The 5 Lessons I Learned as Broadway Casting Reader

Imagine my delight when, out of the blue, I received a call from one of the most reputable casting directors in the city. “Would you be interested in reading for us?” he asked. My 20-something self, fresh out of drama school and ready to take Broadway by storm, couldn’t imagine a more preposterous question.

Then, just as I was polishing the last few lines of my Tony Award acceptance speech, the same voice clarified the proposition. “As a casting reader.” What is that? I thought to myself.

At first, the offer felt like a consolation prize, an honorable mention at best. I’d just graduated from a great drama school and was chomping at the bit for a chance to grace the stages of the Barrymore and Shubert. The idea of playing second fiddle as a casting reader felt like being on the practice squad, priming the real players for a big game.

But just moments into my new gig, I realized I’d stumbled upon more than a part-time job; this was a Master Class. My five years as a casting reader for Broadway offered me invaluable lessons on the art of auditioning, etiquette, and insight into the minds of casting directors. Here are some of the lessons from the “other side.”

1. Be prepared.Casting directors see droves of actors vying for the same part. They’re not necessarily looking for the next Brando or Cate Blanchett—they want someone who understands how to tell the story on the page. Sounds simple, but over the years I saw dozens of actors read the way they perceived the casting director wanted the role to be played. It was the actors who came in with bold choices and a point of view that really stood out.

2. Everybody gets the jitters.I had the great fortune of reading opposite A-list gods of the silver screen and Tony-Award Winning actors. What I discovered was that no matter how famous or successful the actor, everybody still gets nervous before the words, “Whenever you’re ready.” Challenges are an integral part of this industry. The only difference is the higher you rise, the more unique your issues become. You simply trade your old problems for a set of new ones.

3. Be kind, but not deferential.The meek may inherit the earth, but probably not the part. Many actors were so awestruck over being called in they let their timidity overshadow the quality of their work. The veterans, on the other, hand knew they’d been asked to read for a reason and mastered the ability to be kind while also claiming their space. They weren’t shy about taking the time and real estate they needed to deliver a terrific audition.

4. They’re on your side.Ever go to a show and say to yourself, “I hope everyone is awful and wastes my time?” Didn’t think so. So why do we all think casting directors think differently? I can’t tell you the number of times I sat beside a wearied casting director who’d practically perform a séance in hopes the next person through the door would be the answer to her problems. Remember, casting directors are on your side! They want you to be great so they can cast the show. Think of them as allies.

5. Live a life and not just a career.I could tell instantly which actors led meaningful lives off-stage. Those who pursued interests outside of acting and had rich personal relationships were able to put auditioning into perspective. They realized there was more to life than agonizing over a callback. The seasoned pros taught me to give the best audition possible, leave it at the door, and go about your day. I discovered you could want something without needing it—certainly an attractive quality to a CD.

The Worst they Can Say is, "No." So who cares?

Learning to endure failure is critical. When you build that muscle you are honing an even more important one: resiliency. The capacity to bounce back from setback after setback after setback is integral part of any meaningful endeavor. But far more importantly, when you reframe failure as deferred success you begin to take setbacks in stride and use them as building blocks to greater character.

My first screenplays were so bad my friends didn't even know where to begin with their feedback. My first attempt at getting a literary agent was met by well over 100 rejections. And my short films were passed on by so many festivals I lost count. But I didn't stop. I kept writing blogs, articles, screenplays, one-man shows, and even a book. And in time as I developed my voice my confidence grew convincing me I had something of value to offer. 

If there's anything I learned as an actor and a casting reader it's that the worst anyone can say is, "No." But once you hear a few, "No's" you learn to take it all in stride. It's a masterful craft if you think about it: 

Developing the mental mindset and stamina to not take the most personal form of rejection personally. 

If you can hone that skill there's nothing you won't try.

Opportunity Doesn't Care About Its Timing and Neither Should You

I've talked a great deal about my time as a casting reader. One of the reasons I bring it up so frequently is because I learned so many important lessons that transcend the stage. 

This afternoon I was speaking to a dear friend of mine who was set to give a big presentation in a few days. "I'm so nervous. I just want to get through it without screwing up," she cried. 

I thought back on the scores of actors I read with who allowed their timidity and surprise over being called in to audition overshadow the opportunity itself. The seasoned veterans on the other hand knew they'd been called in for a reason, and mastered the ability to be kind and still claim their space to deliver a terrific audition.

"This is a remarkable chance for you," I tried to convince my friend. "And who knows, nothing may come of your presentation this go around but you might get a phone call down the road for the perfect opportunity.

My point was that if you put your best foot forward and strive toward excellence it will leave an impression. Over the years I saw incredibly talented storytellers deliver amazing performances only to be overlooked for the part. 

But on several occasions I saw actors come in years later for an equally great opportunity, sometimes even better. They had made a conscious decision to spread "good contagion" and leave their calling card. 

As a result, they stayed on the mental rolodex of a person with influence and got another opportunity to showcase their talents.

What Do You Think?

Over the years I've had the great fortune of working as a casting reader for some very successful and famous artists of both Broadway and the silver screen. 

I remember one project in particular when I was helping out a very well-known and talented director. More importantly, she was also one of the warmest and most thoughtful people I'd ever met.

One afternoon, she asked me what I thought about the music arrangement in her play. Mind you, this production was about to appear on Broadway. I remember being very taken aback by the fact she valued what I had to say. And it wasn't because I didn't feel I had anything important to offer, but because she had a very seasoned and intelligent brain trust at her disposal. Nonetheless, she wanted to know what I thought.

I shared my opinion and could tell she really took them into consideration. It was a remarkable lesson in both humility and in understanding no matter how big you get, you can still be thoughtful, and appreciate that everyone has something worth to contributing.

Weeds Grow Fast

Just a few months ago I walked past a wine bar conveniently situated on the corner of a busy street lined with shops, restaurants, and bars. The sun was out and every patio table was taken as people chatted away carefree over snacks and white wine. 

Today, that place is completely gone. The only sign of life that remains is a placard hanging in the window that reads: "Space Available for Lease." What's more, the place looks as though it was abandoned another decade ago. Most notably, weeds have already taken over what not long ago was an impeccable courtyard full of customers.

What I realized is twofold: things are not always as they seem and you need to always stay on top of your game. You must constantly put in the work. You simply cannot rest on your past accomplishments, or yesterday's revenue.

For years I believed that once you reached a certain level in your career or business it would be smooth sailing. But what I learned as a casting reader, performing opposite some of the biggest names of the stage and silver screen is you never not have challenges, you merely trade your old ones for new ones. But in order to even stay in that position you have to keep getting better. If you don't, others catch up.

Actors especially know this all too well. You're only as good as your last job. But what do you do in the interim? As a mentor once said to me, when you haven't received the break you've been so desperately looking for, whether it's in show business, a job promotion, or finding a partner, you have to continually work on craft.

In other words, you need to stay ready. 

Leave the Audition in the Room

If there's one technique that has likely put years back on my life it's learning to leave the audition in the room.

As a young actor, I'd spend hours and hours working on a pair of sides in preparation for an audition. It didn't matter if the role was for a series regular or an under-5, I wanted to be the best prepared actor to walk in the room.

And though I'm still a huge advocate of working diligently, one must also have the flexibility to not carry the audition with you for the rest of the day.

If the audition didn't go what Robert DeNiro calls, "bedroom perfect," meaning the way I'd prepped at home, then I'd ruminate for hours on ways I could have done it differently. My "Monday morning quarterbacking" wasn't only frustrating but totally unproductive.

Instead, I learned to give it my all once I was in the room and completely relinquish control once I left. There was a freedom in making this decision - in surrendering to the many variables out of my control. All I concerned myself with was my attitude and work ethic.

I later discovered as a casting reader that actors who focus on these two components and have other important interests in their life are appealing to work with. It's like saying, "I would absolutely love to book the role, but if I don't, I'll be just fine. Some other lucky casting director will surely scoop me up."