Casting

from Directing a play


Casting is when the director chooses the actors wanted to take part in a production. They should be
auditioned for every role - and that includes actors whom the director knows. Type-casting and the
casting of friends is risky. It is better to audition for a specific play than to determine
generally how good an actor is, and any special skills required should also be tested at the
audition. It is also wise to cast well in advance to accommodate drop outs.


IS CASTING IMPORTANT?

As director you will spend more production time with the cast than with anyone else, so you must be
able to work together in a friendly and relaxed way. Never cast actors whom you do not believe in
or who clearly do not believe in you. You need an efficient and dedicated working group who respect
each other's abilities. Social considerations are also important, and you may decide to take a
willing but less talented actor rather than a brilliant one who will cause trouble or fail to mix
with the others.


DECIDING WHAT YOU WANT

Casting is a heavy responsibility. Your decisions will affect a lot of people deeply, so try to be
sensitive to their personalities as well as their talents. Be quite sure about what you want in any
given character and seek the best actor for that role. Resist being pressured by anyone into
casting someone whom you think is wrong for a part, but remember too that a good acting company is
not just composed of excellent actors.


TYPECASTING

Typecasting has its pros and its cons. Typecast actors will respond quickly to your requests and
give you something well within their range, but you may get no more than that, which can halt
overall progress and development in rehearsals. The actor, too, may suffer from having the
performance compared with a previous similar one.


CASTING FRIENDS

A director naturally wants to work with friendly and supportive colleagues, but the casting of
friends needs careful thought. A rehearsal period can be a testing one for a friendship. Your
friends will see you in a new, demanding persona, and may feel challenged, or simply threatened, by
what you ask of them as actors, especially if you also want their support as friends.

Friendship with actors can blind you to their true abilities and lead you to giving them roles
beyond or beneath them. The casting of friends may also be a disservice as it can mean exposing
them to jealous comment. It is wiser to cast friends only if they are the best actors you know for
the parts.


AUDITIONING

Only at an audition can you form an opinion about an actor's suitability for a role. Even one who
has played the part before has not done so for you. You are looking for three things: the actor's
general level of skill, the promise of specific skills and qualities needed for a role in a
particular production, and the actor's willingness to work with you on the role. Your ultimate aim
is a play with the strongest possible cast.

Even experienced actors get nervous at auditions. No one likes being graded and assessed. Try to
put them at their ease by giving them space to prepare themselves and enough time to show you what
they can really do. Ask auditionees to learn a short speech — twenty lines or so — appropriate to
the play, and invite each one to audition at a definite time, thus avoiding a nerve-racked line of
people at the door. Greet them personally and ask what they are interested in doing. Explain your
approach to the production and ask each actor to perform the chosen speech. Reading auditions alone
are rarely satisfactory, but ask the actor also to read a speech, giving time for preparation and
some direction on mood, tempo or character. After the audition spend a minute chatting — without
dashing or raising hopes, and without showing disappointment.

Avoid on-the-spot decisions and have a colleague present with whom to discuss the auditions — but
not while actors are present. After these first auditions compile a shortlist of the actors who
interested you for particular roles. If you are not sure about an actor invite him or her to
audition again. You may want to see if certain actors are mutually compatible. Make detailed notes.

A useful audition needs planning, scheduling and budgeting. Be sure that your budget includes
provision for it.


SPECIAL SKILL AUDITIONS

Singing, dancing or fighting should be tested at special auditions. Such sessions are best held
with small groups rather than with individuals. Auditioning actors through improvisation should be
done in the same way.


MAKING YOUR CHOICE

Choosing a cast from among the candidates can be difficult and painful. Using your notes, first
eliminate all the actors you do not want, then work through the cast list, starting with the
leading roles, and note possibilities among those you have not rejected. Discuss all this with your
colleagues on the audition panel, then choose your cast. Though your decisions are final you should
give weight to the others' opinions.

A hunch about an actor can be right, and an imperfect but exciting candidate may, by opening night,
have a more interesting performance to offer than a competent all-rounder. Be ready to take some
chances – while avoiding blatant risks.


REJECTIONS

When you have your full cast send out your rejection letters. Keep them short and do not give
reasons for rejection. Being turned down is painful, and the actors may want to know why, so be
polite but firm. Do not antagonize any of then. You may want them in future productions for which
they are more suitable.


LETTING PEOPLE KNOW

Every actor who has auditioned should be told the outcome privately, preferably by letter, which
avoids direct confrontation with disappointed candidates. Ask those you wish to cast to inform you
promptly of their acceptance (or otherwise), and close with the date, time and venue of the first
rehearsal. Write to successful candidates first. You may have to go back to your rejector list if
someone turns down a part.


consideration

                 zvážení, úvaha

to seek

                 hledat

to resist

                 vzdorovat, bránit se

range

                 škála, rozmezí

to halt

                 zastavit

beneath

                 pod úroveň

disservice

                 poškození (koho), ublížení (komu)

suitability

                 vhodnost

willingness

                 ochota, svolnost

assessed

                 hodnocený

to put sb at ease

                 to make (someone) feel calm and relaxed

nerve-racked

                 vystresovaný

to dash

                 hnát se

to compile

                 sestavit

hunch

                 tušení

blatant

                 očividný