AUDITIONS

Auditioning is hard.  You know it.  We know it.  Walking through the doors, stepping into a space and baring your soul in front of strangers takes guts.  We believe that anyone with the courage to share their talents at an audition deserves our respect, our appreciation, and our full attention.  Here is StG's promise to you:


1.  We will honor your time and commitment and you will be welcomed. 

2.  We will do everything within our power to provide an environment where you can be at your best.

3.  Every role we post as available is absolutely available.

4.  We will be happy to provide feedback on your audition (if requested).

5.  We will contact you via email within 48 hours of the last audition date for the production.  You will not be expected to wait 3-4 weeks to hear from us regarding callbacks or casting.  


We're actors.  We know what it's like.  Count on us to treat you with kindness, respect, and gratitude.

CALLBACKS


Our goal is to have everyone called back to be present in the room.  Different actors bring different energies to the space, to the roles, and to each other - the combination of these energies creates different chemistries and relationships.  For this reason, we like to see potential cast members - particularly those whose characters have significant relationships - interacting and working together.  We believe that this process is the foundation of great casting.  Exceptions sometimes must and will be made, but callbacks and casting in the room make up an essential part of how we work at Shoot the Glass.


REHEARSALS


“The amount of work needed for a role requires every second of the rehearsal period, and time spent clutching the book - I believe – is time wasted.” –Simon Callow, from his book Being an Actor   


Our rehearsals begin off-book - it is a key element of our process.  A book in hand prevents the actor from doing the real work; it stifles the art of acting.  The book, rather than a tool, becomes a literal and figurative barrier.  Having the actors off-book allows the production to move at a much more rewarding and efficient pace as physical and imaginary relationships are allowed to develop from day one.  Our actors have found this process exhilarating:  an actor off-book is even more empowered to create, relate and explore.  


“We learned the lines before the first day, which I thought was a stroke of genius.  It meant everybody had a firm idea of what their character's through-line was.  We already knew where we were, and by day two, we were standing up doing it.  I realized in retrospect how much time is wasted in traditional rehearsals when nobody really knows their lines and you’ve got a book in your hand.  It was a wonderful process.” –Mark Strong, speaking of the rehearsal process for director Ivo van Hove’s Tony-Winning production of A View from the Bridge

OUR PROCESS