The World of the Call Back

When I get a call back for a show that I have auditioned for, it provokes this feeling of great accomplishment within and, also, a bit of euphoria. As many of you know, when you actually walk into the room for the first call back, you realize that you are one of thirty or forty other girls who have also been called back from a combination of the invited agent call, the Equity call and the open non-union call. This can be disheartening for some because you always have that glimmer of hope in your heart that this one call back means that you are so close to getting that job. Most of the time, a first call back means that they are very interested, but they need to re-audition every one in that room because they don't really remember a lot of individual qualities to separate one from the next; they just remember that they liked you enough to give you a first call back.

For many shows there are anywhere from three to five or six call backs for one given show-especially, when it comes to casting a Broadway show. I have had friends who have been in for parts in certain shows seven times, and then after the seventh audition, they are told, "We really love you, we just don't have a part in the show for you right now". This sometimes means that they don't have a costume that fits you right now, and, considering that some individual costumes cost thousands, I totally understand that they wouldn't want to have to change the costumes as well as re-cast a part in the show. I know that it is an Equity rule that you have to start getting paid after spending a certain number of hours auditioning for a show. I think you get paid minimum wage when this happens.

The most I have been in for a show is three consecutive days. It is a lot of fun when this happens because you end up not only meeting the entire creative team, but also really getting to know the style of the choreographer inside and out. This particular choreographer, Sergio Trujillo, gave us a lot of notes every time that we danced, which made this experience so fulfilling. I have never been paid to audition, but, the way I look at it, some people pay hundreds of dollars to take a master class in which you don't get nearly as much individual attention.

All of these thoughts on call backs were birthed by an experience that I had a couple of days ago at a call back. I went in for Guys and Dolls (Portland Center Stage), and I was invited to the call back a couple of days later. I was shocked when I only saw about ten girls in the room stretching and going over the combination. This was such a divine experience because this means that the process is a lot more short and sweet, and you get a lot more attention immediately. Also, it is wonderful to have that much room to practice the combination before you have to perform it for them.

After we danced, they called back six of us to sing. I felt the my song went really well. My agent told me to bring legit music to the call, so I rented a studio for an hour before hand to get my voice warmed up-this always helps-especially when they ask for something in head voice! Also, because there were so few of us singing, the music director and the choreographer really spent more time than usual with each person in the room.

After I sang my song, the MD asked for my highest notes. I got up to an A clearly, which is high for me. I mean, I can do scales up to a C, but it isn't a performance C. I usually sing second soprano or alto, so this was an accomplishment. After the MD analyzed me, the choreographer asked me for a time step. I would say that tapping is one of my strong suits, so I was really happy that I got to end the audition with this. Of course, I gave him two triple times steps!

I walked out of that room with a smile on my face, which is all that I really want from an audition. I mean, of course, I would like to book the job, but if I can feel good about what I did in the room, then I know I have represented myself well-booking the job is icing on the cake (it is a really nice cream cheese icing, though). Auditioning is my number one job in life right now, so when it goes smoothly, I feel as if I have clocked out at the end of a work day leaving nothing but finished work at the office-no additional worries or work to take home with me-just a sweet, deep breath of fresh unencumbered air before I get on the A train uptown.