss rehearsals held during IE and on after school remediation days. You will ultimately have to be replaced due to the massive amount of missed rehearsal time. If you fail to communicate your need for attending remediation or tutoring these absences will be held against you. If you are required at remediation and are caught skipping sessions for rehearsal you will be removed from the show.

5. HEALTH. Illnesses/ medical issues will not be held against you. However, chronic illness will result in a massive amount of missed rehearsal time. As a result you may be replaced. If you fail to communicate that you are ill or must miss rehearsal for appointments or other medical reasons these absences will be held against you. Keep in mind that reporting illnesses to the Attendance Office is not the same as reporting to the Program Director. This is handled on a case by case basis.

6. COMMUNICATION. Whatever the excuse for missing rehearsal- inform governing board 
(Treasurer)/ Program Sponsor as soon as reasonably possible-it will count against you. In the event of a non-emergency you should provide notification at least 3 days in advance.

7. UNDERSTUDIES. Understudy performances are dependent upon the number of understudies in total, and adequately demonstrated preparedness. Every effort will be made to notify understudies at least 3 weeks in advance if they will be performing. Do not expect to perform unless you've been informed by the Director. Otherwise, take understudy parts seriously. We have not performed a show free of the need for an understudy to step in for over 3 years.

8. Principal roles will be listed in the audition announcement. Unless otherwise noted you will not be considered for one of these roles unless you present a 1 minute monologue at the auditions. All other auditionees may complete the 1 liner audition protocol to be considered for any ensemble role. If you audition for a principal role you still will be considered for ensemble in the event you are not cast in the category of roles you auditioned for. 

9. Dismissal/ Replacement will be considered once you have missed 50% of the total rehearsal hours you have been required to attend. Example: you will be replaced within the first 10 required rehearsals if you miss 5.


I have this signed by my Principal and my Activities Director. So far, I haven't had any problems.

-------------------------------------------
Victoria Kesling Councill
Theatre Teacher
New Kent County Public Schools
New Kent VA
-------------------------------------------


Original Message:
Sent: 11-26-2014 07:45
From: Robert Smith
Subject: Cast List Dissappointment

Hi Jason,

This is always a tough one.

One of the ways I handled it in the long run was to have a set of standing, explicitly stated, policies in place in regard to casting and production roles. The most important of these was that I rotated my leads. It was standing policy that if you got a lead in the Fall show, you would not get one in the Spring. Same for a lead in the Spring to the next Fall. You might get a supporting role, or a bit part, but you knew going in that you worldn't get a lead. (Example: My Romeo in the Spring went on to play Mustardseed in the Fall. He was great in both roles. My Lady Montague went on to play Titania. Also great.) I also had no Senior privileges and it didn't matter what your parents did for the boosters. (It became a kind of standing joke that to get a lead in my shows, you needed to be a Sophomore.)

What effect did this have on the program? Generally, a student might be disappointed, but she knew, up front, that she wasn't going to get every lead. Overall commitment to the program was more important. Take on a bit part. Take a tech position. I have been contacted by a number of universities receiving my students with compliments about how great their attitudes were when they arrived at college. They showed up with a sense of craft, no attitude, and ready to work. They already knew they weren't going to get every lead and they had learned the value of those smaller roles.

-------------------------------------------
Robert Smith
VA Co-Chapter Director
James Madison High School
Vienna VA
-------------------------------------------


Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

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Jason Peck
Brentwood School
Los Angeles CA
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This is such a tricky subject, and depends on the aspects of your program.  If you are in a smaller school or one where there is not a massive turnout for auditions (100 plus) than the consideration for me becomes what am I trying to achieve with my program.  If I need to build it, I find a way to use everyone.  I did Cabaret and I know there were around 30 students in it. I sometimes use a mini-cast system where the real beginners are involved in a couple of large numbers, and they use the opportunity to learn about being in a musical.  As for seniors, I try to choose a show that will work for the senior group that has put in the years on stage, but I always tell them that the best person for the overall show will get the part.  Senior privilege only comes into play when I have 2 or more people that would be good in a part and one is a senior, but I am very careful not to choose a show that does not have opportunities for my seniors.  
   If you are running a program that produces students each year that go on to BFA programs, than upping the stakes for casting is part of teaching them the realities of college theatre and beyond.  Because of the size of my school, competition is the one thing we can't provide the motivated students and I encourage them to go audition for shows where the competition will be fierce.  Too many times they believe they are prepared to take on the top programs because of their successes in a school that has relatively few participants. 
   As for the entitlement and the parents, good luck with that one.  I can only imagine in your neck of L.A.  Transparency and clarity and maybe a good suit of armor!


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Sheryl Goodspeed
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Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

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Jason Peck
Brentwood School
Los Angeles CA
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There have been many good responses here, but I don't believe I've seen any that address the issue of students supporting the show in other ways when they have not been cast.  

My Thespians know that they are required to make a significant contribution to each and every one of our shows if they wish to remain on active status with the troupe.  Auditioning does not count.

Likewise, they know they cannot become members of our Thespian troupe without participating in at least two areas of involvement.  We have never inducted anyone who has only acted in shows.

Some stage parents find it hard to watch their darlings come home with paint on their jeans or needle pricks in their fingers from a Saturday work day, and some of them won't even attend a show where the darlings are "just" moving scenery or running lights or sound. But that work is so good for the students, not just because of what they learn, but because it allows them to still play an important role in the production, rather than feeling completely rejected.  Handing out programs and selling concessions builds character.      

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C. J. Breland
Asheville NC
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Original Message:
Sent: 11-22-2014 12:27
From: Jason Peck
Subject: Cast List Dissappointment

Having a hard time dealing with some major cast list dissapointment.
I auditioned 36 for CABARET cast 18 and am using 18!for some preshow entertainment, servers, waiters, etc. I am being flooded my parents about their child not getting the part they wanted. The issue for me, I think, is that I teach in a very expensive private school in Los Angeles with high powered clientele (celebs, CEOs, trust funders, etc) people who are not used to hearing no. That's trickled down to their kids and I'm trying to balance my sensitivity to an entitled upbringing with a respect to my casting process. I do contracts, everyone watches each other but the school has a tradition of deferring to Seniors so when an underclassman gets a speaking role all hell breaks loose. Trying to rid the school of this but my music director who has been there for years is wrapped up in Senior entitlement. School policy dictates I MUST respond to an email in 48 hours. I direct two main stage shows and three second stage shows each school year. Opportunities abound. Advice welcome!

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Jason Peck
Brentwood School
Los Angeles CA
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