Casting is one of the most difficult of the director's tasks. Getting the right actor into the right role is a critical decision for the success of the production. In fact, one old saw has it that "80% of good directing is good casting."
So how do you do it?
Because I work in youth theater, and because
-process
-learning
-freedom to create
-empowering young people
are all high values, I often invite input from the soon-to-be actors on the audition sheet. I ask the auditioners to list their top 3 choices, if they could be ANYONE in the play. I state that while there are no guarantees, I will take their interests into consideration.
In more recent years, I have given the option to just list "small, medium or large" part. I have also started including a question allowing actors to note parts they would NOT want to play.
This has been very helpful for me. Often, the young people have a far more keen insight than one might expect into what they are ready for or will fit for them.
Still, since I often direct Shakespeare, where there are about 6 or 7 male parts for every female part, and because I am directing youth actors where there are 4 or 5 female actors for every male actor, I still have my challenges.
Even though I ask for the top THREE choices, I will still get auditioners filling out forms that say 1. Kate 2. Kate 3. Kate.
I agonize over casting. I spend a long time over it. Lately I've taken to creating a spread sheet of all the characters, then listing under each character the actors who would like to play it.
At least then I can get a visual.
AND I also, more often than not, have two complete casts per production. Double the rehearsals, double the fun...
This helps a bit more than it impedes the casting process.
So:
I have a list of characters; I have a list of actors who want to play the characters. I also have my "feel" for each of the characters. Orlando should be taller than Rosalind. Rosalind should be playful and witty.
At some point, I have to bite the bullet. Letting all the above information roll around in my head and my heart, I then write out the cast(s) that work for me and with my group. Then I double/triple/quadruple check, to make sure that I haven't cast brother and sister in roles where they have to kiss each other, to make sure that I haven't cast someone in THE ONE ROLE THEY WILL NOT DO, to make sure that I have respected scheduling conflicts to the best of my ability.
I take a deep breath.
And I send it out.
Almost invariably, by a few weeks into rehearsal, no one can imagine the play being cast any other way. Each actor comes to love his or her role.
ALMOST invariably.
Yet, every time, it is a struggle.
So, when you see the role you've been cast in, and it isn't your top choice, take a moment to realize in many, many places, there are those who aren't cast at all. And, for a caring director, this casting process was a difficult one, invested with love, care and artistic vision-- and a bit of pain and worry, too!
