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Dear John

How should I approach my big TV audition?

Question:
At long last I have finally got an audition for one of the big, long-running soaps. I'm both excited and terrified. How should I approach this big chance?

Answer:
I'm glad you are both excited and terrified because you will have much more chance of getting the role than if you were disinterested and overconfident. Obviously if you get so worked up into a frenzy that you are a nervous wreck on audition day it probably won't play very well. But casting directors are much more likely to be forgiving of a few jitters than they are of the auditionee who acts as if the part was already theirs before the audition but completely fails to make the part their own when it comes to the actual reading. The saddest case of all is the kind of actor who is genuinely sincere about what they are doing, normally quite level headed but who when faced with a potential 'big break', overcompensates for nerves by being too full on and exaggerates the characteristics which may have got them the audition in the first place. Here are two people who know the audition process for soaps and series very well to provide some further points to ponder.

What the experts say:

Sheila Whitfield

From Casualty, to Holby City, to Doctors, The Vice and The Bill, Sheila Whitfield is a highly versatile actress with a wide range of experience in both long-running shows, series and many other productions. She has recently used her experience of performing such a diverse range of characters and storylines to develop her own writing skills with her first play The Maid (written as Sheila White) which makes its debut shortly.

"Auditioning for a long-running series can be nerve racking, because you see the potential for having a long-running job which can be a luxury in this business. It's important for you as an actor to be prepared. Research the series that you are auditioning for, know the main characters and the stories behind them. I know this can be an ordeal if you have never watched the programme. No casting director expects you to know all the ins and outs but they do expect you to have some knowledge.

"Don't treat soap with less respect than you would Shakespeare. The scripts are often very well written and it's your job to make them even better. In fact having seen the quality of soap and series writing first hand is what inspired me to write my own first play. Make sure your agent receives a thorough breakdown of the character you are auditioning for. If the character is well dressed, finely polished, manicured finger nails and well spoken, don't turn up in casual wear and looking like you have never stepped in a beauty salon. Try to resemble the character you are auditioning for. If you are playing someone who has fallen on hard times, don't walk in there unwashed, with greasy hair but use your common sense and at least dress casual but still smart. If the character requires you to put on an accent which you are not 100% confident with and you have the money, invest in a one to one class with a dialect coach.

"Most of all enjoy it. Just getting the audition means that you are half way there. Casting directors don't have time to see everyone, so you must say to yourself there must be something they like about me."

Mary Elliott Nelson

Mary Elliott Nelson, as an agent at Grays Management, has had clients working in EastEnders, Doctors, Casualty, Holby City, The Bill and The Sound of Music, to name but a few. As an advisor and teacher of actors and directors and an experienced performer and adaptor in her own right, Mary has wide-ranging experience of helping actors prepare for auditions and readings for both stage and screen.

It's a cliche but a true one, that most performers audition best for the job they are not too bothered about. I guess that's because of relaxation and confidence. It may also be because the auditionee is concentrating on the performance rather than the future job and this is where actors can, perhaps, learn from sportsmen.

"Most top sports stars, when asked how they keep their nerve if serving for the championship, will say that they have to concentrate on their technique and not the occasion. I am a great fan of that word, technique. Too often acting is treated as if it's some rather vague, fluffy activity when, in fact, there are specific technical skills involved and they are what you use to help you succeed at the most pressured moments. The important part of a screen audition is what goes on the tape, of a stage audition, what comes across in performance. Don't allow the meeting and greeting to distract you from using your technique to perform well.

"Prepare as you prepare for a performance and treat the audition as just that. It's difficult to keep diversions like the length of the job out of your mind but remember that your target is always to communicate with an audience. Everyone has off days but if you base your performance on real skill and technique, the lowest point you hit will still be very good."

John sums up

Daunting or exciting as working in long-running shows may be, I think one of the most valuable elements of the experience is being able to observe and learn from established 'household names' as they go about their business. I hope I will be forgiven for using that fact to make a tenuous link to recording my own appreciation of the late Peter Hepple. Long before the Dear John column came to be and I was primarily occupied with seeking advice on building my own career, I remember Peter taking time to share his insights into the business in answer to my questions. Peter not only had years of knowledge at his fingertips but was tremendously generous and practical in sharing it with beginners. He will of course be sadly missed but thankfully, and of particular value to readers of this column, Peter contributed several extremely useful and comprehensive 'How to' features to the advice section of The Stage website. Now, more than ever, they are heartily recommended as a means of tapping into what remains a unique store of wisdom, wit and common sense. May he rest in peace.

* Mary Elliott Nelson can be contacted at www.graysman.com

* Sheila Whitfield's play The Maid will be having a reading as part of the In Our Own Words festival at the Albany, London. Details from www.telltarra.com

* Feedback/queries are welcome to dearjohn@thestage.co.uk

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