When I told Mattie June that I wasn't called back for
Ragtime, she laughed and said, "I'm so glad to hear that
even you don't get cast in everything!" I was a little surprised at her reaction, but I'm glad to hear that my failures help the self-esteem of my friends! Fortunately, I didn't need any sympathy that day ;-)
As I and my theater friends start preparing for the crazy rush that is the summer community theatre season, I've been hearing and thinking a lot lately about the following logical-fallacy:
A history of playing leads, having worked with a director previously, or being talented means that you are a shoo-in for the next role.

This is a dangerous belief. Not only is it untrue, it creates a sense of entitlement and causes a lot of grief and heartache when an audition doesn't work in your favor. I don't know anyone who is cast in EVERY show they audition for (though the natural tendency to downplay failures and play up successes definitely cause this perception).
Similarly, it is not a forgone conclusion that when you finally "break out" of being in the ensemble and are cast in a larger role, that you have been discovered and it's totally easy to get those great roles from then on. If you don't figure that out quickly, you're in for a frustrating experience. This is one of my favorite quotes about this disappointing, humbling phenomenon, from
Olivia Williams, an actress I wouldn't mind seeing more of:
When the Hollywood thing happened, I thought at some point I'd get to the front of the queue: "Yes, hello, I'd like to play that role." But you don't. You just join a different queue.
I roll my eyes when my friends lucky enough to get leads in a lot of places swear off certain theaters because they auditioned there once and weren't even called back. Sorry, I don't feel sorry for you. You're not going to be what the director wants every time, and you don't automatically deserve a role or even a callback just because you are talented and you showed up. A lot of other people who are also talented didn't get called back, either. And the person who actually got the role probably deserved it just as much as you did. Nobody owes you anything. If you can't learn to live with rejection, you are in the wrong business.
Okay, that was a little harsh. Here is a list of
things that directors would LOVE you to do for auditions.
Am I jealous of people who are more talented/better prepared than I? You bet! Is it even worse when the person who beats me out for a role is someone I think is equally or possibly less talented than I? Oh, yeah. Those are the ones that sting the most. As
William H. Macy once said:
There were some roles I really thought I could play that they gave to Kevin Spacey, but you know, what the hell.
(This quote has become my new motto whenever I don't get a role. "Oh, well! Next!")
There are a million reasons you might not be cast in a show. I love this list of
25 reasons why you didn't get the part. Clears a few things up, doesn't it? All you can do is your best, and then what happens happens. It doesn't do any good to complain when the casting process so subjective... though it might make us feel better for a little while ;-) In most cases, not getting the part doesn't mean you aren't talented. It just means you aren't what the production team is looking for
this time. It's okay to be disappointed, but don't let that keep you from trying again another time.
Also, if you and a friend are up for the same part and you don't get it, do NOT make your friend feel badly or downplay their success, regardless of how disappointed you might be. The friend is allowed to be happy about their good luck; heaven knows you would have been if you had gotten the part. It's a sad truth that we are in competition with each other during rehearsals, but must learn to be friends or at least work together during rehearsals and performances...and then you run into those friends at future auditions and it starts all over again. Don't let that keep you from making friends, and be nice no matter how jealous you are. Or, better yet, just be proud of them! I sure am proud/jealous of a lot of my awesome and talented friends!
Another article to read and ponder the next time you (or I, I'm not perfect either) want to complain about the unfairness of the biz:
15 Truths About Being a Professional Dancer. Read it. Love it. Make it your own.
I
always specify if I'll only accept a certain role. I don't think that makes me a diva; it makes me honest. I do most of my shows for free, and if I'm going to spend two to four months working on a show after a full day of work, it has to be a show and role that I care about. (Actually, my friend
Kristen covered this topic quite well a few years ago.) If I say I'll only take one or two roles, and I'm not cast, I can live with it. (It's a
lot harder on the ol' self-esteem when I say I'll take
any role and am still not cast.) I hope that directors don't hold my honesty against me. After all, it seems to me to be a lot worse to say I'll take anything (trying to avoid the "diva" moniker), and then refuse a lesser role after the director cast the entire show with this in mind.
To be clear, there ARE certain shows and theaters I would be in the ensemble for. Plus, I have a good sense of my abilities, so I try to be realistic about my choices and my chances.
It also doesn't hurt to audition once in awhile for a show I know I have little to no chance at, just to practice auditioning and see what happens. It takes the stress off myself and allows me to do some crazy things I might not do if I'm more concerned about the outcome. However, be prepared to actually do the show if your practice audition goes well (hello,
Arsenic and Old Lace)!
There are several auditions coming up that I hope turn out well for me. I think it's time I read
Audition again. And as always, I'll continue to
practice,
practice, practice!
Theater friends, break a leg at your auditions and in your summer shows! Let me know what your next project is as soon as you know, and I'll be sure to do the same!