An actor, singer or dancer is rarely cast in a musical on the strength of their first audition. Casting a West End musical or a Broadway show is a lengthy process (one UK client had to endure 9 recalls at her own expense before she got the part). All the major musicals have now adopted the Recalls system to help them find the perfect performer for the part. This article takes you through the different stages of the recall system, and describes how a coach can support performers through the auditioning process.
I'm assuming that you have either succeeded in or bypassed the preliminary stage of auditioning, the open call (or cattle call), and completed the first full call.
Getting a recall means that the company has decided you might fit the part and are at approximately the right level for them. They want to find out more about you and how you deal with the material in the show. They will usually give you music and script for the roles they want you to audition for.
If the production company haven't given any music or instructions, but has asked you to sing your own choice for them again, my advice is NOT to take new songs "to show something different" but to polish the same songs that were sung in the first audition. I also recommend wearing the same outfit. It's the song, the performance and the clothing that got you the recall, so why risk changing their minds?
During a coaching session for auditions, we focus on the song, the character and the story - what's the package that we're selling? This technique, used for first auditions with your own choice of song, can be applied to the recall. We'll explore the songs the casting panel has provided, identify the style elements of the show and incorporate them into the song (and your voice). We will also categorize the character's personality traits, and test different versions of the scenes and songs to bring a consistency to both the singing and speaking.
That's the first major hurdle. But the second recall is different again. By this time you will probably have been given not just the music but also some clues or advice on how the company wants the character to be played. In coaching for the second recall, we might experiment with different readings of the song based on different subtexts. It's important in the second recall that you give a clear performance, but can remain flexible as an actor.
The third recall is usually a more flexible event. You now know that you are at the right level and appropriate for the role. Often in the third recall the director and musical director will work with you in detail. This is the time to listen and experiment! Occasionally other auditioning actors will be brought in to "match up" a potential cast. My coaching sessions for the third recall are much more focussed, using information and hints given by the panel.
For example, working on auditions for the musical Spring Awakening recently, one of my clients was looking at three different roles and had been given very specific instructions from the directors for all three songs. So we worked on more aggression and bite in the consonants for one character, a more fluid, lyrical feel with some musical style tweaks for the second, and a hypnotic, sexually dominant feel for the third.
Another client was working on recalls for Mamma Mia and was up for two of the three leading ladies. So we worked on the dialogue for each character, identifying and shaping the differences between the two roles, finding the essence of their speech patterns, speed of delivery, pitch range and characterisation. Then we carried those differences into the songs to give a complete, identifiable package for each of the leads.
For the fourth, fifth or sixth recall you will usually have built up a relationship with the casting panel. They will also have more time to let you know personally what they want you to do. You should be able to find out if there are any weaknesses in your presentation, and what you can do about it. Experimentation is vital here so know your material!
Occasionally at this point, it's less about you and more about the casting panel being in disagreement about what the role requires. Perhaps a show originates on Broadway and comes over to the West End (or vice versa). In these cases there is often an American casting contingent who might have very different ideas. Remain calm and be yourself. Be prepared to change everything that you have done so far. Stay focussed and open, and listen very carefully to what you are being told. In the rare event that you receive conflicting information, follow the advice of the person with the highest authority!
And if you don't get any further in this particular journey, remember that the casting panel in your country has already approved your performing and will remember you for other shows.
Auditioning for jobs is a fact of life for the actor singer dancer. Once you become more successful at singing auditions, casting directors start to see you in other roles and you can bypass the first stages of auditioning (although even for the stars auditioning never goes away - "Would you like to pop in for a chat and a little sing?").
Landing a role in a Broadway show or getting a West End lead can be incredibly rewarding. Working the Recall System in this way can help you understand the process and get you there quicker.
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Jeremy Fisher is the author of Successful Singing Auditions, and trains singers and performers to find and maintain their best. Sign up for Jeremy's free newsletter containing original interviews, pre-release offers and receive your BONUS free copy of "86 things you never hear a singer say" at http://www.vocalprocess.co.uk
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