Auditionally Speaking

This year I have really stepped outside of my comfort zone. In 8 months I have auditioned for 5, nearly 6 different plays. I have only gotten parts in 2 of those nearly 6, but failure brings experience, so I can't complain too much.
In January it was "See How They Run" at the Sugar Factory Playhouse. A British comedy of mistaken identities & my first non-musical, I actually bought a script & practiced the 2 months leading up to auditions. I think the director (who also directed Guys & Dolls) was a bit shocked when I pulled out my cockney accent & I made callbacks without a problem. The lead came down to myself & 2 others, but unfortunately, I do not have the tall, blonde moviestar look, so I lost out on that role. Still, I will say, I have never had so much fun at callbacks.
The second play was "Seven Brides for Seven Brothers," again for the Sugar Factory. Auditions were brutal, because though the song portion went well, the dancing did not. I absolutely love to dance, but throw a routine at me when nerves are already high, go over it only two or three times, throw in a barrel roll & then expect me to do it in front of the director & choreographer? Sure disaster! I did, however, nail the ending kick every time & I walked out hoping that's what they remembered - Yea, right! Since I was a little girl, I have wanted to play the part of Dorcus. I'm not sure why it was her I chose, except Benjamin was positively dreamy in the movie (second from the right), but I desperately wanted to be a "bride." I did not receive a callback & I was devastated. I was also mad at myself for caring so much, but I couldn't help it. However, later that evening, I received a call. Would I be willing to take the part of the preacher's wife? I was much too young, I was told, but she couldn't fit me in as one of the brides & I was too sweet not to have in the play. I wasn't sure what to say. I was thrilled, sort of. I'll give more details later of the production, but I learned a lot about myself in this play & made some amazing friends.
The third play I auditioned for was Sandy Amphitheatre's rendition of "Guys & Dolls." Bruce Craven, who played Skye Masterson in the Sugar Factory version the year before, was the director. The initial audition consisted only of singing, so I did made callbacks. But around 80 people were also asked back & when I entered the building & saw everyone, I came very close to turning & running, not walking right back out to my car. But several deep breaths, one dance routine (which I did pretty well with) & several hours of waiting later, I was dismissed...permanently.
Every last ounce of courage I had went into the fourth audition. Hale Centre Theatre Orem was putting on the "Scarlet Pimpernel." One of my all-time favorite productions, I was determined to give it a try, even though Hale Centre was definitely a step or two above the community theatre scene I was used to. I made an appointment for my audition (something I'd never had to do before) & then realized that the Scera Theatre in Orem was also auditioning for "Hairspray" the same night I had my appointment for the Scarlet Pimpernel. Why not do both? I arrived at the Scera Theatre 20 minutes after auditions opened. A first-come, first-serve basis, I was a bit appalled when I was given the number 57. An hour later they were only up to the number 30 & since I in no way wanted to be late for my audition time with Hale, I left. I was surprised at my calmness when I arrived, but the feeling began to ebb away as I heard the quality of the voices coming from the next room. I have a good voice, but it is not trained & it seemed almost presumptious to think that they would actually see something in me that they would prefer over these other people. Still I wanted to try, so I stepped into the room when my name was called & found myself literally face-to-face & toe-to-toe with a couch lined with people. Other than the couch, there was just enough room for a keyboard, the lady who was playing it & me. Talk about intimidating! I did not receive a callback, but it was probably my best singing audition to that point & I was proud of myself.
My latest audition was yet again for "Hairspray," but this time for the Midvale Main Street Theatre. Once an old-timey movie theatre, it had been converted into a live theatre with tables & chairs arranged throughout the different levels of the room. This audition was also throwing a little something new at me. Besides the normal "upbeat Broadway song," I also had to memorize a 1 minute monologue. Why not add more pressure to the whole situation? But really, I was pleased. Rarely in musical productions does one get the chance to read lines in the audition process, so here was my chance. I memorized a piece from "The Importance of Being Ernest" & practiced it in front of each of my 5 roommates, my parents over the phone & nearly every mirror in the house. I did receive callbacks & despite the dance routine I also received a part. I have no idea how I was even considered for this particular role, but I am now Prudy Pingleton, mother to the main character's best friend & completely opposed to all "modern" singing & dancing. Though certainly not the role I was hoping for, I seem destined to be a "religious" mother, so why not? One cannot complain, especially since lines actually accompany this role, which is a huge step up from my normal muteness on stage. So one day I'll land my dream role, but in the meantime - auditionally speaking - someone hand me a Bible & turn off that horrible Elvis Presley music!