Theatre Employment Opportunities
Artistic and Technical Positions for the 2013 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 drama/comedy
each season over nine months as well as condensed performances for
theatre for young audiences of selected shows.
The 2013 season includes Church Basement Ladies 2: A Second Helping, Plain and Fancy, Nunsense A-Men, 9 to 5 the musical, Seven Brides for Seven Brothers, Arsenic and Old Lace, plus for the holidays, The Wizard of Oz. 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.
Children Wanted!
Seeking Children for The Wizard of Oz
3 Females who sing
3 Males who sing
*Salary and Experience working within a professional theatre environment.
Dates:
The Wizard of Oz - October 29 - December 31, 2013
2013 Audition Schedule
Unified Professional Theatre
Auditions (UPTA)
Playhouse on the Square
Memphis, Tennessee
Feb 8-12, 2013
Midwest Theatre Auditions (MWTA)
Webster University
St. Louis, Missouri
Feb 22-24, 2013
Local
Auditons
The Round Barn Theatre
1600 West Market Street
Nappanee, Indiana
Saturday, March 2, 2013 from 1:00 p.m. to 4:00 p.m.
Sunday, March 3, 2013 from 1:00 p.m. to 4:00 p.m.
Please send submissions to rbtdirector@amishacres.com or via USPS to The Round Barn Theatre, Casting Director, 1600 West Market Street, Nappanee, IN 46550
2013
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 2013 season of rotating repertory theatre Nappanee, Indiana March 2 & 3, 2013. The ensemble will include ten non-union actor/singer/dancers and technical staff. The 2013 season will include Plain and Fancy, Church Basement Ladies 2: A Second Helping, Nunsense A-Men, 9 to 5 the musical, Seven Brides for Seven Brothers, Arsenic and Old Lace and The Wizard of Oz.
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 2 from 1-4pm and Sunday March 3 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 rbtdirector@amishacres.com or 574-773-4188 ext. 203 beginning February 25. Any appointment requested prior to the 25th will not be processed
Technical Positions
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 rbtdirector@amishacres.com.
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.
Helpful Hints:
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.
Registration:
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.
• Miniskirts
• T-Shirts
• 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
Auditioning:
• 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.
Call Backs:
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.
