The Audition Process: A Friendly Guide to What to Expect

Every community theater approaches auditions a little differently. Some require prepared monologues or songs; others rely on cold readings or group activities. While I can’t speak for every theater, I can share a few universal truths about auditions and what you can expect at Hamilton Players.

 Universal Audition Tips

 1. The audition begins the moment you arrive

From the waiting room onward, you are being observed. Directors and staff notice how you treat others, how you handle stress, and whether you contribute positively to the environment. Talent matters, but so does attitude. Theater is collaborative, and directors want people who are kind, respectful, and easy to work with. Given the choice, most directors will choose a supportive team player over a difficult star every time. Skills can be coached; professionalism and kindness are harder to teach.

 2. Be prepared

If the audition notice asks for a one-minute monologue or 16 bars of music, prepare exactly that. Following instructions shows directors you can take direction, which is an essential skill in the rehearsal process. If scripts or sides are available beforehand, read them. Understanding the story and characters demonstrates commitment and helps you make stronger choices in the room.

 3. Dress simply and comfortably

Keep your audition outfit clean, neat, and easy to move in. Avoid overly flashy or distracting clothing unless specifically requested. You may hint at a character’s style, but don’t arrive in full costume. Directors want to imagine you in the role themselves. Let your performance stand out…not your neon leggings.

 We’ll be sharing a future blog post that dives deeper into audition attire and what works best, but when in doubt, aim for comfortable, polished, and authentic to you.

The Hamilton Players Audition Process

 Audition formats vary by director, but Hamilton Players’ auditions are open to the public and require no prepared material. You can simply arrive at the scheduled time (though coming 10–15 minutes early is helpful).  You’ll complete an audition form including:

• Contact information
• Role preferences
• Experience (if any)
• Schedule conflicts

Honesty here is essential. If you will only accept a specific role, say so. Directors spend hours building a balanced cast, and declined roles can disrupt the entire production. Your conflict schedule is equally important. Rehearsal planning depends on accurate information, and unexpected absences can slow progress for everyone involved.

 Cold Readings

Most Hamilton Players directors use cold readings, where auditioners read scenes together with little or no preparation.

Keys to success:

• Be familiar with the show and characters, if possible.
• Connect with your scene partner: listen and respond, don’t just wait for your lines.
• Stay engaged the entire time you’re on stage.
• If you make a mistake, keep going. Stay in character and move forward.

Directors are less interested in perfection than in presence, listening, and adaptability.

 Directed Activities (Another Approach)

Some directors, myself included, prefer “directed activity over cold readings. Actors may repeat introductions, nursery rhymes, or short improvised scenes using different emotions or instructions.

This approach reveals:

• Range and creativity
• Ability to take direction
• Willingness to take risks
• Comfort outside a script

Helpful tips:

• Listen carefully and follow instructions fully.
• Make bold, specific choices.
• Don’t apologize. There are only choices, not mistakes.
• Most importantly, have fun. Enthusiasm is contagious.

 The Music Audition (for Musicals)

For musicals, auditioners typically learn a song together before singing in smaller groups and sometimes solo. The music director may also check vocal range or harmony skills.

Remember:

• Casting is about balance, not just volume or power.
• The strongest singer is not always the best fit for every role.
• Blending with the ensemble matters just as much as vocal strength.

Tips for vocal auditions:

• Familiarize yourself with the show’s music.
• Warm up beforehand.
• Stay hydrated.
• Consider voice training if you're new to singing.
• Don’t be shy. Everyone is doing the same thing.

 The Choreography Audition

Our dance auditions are usually taught as a group. You will be taught a section of dance to a song from the show. It is sometimes very easy and sometimes it will be extremely challenging.  It all depends on what the show requires. The choreographer is not expecting perfection, especially in community theater. 

They are looking for:

• Willingness to try
• Improvement as you practice
• Ability to follow rhythm and direction

This portion helps identify featured dancers, ensemble movers, and non-dancing roles. Not every performer needs to excel at acting, singing, and dancing. Casting is about placing people where they will succeed. So, a show may require complicated choreograhpy, but it doesn't necessarily require it of everyone int show. Just remember: when the choreography feels intimidating, effort and attitude matter far more than flawless steps.

Final Thought

Auditions are not about proving you’re perfect. They’re about showing directors who you are, how you collaborate, and how you respond to direction. Come prepared. Be kind. Take risks. And most importantly: enjoy the process! Theater is supposed to be fun, and auditions are simply the first step in creating something wonderful together.

 

Backstage Series: Behind the Scenes #1

Hamilton Players’ Backstage Series

This post begins our ongoing Backstage Series, where we pull back the curtain on how community theatre really works behind the scenes.

Behind the Scenes #1 - Royalties and Licensing

One of the largest behind-the-scenes expenses in live theatre is something many patrons rarely think about: royalties and licensing.

When Hamilton Players produces a show, we are not simply choosing a title and putting actors on stage. We are legally licensing the right to perform someone else’s work. Every musical and most plays are protected by copyright, which means we must receive permission and pay for that right before the curtain ever rises. Licensing is handled by theatrical agencies such as Music Theatre International, Concord Theatricals, and Dramatists Play Service. These organizations represent writers and composers, ensuring artists are compensated when their original, copyrighted works are performed.

How Are Royalties Calculated?

It may surprise you to learn that royalties are not a flat fee, and are not based on how many tickets we actually sell. They are typically calculated using what is called Gross Potential Box Office. This figure is determined by:

•  Our highest ticket price
• The number of seats in the theatre
• The number of performances

In other words, royalties are based on the maximum amount we could earn if every seat were sold at full price, not on what we actually make. From there, the licensing house applies a percentage set by the show's creators. For musicals, this often ranges from 10 to 15 percent of the potential gross. Most contracts also include a minimum royalty per performance, which guarantees the authors' compensation even if attendance is low.

Why Do Some Shows Cost More Than Others?

Not all titles are priced equally.

Large, in-demand musicals such as Hamilton or Wicked, which are not currently available to amateur or community theatres, would command significantly higher royalties than smaller or older titles. A classic like My Fair Lady carries a different rate structure than a contemporary one-person play such as White Rabbit Red Rabbit. Demand, cast size, orchestration requirements, and the specific contractual agreements negotiated by the authors all influence pricing.

And That Is Not All

Royalties are only part of the licensing expense. Theaters also pay for: 

• Script and score rentals. We are required to purchase or rent a minimum number of scripts and librettos. We cannot purchase one and photocopy it.
•  Orchestra parts. Musical scores are rented and must be returned after the production closes.
• Performance or rehearsal tracks. These are professionally recorded orchestrations used in place of, or sometimes in addition to, live musicians.
•  Logo packages. These are officially branded marketing materials required for advertising the show.
• Streaming permissions, when available. It is generally illegal to record or stream a licensed production without explicit permission. Streaming rights must be separately licensed and are not available for all titles.
• Archival video rights, if permitted. This allows the production to be recorded for internal purposes only. It does not allow public posting or sales. In some cases, contracts allow cast members to receive a personal copy.

All of these expenses and restrictions are clearly outlined in the licensing contract we sign.

Speaking of Contracts

In addition to securing a licensing contract to perform a show, we must have that contract approved and paid in full before we can announce a season or hold auditions. For Hamilton Players, royalties typically range from $2,500 to $7,200 per production. That amount must be paid before a single ticket is sold.

Why Royalties Matter

Royalties ensure that playwrights, composers, and lyricists are paid for their work, just as authors are compensated when someone purchases their book. When you buy a ticket, a portion of that purchase goes directly back to the creators who made the story possible.

It is one of the many invisible investments that allows community theatres to legally and ethically bring Broadway and beyond to the Hamilton Playhouse.

Royalties may secure the rights to perform a show, but the contract determines how it must be performed. In our next Backstage Series post, we will pull back the curtain on the creative boundaries that come with licensing a production.

Welcome back and Happy Anniversary!

 Greetings Friends!

In celebration of Hamilton Players’ 30th Anniversary, we’re thrilled to be reviving the blog!  You can look forward to at least two posts each month featuring theater updates, future plans, behind-the-scenes stories, reflections on the arts, educational content, artist profiles, interviews, and guest voices from our theater community. We’ll be sharing more stories, more photos, and more of what makes the Playhouse special. Thank you for joining us here; we can’t wait to welcome you back to the theater. First up: a sneak peek at what’s ahead this year!

ALL THE WORLD’S A STAGE GALA FUNDRAISER
Bitterroot River Inn

January 17, 2026 

MY FAIR LADY

February 13-15, 20-22, 27-28, and March 1, 2026

SPRING AFTER-SCHOOL CAMP
Voices of the Bitterroot
February 23-May 15, 2026

INTERNATIONAL WOMEN’S DAY READER’S THEATER (& Bake Sale!)
March 8, 2026

VOLUNTEER APPRECIATION
City Hall Community Room - Spring TBA

WHITE RABBIT RED RABBIT
An unpredictable, thought-provoking theatrical experience – Adults only
March 27 & 28, April 3 & 4, 2026

READER’S THEATER (& Bake Sale!)

Romeo & Juliet

April 18, 2026

DIRTY ROTTEN SCOUNDRELS

June 12-14, 19-21, and 26-28, 2026

YOUTH SUMMER THEATER CAMPS
Session 1: July 6-10, 2026 - Musical Theater Concert
Session 2: July 20-24, 2026 - Musical Theater Production
Session 3 & 4: July 27-31, 2026 - Character Development & Improv

I LOVE YOU, YOU’RE PERFECT, NOW CHANGE IN CONCERT
July 17-19, 2026

GREATER TUNA

August 21-23 & 28-30, 2026 

COSTUME & VINTAGE SALE
September 11-13, 2026

DALY MANSION MURDER MYSTERY
October 15-17, 2026
Daly Mansion

READER’S THEATER (& Bake Sale!)

October 30, 2026

RODGERS & HAMMERSTEIN'S CINDERELLA (YOUTH EDITION)

November 13-15 & 20-22, 2026

READER’S THEATER (& Bake Sale!)
A Christmas Carol 
December 19, 2026

As you can see, it’s an exciting season already, with plenty more to come as we celebrate 30 incredible years of Hamilton Players. Thank you for your support, your enthusiasm, and for being part of our journey. We’ll see you at the Playhouse soon!

Retrospective (Guest Blog)

There are countless theaters in the world. A fathomless number of them that are constantly pumping out various amounts of entertainment for the masses, but in this expansive mass, there is one single theater. A small theater tucked away inside a small valley with a small stage and an even smaller budget. However, what they lack in physical space and financial backing, they make up for in talent, ingenuity and heart. This place is called the Hamilton Players and it is my favorite place on this earth.

For five years now, I’ve been a part of the Hamilton Players productions, both on stage and behind the box office window. From a jealous space-faring cook to a drunk cockney ruffian to a kind-hearted chief clerk who fell in love in a single evening. I’ve loved every role, every stage direction, every late night line memorizing sessions. After Hello, Dolly! is finished, I’ll have concluded my eighth production with the Hamilton Players.

As much as I enjoy being on the stage, the majority of my time here has been spent behind the desk, selling tickets and making calls. It’s been an incredible learning experience! As far as first jobs go, I couldn’t have been more lucky with the one I ended up with. My time here has taught me the ins and outs of theater, how it’s managed and how it’s run. It’s taught me people skills and how to handle customers and work under stress. Through both ups and downs, I’ve enjoyed every second of it.

My five years at this magical place have been the best of my life. My experiences on stage are what have shaped me as a person and allowed me to realize what I want to do with the rest of my life, which is professional theater. Everything I know, I learned in a small house with 168 seats with character that is bursting out of every seam. Here’s to the next grand adventure!

Hamilton Players, thank you for all the memories!

-Nathaniel Heckeroth

Blog, Blog, Bloggidy, Blog (Guest Post)

Hi everyone, my name is Morgan Kellar! The E.D. asked me to be the guest blogger and to tell everyone about my Hamilton Players experience.

I have been an employee at Hamilton Players all throughout high school and while people usually have terribly strange first jobs, I can safely say that I was extremely lucky. My “debut” at the playhouse was through various theater camps once I moved to Hamilton in 4th grade. My first official production was Return to the Forbidden Planet where I played a robot that shot an alien and got into a fist fight (a.k.a. the best role EVER). After that, I talked to the E.D. and became the theater intern which sounded like an elaborate role to me as a 13 year old but basically consisted of organizing and cleaning. After my year-long internship I was offered a part time job! Working at the playhouse has had ups and downs, like anything, but when I look back over my four years in high school, there is nowhere else I’d rather spend so much time.

To give you some background, theater has always been a part of my life. My older cousin used to write short skits that I’d perform with my cousins every holiday. There was thanksgiving in space, cowboys at Christmas, and many more embarrassing memories. Since becoming a Hamilton Player I have performed in Music Man, Into the Woods, Singing in the Rain, and more. I have also participated as an assistant director and stage manager for Pride & Prejudice, Into the Woods, Chicago, and most recently I was the director of Charlotte’s Web! Directing a show at 17 was an incredible experience and I learned so much about theater that I hadn’t thought about before.

It is hard to summarize how much one place means to me. My parents divorced in 8th grade and while both are incredibly supportive I switch houses every week so there isn’t a “permanent” home. I have decided that while I have two homes, I consider the playhouse a third one. I have a new family here, new friendships and new memories. I have learned about teamwork through volunteering, patience in the box office, problem solving during shows, and compassion with my fellow cast/crew. Participating in theater at the Playhouse was one of those moments I know I’ll remember and carry with me all through my life. I hope that students and community members of all ages will continue to participate and support their local theater because Hamilton Players certainly is an organization that embodies inspiration, education, and community.

Theater etiquette...revisited Part 1

I have posted about this before, but since our theater continues to grow and bring in new participants, patrons, and actors, I think it's time to revisit the idea of theater etiquette. What is acceptable for a move theater is very different (although, truth be told, it shouldn't be!) that what is acceptable for live theater...but unless you have really stopped to think about it, you may not realize it.  The main difference is due to the fact that in live theater there are real people in real time performing for you, whereas in a movie it is pre-recorded.  What this means is that the performers in a movie will not be distracted or interrupted by the reaction or action of the audience and their performance is the result of multiple takes, editing, and camera angles to bring you the best possible performance.  In live theater, the real actors are right there in front of you, in real time and not only can they be distracted or interrupted, but they have only one chance at each show to bring you the best performance they possibly can.  They don't get another "take" to get it right. So let's look another look at the etiquette expected from a live theater audience.

First and foremost: BE ON TIME.  In most professional theaters, if you arrive after curtain (start) time, you will have to wait until intermission to be seated.  Many community theaters will still try to seat you, but you may have to wait until a scene change/break in the action.  However, even in a community theater you may not get to take your seat late if the house if full and your seats are located where it will create a great distraction to get to.  We know you paid for a ticket, but so did everybody else and it is not fair to the other patrons or the actors to interrupt the whole show to help you find your assigned seat in the darkened theater.  Most theaters cannot compete with the special effects and point of view created by movie magic, so it relies on the willing suspension of disbelief from its audience.  Interrupting the flow of the show once it has started takes the audience out of the fantasy and makes it difficult to recapture the magic.  Many theater also have a 10 minute policy for will-call tickets:  if you haven't picked up your ticket by the 10 minutes to curtain mark, you ticket may be released and resold.  The best solution is to simply plan ahead and make sure you arrive in plenty of time to find parking, use the restroom, hit concessions, and pick up your ticket.

Second, and another important point:  TURN OFF YOUR CELL PHONE!  Taking a call during a show is one of the rudest and most disrespectful things you can do in live theater. Not only does it show a total lack of respect for the patrons around you, but it also shows a disdain and disrespect for the actors on stage.  Texts are no less rude.  The noise and light of a cell phone is distracting to the show for both the audience and performers.  And filming or photographing is also right out.  Theaters and production companies sign contracts when the license show rights and these usually include a stipulation to not record the show.  Even for marketing purposes, the rights to record even small sections are severely restricted.  So not only is it distracting to other audience members and the cast of the show, it is also very likely illegal. Not to mention that it could be considered intellectual theft. (http://www.playbill.com/article/ask-playbillcom-why-cant-i-take-photos-in-a-broadway-theatre-com-180456 )  Some theaters are relaxing their pre-and post-show photography rules, but even then it is not okay to take pictures during the show.  There have been instances in live theater where an actor has stopped the show to call-out a cell phone user.  (http://people.com/celebrity/kevin-spacey-in-character-stops-show-to-scold-audience-member-for-ringing-cell-phone/     http://people.com/theater/glenn-close-stops-sunset-boulevard-photo/ ) I would say that is an inappropriate response, but day after day of audience disrespect can wear on an actor and sometimes enough is enough.)  Suffice it to say:  Don't be that person.  Turn off your cell phone.

UNWRAP YOUR COUGH DROPS BEFORE THE SHOW.  Unwrapping cough drops or candy is surprising loud when everyone around you is being quiet.  Paper crinkling is an unwelcome distraction.

Along the same lines is: DON'T TALK ONCE THE PERFORMANCE HAS STARTED.  The only noise in the theater should be coming from the stage (or speakers) as part of the show.  Talking, unwrapping candy, squeezing your plastic water bottle...all of these things are distracting to the patrons around you and to the actors on stage.  And along with don't talk; DON'T HUM OR SING ALONG WITH THE ACTORS unless they have asked you to.  People around you paid good money to hear the actors perform. Buy the soundtrack and sing along in the car.  In the theater it is just rude.

REMEMBER THAT THERE ARE PEOPLE BEHIND YOU.  Leaning together and cuddling or wearing a large hat, or not sitting correctly in your seat blocks the view of the stage for the people behind you.  Please remember to be courteous to other patrons; they want to see the show too.

I can't say I thought I would ever have to actually say this one, but based on actual experience, I must.  DO NOT TAKE YOUR SHOES OFF IN THE THEATER.  This is not your living room and removing your shoes is inappropriate and potentially offensive.

Theater etiquette basically comes down to common courtesy and common sense. If you take a moment to think about it, you won't have any trouble. Theater is a shared experience and a good audience member will do what they can to be a positive part of theater experience for themselves and everyone else.

Theater Etiquette Part 2: Children and live theater? YES!

Live theater can be a magical and memorable experience for children of all ages. It truly is one of life's greatest cultural treasures.  When the experience is done well, it can create a lasting joy and appreciation for theater for the rest of their lives.  Done poorly, it can be a disaster for everyone:  the child, the rest of the party, and the other patrons.  What makes the difference?  Preparation and education.  Below are some guidelines for bringing children to the theater.

1. Show selection is the foundation on which everything else is built.  If you bring a child to a show that they won't enjoy or understand then it will be impossible to keep them engaged in the production.  Not all shows are a good fit for children; including musicals.  Make sure you have selected a show that will be of interest.  Shows designed for children (like Broadway Jr. shows or ones based on children's books like Charlotte's Web) are a good starting spot.  And remember, just because a musical is a classic, doesn't mean it doesn't have adult content.  Even The Sound of Music has Nazis!  Everyone is different, but typically:  Toddlers through the age of 4 do well with short productions (>40 minutes) with a lot of audience participation.  Pre-schoolers, ages 4-5 can handle longer shows (50-75 minutes) as long as the material is interesting to them.  Another plus to choosing a show designed for children is that the actors expect a certain amount of fidgeting, as that's part and parcel of childhood!

2. Get your tickets for seats near the aisle, if possible.  That way if it turns out that it just isn't a sit quietly kind of day (and don't we all have those?), you'll be able to take your child out to the lobby for a break.  The House Manager will be probably be able to help you rejoin the show later.

3. Speaking of tickets, ALL patrons require a ticket no matter their age or if you expect them to sit on your lap.  (And please remember that having a child sit on your lap can block the view of the person behind you.)

4.  Make sure children use the restroom before the show. Remember:  their bladders are smaller than yours!

5. Go over general theater etiquette with your kiddoes before they arrive at the theater.

• They will be expected to be quiet, sit still in their own chair and not disturb others around them
• They should not put their feet on the seats or kick the seat in front of them
• They should not stand during the performance
• They cannot eat in the theater

6.  It is also helpful to let them know what to expect from a show:

• Theater lights will dim at the beginning of the show and it may get quite dark
• Sometimes there a sudden, loud noises in a show
• Sometimes the audience claps during a show (after a song or at the end of a scene)
• Let them know if there will be an intermission and that you will be watching a second part after a short break
• Everyone can join in to clap and show appreciation for the actors at the end of the show!

7. And tell them a bit about the plot of the show so they know in advance who the characters are and the generalities of what will happen in the show.

8. Remind them that the actors are real people just like them.  They may be wearing a mask or makeup, but underneath they are a real person!

The memories created by a live theater experience will last a lifetime. It can be a life-changing event and a wonderful experience for anyone of nearly any age.  (An exception may be babes-in-arms because there is not way to prepare them or explain what is going on.  Loud noises and changing lights can startle an infant and cause distress that  results in fear and/or startled crying.  For the benefit of everyone - including the infant! - we do discourage you from bringing babies to a live theater production.)

With a little bit of preparation, live theater can be an exciting part of any child's life!

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