The Audition Process: A Friendly Guide to What to Expect

 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

INTERNATIONAL WOMEN’S DAY READER’S THEATER (& Bake Sale!)

March 8, 2026

VOLUNTEER APPRECIATION
City Hall Community Room - March 14 at 7 PM

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

ADULT SUMMER THEATER CAMP

Session 1: July 6-10, 2026 - Theater 101+

YOUTH SUMMER THEATER CAMPS
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 Jargon

Like any specialized industry, theater has it's own set of jargon.  In looking for gifts for your theater friends, you have probably seen the "Theatre Dictionary" on mugs, t-shirts and the like at Cafe Press (www.cafepress.com)

Not sure who came up with it, but it's pretty darn funny, as theater jargon goes.  Not all community theaters have the facilities to require the use of all these phrases, but let's take a look at a few that are specifically used at the Hamilton Playhouse.

HOUSE:  1.) The auditorium area where patrons sit to watch to the show, 2.) The audience

PROSCENIUM:  The opening of the wall between the audience and the stage or, more poetically, the picture frame through which the audience watches the performance.

APRON:  The part of the stage in front of the proscenium

BACKSTAGE: The part of the stage and theater that is out of sight to the audience

BLOCKING: The movement actors do onstage

CHOREOGRAPHY: The dancing actors do on stage

CALL TIME:  The time an actor needs to arrive at the theater

CALL TIMES: (verb) To verbally note the countdown to the start of the show.

FLAT: A wood frame covered in muslin or wood (plywood, Masonite) that is used as backdrops, walls, and masking on a set.

SET:  The stage setting for a scene or show

MASKING:  Flats or curtains used to block the audiences view of something offstage

GREEN ROOM:  The backstage area where actors relax.  It is not usually green.  At Hamilton Players it doubles as the dressing room.

CHEAT OUT: Angling your body (as an actor) to face the audience.

COUNTER:  An actor's stage move to naturally get out of the way of another actor

WINGS:  The out-of-view area to either side of the acting area

THE FOURTH WALL:  The invisible "wall" between the audience and the actors

STAGE DIRECTIONS:  1.) The directions in the script telling actors how and where to go. 2.) How an actor orients himself on stage:  Stage Right - the actors right, facing the audience; Stage Left - the actor's left, facing the audience; Up Stage - the stage area away from the audience, towards the back wall; Down Stage - the stage area nearest the audience, towards the apron of the stage: Center Stage - the area in the middle of the stage.

**Here are a few more phrases you should be familiar with, even though they may fall more into the category of theater lore than actual theater terminology:

BREAK A LEG:  The traditional statement that replaces, "Good Luck!" ...as it is considered bad luck to wish an actor good luck

THE SCOTTISH PLAY:  This is what superstitious actors call Shakespeare's Macbeth. It is considered extremely bad luck to say the word "Macbeth" inside a theater at any time.  Lore says that if you say it, to remove the curse you must leave the theater, spin around 3 times to your left, spit, curse, and then knock to be readmitted.

GHOST LIGHT:  A single, uncovered light left on onstage when the theater is dark (closed). In terms of safety it helps the first person in find the light switches, but superstition says it gives the theater ghosts a light to perform by.

To learn more about theater terminology, check out these links:

www.backstage.com/advice-for-actors/backstage-experts/60-theater-terms-every-actor-should-know/

www.aact.org/theatre-terms

This is community theater...part 1

In 2012 the British Museum had a book on display that rivaled the Gutenberg Bible for media attention.  The book was not particularly old, it wasn’t a rare text, it wasn’t a clean text; it had scribbles in the margins and was obviously well used.  It had been owned by Nelson Mandela. but more than that, it had been owned by Nelson Mandela in prison and for years this so-called "Robben Island Bible" sustained and inspired him..  He often read aloud from it to his cellmates and it inspired and sustained them all. The book? Not scripture, but sacred nonetheless.  It was the Collected Works of William Shakespeare.  Those characters, those stories…they sustained him and others through those dark years in prison.  That, my friends, is the power and magic of theater.

Hamilton Players’ mission is to put the spotlight on education, inspiration, and community through the performing arts.  But even more important than our mission, is “why” behind it.  What drives us, as an organization, is a belief that live theater has the power to change individuals, both those who participate in it, and those who view it.  Performing on stage is a life-changing event–you can never be the same, afterward, when you’ve worn another person’s life in front of an audience. Each time, you become a little more open-minded, a little more understanding, a little better parent, a little better neighbor.  Just a little better.

Over the years Hamilton Players has staged more than 100 major productions, everything from classic Shakespeare to a drama about the effects of 9/11; from big musicals with upwards of 50 performers, to intimate 1- and 2-person shows.  In the course of a typical year, easily 5,000 people--and sometimes as many as 7,000--will attend or participate in our productions and events. Imagine that: 7,000 opportunities for our community to become just a little better.  That’s the power and magic of theater.

Hamilton Players has a large and growing number of all-purpose volunteers of all ages; an extraordinary corps of performers, directors, musicians, dancers, costume builders, designers, helpers, advisers, and artists.  All of them participating because they have each, on their own, decided that this is the most valuable thing they can do with their time, the most important thing they can do for their community.  Not everybody enjoys being out in front of an audience, but nearly everyone enjoys the feeling of having contributed to something larger than themselves, and a Hamilton Players production offers just that.  Beginning with nothing more than words on a page, everyone - from the director right on down to the person who checks to make sure there’s toilet paper in the bathrooms - begins working together to create the transforming experience that the audience has. Inspiration. Teamwork. Community.  That’s the power and magic of theater.