How to Prepare for a Community Theatre Audition

Auditions can feel daunting, especially the first time. The good news is that community theatre auditions follow a fairly standard pattern, and most of what directors want can be prepared in advance. This guide draws on the audition notices Apple Hill Playhouse published between 2008 and 2014, which are preserved in our auditions archive, and on common practice at community theatres generally.

Start with the audition notice

Every audition begins with a notice, and reading it closely is the single most useful thing you can do. A good notice tells you which shows are being cast, what roles are available, the ages and voice types needed, and what to prepare. Apple Hill's notices were typical. They listed each play and its characters, gave the date and hours, and explained whether actors should book a time slot or simply turn up.

Make a note of four things before you do anything else:

• The material required. Is it a song, a monologue, cold readings from the script, a dance call, or a mix?
• The logistics. Do you need an appointment? Is there a form to fill in beforehand?
• The rehearsal and performance dates. Can you really commit to them?
• What to bring. Sheet music, a headshot or photo, a résumé, a list of conflicts.

Preparing a song

For musicals, most community theatres ask for a short cutting of a song rather than the whole number. Apple Hill's children's theatre asked for 16 to 32 bars "that best shows your vocal ability", while its 2008 youth auditions asked for 32 bars of an up-tempo Broadway tune. A 2014 mainstage notice for a musical spoof asked for two upbeat numbers and a ballad.

Choose a song that suits you and the show

Pick something in a similar style to the show being cast and comfortably within your range. A song you can sing well on a nervous day is better than a showpiece you only manage on a good one. Avoid the most famous song from the show you are auditioning for unless the notice asks for it.

Bring proper sheet music

This point comes up in audition notices again and again. Apple Hill told singers to bring sheet music in the right key because an accompanist would be provided, and not to bring music on a CD. Mark your starting and ending points clearly, put the pages in a binder or tape them together so they don't slide off the piano, and be ready to tell the accompanist the tempo in a few words.

Be ready for the unexpected

If you can't bring music, some theatres will let you sing unaccompanied, but you may also be asked to sing scales or a familiar tune so the music director can hear your range. Treat these requests as normal. They are not a sign that something has gone wrong.

Cold readings and monologues

Many community theatre auditions rely on cold readings, where you read scenes from the script with little or no preparation. Apple Hill used cold readings for plays and for its children's theatre, noting that no appointment or preparation was needed for some mid-season calls.

To do well at a cold reading:

• Read the play if you can. Many scripts can be borrowed from libraries or bought cheaply. Knowing the story helps you make sense of an isolated scene.
• Look up from the page. Glance down, take in a line, then deliver it to your scene partner. Eye contact matters more than word-perfect reading.
• Make a clear choice. Directors would rather see a definite interpretation they can adjust than a cautious, flat one.
• Listen. Reacting to your partner often shows more about you than your own lines do.

If a monologue is optional, as it was for Apple Hill's 2014 children's theatre auditions (no longer than two minutes), bring one only if it is well prepared. A short, contrasting piece that shows your range is ideal.

Headshots, résumés and conflicts

Community theatres rarely expect professional headshots. Apple Hill asked for a headshot or snapshot at auditions and said a résumé was welcome but not required. A clear, recent photo that looks like you is enough. If you do bring a résumé, keep it to a page listing roles, training and relevant skills such as dance, instruments or accents.

Conflicts matter more than many first-time performers realise. Apple Hill reminded actors to bring their calendars because it needed to know other commitments before casting. Be honest and complete. A director can often work around a family holiday that is declared upfront, but a surprise absence in tech week can derail a production.

On the day

• Arrive early. You will usually fill in a form, and a few quiet minutes help you settle.
• Dress to move. Wear comfortable clothes and shoes you can dance in if there is a movement call.
• Warm up. A gentle vocal and physical warm-up before you arrive makes a real difference.
• Be pleasant to everyone. The person at the sign-in table may be the stage manager or on the production team. Community theatre is a small world.
• Stay positive about mistakes. If you stumble, pause, smile and carry on. Recovering well is itself a useful skill to show.

Callbacks and casting

After first auditions, directors often hold callbacks to hear actors read particular roles together. Apple Hill posted callback lists online, with instructions such as when to arrive and whether to be ready to sing and dance. A callback means the director wants to see more, and it is not a guarantee of a role. Go in with the same preparation and good humour as before.

If you are not cast, don't be discouraged. Apple Hill kept a "Call Talent" file of performers it had seen, and directors drew on it when roles opened up during the season. Many theatres do something similar. A good audition can lead to a part later, a role in a different show or an invitation to work backstage.

If you can't make the audition

Most companies offer an alternative. Apple Hill invited performers who could not attend to send a résumé and headshot, and at times a video link, so they could be considered for callbacks or later roles. Always follow the method in the notice, and be clear about which roles you are interested in.

Other ways into the theatre

Auditioning is only one way to get involved. Stage management, set building, costumes, lighting and front-of-house work all need people, and many actors start or continue their theatre lives that way. Read our guides to what a stage manager does and volunteering at a community theatre.

Final thoughts

A strong community theatre audition comes down to preparation, honesty about your availability and a generous attitude in the room. Read the notice carefully, prepare the right material, bring what is asked for and treat everyone well. For real examples of how one company set out its requirements, browse the 2014 children's theatre and 2012 mainstage audition notices in our archive.