Theatre Employment Opportunities
Artistic and Technical Positions for the 2014 Round Barn Theatre Season
The Round Barn Theatre at Amish Acres is a professional non-Equity repertory musical theatre located in Nappanee, Indiana. It produces six major musicals and one play each season over nine months as well as condensed performances for theatre for young audiences of selected shows. The 2014 season includes Little Shop of Horrors, Plain and Fancy, Footloose the musical, Little Women the broadway musical, Joseph and the Amazing Technicolor Dreamcoat, The Diary of Anne Frank, plus for the holidays, Shrek The Musical. The theatre's actors are all professionals, most of them having college degrees in Theatre Performance, Musical Theatre, Dance and other Performing Arts categories. Housing is provided in three residences on the historic farm's property. Local Auditions are held at Amish Acres in March.
2014 Audition Schedule
Unified Professional Theatre
Playhouse on the Square
Feb 7-10, 2014
Midwest Theatre Auditions (MWTA)
St. Louis, Missouri
Feb 21-23, 2014
The Round Barn Theatre
1600 West Market Street
Saturday, March 1, 2014 from 1:00 p.m. to 4:00 p.m.
Sunday, March 2, 2014 from 1:00 p.m. to 4:00 p.m.
Please send submissions to firstname.lastname@example.org or via USPS to The Round Barn Theatre, Casting Director, 1600 West Market Street, Nappanee, IN 46550
Nappanee, Indiana Auditions
Local Auditions Press Release
The Round Barn Theatre at Amish Acres, Nappanee, Indiana, and Artistic Director Jeremy Littlejohn, are seeking resident company members for its nine month 2014 season of rotating repertory theatre Nappanee, Indiana March 1 & 2, 2014. The ensemble will include ten non-union actor/singer/dancers and technical staff. The 2014 season will include Plain and Fancy, Little Shop of Horrors, Footloose the musical, Little Women the broadway musical, Joseph and the Amazing Technicolor Dreamcoat, The Diary of Anne Frank and Shrek The Musical.
Repertory company members have roles in every production, with a few job-in actors filling ensemble slots in the season. Weekly salary, housing and discounted meals are provided. The theatre is especially seeking many different types of actors who sing and dance with ease and can play a wide age-range. The call will be held by appointment only at The Round Barn Theatre 1600 W. Market St. Nappanee IN, 46550 Saturday March 1 from 1-4pm and Sunday March 2 from 1-4. Please bring 2 contrasting musical pieces, a monologue, a headshot / resume, clothes to dance in and a list of possible conflicts for the year. An accompanist will be provided. To sign up for a time slot please contact Artistic Director Jeremy Littlejohn at email@example.com or 574-773-4188 ext. 203 beginning February 24. Any appointment requested prior to the 24th will not be processed
The Round Barn Theatre is in constant search for technically qualified candidates to fill its growing stage management, sound, lighting, costuming, scenic design, and children's theatre needs. Send resumes to Jeremy Littlejohn, Artistic Director, Amish Acres, 1600 West Market Street, Nappanee, IN 46550 or firstname.lastname@example.org.
Frequently asked Questions ( FAQ) concerning the audition process at Amish Acres.
1. Can my friend or parents come in and watch
my audition? No. We have found that it makes
people, actors and directors alike, uncomfortable
when they know someone is watching the auditions.
2. Do I need to make up any choreography or movement for my audition? No. Keep in mind the director is more interested in how you sing than how you move, and would rather you just stand in place and sing. If the director wants to see how well you can move, he will ask you to learn a few simple dance moves.
3. Do I need to bring clothes to dance in? Not specifically. If the director would like to see you dance, he will either ask you to come back at a later time to a dance call back (then you will want clothes to dance in) or he will teach you a few simple steps. We recommend wearing comfortable clothes that you can move around in, and shoes that wouldn’t hinder your movement (i.e. extremely high heels), but specific dance shoes or clothing is not needed at your first audition.
4. Do I need to make an appointment? Generally, appointments are not accepted, unless specifically noted in the audition posting. Actors auditioning in New York will not need an appointment, unless there is a special circumstance. Actors auditioning locally can set up appointments by calling 1-800-800-4942 ext. 203 after February 27th.
5. What will I be asked to do at the audition? All auditioners are asked to come prepared with 2 contrasting pieces of music (i.e. 1 slow, 1 up-tempo; 1 ballad, 1 comedy) You will be asked to sing part or all of your selections. The director may also ask you to read a scene from one of the upcoming shows, or to learn a short dance routine.
6. What should I bring with me to the audition? A Headshot (or photo if you don’t have one), your resume, your sheet music, and a good attitude.
Before the audition:
1. Make sure your printed materials (resume, application, sheet music) are neat and error-free. Music should be in the proper key, with repeats, tempo changes, cuts and any other irregularities clearly marked. Music should be placed in a small, loose-leaf binder. The only thing in the binder should be the music you will be using for the audition.
2. Check over your resume.
1. Don't forget to proofread your resume. Nothing looks tackier than misspelling the name of a character you played or a show you were in (check the program if you're not sure).
2. Never pad your resume with fictional credits - directors check with other companies to verify credentials. Or they may have seen that production and know you weren't in it. Never lie on a resume - directors talk to each other, and you don't want to develop a reputation as someone who can't be trusted.
3. Limit what you include on your resume. Directors generally don’t care who directed the last show you were in, unless it is someone famous, or someone the person you are auditioning for is likely to know.
4. Avoid “filling out” your resume. If you are auditioning as a professional, for a professional theater, chances are the director isn’t going to care that you were cast in your high school play. If you don’t feel that you have enough material on your resume, add other information, such as other work you have had in different areas of the theater. Avoid listing irrelevant information, such as the time you worked as a receptionist in a law firm.
5. If you don't understand something in the audition notice, call and ask. But don't call just to call - make sure you have a legitimate question.
Selecting Your Music:
You will need 2 contrasting selections (i.e. 1 slow, 1 up-tempo; 1 ballad, 1 comedy). Finding the right song is crucial. That means look for:
1. A piece that fits your character type. For example:
Don’t choose a piece that is sung by a 40 year old if you’re sixteen.
2. Don’t choose a piece that is generally sung by someone of the opposite sex.
3. Choose a piece sung by a character that you could actually be cast as.
4. An unusual piece. Try to find something that doesn’t make you think, “Oh, everyone knows that song.” Also, try to avoid singing anything from a show that the director has recently done. If The King and I was a part of the previous season, chances are that the director will not be interested in hearing "Getting To Know You."
5. A piece you know well. Don’t rely on adrenaline to get you through. Also, avoid material that is out of your vocal range.
6. A piece that reflects your good taste and artistic sensibility. Singers who barrage directors with profanities are indeed remembered, but not fondly.
7. A piece that doesn’t require a dialect, props, or gimmicky staging. You can check with the monitor the day of the audition, but many times, the director is more interested in how you sing than how you move, and would rather you just stand in place and sing.
8. A piece that reveals something about you, and that truly excites you.
9. A piece that is shorter in length (generally about 2 minutes) If you have a song you would like to perform, but you think is too long, there is nothing wrong with “cutting” it down. This can easily be done by removing a verse, or starting with the second refrain. If you choose to cut a song, be sure that the music is clearly marked.
10. If you don't know a word in a song you're preparing, look it up. Mispronouncing a word in an audition makes it appear that you don't know what you're saying. Check the pronunciation of any unusual names or foreign words. Look in the dictionary, or ask your local librarian. Also, make sure you understand the context of any song you're doing (Read the script if possible).
11. Be sure that you know the correct title of the show that your song(s) is from.
The Day of the Audition. What
to Bring With You:
1. A photo, if at all possible; it will help them remember you. And make sure it looks like you - don't bring one in costume, a wedding or prom photo, a glamour shot, or a 10-year old graduation picture. It's better not to have a photo than to have a photo that doesn't look like you.
2. Patience and a sense of humor.
3. Your music (See the Before the Audition section above for tips)
4. Something to keep you occupied in case there is a long wait. A book, knitting or music with headphones can be a relaxing distraction a long wait. Items such as hand held video games and inappropriate reading material are not suggested.
What Not to Bring With You:
1. Never bring someone along with you unless they plan on auditioning as well. This includes a friend or family member. They will not be allowed to watch you audition.
2. Avoid bringing multiple bags or large bulky jackets. Remember that there will most likely not be a place to store your things. The less cluttered and more organized you can look when you enter the room, the more professional you will appear.
3. Do not bring your own accompanist with you. A pianist will be provided for you.
1. Arrive early. There will be paperwork for you to fill out. You will also need to find a place to warm up your voice and body. Plan on arriving at least 15 minutes early.
2. When filling out your paperwork, print legibly. If the director can't read your phone number, they can't call to offer you the role. Make sure the L's and 1's look different in your e-mail address. Also, be sure to fill out the form completely. Directors are easily jaded if you don’t list any conflicts at the audition, but then mention that you can’t be at certain performances when they call to offer you a role.
3. Be yourself. Don't try to project a false personality. It will show.
4. Be friendly but considerate. Remember that other people are preparing for their auditions in their own way. You can speak with other people who are waiting. (This is one of the best times to network). Just keep in mind that some people like to be left alone before an audition.
5. Turn off your cell phone, pager, watch alarm, etc. Better yet - leave them at home.
What to Wear:
Men: You don't have to wear a suit and tie, but business casual is good. At a minimum, wear a nice pair of pants or khakis and a polo style shirt. A suit may be overkill unless it helps you to feel more comfortable.
Women: Dresses or skirts are appropriate for women, but a nice shirt, blouse, or sweater with dress pants is fine as well.
• Your general approach to dressing for any audition should be "Sunday Best."
• Plan to dress as comfortably as you can while maintaining a polished, professional appearance. Dress in your normal clothes - something in which you feel comfortable and attractive.
• If the callback is on another day, wear EXACTLY the same thing you wore at the first audition. Keep in mind that the directors may see over a hundred actors in the course of a couple of days, and may remember you as "the one in the purple sweater."
• If you have long hair, wear it up or back. The director wants to be able to see your face, not you playing with your hair or constantly brushing it out of your eyes.
What Not To Wear:
• Jeans, especially ripped ones
• Sandals, sneakers, or clunky shoes. Never wear open toed shoes, even if they are dress shoes.
• Solid black (you’ll likely be standing against a black background)
• Be careful about your choice of jewelry. Don’t wear something that you’re going to be playing with, or that will be drawing focus from your audition. Also, don’t go overboard. Generally stick to no more than one earring in each ear (this applies to men too).
• Avoid baggy clothing. Don’t hide your body beneath loose clothing.
• Hats (again, the director wants to see your face)
• A costume
• Be prepared to hand the pianist your music when you walk in the door. You should have the selections clearly marked so that you can easily flip to the song. (See the Before the Audition Section Above for tips)
• Just before you start your audition, take a deep breath to relax your body and mind.
• Don't make excuses. Don't tell the director you're sick, or didn't sleep well last night, or just started working on this song that afternoon. Nothing is more annoying. Just do your best.
• If you make a mistake during the audition (forget a line, mispronounce a word, etc.), don't stop and ask to start over. You'll look ill prepared and unprofessional. Just keep going and don't worry about it. The director doesn't care if you forget something, but he does want to know if you have poise when something goes wrong. If the director asks you to start over, or to sing your selection again, be sure to take a deep breath, relax, and try to avoid making the same mistake twice.
• Regarding focus: Most directors prefer that you not make eye contact with them during your selection. They want to watch you, and not feel that they have to participate in your performance. Choose a point just over their heads, or slightly to their right or left, and focus your attention there. If you direct your focus off at an angle, make sure you don't put yourself in profile for the entire selection.
• Limit your movement. Firmly plant your feet and try not to sway. Remember not to lock your knees. Most of the time the director is more interested in how you sing than how you move, and would rather you just stand in place and sing.
• Relax. If you blank out, don’t apologize or make excuses. Take a breath, find a line, and continue. The pianist will follow you. You should never ask to start over.
o Helpful Hint: Don’t get discouraged if you screw up your selection and the director doesn’t ask to hear it again. This doesn’t automatically mean you blew your chances at getting cast. A lot of times this just means that the director heard what he was looking for in a different part of the song.
• Pay attention to what the director has to say. If the director asks you to do your selection again and try something different, do it. That's one of the most important qualities directors are looking for in a callback - your ability to take direction. If you don’t understand what the director is asking you to do, don’t be afraid to say so. They will generally be glad to clarify for you.
• Be prepared to answer the director’s questions when your presentation is over.
• Thank the director and audition monitors on the way out.
The Round Barn Theatre holds 2 different types of call backs.
Call backs may involve a dance audition with other auditioners, or reading a scene with someone from the production staff. Depending on when your original audition fell, the call back may be on the same day shortly after your audition, later that day, or even the following day.
At local auditions, all call backs are held that same day, shortly after your first audition. If the director wants to see you dance, they generally will teach you a small routine immediately after your audition. If they would like you to read a scene, they will give you a few minutes to look over the scene and then have you come back and read. All of this will generally take place in the same day.
• When you're looking at a
cold reading, ask yourself two questions about
the scene: What do I want? What am I willing to
do to get what I want? It's far better to make
a strong choice - even if it's not what the director
had in mind -than to make no choice at all.
• If you have any questions about the scene, ask the monitor. If you have questions about the context of the scene, a dialect, the definition or pronunciation of a word, motivation, or anything else, ask the monitor. If they don’t know, they will check with the director. Don’t be afraid to ask questions, but don’t wait until you get into the room to ask.
• Don't try to memorize the reading they've given you. They don't care how fast you memorize. It's a reading. They expect you to use the script, and won't be impressed if you don't. Also, if for some reason (i.e. you’ve performed the show before) you already know the lines, it is better to carry the script that they’ve given you. That way if something happens, you won’t have to break the scene up to go get the script.
Helpful Hint: Not everyone gives a perfect performance the first time around. The director knows this. Neither your reading nor your dance needs to be show quality. The director is much more interested in things like how well you take direction, how you interact with others on stage and how easily you move on stage, rather than the inflection of your voice when you say this line, or whether your foot was pointed or flexed on that step. You don’t have to be at performance quality the first time – that’s what rehearsals are for.
• When reading a scene with another actor, look at that actor and really listen to them when they're speaking. It doesn't matter if this makes your cue pick-up a little slow. Far better to be actively listening and focused on the scene. It makes both of you look better. However, also be prepared to read the scene with someone who isn’t trying to get cast. You may be reading a scene from West Side Story with the part of Tony being read by a woman. Don’t let it throw you. Above all, enjoy yourself. Remember why you love performing, and share that love with your audience. They will thank you for it.