Some say directing is 60 percent casting, others say 90 percent. Regardless, it’s a lot. There is not a more important single decision you will make during the production than who you put into a role. (Though your choice of designers —set, costume, lights, and sound —is right up there and is, of course, also a kind of casting.) Director Ron Eyre once said that when you place someone in a role, you are plugging in to his or her entire “life stream.” As in a marriage, you are taking responsibility for living with that person’s unique constellation of virtues and vices. Certain doors will be open, others will be tightly closed, and still other doors may open with a slight nudge. Learn as much as you can about what you’re getting yourself into. In addition to an audition, inquire of others about the person. Is she polite, professional, and responsive? Speak with her. Study the résumé carefully: Has this person done roles like this before? This size? This style? This level? Take the time to find the answers. Yes, you might still get fooled from time to time, but that’s hardly a reason to neglect your due diligence.
If he does, hesitate before casting him. It is all-too-common to see the perfect audition lead to a performance that’s lacking. Why is this? A walking, talking character is quite different from a trained, professional actor. A true professional will grow into a role, analyze the script and develop insights, anticipate and deal with problems, create the required illusion, and develop a relationship with the other characters and the audience that no amount of “typing” can easily achieve. In short, a pro will know what to do. And it frees you from the onerous task of nursing one actor’s performance at the cost of neglect to the others. That would be sure to sow resentment. An important distinction, then, to make at this early stage in the process is not, “Is he convincing as the character?” but “Can he play it?”
This is not to say you should ignore externals. Everything tells to an audience and nothing about the actor should undermine what the script calls for —a tall character should be played by a tall actor, a young ingénue by a young actress. But when forced to choose between two competing candidates, value skill and experience over the look or essence of an actor. Respect the mastery of craft that a skilled professional can provide.
When auditioning, actors know they are being looked at, listened to, evaluated, and judged. Their livelihood and self-image may hang in the balance. Everything you do or say as the auditor can have enormous emotional impact, so put actors at ease by letting them know you know what you’re doing. Be informal and polite. Be conversational. Be efficient. (See 26 . You perform most of the day, and 70 . Please, PLEASE be decisive.) You cannot expect the actor’s best work in an audition situation; it’s too early in the process and too stressful. To maximize the actor’s comfort and ensure the best possible work, be encouraging but keep complimentary remarks general — “That was fine.” “Nice reading.” —lest the actor misinterpret your praise as an indication of promised employment. Never be rude. Never make any promises. Don’t make final decisions while the actor is in the room; no matter how stellar his audition, the next actor is sure to reveal possibilities you never imagined.
Do thank the actors. And let them know how and when they’ll be contacted if there is interest.
Your job in auditions is to observe and evaluate. Have the actor read with or to someone or something other than you: the wall, the chair, the production assistant, or the reader you brought in precisely for this purpose.