The Netflix series centers on gay pastor Nicky (Levy) and his failed actress sister Morgan (Taylor Ortega), whose attempt to pull off a small theft for their ailing grandmother goes sideways, landing them in the orbit of organized crime. As they try to dig themselves out, they only sink deeper into chaos. 

Ahead of the show’s release, Levy, Ortega and Laurie Metcalf, who plays their mother, spoke at a press conference attended by Casting Networks, where the conversation turned to building the ensemble.

After six seasons of what he called a “warm, fuzzy, cuddly show” like Schitt’s Creek, Levy said he was interested in exploring similar family dynamics through a very different lens. “I thought about myself in relation to the world of crime, and I realized that I would not fare well if tasked with any kind of criminal [activity].”

To bring that world to life, Levy worked with casting director Gayle Keller and her team, whose credits include What We Do in the Shadows, The Big Door Prize, Bros and The King of Staten Island.

Key Insights

• The right actor doesn’t just fit the role, they expand and completely reshape what the character can be.
• Standout auditions often reveal unexpected depth that even the creators hadn’t imagined.
• Casting directors look beyond obvious choices, prioritizing originality, specificity, and actors who bring something surprising to the table.

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“This ensemble [we have on the show] is so spectacular that it made me feel instantly at home just being around unbelievable actors who are bringing everything to the table,” said Levy. 

When it came to casting his on-screen sister, Morgan, Levy described the character as someone with a lot to prove, someone whose pride and ambition can blur the line between right and wrong. 

“And then you hire Taylor Ortega to come in and take that character, throw it against the wall, break it open, and rediscover all the parts of it that were most exciting to all of us,” he said. “To find Taylor in this moment in her career and watch her step into this role, it felt like the clouds kind of parted, and everything was right in the world a little bit.”  

For Levy, that transformation gets at the heart of casting itself. “When you write a character, you have an idea of what that character is. Then an actor comes in and shows you a side of that character that you had no idea could exist. If you do the casting process right and you find the right person, that actor will revolutionize your own idea of what the potential for a character could be.”

He credits Keller and her New York-based team with a number of discoveries across the show, including Canadian actor Jack Innanen, who plays Morgan’s boyfriend Max. Levy called him a “fun discovery,” adding that as a Canadian, he loves hiring his fellow countrymen. He also singled out Abby Quinn, who plays his younger sister Natalie, the more put-together and favored sibling, calling her “an amazing find.” 

“Abby’s read of this monologue that happens at the end of the season was so jaw-dropping, I knew as soon as I watched it, that we had to hire her,” Levy said.  

Ortega agreed. 

“I would not have read that character the way Abby read it,” she said. “When you saw Abby do it, you went, ‘Oh my God, I guess that’s probably who this [character] is!’”  

Levy also highlighted Turkish actor Boran Kuzum, who plays Yusuf, the gangster the siblings become entangled with. 

“This is his first American role. I believe he’s one of the first actors from Turkey to ever make the leap to American television. There’s a lot of pride for Boran.”

More broadly, Levy pointed to the scope of the casting search, which extended beyond New York City to New Jersey and Miami, with an emphasis on finding actors from a wide range of backgrounds, including Russian and Brazilian performers. 

“It was a big ask,” he said of Keller’s team. “I feel very lucky that we found the people that we did. You get these moments when you think, everything is happening exactly as it should, and the casting process is the first indicator of [that]. Even the small characters. There’s not a false note in the entire season, casting-wise.”

Still, Levy considers landing Laurie Metcalf as the show’s mother his biggest casting win. The character is an erratic, overcritical woman who pits her children against each other while running a local campaign for mayor.

A longtime admirer of Metcalf’s work, particularly her portrayal of Jackie Harris on Roseanne and The Conners, Levy said that character shaped his own sense of comedy. He also cited Metcalf’s Oscar-nominated performance in Greta Gerwig’s Lady Bird as another standout. He decided to reach out to her directly for Big Mistakes.

“I wrote her a letter, I sent a script, I said a little prayer, and I hoped for the best,” Levy said. “When you send something out to somebody that you revere so fondly, you have to let it go. But I remember sending the script, and within 48 hours, we had heard that she was interested. I screamed.”

Metcalf was equally enthusiastic about joining the project.

“I can’t believe I was on Dan’s radar,” she said. “I am such a fan, as is everybody in the world, of Schitt’s Creek and of Dan specifically. The fact that I got asked to be a part of this ensemble, it has been one of the best experiences I’ve ever had.”

Levy said the role called for someone who understood the character enough to instinctively be the gravitational force that the siblings would be orbiting around.

“So the minute she said yes, I knew that we had the chance of making a really, really great television show.”

The post What Dan Levy Looked For When Casting His New Netflix Series ‘Big Mistakes’ appeared first on Casting Networks.

For many actors, the post-audition window becomes a spiral. But the most consistently working actors treat it differently. They turn auditions into data. Not cold, clinical data that strips away artistry, but usable insight that sharpens instincts and builds consistency over time.

Instead of replaying your audition over and over in your head, ask yourself questions that shift you from outcome obsession to process mastery. Booking is not fully in your control, but growth is.

Key Insights

• Letting go after reflection is just as important as preparation, because it protects your energy for the next opportunity.
• Strong auditions aren’t about being “right,” they’re about making clear, intentional choices you can learn from.
• The fastest-growing actors treat every audition as usable data, not a pass/fail judgment.

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1. Did I make specific, intentional choices?

Every strong audition is built on clear, playable choices. Did you decide who you were in the scene? What did you want? What were you willing to do to get it?

Or did you lean on “feeling it out” and hope something interesting would happen?
This question isn’t about judging whether your choices were “right.” It’s about whether they were yours. Casting directors aren’t looking for neutral. They’re looking for actors who can commit to a perspective.

If your choices felt fuzzy, that’s valuable information. It tells you where to dig deeper next time. If your choices were clear and grounded, that’s a win, regardless of the outcome.

2. Was I responding truthfully, or demonstrating?

There’s a critical difference between being affected and showing that you’re affected. Did you actually listen and allow your acting partner’s words to land on you? Or were you indicating reactions to make sure the moment “read”? 

What picks up thought faster than effort? The camera. If you catch yourself “adding” reactions, take note. Your next audition can focus on trusting stillness and letting the moment do the work. An example that comes to mind is when your scene partner has a long speech. Do you nod “on purpose” to show that you’re still listening, or do you subtly move your eyes to acknowledge what they’re saying?

If you catch yourself “adding” reactions, take note. Your next audition can focus on trusting stillness and letting the moment do the work. 

3. Did my interpretation align with my type and brand?

Every audition is a branding exercise, whether you think of it that way or not. Did your take on the character feel aligned with how you’re usually cast? Or did you push yourself into a version that felt slightly off from your natural casting? This doesn’t mean you should play it safe. It means understanding your lane so you can stretch it with intention.

When your choices align with your casting presence, casting directors don’t have to work to “place” you. They see where you fit immediately. If your audition felt disconnected from your usual brand, ask why. Were you experimenting? Trying to be what you thought they wanted? That awareness is gold.

4. Did I understand the tone and world of the project?

You want to deliver a grounded performance in a grounded world. Your aim should be not to have any mismatches. Did you match the project’s rhythm and style? Whether it’s network procedural, indie drama or single-cam comedy, each has its own language.

Think of tone like gravity. It affects everything, such as the pace of your speech and the size of your reactions. If something felt slightly off, it might not have been your acting. It might have been a tonal mismatch. Over time, sharpening your awareness of tone makes you instantly more bookable. It signals that you understand not just the character, but the show.

5. Was I connected to the stakes of the scene?

If nothing feels like it matters, the scene can come across a little empty. Were you clear on what you could gain or lose? And more importantly, did you feel that pressure physically, or was it just an idea in your head?

When an actor is truly locked into what’s at stake, they don’t have to force anything. The tension is already there. If your read came off a bit flat, it’s usually not about needing bigger emotions; it’s about needing a stronger sense of investment.

Try asking yourself: What am I risking here? And what happens if I don’t get what I want? Getting specific with that tends to bring everything into sharper focus.

6. Did I prepare enough?

If your performance felt tight, you may have rehearsed it too specifically. If it felt all over the place, you might need more structure going in. It’s not about getting it perfect. It’s about being prepared and able to adapt. Casting directors notice actors who can pivot without losing truth. It shows confidence and professionalism.

The goal isn’t perfection. It’s readiness.

7. Did I take direction well (if given)?

How did you respond when the casting director provided guidance?
Did you make a clear adjustment? Or did you only partially revise your performance while clinging to your original choices?

Receiving direction is an important part of collaboration. Casting isn’t solely about talent; it’s also about your ability to work with a director under time constraints while still delivering a strong performance. This question also applies to self tapes. Did you explore multiple takes? Did you create options that demonstrate your adaptability?

Your capacity to adjust is often what sets you apart from others.

8. Did I stay present, or get pulled into my head?

There’s a moment in many auditions where the internal commentary tries to take over.

“Was that line weird?”
“They’re not reacting.”
“I should do something different.”

Did that voice pull you out of the scene? Or were you able to stay anchored in the moment? Presence is the actor’s superpower. It’s what makes everything feel alive and unpredictable. If you felt yourself drifting into self-monitoring, don’t beat yourself up. Just notice it.

Awareness is the first step toward shortening that gap. The more you practice returning to the moment, the less power that internal noise has.

9. What did I learn that I can apply immediately?

Every audition teaches you something, even the ones that feel messy. Did you discover a new approach that worked? A habit that got in your way? A preparation technique that helped you feel more grounded?

Actors who grow quickly aren’t necessarily more talented. They’re more observant. They track what works and repeat it. This question turns each audition into a stepping stone.

10. Can I let this go now?

This might be the most important question of all. Once you’ve reflected, can you release the audition?

Don’t dismiss it, don’t pretend it didn’t matter, but genuinely let it leave your system so you can move forward. Holding onto auditions drains your energy and clouds your next opportunity. Letting go creates space.

You’ve done the work. You’ve gathered the insight. The rest is out of your hands. Professional actors aren’t defined by how long they hold onto auditions. They’re defined by how quickly they return to readiness.

Turning Reflection Into Momentum

There’s a quiet confidence that comes from process-focused actors. They don’t ride emotional highs and lows with every audition. They build something steadier. A rhythm.

Audition. Reflect. Adjust. Move on. The truth is, you won’t book most of what you audition for. No one does. But if each audition makes you a little clearer, a little sharper, and a little more aligned, then you’re not starting over each time. You’re building.

So the next time you finish an audition, resist the urge to spiral. Ask better questions. Gather better answers. Then step forward, lighter, sharper and ready for the next one.

The post 10 Smart Questions Actors Should Ask After Every Audition appeared first on Casting Networks.

Then comes the part no one trains you for: the waiting. For many actors, this is where anxiety creeps in. Silence can feel like rejection. Delays can feel personal. A lack of feedback can feel confusing.

But here’s the truth that working actors come to understand over time: What happens after your audition has very little to do with you, and everything to do with a complex, multi-layered decision-making process behind the scenes. Understanding that process won’t eliminate the wait, but it will change how you experience it. And that shift can be the difference between burnout and longevity.

Key Insights

• Career longevity comes from detaching from outcomes, focusing on the craft, and moving forward quickly after each audition.
• The post-audition process involves multiple layers of decision-makers, so delays and silence are usually about logistics, not your performance.
• Many actors land on shortlists without knowing it, meaning strong auditions often go unacknowledged rather than rejected.

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The First Stop: Casting Reviews Everything

Once auditions are complete (or sometimes even while they’re still coming in), the casting office begins reviewing submissions.

This stage is more than just “watching tapes.” Casting directors and their teams are:

• Comparing performances across hundreds (sometimes thousands) of actors 
• Evaluating how each actor fits the tone of the project 
• Considering chemistry with other potential cast members 
• Watching for subtle qualities like authenticity, listenability and presence

At this point, decisions are rarely final. Instead, casting begins building a shortlist, which is a curated group of actors who could realistically play the role.

This is where many actors first land after a strong audition. Not booked. Not rejected. Just in consideration. And that distinction matters.

The Shortlist: You’re Still in the Game

If you’ve ever heard the term “pinned” or “on hold,” it often originates from this phase.

Being on a shortlist means:

• You’re being seriously considered 
• Your tape may be shared with producers or directors 
• You could be called back, or not, depending on the project 

Here’s where things slow down.

Once casting has identified their top choices, the process expands outward to include more decision-makers. And each added voice means more time.

The Director’s Pass: Vision Meets Performance

The next step is that your audition may move to the director. A casting director might love your work. But the director is asking a different question:

“Does this actor match the story I’m trying to tell?”

Directors are looking for alignment with their creative vision, including:

• Tone and emotional range
• Character interpretation
• How you might fit within the world of the project

Sometimes, this results in callbacks. Sometimes, decisions are made directly from the tape. Sometimes, the director asks for adjustments such as new reads, different takes, or chemistry pairings.

This can extend the timeline without any indication to the actor. From your perspective, it’s silence. From theirs, it’s exploration.

Producers Enter the Conversation

Once the director weighs in, it’s time for the producers to enter the decision-making process.

Producers are balancing creative choices with practical considerations, including:

• Budget constraints
• Scheduling availability
• Marketability
• Overall casting balance

This is often where things take a turn no one saw coming.

One actor might be the top creative choice, but they can’t make the schedule work. Someone else may be a better financial or logistical fit. Another might carry a name that helps the project gain traction.

It has nothing to do with how well you performed, but it can still determine who ultimately gets the role.

The Network or Studio Layer (For Larger Projects)

For television, studio films, and streaming platforms, there’s often another layer: network or studio approval. This is where decisions can take the longest.

Executives may review multiple options for a role and ask questions like:

• Does this actor appeal to our target audience?
• Do they align with the network or platform’s brand?
• How do they complement the rest of the cast?

In some cases, this leads to screen tests or network tests, where actors perform in front of key decision-makers or on camera in a more formal setting.

These stages can significantly stretch timelines, sometimes by weeks. And during that time, actors often hear nothing.

The Business Side: Offers, Negotiations and Contracts

Even after a decision is reached, things aren’t locked in just yet.
Before anything becomes official, there’s a whole round of behind-the-scenes work:

• Contracts get written up
• Agents go back and forth on terms
• Availability is double-checked
• Schedules are aligned

And if something changes along the way, such as timing issues, budget adjustments or a shift in direction, the process can circle back.

Roles can still be reassigned, even at this stage.

Most of this happens out of sight, which is why the timeline can feel so uncertain from the actor’s side.

Why You Don’t Hear Back (And What It Really Means)

A common belief in this business is that a lack of response means you missed the mark. That’s not really how it works.

Silence can point to several things:

• You may still be in the mix
• The project could be running behind
• Approvals might still be pending
• Casting may be finished, but updates haven’t been sent yet
• The entire timeline may have shifted

Casting teams usually handle several projects at once, all moving at different speeds and under varying pressures.

Checking in isn’t always expected, and detailed feedback isn’t always possible. So when you don’t hear anything, it’s not a judgment; it’s just how the process tends to unfold.

The Timeline: Why It Varies So Widely

Actors often ask, “How long should I wait before assuming it’s a ‘no’?” The honest answer: there is no universal timeline.

Here’s a rough idea of how timelines can vary:

• Commercials: 24-72 hours (sometimes faster) 
• Co-stars/guest stars: A few days to a couple of weeks 
• Recurring/series regulars: Several weeks to months 
• Film roles: Weeks to months, depending on financing and scheduling 

Even those timelines aren’t set in stone. Sometimes things move quickly, sometimes they take their time, and neither says much about the outcome. It’s just the nature of the process, with each project moving at its own pace.

The Emotional Reality: Managing the “In Between”

The stretch after an audition can feel like you’re just waiting, with no clear next step in sight.

That’s where your mindset really starts to matter. Because at the end of the day, the audition is the only piece you actually control. A system handles everything that follows, with many moving parts.

Actors who last in this business tend to:

• Let go of the result fairly quickly
• Resist the urge to replay every moment
• Turn their attention to what’s next
• Accept that getting close is part of the process

You could have been the runner-up. Or right behind them. Or even the top choice until something practical shifted. Those almost-bookings don’t get announced, but they happen all the time.

What Casting Directors Want You To Know

If casting offices could send a message to every actor after an audition, it might sound something like this: “We saw you. We considered you. And if we could cast more than one person, we often would.”

Casting is rarely about finding the “best” actor. It’s about finding the right combination of elements for a specific moment in time. That includes factors you’ll never see and never control, which is why your focus has to stay on the work, not the result.

The Professional Approach: What to Do After You Audition

While you can’t control the timeline, you can control how you move forward.

Here’s what working actors consistently do after submitting an audition:

1. Move On Quickly

Treat the audition as complete. Don’t linger in analysis.

2. Stay Available

Keep your schedule flexible in case of callbacks or holds.

3. Keep Training

Your next opportunity is already in motion.

4. Maintain Perspective

One audition is a moment. A career is built over many.

5. Celebrate the Win

Getting the audition means you’re in the conversation.

The Hidden Momentum

Your focus isn’t on chasing the result. It’s about staying prepared for whatever comes next. So when you send in a tape and don’t hear anything right away, keep this in mind: you’re not stuck waiting with no movement. The process keeps going long after your submission. You just may not have visibility into any of it.

The post The Waiting Game: What Really Happens After the Audition appeared first on Casting Networks.

It first premiered on the West End in 2023 at the Phoenix Theatre. Set during Henry Creel’s teenage years, the show reveals the origin of Creel’s psychokinetic powers. Danielle Kassaraté is the current associate director.

Danielle’s first experience directing began on a production of All My Sons, leading to work assisting on productions of The Lightning Thief: The Percy Jackson Musical, Tambo & Bones, The Tempest at The Globe and King Lear at the Almeida Theatre. 

Key Insights

• Let go of trying to “get it right” in auditions and focus instead on bringing a playful, authentic version of the character into the room.
• If you want to direct, start by creating with your peers because collaboration is often the fastest path to real experience.
• Approach theatre as more than performance, using it as a tool to connect, heal, and create meaningful change.

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After studying musical theater at the BRIT School in South London, Danielle trained as an actor at the Royal Central School of Speech and Drama. Her acting credits include the Netflix series The Sandman, The Color Purple musical performed at the Birmingham Hippodrome and the Leicester Curve, the international tour of The Curious Incident of the Dog in the Night-Time and The Architect at Greenwich + Docklands festival.

She is also the co-founder of Mawa, the UK’s first all-Black, all-female Shakespeare theater company.

First the resident director and now the associate director, she has her hands full. Danielle spoke to us directly from The Phoenix Theatre in London.

Can you tell us about your earliest inspiration to become a director?

My mum always took me to the theater, and when I was younger they used to have these offers, for … I don’t know if it was just for nurses, but you could get these discounted tickets. There were these vouchers that my mum used to get as a nurse for West End shows, which I obviously don’t think is a thing now, which is a shame.

That made theater accessible for me and her. Basically she took me to the theater a lot when I was younger, because of this discount, which allowed more people to go to the theater, especially in the West End. 

I remember having early memories of watching shows and just being really inspired. I don’t know if it was to be an actor, but I knew I wanted to do something that linked with creativity. There was something in watching other people do and create a world on stage that I wanted to be a part of quite young, and I loved theater at school and all of that. I was always involved in anything that was creative. 

I think it started with my mum really because she encouraged that side of myself from a young age, and we were able to go to the theater and I saw how that isn’t a luxury for a lot of people, especially from different backgrounds. I feel really lucky that I got that, but like I said, there were deals back then which we could use, which meant that we could go. 

One of my earliest memories was seeing Porgy and Bess — it’s a funny full-circle story actually. I saw Clark Peters in Porgy and Bess, and I ended up working with him on King Lear as an assistant. I saw that production, and I saw myself on stage with all these wonderful actors, and thought, “Ah, I can do [that]” with an actor I admired, to then end up working with him on a show that I was also very passionate about. It was a beautiful full-circle moment.

How did your training at the Royal Central School of Speech and Drama prepare you for working on the West End?

I trained as an actor, I did drama and applied theater in education, and that came about because I went to the Brit School from age 16. I was at BRIT studying musical theater and during that time, you know, you get to a point where you have to choose what you want to do, which schools you want to apply for.

We did a community theater project with a local school, and we did a big show at Fairfield Halls for lots of schools to come and watch as well, which was part of this community project, as part of our course.

I remember at the time, a lot of other actors in my year were like, “Oh I’m gonna apply for this school.” They knew exactly what they wanted to do. They knew exactly what schools they wanted to apply for. In terms of the next step in the industry, I was just like, “I’m not there yet.”

I’m not in this space of wanting to be like, “I’m gonna go to this school, and I’m gonna be doing musical theater and I’m gonna be on the West End.” I knew in myself that I just didn’t have that calling at that point in my career and in my life because I was only 17. 

Then I said to my drama teacher at BRIT, “Yeah I’m just figuring out what I want to do, but I really love the community theater project.” She was the one that told me about this course at Central because she studied it. I was like, “Oh, okay,” then I did what everyone else does, I applied, went to the open day and got in.

I went there for three years, many ups and downs like lots of courses, but what I got from it was definitely life affirming. I’m glad I did something like that course before being an actor in this industry. 

You get to understand that there is more to theater than just being on stage, and I know we all know that, but it’s a vessel and a tool that we can use in society to help heal and to make inclusive. To have fun and remind people that there’s escapism we can go to in hard times, and that’s what I loved about that course, that I was able to do that. I worked with Mind Charity, as part of our course and I worked with schools. 

When I graduated, as part of my placement, I worked with a company called Haringey Shed full time. So that placement was like part of my career, somehow going into directing. You end up directing lots of youth theater and children’s theater, but at the time you don’t put that down as directing, you’re like, “Oh,  this is my job.”

But, in reality you’re directing 50 plus kids on stage, trying to put together a production of The Tempest. So yeah! You are directing! My journey through to Central was not linear, but that’s how I got there.

You co-founded The Mawa Theatre Company, the UK’s first all-Black, all-female Shakespeare company. Can you tell us more about Mawa?

We founded it in 2020, during the pandemic, going into 2021. It came off the back of, you know there was a lot of unrest going on at that time, a lot of pain. There were lots of theaters and people opening up discussions. Maisey [Bawden] who had the idea for it, of wanting to create space for us, and that if we were going back into an industry that was going to open up, what would we want the industry to look like?

All of us had a passion for Shakespeare, and I kind of came in through my experience with the outreach and that sort of thing from my experience at Central. I was really keen on the outreach side of stuff, then eventually we put all our heads together. Me, Gabrielle [Brooks], Jade [Samuels] and Maisey, and yeah we came up with Mawa. 

We did a series of online videos throughout the pandemic. We did some more online videos, with my stint at Queens Theatre Hornchurch, alongside with Maisey and through Mawa, we did Shakespeare on Sea. We did a monologue slam in Birmingham and we did one at The Globe in London.

In terms of the future of the company, like lots of things, people evolve and they keep discovering who they are creatively, but Mawa is still and will always be something that was founded from a place that was about creating more opportunity for people. Whether that happens individually or together is something we are still discussing.

There is always space to hold for that, whatever aspect and whatever job. What I know for myself, is that even if I’m not doing an all-Black female Shakespeare show, in terms of creating space and holding space for people that haven’t always had that, is always at the forefront of my mind.

As the associate director of Stranger Things: The First Shadow, can you explain what the role involves?

I look after the show on a week-to-week basis, and that includes going in, watching the show and noting anything office-based, as well to do with cast holiday. Communicating with the offices on anything we might need in the building, but the overall role is the director that is there day to day. That includes parish notes, which is something that we do at the beginning. You need parish notes, maybe to discuss things that happen throughout the week or something you want to work on. 

To be the outside eyes as a director in the building, to help maintain the original vision of the show. A resident is someone that’s on the ground most days, throughout the week, and then you’ve got an associate director who comes in every other week.

Anna Girvan, is my point of contact. Then above Anna, you have the original directors, Stephen Daldry and Justin Martin. It’s about keeping Stephen and Justin’s vision of the show throughout the whole run of it. I rehearse in covers, I run the cover rehearsals and I re-rehearse anybody, like the young actors. We’ve got children in the show, the young Alices, so I rehearse them into the show.

So lots of creative input still, which is nice, because you still get to use your directing chops with the people that are being rehearsed back in.

What advice can you give to actors about auditioning for theater and about the pressure they might feel from being in the audition room?

Doing a long-running show, I think it’s very easy to feel like you have to be a carbon copy of what the show is, especially with a show like ours. You have a television series to reference, but Anna always says in the initial first-round discussion that we’re not looking for that, we’re looking to see what you bring to that.

Of course, there are backstories, there are characters that you can reference, and I think this is with any role, try not to come in expecting what you want us to see. 

Always research the show as much as you can, and that doesn’t mean forking out money to go and watch the show. Like for our show, it’s just useful whether you know the series. If you know the series, you know the world of it, right?

So you’ve got a great reference for that, and what I’d also say is to be as prepared as possible, [and that] doesn’t mean having to be off book. I think there’s this pressure of actors always thinking they have to be off book, and yes it’s useful to be familiar of course, but be playful.

What can happen is you learn a version of it, and then because you’ve learned a version that you’ve rehearsed at home, you can suddenly come into the room and then without realizing it, it’s not as playable.

In terms of young actors I’d say just take the pressure off, having been on both sides, having been rejected many times in my career more than I’ve been said yes to, like we all have, it really sometimes comes down to the smallest thing, and don’t hold on to that.

There’s been amazing talent that along the way you say no to, and sometimes it’s literally just that they’re brilliant, they’re just not right for this show. So just remember that, remember that this “no” is leaving room for the next “yes,” and it’s not always a bad thing. I think straight out of drama school the want is obviously to get jobs and book, but realistically,  this industry is very tough.

I would never want anyone to leave an audition process and think that just because they got a “no,” for their dream role in the West End that it means that it’s “no” forever. It’s very important to hold onto that, because I’ve been there, I understand that, it’s hard.

It’s important when you’re young to not let that define the rest of your auditioning process and let that “no” get to you. There really will be, if you want it, there will be other opportunities that are right for you.

That’s great advice. What would you say is the best approach for an actor in terms of collaboration with a director?

I think being playful with room to play and offer, and that comes through the rehearsal process, even on a long-running show. I’m lucky that I’ve worked on some that allow that room for the actors to still bring themselves and find choices that work for them, yes within the perimeters of the show, but it’s important that the actor still feels ownership, so room to play is definitely invited.

I think throughout, that my main advice is play and offer, and then we go on a journey together and discover what the role is for that specific actor.

What advice can you offer for actors who are also interested in directing?

I’d say go for it. Team up with your friends, I know someone I taught at at [National Youth Theatre] (NYT), she had never really directed before, and off the back of what we did was like, “I really want to try.” So her friend came to her with something and they just put it on at a fringe festival in Camden, and that’s really the way to do it. Even with us at Mawa, we’ve come together, and through coming together, I’ve directed a couple of things for them.

That’s the nature and the beauty of our industry is that we know so many people. Get your friends together. Drama schools are a great way to do that, I’ve done that, it’s a great way to exercise those directing muscles. If you have access at your old drama school, you can ask to assist on a first-year project and a second-year project, and eventually you get a third-year one.

That’s what I would say, is use your tribe to create your own opportunities and your own work.

How has your experience as an actor influenced your directing style?

I come from a place of understanding what it’s like to be on the other side. When I did my first assisting role, I thought, “Oh, I have so much more compassion for the creative team,” because as an actor you turn up and you do your thing and you go home.

You’re going home, and yeah, you’re running lines, but a lot of the time the creative team is sometimes going until really late some days, just discussing things. How this thing isn’t working, or that thing isn’t working, and once the actors leave for tech, the creative teams are still discussing stuff. 

You know actors are on a break and we’re still discussing things. That being said, I have more compassion for this side of things because I’m on it, but I also have understanding and compassion for actors, because I have been on that side. I know how draining it is, I know that some days you turn up and you’re not feeling a hundred percent.

You’re not feeling it, and there’s nothing worse than when you’re not feeling great in your body and you’re trying to find a role. So I have lots of empathy for that side of it as well. 

My main headline is having compassion for both sides, that’s how acting has influenced my directing style. Just making a call like, “Okay, maybe today isn’t the day that we run that bit, because I can see that actors are having a day.” Which most directors would do anyway, but I’ve been the actor having a day, and having to do something and it’s not been great.

I would have liked … maybe someone in the room to take a beat on that before doing anything. I’ve done things with heavy shows, when you’re being asked to do that scene, over and over again. So actually let’s finish at 4 p.m. today, because doing that until 6 p.m. for 6 hours or more sometimes, might not help us in the long run for that actor, you know?

Finally, what show on the West End would be your dream production to direct?

My background is in musical theater, so I would love to direct a musical for sure. There’s a production called Five Guys Named Moe by Clarke Peters, and I would love to explore a gender-swapped version of that. Especially because the themes and the songs are actually a lot about women.

I would be intrigued to unpick that story to see how it would look through a female lens about how men betrayed women during that time and now, and flip it.

You can watch all five seasons of Stranger Things on Netflix now.

The post Danielle Kassaraté on ‘Stranger Things: The First Shadow’ and the Audition Mindset Actors Need to Book More Work appeared first on Casting Networks.

Setting up shop in Perth, Australia, had its risks, but she’s thriving, working in film, TV and commercials. A brand-new studio in town will mean more production coming its way, and Carpenter is well situated to see the benefits.

It starts with her latest film, the Daisy Ridley-led horror film, We Bury the Dead, currently in theaters. She spoke to us from halfway around the world, in her Perth office.

Key Insights

• Megan Carpenter’s background as an actor helps her design audition environments that reduce nerves and bring out stronger performances.

• Prioritizing work-life balance led her to build a sustainable casting career focused on commercials and local production.

• Detailed self-tape guidance and in-room empathy help level the playing field for performers working remotely.

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How did you get into casting in the first place?

Very organically. I started off as just a humble actor in Perth, just doing my thing. Didn’t have any serious training, just stepped into it as a hobby, and very quickly, I was doing a fair bit of work. At the time, I was running a children’s entertainment company, and someone that I went in to do auditions with on a regular basis asked me to come and join them one day because they were [auditioning] 200 children and they knew I was good with them.

I helped them do that, and that was my starting with casting. I’ve [worked in] lots of different departments as well, producing, production managing, location managing, but with my heart coming from an acting background, I created my own casting company. And now, there’s just two of us in Perth, me and Annie Murtagh-Monks. We stay busy.

I talk to a lot of casting directors who came from acting, and inevitably there’s a light bulb moment where they realize that this is their calling, and not acting. What was that moment for you?

I sat with both of them for about 10 years, because I still do really love acting. I purposely put myself into audition moments at least once a year, just so I keep remembering what it’s like to be an actor and how nerve-racking auditioning is, because I think it’s really important as a casting director.

I remember how those nerves can take over, and how that presents yourself when you’re doing an audition. I remember doing this play. It was a 20-minute solo performance, monologue, and I had left the stage, and I was so, so sick. I just [said] to myself, “I don’t think I can do this to myself anymore.” That was the moment I knew that I’d probably just be doing behind the camera stuff.

You just worked with Bruce Beresford, who is a legend.

Honestly, the man is incredible. He’s brilliant, and what I loved about him the most is he would so often join me in the casting room. He would read with the talent. He didn’t want me to read, he didn’t want me to bring in a reader, he said, “No, it’s my script. I will read with the talent.”

That was wonderful for the talent. They got to meet Bruce Beresford and do a scene with him. And he’s a darn good actor himself.

You don’t just work in film or TV, right?

I don’t sit a lot in the feature film land. I did work in features a fair bit earlier, and I was getting a little bit burned out. They’re a hard slog, and I was doing a lot of production work, not just casting, but it’s a really hard lifestyle. I was a single mom at the time and not seeing my daughter very much. That was probably a light bulb moment for me as well.

I wasn’t having any work-life balance, so I needed to change that. I really pushed on the casting side of my job, because it meant I was home. I could set up a studio here, my daughter could come in and be with me, and I really focused on the commercial world, because there wasn’t a lot of a lot of work in the feature film world in Perth, then. 

But things are changing in that regard, aren’t they?

Things are changing rapidly now, because we’ve just built a studio. Where we used to maybe get one feature through a year, we’re doing six a year now. So the landscape is changing very fast. We’ve been asking for a studio for 20 years, and finally our government has built one. It’s going to change the whole landscape of our industry here.

Can we back up for a second? I want to ask you about putting yourself out there to audition once a year to make sure you stay in touch with that side of things. I’ve never heard of anyone actually doing that before.

I’d never put myself forward for something I was casting, absolutely not. But recently, someone else was casting something they thought I would be good for, and I thought, “Well, why not?” That was a self tape, and I hadn’t really done a self tape in a very long time.

I wanted to put myself through that process as well, because I wanted to really look at how much more difficult it is for talent to do self tapes, and I believe it’s a huge difficulty. They should be in a studio with a casting director that gives them the right directions, gives them the right feel about what the project is and what the directors talked about. We always get a better performance from a talent if they’re in the room [rather] than a self tape.

I hear that over and over again, the good and the bad of self taping. You get to see more people, but lose so much of the room. With this experience, are you able to employ that to make the self-tape process easier for the people that they’re sending in?

I do try to put out a very, very detailed brief, including, “Please only stand less than three meters away from the camera. Please be in a well-lit room. Please use a mic. Please don’t get your mum to read with you. Call a friend, call an actor friend, bring an actor in with you so you don’t have to worry about the camera.”

You can just do your art without having to worry about all the other stuff. If it’s a really important audition, I do encourage them to pay for someone to do a test with you, a professional, but then that’s not fair because actors are spending money. But if it’s a really hot role for you, take away all the pressure of doing the filming yourself.

So then you are able to bring some of that into the exchange, level the playing field a bit and make it easier for people to show you what they can do without being in the room.

Yeah. When I was younger, I went to some really, really horrible auditions. Auditions where you had a director sitting there on his phone while you’re doing a scene that you’ve worked really hard to do. So it was imperative for me to make sure that my audition space is a really safe, nurturing space for the talent. I guess I’m very lucky in Perth, because we’ve got such a small pool here. I know pretty much everybody and everyone who walks in.

It’s such a friendly environment, and I can tell straight away if they’re having a bad day or if the nerves have got the better of them, because I know the nerves can get the better of me, too. So because I do go to the auditions and keep reminding myself how overwhelming it can be sometimes, when they come in and I can see that they’re not quite there because the nerves are affecting them.

I often say, “Okay, let’s just stop for a second. Let’s do this breathing exercise together, or let’s run on the spot together.” It’s really important to me that I help them as much as possible. I think if I don’t keep reminding myself how nerve-wracking auditions can be, I might not have as much care.

That feels like a perfect segue into my last question. What piece of advice or wisdom would you give to somebody who is coming in to see you?

Just enjoy yourself. I tell actors all the time, because I do workshops and lectures and things, I can have an actor come in for two years and they’ve got a good face and they want to be an actor, but they’ll bomb their auditions for two years, okay?

But I keep bringing them in because I believe the audition process is training. I mean, you should learn something from your audition. It’s a training ground, and it always takes about two years for talent for some reason. 

They come in one day and they absolutely nail their audition, and when I ask that talent, “Okay, tell me what happened today that you haven’t done for the last two years, because you just smashed your audition. What was different today?” And everyone always [gives] exactly the same answer: “Megs, I actually came in and went, “I’m just going to have fun and enjoy myself today.”

Take all the pressure off of “I want the job. I want the job. I really want to get the job.” As soon as they do that and just enjoy their craft, they audition wonderfully. That’s my advice to actors. You’re getting to audition. What a great thing. Not a lot of people are getting the call, so just enjoy the moment.

Key Takeaways

• Use every audition as training, not just an opportunity to “get the job.”

• Create conditions that let you focus on your craft, whether in person or on tape.

• Let go of pressure and focus on enjoying the process to unlock your best work.

The post How to Thrive Anywhere: Megan Carpenter on Auditioning With Confidence appeared first on Casting Networks.

She’s still heavily involved in anime, but she’s hardly limited to that. She’s also worked on Star Wars and Disney projects, and is constantly in demand. One of her latest projects is Disney’s Twisted-Wonderland: The Animation, the first season of which is streaming on Disney+ and Hulu. She talked to us from Los Angeles.

Key Insights

• A strong foundation in acting technique is essential for voice actors who want to deliver meaningful, professional performances.
• Making clear, creative choices helps actors avoid “vanilla” auditions and stand out in highly competitive casting pools.
• Long-term success often comes from niche expertise, consistent networking, and understanding both sides of the industry.

What got you into acting in the first place? I’m assuming the acting came first and then the casting?

Yeah, the acting came first. I mostly get hired to do voice-over. It doesn’t mean that that’s all I do as an actor, but it’s what I’ve basically been hired for. I’m so grateful, but all actors want to do the things that you’re not doing.

So when I started out, if you want to really get into it psychologically, when I was very young, the appeal of acting was an escape from myself. At the time, I don’t think I was very happy with who I was as a human, so that’s where that came from.

So how did that evolve to so much success in voice acting? 

For whatever reason, voice-over was what I was hired to do, over and over again. I can speculate in terms of why that is. The worst feedback I got was from an agent.

I read for her, too, and she said, “I don’t have any issue with your ability to read, but I’m not signing you because I don’t know where I would put you. Because from the neck up, you look 30, and from the body down, you look 14.”

Oh my God, that’s awful! 

(Laughs) It was terrible. And at the time, FYI, I was 24, so it was doubly bad. Like, “I’m 30? What are you talking about?” (Laughs) It was brutal. And over the years, I got it over and over again, that it was a really great read, but I’m just not physically right for this part. So I started with voice acting in the niche of dubbing anime.

I’ve heard that from other people, doing English dubbing being their way in.

Yeah, but at the time I started, it was very rare. Nowadays, a lot of people come in through fandom, but at the time, I was already pursuing acting in college, doing improv, part of a Shakespeare group and whatnot, and I was watching anime.

I would watch the Japanese version and then the English version,  and as an actor with low self esteem, I thought to myself, “Well, if that’s the bar, I can do that. Right?” (Laughs) I had the confidence, whether or not it was warranted, so I pursued it.

It was such a small niche market, and being Asian, even though I’m not Japanese, there are some cultural elements that I can pick up on a little bit more naturally, because it’s not so foreign to me. So I’d come in with a leg up, because I would know archetypes, I would know tropes. At that time, there weren’t that many actors who were fans of anime, so I had that base knowledge and an advantage.

Did that lead to other opportunities?

I’d been doing anime for a while, but hadn’t been doing as much of the original animation and that sphere. At some point, I started booking. There were a lot of things happening, a lot of pro-Asian casting that also helped, because there were a lot more characters that were Asian, and more representation happening at the same time.

I started noticing that I would book some parts, and there would be people in the room who already knew who I was, which was very confusing to me, because I’d never been a household name. What I realized is that I had been working in the industry long enough that the people who grew up watching anime were now working in the industry, so they knew who I was. (Laughs)

That is fantastic. 

I remember this one experience where we had done this movie called Your Name., which was a big deal in the anime space. I went in for a callback at Nickelodeon and the director who I had never met in person.

When I walked into the room, swiveled in his chair, and he goes, “Your name?” I’m like, “Oh, Stephanie Sheh.” And he goes, “No! The movie! Oh my gosh, so great.” (Laughs)

So, when did casting come into it?

Even before I started doing it professionally, I was the type of person who pays attention to casting, even as an audience member. But it was a slow situation. I never started out trying to pursue that as a career, I had just done so much networking as an actor, and when I was pursuing acting in the anime world, my day job was also producing anime, so I was already on both sides of it.

I would go to events, conferences, conventions, hang out with the producers and the studio owners, but then also had my actor friends. So because I ended up knowing a lot of people, people just started asking me for recommendations. 

So it came about organically?

Yeah, I pretty much exclusively work with NYAV POST when it comes to casting and directing, mostly because they give me so much creative freedom, and I value that beyond anything else. Eventually it became more of an official thing.

How have the two sides of your career affected each other?

I always say knowing what goes with other people’s hardships and challenges can only make you better. I very much view any sort of production as a team effort, and in production, it’s a series of fires that need to be creatively put out.

So if you come from that perspective, you can tweak yourself to make things as easy as possible. I think that applies to every position. I think that one of the things I learned as a producer early on, and one of the things that helped my acting early on is, as a producer, I sat in on every single session so I could observe and learn from every actor who went in.

As a casting person and an actor, that’s the same thing, because you’re listening to thousands of auditions, and you can hear the process, hear what’s being phoned in, what choices are being made, and also acknowledge and realize someone might be a good actor, but not right for the character. 

I think that’s pretty common for casting directors.

Things are so fast paced these days. Twenty years ago, you had more time to ask for rereads with people and really find it. Nowadays, at least in the projects that we do, we cast for the leads and then I don’t always have the luxury to do a whole casting.

In the case of games and original animation, there is a limit to the number of unique voices you can do, but not with dubbing. That means an actor can come in and do 20 different voices across however many episodes.

So I know the importance of being versatile in that sense, because, let’s say I have a role, and it’s not as big as a guest role, but it’s got a little nice little two-scene story arc. Maybe 20 lines. I need someone to be able to pull that off, but, oh, shoot, I also have this random grandma that I need for one line, and they have three lines for a little boy.

Now my task is different than if I was just filling somebody in for that 20-line role, because now the appeal is going to be who can nail all those things.

How often do you pop yourself into these roles that you are casting?

My philosophy is, there are times when I have put myself in something, but only if I feel like I can’t find somebody, and I know that I can do it for an incidental. I know the slippery slope is to just cast myself in everything, so you work against it.

What advice would you give to someone wanting to get into voice acting?

More and more, I’m seeing people who are good voice artists, who are not necessarily as strong in the acting. They don’t speak the language of an actor, because they came from fandom or voice-over. When I started as an actor, I took Meisner classes.

I took study classes. You worked things in a different way. So my main thing would be, make sure you have a really good acting foundation. A lot of dub directors will tell you that we spend time almost teaching acting in the booth, and that’s not what the time is for.

Also, some actors come in with this sense of, “Oh, I can do whatever you want,” and that’s very different than a classically trained actor who offers their thoughts on the character. They need to have the agency, and they need to know what that means and feels like for making choices. 

So then, would your advice to someone coming in to audition for you be the same thing? Make choices? 

Yes, definitely, because the thing is, if you have a point of view and a clear sense, you’re going to naturally make more creative decisions. I’m now getting hundreds of submissions for one role, and people wonder why they don’t book, but 20% of the submissions that I get are just unusable, terrible, bad.

Then you have 10% that’s really stellar. And the rest of it, that 70%? It’s fine, but it’s very vanilla. Do you want to be in that 70%? So even if you make a strong choice, I can hear that there’s something behind that, even if it’s not right for that part, I’m going to flag it, because there’s so many other parts.

And with an original animated project, sometimes those things are not fleshed out yet. I’ve sat in a room where they’re not sure of what the character is until they hear it. They’re waiting for you to bring in the special magic thing.

Key Takeaways

• Invest in serious acting training before focusing on voice-over specialization.
• Approach every audition with a point of view that shows depth, intention, and originality.
• Build relationships and versatility over time to create sustainable opportunities across performance and casting.

The post How to Stand Out in Voice Acting with Casting Director Stephanie Sheh appeared first on Casting Networks.

Key Insights:

• Notify your agent of your travel dates and equipment limitations before you leave so they can set you up for success.
• Face a window to use sunlight and use a plain wall as a backdrop.
• Remember that the quality of your acting is what matters most to casting.

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Communicate. Whenever you’re traveling, you should be booking out (even if it’s a soft book out) or communicating your plans in the way your agent prefers. Make sure they know what your access to taping space/equipment (or lack thereof) will look like before you go, so they can help set you up for success. 

Don’t panic. Of course, circumstances aren’t ideal, but they aren’t insurmountable. Casting directors have run into this before. Fretting over what you lack won’t serve your audition, and at the end of the day, the quality of the work is most important. 

Natural light is your friend. In the absence of proper lighting equipment, sunlight is going to be the next best thing. Try taping facing a window so sunlight hits you (likely west or south-facing), or even film outside if you can find a quiet spot. Most times, natural sunlight is going to look better and be less of a hassle than trying to cobble together lamps and indoor lighting. (If you’re able to travel with a ring light for such occasions, that will help, too.)

Don’t forget sound quality. Test for sound. If you’re taping in an unfamiliar environment, there’s a chance it will be more echoey, or you’ll be picking up more background noise than you realize. Blankets over walls or windows can absorb sound in a pinch, and try to shut off any AC, pet fountains, or electronic devices that might have an ambient hum. 

Assess your backdrop situation. Chances are you won’t have a backdrop with you. A plain wall will do. Blue or gray walls are great, or even brick; mostly, you’re just looking for a clean expanse without too much distraction. This will likely look better than trying to rig up a sheet, but if you have the right color and access to a steamer, have at it. 

Take your time with camera setup. Good angles and a steady camera are going to do a lot for production value. Most phones have good enough cameras to film an audition. Film horizontally,  unless otherwise directed. It’s worth it to test your frame, to keep playing with mounting, or propping your phone until you get the right angle. Try to avoid too much headspace. If you haven’t been given framing instructions, shoot for no more than an inch or two above your head to mid-chest. 

Don’t be afraid to get creative. When you don’t have control of your environment, you have to adapt. I once filmed an audition on my knees with my phone on the table because the light was best, and the cleanest stretch of background was halfway up the kitchen wall. Ultimately, do what you can to make the production value look good, but keep it simple and focus on the work.

You may also like:

• Tips for Turnarounds: Self Tapes on Short Notice
• How to Capture Your Best Self Tape
• The Actor’s Closet: Items to Have On Hand for Self Tapes

The post How to Make Great Self Tapes When You’re Away From Home appeared first on Casting Networks.

For actors, this opens a unique lane of hybrid performance, personality, presence and narrative instinct, and an opportunity to step into one of the most visible unscripted platforms running today.

Key Insight:

• The Traitors US casts like a character-driven ensemble, prioritizing bold personalities, emotional availability, and strong storytelling instincts — areas where actors naturally excel.

Apply for the Upcoming Season of The Traitors US

Casting is open for the next season of The Traitors US! Actors with strong personalities, emotional range, and on-camera confidence are encouraged to apply.

Think you’ve got what it takes? Apply here.

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of high-quality roles.

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What The Traitors US Casting Team Looks For

Although The Traitors US is unscripted, casting for the show resembles a hybrid between reality TV casting and ensemble-building for a character-driven series. The team behind the show looks for:

1. Distinct personalities

Every season revolves around a curated mix of personalities: leaders, strategists, empathic players, wildcard energy, emotionally expressive cast members and those who bring humor or unpredictability.

2. Strong storytelling presence

The best contestants aren’t just big personalities; they drive the story. Casting looks for people who create narrative friction, propel alliances, generate emotional stakes or elevate tension simply by being involved.

3. Emotional availability

Casting wants players who can articulate their feelings, explain decisions and stay present in confessionals. A strong ability to read people, respond under pressure, and adapt on the fly is essential. 

How to Position Yourself as a Strong Candidate for The Traitors US

Even though it’s an unscripted series, your submission needs intentionality, just like an audition. Here’s what matters:

Highlight the real you

The Traitors US thrives on authenticity. Casting teams want to see who you actually are, not a character you think they want.

Show both your strengths and flaws

Producers are building a dynamic ensemble. Vulnerabilities, competitive spirit, eccentricity — all of it can help define your role in the cast.

What the Casting Process Looks Like

While formats and pipelines shift season to season, actors can expect a process that generally includes:

• An initial application or casting submission
• A personality-focused self-tape or video questionnaire
• A series of interviews with casting producers
• Potential deep-dive calls about your life, social background, and goals
• Final selection rounds with showrunners

Where to Find More Unscripted and Reality TV Opportunities 

Reality competition series, docu-style shows and hybrid formats often post casting calls on Casting Networks. Many of these opportunities move quickly, and early submissions are key to increasing your chances.

Looking for more reality and unscripted opportunities? Start your free trial with Casting Networks to access casting calls like this one and more.

The post The Traitors US: Everything You Need to Know to Get Cast in 2026 appeared first on Casting Networks.

Therefore, the ability to find a good audition monologue is a crucial skill to develop.

• Know What You’re Looking For
• The Real Monologue Lies in the Scenes
• Start With Stage Plays

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Know What You’re Looking For

First, you have to know what you’re looking for. What makes a good monologue? More specifically, what makes a good audition monologue? General wisdom is that an audition monologue should be active as opposed to narrative. Meaning rather than telling a story of a past event, directors and casting directors prefer to see the arc of your character as they try to affect someone, needing something from their invisible scene partner, and the tactics they use in pursuit of that need. While there are exceptions to every rule, this is generally a good place to start.

The Real Monologue Lies in the Scenes

The thing is, when you’re skimming through scripts and your eyes alight on a chunk of text that makes your brain go “monologue!”, chances are that chunk is not the most active part of the script. The real meat usually lies in the scenes. It makes sense; when two characters are interacting, they’re usually trying to get something from each other, which makes the dialogue more active. Instead of chunks of text, start looking for material that has a strong action (or objective).

Start With Stage Plays

Stage plays are a great place to start. They generally have longer scenes, more dialogue and meatier text. Look for a scene where your chosen character has a strong perspective and an arc–your cut monologue needs to have a strong beginning, middle and end.

Of course, sometimes material from a scene doesn’t line up perfectly into a monologue. Once you’ve cut the other character’s lines and any redundant lines, you may still need to cheat a bit. Strive to keep the text as word-perfect as possible, but you may need to tweak it to provide context for the monologue. For example, moving a line up or down, swapping a “he” or “it” for the implied object, is generally acceptable in an audition scenario if it preserves the meaning of the text.

Sometimes a line from slightly later in the scene offers a better button. Occasionally, you can paraphrase the character’s line preceding the beginning of your cut to give context to the piece.

Be careful as you’re cutting. The more you tweak it, the easier it is to end up with something that’s overworked or clunky. Remember, the goal is to deliver a concise monologue with a strong action and varied levels. But beyond that, it’s ok to get a little creative!

Final Takeaways

Monologues are a timeless part of auditions because they quickly reveal an actor’s ability to pursue a clear objective. Finding and preparing the right monologue is a skill that will serve you well throughout your career. Here’s how new actors can approach this essential task with confidence and clarity:

• Choose monologues that are active and show your character trying to get something from an unseen partner rather than just telling a story.
• Look for material within scenes rather than isolated chunks of text that focus on strong objectives and emotional arcs.
• Start with stage plays, which often offer richer, longer scenes perfect for cutting into a compelling monologue.
• When cutting, keep the text as close to the original as possible, but don’t hesitate to tweak lines for clarity or context if needed.
• Aim for a monologue that feels natural and varied in emotion, and avoid overworking it into something stiff or cluttered.

Mastering these steps will help you deliver monologues that feel alive and purposeful, making a strong impression every time you audition.

You may also like:

• 5 Ways to Research a Character
• Path to the Emmy Awards: Amber Midthunder
• Success Story: John Adewumi on Booking Lee Jeans and Getting Representation Through Casting Networks

The post Tips for Cutting a Monologue From a Scene appeared first on Casting Networks.

Hair and makeup have incredible shapeshifting properties with just a few simple tricks, regardless of gender. Here are some pointers to help suggest a character or type with just the eight-by-ten.

What You’ll Find in This Article

• Shave vs. Stubble
• Know Your Hair Range
• How to Style Your Look for Period Pieces
• Best Practices for Applying Makeup for Acting Roles

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Shave vs. Stubble

Facial hair is a great way to alter your look drastically. While you may not be able to grow a full beard in time for a self tape due tomorrow, the difference between stubble and a clean-shaven face can be huge.

If you know you have a specific type of facial hair that you’re often called in for, keeping it in a place that can enhance and support it is a smart move.

Know Your Hair Range

Unless you’re rocking a bald or shaven head, most people have at least a small range of different looks they can manage with their hair.

Straight versus curly hair can dramatically change the vibe. Combed back, pinned up, or otherwise more conservative hairstyles can top off a professional look or hint at a character that is more contained. Slick it back and you’re in villain or vamp territory. Mussed-up, lank or greasy hair can suggest depression, neglect or exposure to the elements.

Knowing what looks best with your actor type, and being able to execute it, can save a lot of time and bring together a cohesive look even if you don’t have a strong wardrobe option.

How to Style Your Look for Period Pieces

If you’re called in for a period piece and don’t have enough hair or know-how to style appropriately, never fear.

Remember, for auditions, you’re suggesting a time period, not replicating it. Some big curled bangs can become victory rolls. Carefully brushed forward hair can simulate sideburns. A top knot and some teasing can go a long way towards a Gibson Girl look.

Apply the same logic as clipping back clothes for a better fit — as long as it looks good from the front, that’s all that matters.

Best Practices for Applying Makeup for Acting Roles

A little makeup goes a long way, especially on film. Beyond the base, there are a few things you can do.

For almost anyone, artfully smudged eyeliner can elevate a look. A hint of purple or red beneath the eyes can make you look tired or sick. Lipstick and a gentle, smoky eye can give you a glamorous, seductive look.

If you’re skilled with makeup, the shape of lipstick can alter not only the time period but the age and personality of the character as well.

For time periods, start to know your cheat codes: the 1940s overline the top lip in a specific shape, the 20s favor a bee-stung look, the 80s are bright and bold, etc. For a youthful or innocent appearance, a hint of white in the inner corners or even the lower waterline can create a wide-eyed look.

You don’t have to be a salon graduate to use hair and makeup to your advantage. Just like with clothes, start to get to know how your general acting types express best. The better you know yourself, the better you’ll be able to manipulate your look with simple alterations.

Final Takeaways

When you’re starting out, it’s easy to rely on clothes to define a character, but hair and makeup can be just as powerful. Even simple changes can suggest a whole new personality or time period without much effort. Here are some easy ways new actors can use what they already have to create a standout look.

• Keep your facial hair neat or clean-shaven to quickly change your character’s vibe.
• Experiment with different natural hairstyles to hint at moods or roles, like slicked-back for villains or messy for troubled characters.
• Use basic makeup tricks like smudged eyeliner or subtle lipstick shapes to suggest age, emotion or era.
• Don’t stress about perfect period styling. Suggest the look with simple hair tweaks that read well on camera.
• Learn how small changes in your appearance can save time and boost your confidence during auditions.

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The post 4 Subtle Grooming and Makeup Tips that Will Change Your Look for Auditions appeared first on Casting Networks.