Not all casting choices rely on the monologue or song you do the audition room. Very often, qualities like attitude, reliability and self-knowledge play a huge factor in whether or not you are considered for a role. Throughout the years of auditioning talent for our shows, we've stumbled upon, been told about and witnessed a few tried-and-true ways of making the most out of your time in front of audition panel:

• If requesting an audition over email or by an online submission form, be sure to make your file attachments easy to read and name them professionally. While "sexyblueshirt" might be a name that means something to you, it's not a very professional name for your headshot.
• Assume that everyone you interact with throughout the whole process has influence over whether or not you get the gig. From the director and producer to the person who answers your email or gives you a pen to fill out a form, behave kindly and respectfully.
• To look at the panel or not? Some people coach to always look the panel in the eye as you do your piece and others say that it's too invasive and uncomfortable. When in doubt, ask.
  
• When it comes to picking the appropriate piece to perform, follow the guidelines provided. You'll rarely score points for doing a Sam Shepard monologue when the audition calls for Shakespeare.
• When choosing a piece, try to avoid anything from a movie. Unless you're as good as Pacino or Blanchett, all you're doing is reminding the director of the performance those actors gave.
• In the same vein, when choosing a piece, try to avoid ones where the character dies, gets violent towards the audience or uses a lot of props. There's a chance you'll be left lying on the floor and have to make an awkward rise and explain that you're not really a maniac, or you'll have dropped a lot of stuff that you'll have to spend time cleaning up. All of this can make you look awkward, unprepared and takes away from your time in the room.
  
• If asked to read sides, there's nothing wrong with asking for time outside of the room to review. You may be asked to do so as the panel sees someone else, but that's great - more time to prepare and show your work at its best!

Hart House Theatre is now accepting submissions for 

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE
Music and Lyrics by William Finn, Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Additional material by Jay Reiss
Originally Directed on Broadway by James Lapine
Directed by Cory Doran
Music Directed by Giustin MacLean

Deadline for submissions: Thursday, August 17, 2017
Non-union (ACTRA or Equity), Non-paying

Those contacted for auditions will be seen the week of August 20, with callbacks on August 27. Only those contacted for an audition will be seen. Performance run: November 10-25, 2017

Please send headshots, resumes and character(s) for which you wish to be seen to auditions@harthousetheatre.ca.

Artists of all ethnic, cultural, sexual and gender identities are strongly encouraged to submit.

More details including audition requirements can be found here >>

This past spring,  Hart House teamed up with Canada’s National Ballet School to acknowledge the 150th anniversary of Confederation through Sharing Dance Canada 2017, the nation’s biggest dance party. This incredible event is Managed by an alumna of U of T and Hart House Theatre, Ashleigh Powell.

Before her work with the National Ballet, Ashleigh choreographed the dance for several of our productions including Hamlet, A Midsummer Night's Dream, Dirty Rotten Scoundrels and Robin Hood: The Legendary Musical Comedy. Read more about Ashleigh and her experiences on the Hart House blog, here >>

The official Sharing Dance Canada 2017 recap video: