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- Take pictures of auditioners; it's easier for the director to remember faces
- Write the person's name on a chalkboard, and take their picture with their name visible.
- Have people (ASMs, etc.) inside and outside the audition room communicating about which auditioners have arrived and whether they are ready to audition.
- Make sure the director and whoever is in the audition room (either the producer or yourself) are introducing themselves and making the audition room a welcoming space
- Get the casting done as quickly as possible. If possible, schedule the last day of auditions to end early to give you time to call people. (this should be the last day before callbacks and the day of callbacks if possible)
- If possible, make a characters list before-hand and have an idea of how large each part is (search the play name on wolfram alpha- it's super useful!) and which parts can be combined if needed. List which characters are in which scenes. This is also a good time to decide which characters are important for the rehearsals of each scene, which will help with scheduling.
- Note: the director will often do this, because they know the show better than you. Check with them.
- Encourage the director to take scheduling into account during auditions. Try to prevent giving main roles to people who don't have the time for them.
- Make sure to print extra audition contracts, for walk-ins and people who forget theirs. An example audition contract for a spring/touring show (in LaTeX) is here, fall/non-touring show here.
- Try to get some monologues from the director prior to auditions. If they director doesn't have any, there are monologue lists from other productions that the officers can pass on to you.
- Take pictures of auditioners; it's easier for the director to remember faces
Casting:
Everything that happens in the casting room stays in the casting room. Do not share casting details with anyone. No one wants to accidentally hear that they were second choice for something.
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