So You Want to Be in Community Theater?

You're bored.  You're looking for something new to do. You notice a local theater group is posting auditions for its latest production.  

Maybe you did some plays in high school or college, or sang in your school or church choir. You think community theater is something you can do.  You decide to go for it.

Community theater is fun and rewarding, but it may not be everything you expect.  I want to provide you with some tips and some reality checks about auditioning and rehearsing as well as the culture of community theater. Understand what you are getting into before you stand in front of the table.  You want to walk into that audition as prepared as you can possibly be, not only for the audition, but for everything that comes in the weeks that follow.

Competition is stiffer than you think

You saw Waiting for Guffman, and you assume all the stereotypes about community theater are true.  Community theater is made up of a plucky band of amateurs with little theater experience and few connections to each other.  They come together, work hard, and put together a coherent, but cheap looking, production under the care of a devoted director.  

Maybe you saw The Play That Goes Wrong, which takes the stereotypes about community theater being made up of minimally-talented incompetents to the extreme. You know you can do better than that.

In real life it's not as amateurish as you think.  You will encounter many young aspiring actors who are trying to make it in the business and are doing every show they can to help build their resumes.  You will also encounter older people with a good amount of professional experience under their belts who have retired from the business (or retired from trying to make it in the business) but still want to keep performing.  You will meet actors with SAG-AFTRA and Equity cards.  There will be fellow auditioners who have theater degrees, or music degrees, or musical theater degrees.  Chances are good those actors have worked with your director, and worked with each other, previously.

I'm not saying this to scare you.  I am trying to prepare you for the potential intimidation factor.  You may walk into the room to hear someone with operatic training belting out a tune, or reciting what sounds like aTony-worthy monologue.  They have professional headshots and a resume the length of War and Peace.  That doesn't mean you aren't good enough to audition, or that you will make a fool of yourself, or that your amateur talents won't be welcome.  

Community theater is for everyone (or it should be).  That's why it's called community theater.  It's open to the entire community.  Besides, all of those other actors may not have whatever look or voice or presence the director is looking for.  You might stand out for other reasons.

There Are Many Reasons You Didn't Get the Part

You didn't get the part and you are feeling discouraged.  Maybe you aren't as talented as you think you are. Your audition was probably terrible. You don't want to do this ever again and risk making a fool out of yourself.

Don't despair, but do let me delivery a reality check. 

Plenty of talented people will come to an audition.  Casting decisions can be made over what seems like trivial matters.  All things being equal a director will cast an actor he knows over an actor he doesn't know.  All things being equal, the group's board of directors will advocate for the casting of someone who has supported the group's activities in the past over someone who never worked with them before.  All things being equal, someone with a wide-open schedule will be favored over someone with multiple conflicts.

This kind of favoritism is built into every group. For example, I was chatting with a cast member of one of my recent shows who complained that casting decisions in that show seemed to heavily favor certain people (who happened to be major contributors to that group).  Then she pointed out - with no sense of guilt - how the group she normally works with showed similar types of favoritism over casting decisions with its recent show.  

It's possible you didn't get the part because you weren't good enough.  It's also possible you were as good as many of the other auditioners, but the director couldn't work with your schedule, or the person who got the part has orchestrated major fundraising efforts, or the music director was familiar with the capabilities of another actor's singing voice and is unsure if the score is in your range. Maybe you don’t match physically with other cast members (you’re short and they are all tall, or you are young and they are all older).

You also have to deal with the fact that more women go out for community theater than men unless the play has a strong male cast.  If you're a man, you will almost always have an advantage.  There are only so many female parts to go around (although to mitigate this, many male parts are often changed to female in some plays because there may not be enough men).

Sometimes you will go to an audition and get the sense all things are not equal.  Some theater groups can be a tad incestuous.  You may encounter a director who seems to be casting her close circle of friends.  You may also walk into an audition not knowing if the major roles were already pre-cast and the auditions were only held to fill ensemble roles.  The only way to know this is to keep auditioning and keep doing plays.  You will learn the dynamics and the politics of the groups you perform with, and (I hate to say it) hear the gossip about what groups you should avoid because of pre-casting issues.

Be Prepared

You are going to take the chance and go to the audition.  That's great.  Now don't take another chance and go into the audition cold.  

Do you know the play you are auditioning for?  If you don't, it's time to do your homework.  Go to the library.  Go online.  Find a copy of the play wherever you can and familiarize yourself with the script.  Decide if the character you want to audition for suits you.  Then practice saying those lines.  Be comfortable with the part.  Get comfortable with a few parts.  The director may have something else in mind for you and you want to be able to read well for it.

If you are auditioning for a musical, listen to the show's soundtrack.  Are the songs for your chosen character in your range?  Do you like the music?  

You won't be required to sing a song from the show for a musical audition, but make sure you have a song you can sing well that is in the style of the show (in other words, don't sing a song from Hamilton if you are auditioning for Oklahoma).  If you don't have a song, learn one.  YouTube is full of karaoke tracks.  Pick a song and practice it.  Buy the sheet music (or see if you can find it in the library) because you will most likely sing your audition with live accompaniment from the music director at the audition and you will need to provide sheet music if he doesn't know it or have it himself.

I admit I don't always follow my own advice.  I tend to wing it in auditions. I am also not cast in many good roles*.  My husband is the exact opposite.  He will find a copy of a script and study every play he auditions for weeks ahead of time.  He is often cast in good roles.  He is an example of how vital preparation is for auditions.  (He is also male and is one of those people with a theater degree, a SAG-AFTRA card, and past professional experience under his belt, so he has multiple advantages over me.) 

I don't think it's a coincidence that before I auditioned for one of my best recent musical roles, I practiced my character's solo over and over again before auditions.  I didn't sing it at the audition, but I was asked to sing it at the callback (another reason why you should learn a musical soundtrack before auditioning for a musical).  When the director called me to offer me the role, she told me how impressed she and the musical director were with the work I put into learning the song.  I learned my lesson.

Also, reading the play beforehand can help you decide if you want to audition at all.  You may read the play and hate it.  You may find you don't like the characters you are auditioning for.  Maybe they have more lines than you are comfortable memorizing.  Last year I was thinking of auditioning for a local production that looked like it had characters I might be suitable for.  I bought a copy of the play and read it through.  The main characters had chunks of text for lines that seemed like they would be hard to learn.  The story was unpleasant and the characters were unlikable.  I decided against auditioning.  Even if I were cast, I wouldn't have enjoyed being in the play.

*I define "good roles" as the kinds of roles that inspire an audience full of strangers to start cheering and clapping at full volume during my curtain call instead of only giving me the required polite applause (with scattered loud applause any friends and family in the audience).

Take Dance Lessons

I am only half joking here.  If you plan to do musicals, it's a good idea to know basic theater choreography.  In my experience dancers who can sing are more common than singers who can dance.  If you are auditioning for a musical, it is likely at some point during the auditions or callbacks that you will be asked to show how well you can move and follow choreography.  Some jazz and tap lessons can go a long way.  Become a "Triple Threat".

If you don't have time or money for dance classes, or there are no studios in your area with classes you can take, then at least find some theater dance YouTube videos.  (There are many more are out there.)  Learn the basic Broadway moves like a cross point, a chasse, a kick-ball-change, a pony, a drag, a box step, a sugar foot, a grapevine, a pas de bourrée, and a chaîné turn.  You also want to be able to string a few of them together into a short routine. If you already take Zumba or other dance-oriented exercise classes, you may have an easier time than you think you will.  

But it's not only about dance.  It's about what you can bring to the table as a performer in both straight plays and musicals.  As one of my acting teachers once said, you need to develop your instrument in as many ways as possible.  If dancing is out of the question, what else can you do?  Can you juggle?  Are you good at tumbling?  Do you play a musical instrument?  (My husband's ukulele skills helped him win his most recent part.)  Do you do magic tricks?  Make sure the production team knows everything you can do when you go to an audition.  They might be able to use it.

Acting Lessons Can’t Hurt Either

If you haven’t been on stage for a while, it might be a wise idea to brush up on your acting skills as well.  Learn how to connect with a character and relate to a scene.  Learn what not to do.  Again, there are online classes, YouTube Videos, and books on acting technique in the library.  Use the resources at hand and up your game.

YouTube also has many useful videos by actors providing audition tips.  Take advantage of whatever advice you can get.

Congratulations.  You were cast.  Do you want to be in the show?

Being in a play is a huge commitment, which I will outline more below.  If you are offered a large role, it will mean more work and more time sacrifices.  If you are offered a small role, it will mean less work, but you may feel it's not worth the your time, particularly during tech week (more details on that are coming as well).  If you refuse the role, you will not be giving directors and group members a chance to get to know you and form an impression of your talents and your work ethic.  If you take the role, you will be taking on a lot of responsibility.  Choose wisely.

Remember, even if you aren't cast, or don't want the role they offer you, your help backstage will be appreciated.  There are many ways you can be involved with a community theater production without being on stage.  The help you give the group has potential to affect future casting decisions as well.

So what happens if you take the role?

Read on. 

Be professional.  Remember, you committed yourself.

You receive your rehearsal schedule and you wonder if you can make all these rehearsals.  You have a job, a family, and a social life.  

Once you accept a role in a theater production, you must accept your play is going to be your second job, your second family, and your primary social life.  You may think because this is a mere community theater production that you don't have to take it seriously.  Trust me, the cast and crew are taking this seriously and expect you to do likewise.

You are expected to show up to rehearsals and show up on time unless there was a prior agreement.  When you auditioned, you had to fill out a calendar with all of your known conflicts.  Your casting may have even been contingent upon your availability for rehearsals as mentioned above.  

It's true that life happens.  You may have an illness, or a family emergency, or car trouble, or a work project that will prevent you from showing up for a rehearsal or two.  Nobody will kick you out of the show for an occasional unplanned absence or tardiness. They key is not to make a habit of it.  If you will be absent or late, inform the stage manager (or anyone else in the crew, or anyone in the cast who can inform the crew) immediately.  

I can't stress enough that your excuses for unplanned missed rehearsals better be good ones.  Don't take a spontaneous vacation.  Don't decide you're too tired to go to rehearsal that night.  The big game on television isn't more important than rehearsal.  It doesn't matter if you feel like going to rehearsal or not.  The cast is counting on you and you need to be there.

Community theater isn't free

You are a volunteer.  However the director, music director, musicians, lighting people, sound people, and sometimes the stage manager need to be paid.  There are also costs like royalties, costumes, publicity, prop and set pieces, and a million other incidentals.  Ticket sales may not cover it all.

At the very least you will have to pay a fee to perform to help defray costs.  You may also find you have to pay for several incidentals along the way such as your own props, costume pieces, makeup, or costume alterations.  You should also take into account the gas it will take to drive to rehearsals (keep that in mind if you accept a role with a group that's not in your neighborhood).  You may be required to sell ads in the program, and if you have trouble finding friends or businesses willing to buy one, you may take out a "Break a Leg Cast" ad yourself.  

Fees can vary wildly among various groups (children's theater can run in the thousands, so remember that if you want to get your kids involved in theater).  Often the cheaper the fee, the fewer benefits you will receive.  The most expensive group I ever performed with provided me with everything I needed with no further expenses on my part.  Also the theater itself was better equipped (the drawback was it was a longer drive, so I spent more money on gas).   Another group I performed with has small fees, but I always ended up with other out-of-pocket expenses and the theater was sparse. There could be other perks to your fee besides performing, but those can vary.  For example, for years I worked with a group that charged performers a membership fee to the group.  At one point that membership fee enabled performers to come to open meetings and vote on which shows the group would do next.  This no longer seems to be true.  

Put in the effort and do your homework

You won't learn your part if all you do is show up for rehearsal.  You will have to put in some effort on your own time.  You need to learn your lines, blocking, music, and choreography (if applicable) as soon as possible.  Spend your down time at home learning lines.  Record rehearsals and take copious blocking notes so you can practice your staging as well as your lines (never come to rehearsal without a pencil).  If the stage manager records the rehearsals and sends the recording to you, don't ignore it.  Study it.  If you are in a musical, record your voice parts and learn them. Record and practice your dance routines.  At some point in the rehearsal process, the rehearsals won't be about learning.  They will about polishing and improving what was learned.  The sooner the cast learns what to do on stage, the more time it has to polish and perfect the scenes, and better the show will look.  If you want to be part of a quality production, put in the work.

It's not only about what happens on stage

Sure, you can be a dutiful cast member and show up for rehearsals, but there is so much more you can do.  Putting on a show is a massive effort.  Find out how you can help.  Can you sew?  Your help with costumes would be appreciated.  Are you good with graphic design or desktop publishing?  You can help with the publicity and the program.  Are you handy?  They would love your help building the sets.  Can you bake?  How about your make some cookies or brownies to sell at the concession stand during performances.   These efforts will be appreciated whether you are in the cast or not.

Maybe your creative genius is limited to the stage and you aren't arty or crafty and you are all thumbs in the building department (that describes me pretty well).  There are still so many ways to help.  Even if you failed wood shop, you can go to the set build days and put a coat of paint on the flats, or put those muscles you built in the gym to good use by carrying those set pieces.  You can sweep up the trash after the day is done.  You can help with tickets sales and reservations.  You can sell program ads.  You can help with the email lists and send out fundraising emails. 

I worked with a director who was fond of the old adage, "Many hands make light work."  She was right.  Don't put the production burden on a few people.  The more cast members involve themselves with the production end, the less work there is for everyone involved.  Whatever help you can give will not be overlooked.  Once again, go back to what I said about auditions.  Your efforts could mean the difference between being cast and not being cast in future roles with the group.  

Also, it can be fun to go to set builds.  It's another way to bond with the cast and crew.  

Don't be a diva

Maybe you are a brilliant actor and this group is lucky to have you.  Maybe the director's vision is horrible and you know you can improve upon it.  Maybe you are a thousand times more mature than the ragtag cast.  I suggest you keep these thoughts to yourself.

When an unknown director casts you, he does so with the hopes you will be easy to work with.  This isn't only about showing up for rehearsals on time.  It's about taking direction and taking criticism.  Do what the director tells you to do and allow your castmates to do the same.  Maybe you have a brilliant alternative to doing it differently from how the director tells you.  If that's the case, offer a gentle suggestion (and a decent, reasonable director will listen).  If the director doesn't like it, suck it up.  

If you're singing a group number in a musical, don't insist on singing the melody line, particularly if that melody line doesn't sit well in your voice.  It's frustrating to hear some cast member complain, "I can't sing harmony," or "I hate singing harmony."  Well, tough!  A stage full of people singing in unison can sound boring.  It also doesn't sound too great when a singer is constantly switching octaves because the melody line is too high or too low.  Sit with the other altos or the other tenors for support if the music director asks you to sing the alto or tenor line. Ask for help from the music director.  Record your voice part and practice it.  (In the last musical I performed in, the musical director recorded the voice parts herself and put them in a DropBox for the cast.  Nobody had an excuse not to practice his or her own part.)  I am a soprano who takes alto and mezzo lines in musicals more often than not because nobody else is willing to sing those parts.  Just as you had to accept the role you took, you need to accept the voice part you were assigned.

Finally, don't be a diva to your fellow castmates.  If they aren't doing things the way they should, it's not your job to correct them. Let the director do her job (unless she requests your assistance).  It's also not your job to police the behavior of your castmates.  Leave that to the stage manager.  Do your job of learning your lines and blocking and let the director worry about what the rest of the cast is doing.  

Your attitude in rehearsals may count against you in future roles and maybe it won't, but keep something else in mind.  

Years ago I was in a show where one castmate was a brilliant character actor, but was an unpleasant person.  He was arrogant and pompous and was one of those people who felt he could police the cast.  Unfortunately, he was so good on stage, the director said, "He's worth it."  

At the end of the night, he was drinking in a bar alone because nobody invited him to join the rest of the cast for post-show drinks and karaoke.  I meant it when I said the play will be your social life.  You have a chance to either make friends, or spend all those weeks with people who don't like you.  Choose wisely.

Tech Week is called "Hell Week" for a reason

The week the show opens is going to be the hardest week of all.  Expect to be in rehearsals every night and expect to be there late.  You could possibly be working until midnight and beyond.  Most nights during Hell Week you will be running the entire show.  The director may ask to run certain scenes or numbers he isn't satisfied with multiple times.  There may be a few stops and starts as lighting and sound quirks are fixed.  Some of these rehearsals will be full dress rehearsals as well, so you will need the time to get into costume and makeup. 

If you have a lead role, you will be working constantly.  If you have a five-line walk-on role, you will be sitting around doing nothing for hours and feel bored and frustrated.  One reason I am always hesitant to accept small roles is that I have to consider if they are "worth Hell Week".  Do I want to spend a week sitting around watching other people work until midnight for a handful of lines?  But having a bigger role may be less boring and frustrating, but more stressful.  If you don't already have enough pressure on you, remember there could be an invited audience on the final dress rehearsal.  

The best way to deal with Hell Week is to take the best care of yourself you possibly can.  Get a healthy meal delivery service to provide you with dinner for the week instead of relying on fast food and pizza.  Find a quiet space in the theater to do some yoga stretches when you're not working on a scene.  Go straight to bed after rehearsal.  If you ever wished you had an excuse to skip the gym for a week, this is it. If at all possible, take a day or two off from work.  I find that when I do have time to myself during performance weeks, I will go out and take a walk on a nature trail, which helps me find some peace and centering as well as give me some exercise and work out the physical kinks in my body.

Remember to have fun

Please don't be too scared or overwhelmed to try community theater after reading this.  Yes, auditions can be intimidating.  Yes, there is a lot of work involved.  There is also a lot of fun involved.  The process of getting a show on its feet is intensely rewarding.  You will flex your creative muscle in ways you never thought possible as you develop your character.  Every show you do will be a learning experience.  You may even learn a new song or two for your karaoke repertoire. 

Best of all, I wasn't exaggerating about the theater being your second family.  Your castmates and crew will be part of your family.  What's even better is the more shows you do, the more people you meet, and the more your family grows.