We experimented with a few different things. Season casting did not work out, for us, in the main because of transitory students, and other commitment issues arising that were not foreseen by either student or teacher at the time of casting.
I loved Mrs. Christopher's process of not using a cast list posting, but the acceptance/rejection letter thing. I would have probably tried that, to see how that went. I can imagine it makes dealing with the decision made a lot easier on the students, and helps to save face (particularly for that student who was sure that they were getting the lead, only for it be announced for all to see that they got Spear Carrier #5).
To answer directly, briefly:
We did co-curricular and extra curricular productions.
Extra-curricular productions were auditioned in an audition process, sometimes with callbacks.
(Quite a few times I would have an idea of who I was wanting to cast, but then a completely new person might turn up for auditions who would shake things up a bit. Earlier on in the program I took bigger risks on unknown performers, but due to getting burnt a couple times, main roles usually ended up going to those who auditioned well and had a proven track record).
I did use a rubric, which I can't access right now, but it was very similar to the one posted by Mrs. Christopher, with a space for more detail critique underneath the scoring rubric. Casting was decided through a wrap up meeting with me, my wife, and my two senior student production managers for the show.
Co-curricular, class productions were told that everything they were doing in class, performance wise, was an audition, just like real life. I let them know that they could express a preference for a particular role, and I would take their preference into consideration, and sometimes they would get their preference. I would cast the show under consideration through observation and what I felt would challenge or push students; I also took into consideration which of my students were in extra curricular shows and balance their roles out (if they were a main extra curricular, then they'd have a smaller role in the co-curricular).
I liked to spread my actors around and not cast the same leads all the time, so folks had a basic understanding or expectation that at some point, they were likely to get a main or lead role, but we also hammered the nature of ensemble relentlessly, to try and avoid that butt-hurt mentality that arises from operating out of the conceit that only playing the main roles is what matters. So that was nice.
Hope this helps. I taught in Florida at a rural high school. Email me if you absolutely need the name of the school.
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Phillip Goodchild
Theatre Arts Instructor
Chapter Director, Ontario Thespians
Etobicoke ON
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Original Message:
Sent: 09-12-2018 11:16
From: John Whapham
Subject: Auditions, Season casting, process and rubrics
I am studying the audition and casting procedures and policies at our school.
I am looking for input from other high school theatre directors. I am particularly interested in hearing from those of you who offer classes with co-curricular productions as well as purely extra-curricular productions at their school.
Can you email me a brief description of your audition process and any rubrics or scoring devices you use at initial auditions or callbacks? How do you give feedback after auditions? Do you have a formalized process?
I am also interested in hearing from any of you if you do season casting at your school and what benefits you see in it.
Please don't feel that you need to compose a lengthy description. A brief explanation of what you do with any attached documents you use would be great.
Finally please include your school and the state and city where you are located.
Please send your responses to me directly at whaphamj@sycamoreschools.org
Thanks so much!
John Whapham
Theatre Director
Sycamore High School
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