Last week, we got to hear the Fit for Broadway journey of Casting Director, Benton Whitley (Check it out HERE if you missed it!) Benton and I first met over coffee and our chat was a healthy reminder of various assumptions made about the people sitting on the other side of the audition table. Even being out of the audition game for quite some time, I felt inclined to pick his brain about all the questions we ever ask ourselves about the audition process. I knew after our conversation that featuring Benton's story would only be half of the unique perspective and insight he could offer. Hence, Part 2- ADVICE FROM A CASTING DIRECTOR ABOUT BEING FIT FOR BROADWAY! Spoiler: They're rooting for YOU and they think it's pretty cool when you walk in confident, prepared, & FIT FOR BROADWAY!

Q: How important is it for a performer to walk into the room “Fit for Broadway” and how would you define being Fit for Broadway?

A: Being fit for Broadway is about being prepared to present the skillset you’re asked to share that day, and coming in with a clear and open mind and heart. It’s so clear to me when someone does not want to be in the room, and that alone makes them unqualified for the job! If you don’t want to be there, you should take that as a red flag for yourself, this is not the job for you.

Q: What are the top 3 misconceptions about casting directors?

A:

1. The casting director wants you to fail. (This could not be further from the truth. Our job is to cast a show, we want you to be the answer so our job is…….complete!)

2. That we only cast actors with tons of experience and deep resumes. (This could not be further from the truth. I LIVE to give Broadway debuts!  We gave 24 people their Broadway debuts for THE GREAT COMET. Nothing makes me happier!)

3. That we only consider union actors for union gigs. (This could not be further from the truth. Unions are always interested in expanding their membership and we are always happy to offer you that opportunity! Being non-union for a union audition has no bearing on the outcome of your audition.)

Q: You explained, in a way that was new to me, a method you encourage for performers to remember why they started, the feeling of performing at a young age… Can we dive in to that a bit?

A: Of course! When we were kids it was easy. We were big fish in tiny ponds and we had constant validation and encouragement from our family and friends that what we were doing was amazing and exactly what we should be doing. When you leave your tiny town and you move to New York, you’re a small fish in an ocean and you don’t have that constant validation and encouragement telling you to move forward. You start looking left and right at your peers and comparing yourself to others, you start doubting yourself as you walk into the audition. This is a snowball effect and it only gets worse the more hours you clock-in in New York. Ultimately the sense of desperation and insecurity is all we see in the audition room. You have to have a ‘Kumbaya moment’ with yourself and remind yourself why you did this in first place. Go back to that feeling of being fearless as a child, the feeling you’re doing exactly what you need and should be doing. You need to figure out a way to be able to walk into the room and continue to share those feelings with us.

Q: What are common mishaps by performers in the audition room?

A: Not knowing who or what you’re auditioning for. Do your homework! Who are the writers? Who is the creative team? Who is the casting office? What is their previous experience? What are they into? Truly understanding the style and tone of the piece you’re auditioning for and having that reflect in your performance and material.

Q: After seeing thousands and thousands of auditions, what are the top 3 Fit for Broadway qualities?

A: Professionalism. Preparation. Confidence. (And wrapping all 3 with JOY)

Q: From the perspective of a casting director, what are your “Training for Broadway” tips for aspiring Broadway performers?

A: Take care of your body and mind with both a fitness and mental health routine that is tailored to you and your needs, as well as a nutrition program that is realistic and healthy. This is different for everyone. Take the time and care to figure out what this means for you. Education! Your education does not end when you finish the traditional High School/College experience. This art form and industry is always changing and you need to stay on top of this. I highly encourage you to take acting, singing and dancing classes here in New York to never allow yourself to become dusty!

Q: What’s the best piece of advice unrelated to the audition room you would give to performers who have their sights set on Broadway?

A: Don’t put all your energy and focus on only being onstage. The theatre is a collaborative art form that takes way more than just fierce belting and girls that can kick their face. An appreciation and knowledge for all facets can only open more doors and make you a stronger, more well versed artist. Direct. Produce. Write. The opportunities are endless.

Q: Any other tidbits for our FFB tribe that will help shed light on nailing our next audition?

A: Before you walk into your next audition reread the above, count to 10, take 3 big breaths, and tell yourself you’re the #$%@ and FFB!