Over the last year, I've auditioned for at least ten projects. Out of all those auditions, I booked half, an unusually good ratio for me, but then again, I'm not in a super competitive area like NYC. No matter what city you're in though, auditions where you don't get the part start to take a toll on your self-esteem. Your thoughts begin to turn for the worst, and sound something like this: "You were terrible. Of course they didn't give you a callback (part, auditions, etc.)! You'll never make it in this field. Dad was right... I should take advantage of my English degree." And it goes on, and on, and on, and on, and on. You're killing your chances with your negative BS, and I'm here to tell you why you probably didn't get the part:

You think your kid is talented (what parent doesn’t, right?).  Maybe talented enough to make a career out of this music or theater thing.  But those careers are pretty unstable, aren’t they?  There must be a million actors waiting tables hoping for their big break and musicians working ‘day’ jobs so they can play with their band at night.  But maybe, just maybe--your kid could be the one to make it.  So you agree (maybe reluctantly) to look at college music and theater programs.

I’m a flutist and college music professor with over 30 years of teaching and playing experience.  In 2017, my older daughter decided to take auditions for collegiate musical theater programs.  While I am very familiar with how auditions work for music programs, adding theater to the mix brought new challenges.  I started reading as much information as I could.  I had several panicky moments--what if she had never taken tap dance lessons?  What about acting camp?  Should she ignore her school theater program for other opportunities in the community? 

Now that we are towards the conclusion of the audition season for Musical Theatre and Acting BFA programs, I know that everyone involved may be a little stressed out. However, it's never to early to turn attention to the Juniors who are preparing for this process next year. As an audition coach, let me offer some observations to both students auditioning and faculty members who are adjudicating auditions next year. Hopefully, my observations will make the process a little less stressful.

Oh, the dreaded headshot! I don’t know about other actors, but just the word “headshot” makes my stomach churn. I hear “headshot” but I see dollar signs and my crooked teeth. Headshots are many things to an actor- a tool, a representation, a business card in a sense. They are also expensive, annoying, and often misunderstood. Having just had my headshots redone, the frustration is fresh in my mind. While I was fortunate enough to find a professional, affordable photographer with experience in actor headshots, I was still reminded of how delicate the process is.

While there isn't a surefire way to be accepted by every school you audition for, there are certain mistakes that can happen that might ensure you won't be accepted by any of them. As cruel as it sounds, no matter how much preparation you put in, what happens in that room is all that matters. Here are some mistakes I've been seeing during auditions. 

Let's be honest, nepotism is rampant in theatre communities. Whether it's professional settings, community or educational, directors casting their children in lead roles is practiced far and wide. While I don't agree with the practice and do find it more than a bit unethical, I've come to the realization that rather than getting stressed, I have two firm beliefs for those who do it

In this field, rejection is common. Sometimes we blow an audition. Sometimes we drop the ball on an interview. Sometimes we get the job and make a mistake…and lose that job. Often in these cases, the blame is on us. We might not have prepared well enough, focused well enough, paid close enough attention, or done enough research. These times are hard, but them’s the breaks. If you don’t do the work, you don’t get (or keep) the job.

The entertainment industry is rough, man. We actors pound the pavement day after day to book one job, but you know what? It’s totally worth it. However, after some speculation, I began to wonder what Casting Directors could do to help us actors book that job more easily? What can they do to make our audition experience less stressful? They give us do’s and don’ts of what they need from us in the room. What if we did the same for them?

I think overall, that I have learned it doesn’t matter when you audition.  What matters is that you go and give it your best shot.  Because when you audition won't matter, if you are what the director wants and you are right for the role, you will wind up getting the part.

The works of Joe Iconis are becoming something of an audition standard right now. In my latest rounds of college auditions, I've heard more people use "Michael in the Bathroom" than ever before.