Audition Workshop - Teaching Kids to Present Themselves

When I think about how kids learn to presentfreeze up and either stare at the floor or their
themselves, one picture in particular comes toeyes flicker around like a firefly. Although actors
mind. I remember 12 years ago, when I wascan be required to focus visually based on the
auditioning kids for a youth production of "Thedirection and scenario, for audition purposes I
Wizard of Oz". There was a small, fragile andencourage the visual focus to be just over the
lovely little girl with a teeny tiny little voice whoheads of the audience, with the chin slightly lifted.
would only look at her shoes. Despite herSometimes there may be a clock or other fixture
shyness, her voice held immense promise. It wason the wall for them to fix on.
high pitched and as clear as a bell. She landed the2. Vocal projection. Most children by nature have
part of the good witch, had her first solo, and bysmall natural voices (barring when they are yelling).
performance time, had stopped looking at herAs a primer to vocal exercise, I encourage them
shoes. That same young lady is now a popularto take a breath prior to each phrase. I ask them
local country singer with her own CD. I realizedto visualize sending their voice to the back of the
during that audition process that most youngroom without yelling.
people, unless trained, do not really have a clue as3. Vocal dynamics, anunciation, and timing. Using a
to how to audition. The very next youthsentence or two from the script, I deliver it in a
production I held auditions for was preceded byvariety of ways, and then ask them to identify
an auditon workshop.what was different. This helps them become
As a producer of community-based youthsensitive to how volume, pace, and clarity relate
musicals, I realized early on that what I did knowto the effect of the words upon the audience.
multiplied by 100 was equal to what I did not4. Posture and stance. I suggest to the young
know. I use this law as a constant reminder topeople that unless the director has requested
learn from observation. My observation of thatthem to take on the appearance of a specific
little girl made me realize the importance ofcharacter, that they practice good, common
preparing a child for the audition process. Sure,sense posture. I also identify common traits
she came to the audition with potential, but Iassociated with stage fright, such as fidgeting, and
realized that I really could have provided her withtouching the face and hair. Once mindful of these
a kick-start via a workshop on auditioning. Fromtraits, they are less prone to do them.
that point on, all of the shows that I have5. Entry and exit. I describe the importance of
produced have some level ofmaking a confident entrance, properly introducing
audition-preparedness built in on the front-end.yourself, greeting the judges, and exiting
Taking the approach that children learn bygracefully with a "thank you" at the end.
example, I start my audition workshops byThe final portion of the workshop is used to allow
performing a faux audition as a confident,each person to perform two or more faux
experienced actor, with myself as the personauditions. After the first one, I identify reasonable
auditioning. I also perform a contrasting audition asareas of improvement for that child, after which
an inexperienced person stricken with stage fright.they perform their next (and almost always
This provides them with a concept of what theysignificantly better) second audition.
can do, given the proper tools.The audition workshop has an immense impact on
I then take each step of the audition process, andthe kids who audition for our productions. I hope
break it down. I focus on the following points:that you will consider this concept when it's time
1. Where to look. When a young person is feelingto produce your next performing arts experience
the first anxiety of stage fright, they tend tofor young people.