The Theatre Question Amnesty Thread

The director makes the final choice and sometimes the director has specific actors in mind. Generally:

The casting director meets with the director. The director says if they have any particular actors in mind. It's very rare that a director would have already cast and even then only 1-2 lead roles. If they don't have actors in mind the CD has to have a long talk with them to try to intuit (or bloody mind-read) what they have in mind.

The CD phones those actors' agents to see if they are available, and then either makes an offer or organises a meeting. The CD also carries out contract negotiations with the agent, liaises over rehearsal schedules, etc.

For any roles where the director does not have an actor in mind, or where their choice is not available, the CD draws up a longlist of potential actors. For a major role they may do this entirely from their own 'mental rolodex' of actors, but usually they write and post casting breakdowns on Spotlight. There is also industry pressure eg from Equity to go via Spotlight rather than via direct invite which is less practical and more time-consuming but also necessary to stop theatre being a closed shop.

Posting a breakdown on Spotlight gets you hundreds or thousands of submissions. The CD has to narrow down perhaps 1500 CVs to 20-30, paying attention to any necessary special skills like accents or musical skills. This is not just a case of looking to see who has "singing" listed on their CV but to look at their credits for proof, because unfortunately a LOT of actors exaggerate. This process involves looking at past credits, making sure playing age is correct and headshot up to date, maybe phoning other directors they've worked for to check out unknowns. The CD must also be aware of the director's preferences as some directors have biases towards or against certain drama schools or histories. Plus aware of putting together a diverse shortlist in more ways than one.

If it's a small fringe production from an unknown director, a good CD can get you access to a higher tier of actors through their own contacts and reputation.

When the CD has whittled down a shortlist they book rehearsal space to hold auditions, start phoning agents to schedule auditions (which involves a lot of juggling), choose audition pieces and send them out. They run the actual auditions which the director may or may not attend, and during which the CD might have to read-in the other parts while analysing how the actor interprets the role, how well they take direction, and what they'll be like to work with. CD shortlists a small number of actors for a call-back which the director attends. The director chooses from those final few. CD starts negotiations with agents and prays the actor doesn't announce they can't make the dates.

In the evenings CDs attend showcases, drama school showings and theatre performances and film screenings, to keep up to date on what actors are entering the industry and try to discover and monitor new talent. They also have to open and deal with a mountain of mail receiving easily 100+ CVs and invitations per week, reading them all and keeping track of new promising actors and who's doing what.

Outside the big companies most CDs are freelance and are hired per production. If they invite an actor to audition who is rude, aggressive, a no-show, older than their headshot, auditions but then says they're not available, or can't do something listed on their CV (all of which happens all the time) that reflects badly on the CD and potentially harms their career. They also cast understudies and LiI is currently advertising for u/s on Spotlight and no doubt being deluged with CVs!

Love in Idleness. 

Fascinating - thanks samuelwhiskers, and Tibidabo for asking!

I imagine it's some sort of marking their territory thing. Micturating up the walls is cheaper and makes for a memorable house-warming party, but may occasionally be considered something of a social faux pas.

^^^ if I'm having one at the interval I want it freshly made, not some nasty old thing that got slopped out by a barman with one finger up his nose 45 minutes ago!

The ice has always melted and the beer is always flat.

As for the raffle tickets....

Just. No.

I'm a wine drinker so no worries on ice and such but still sounds like it's not such a good idea. Thanks everyone

What do they do in US theatres sherriebythesea is there a "system"? 

How many theatres keep bars open after the performance? Few I can think of - places like National, Royal Court, Soho and, of course, pub theatres.

I've never had a problem with ordering interval drinks (not that I often do it). If you're with someone order a bottle of wine before the show and ask them to keep the second half of the bottle for the interval. I've never had anything less than a perfectly chilled drink.

Done it at theatres I work at, but the cheeper ones where they give you a discount if you are on a show at the time.