2012 Regional Combined Auditions

Spotlight on Regional Auditions 2012 Regional Combined Auditions December 28, 2011 Compiled by Michael Coughlin Here's a list of the upcoming combined regional auditions for 2012. Make the most of your opportunities by first reviewing this information.Illinois Theatre AssociationJan. 28-29ChicagoThe Illinois Theatre Association's 33rd annual non-Equity professional auditions will be held Saturday, Jan. 28, and Sunday, Jan. 29, at the theater department of the University of Illinois at Chicago. Saturday's auditions will focus on musical theater (including a dance audition) and Sunday's on non-musicals. Several casting representatives from throughout the state and beyond will be in attendance. Past attendees include the Goodman Theatre, Steppenwolf Theatre Company, and the Timber Lake Playhouse. The auditions have drawn nearly 300 actors annually in the past. The application deadline is Jan. 6. Non-Equity actors, children and senior performers, talent new to Chicago, and recently graduated students are eligible to audition. A professional or faculty letter of recommendation is required. The nonrefundable registration fee is $25 for ITA members, $35 for nonmembers. Actors get a minute and a half to present two contrasting monologues.To download an application, and for all other details, visit www.illinoistheatre.org, or call Aimee-Lynn Newlan at (312) 265-5922 or email her at auditions@illinoistheatre.org.League of Washington Theatres Silver Spring, Md.At this time, there are no dates set for the 2012 League of Washington Theatres auditions. The moment dates are announced, Chesapeake-area performers should make a beeline to Maryland for the LOWT's annual open call. Check frequently for upcoming online registration procedures and more information on the website of this D.C.-area nonprofit professional theater group at www.lowt.org. For more info, email info@lowt.org. (Do not call the Round House Theatre for audition information.)Institute of Outdoor DramaGreenville, N.C.March 12If you've always wanted to act against a backdrop of starsliterallythen the Institute of Outdoor Drama may be nirvana. It will hold its annual National Outdoor Drama Auditions on Sat., Feb. 18, at East Carolina University. Reps from approximately 10 companies that specialize in this genre will audition performers and interview crew for summer employment. Jobs are available for actors, singers, dancers, and technicians. Companies slated to participate this year include Horn in the West (Boone, N.C.), the Lost Colony (Manteo, N.C.), Tecumseh! (Chillicothe, Ohio), Kentucky Shakespeare Festival (Louisville, Ky.), Theatre West Virginia (Beckley, W.Va.), Trumpet in the Land (New Philadelphia, Ohio), Unto These Hills (Cherokee, N.C.), and Pennsylvania Renaissance Faire (Manheim, Pa.).The application deadline is Feb. 3 at 5 p.m. Online registration begins Jan. 17 at 8 a.m. You must be at least 18, have previous theater experience, and be willing to make a nine- to 12-week commitment (including two weeks of rehearsal). Most jobs are non-Equity, but some companies hire union members or participate in the Equity Membership Candidate Program. The nonrefundable registration fee is $75. All audition applications require the approval of a sponsor, which could be a director, teacher, or past employer. They will accept the first 225 applications.Actor-singers will be given 90 minutes to present a monologue and a song. Actor-only and singer-only applicants will receive one minute to present a monologue or song. Prepare additional pieces for callbacks (accompanist provided; no recorded music). Dance auditions will include combinations in various styles. You may attend dance auditions only if you signed up as a dancer only, or if you have been requested to dance by a theater company after your acting/singing audition. Technicians should check the company callback schedule on Feb. 18, then sign up for an interview at the company's callback location. For an application or more information, go to http://outdoordrama.unc.edu, call (252) 328-5363, or email outdoor@ecu.edu.MidWest Theatre AuditionsSt. LouisFeb. 17-19Unless your application is already in, you are too late for the 2012 auditions, to be held Feb. 1719 on the Webster University campus, home to the Repertory Theatre of St. Louis. Dec. 9, 2011, was the application deadline for actors. (In past years, space permitting, late applications were accepted for an additional fee; call the number below for information.) Designers, technicians, and stage managers should move fastthe postmark deadline for production personnel is in January. Among the 50 to 70 summer stock and year-round theaters that attended last year were the Arrow Rock Lyceum Theatre, the Blue Ridge Dinner Theatre, and the Shakespeare Festival of St. Louis. (See the website for a full list, along with audition dos and don'ts, including songs and monologues to avoid.)Open to Equity and non-Equity actors, the auditions attract more than 600 performers and 100 production hopefuls annually. Actors have 90 seconds to perform a monologue and/or song (accompanist provided; no recorded music). Callbacks follow, and an optional dance audition is held at day's end. Designers, technicians, and stage managers will be assigned a time slot on Sat., Feb. 18, to interview with the theaters of their choice.The nonrefundable application fee is $40. Applications, which must be signed by a professional director or theater educator, are available at www.webster.edu/depts/finearts/theatre/mwta. For more information, call (314) 968-6937 weekdays, 11 a.m.1 p.m. CST (long-distance calls won't be returned), or email mwta@webster.edu. You can also snail-mail to MWTA, 470 E. Lockwood Ave., St. Louis, MO 63119.New England Theatre Conference Natick, Mass.March 17-19WHEN & WHERE: Sat., March 17, to Mon., March 19, 9 a.m. to 6 p.m., at the Crowne Plaza Hotel Boston-Natick, in Natick, Mass. (about 15 miles west of Boston).WHO WILL BE THERE: About 710 actors are expected to audition for approximately 60 Equity and non-Equity theaters, including college-based summer theaters, repertory theaters, Shakespeare and Renaissance festivals, and outdoor dramas. REGISTRATION: Applications must be postmarked by Feb. 1. (Design/tech/staff applicants can submit their applications until the date of the auditions.) You can download an application from NETC's website or have one mailed by sending a business-size self-addressed stamped envelope to the address below. If you also have a knack for carpentry or consider yourself a budding administrator, you can apply as both performer and technical/staff person, but you must fill out separate applications.ELIGIBILITY: Auditions are open only to non-Equity actors and Equity Membership Candidates who are at least 18 and no longer in high school. Applications are screened by a panel of theater professionals. Those selected to audition (along with a limited number of standbys) will be notified about three weeks in advance. Those not selected will have their rsums distributed to the attending theaters. Standbys won't receive a time slot, but they're guaranteed a chance to audition on a first-come, first-served basis.FEES: For current NETC members, the application fee is $30. The $55 nonmember fee ($45 for students) gets you membership in NETC through August 2012. For those applying for actor-tech positions, there's an additional $5 charge. Fees are nonrefundable and do not guarantee an audition appointment.AUDITION FORMAT: Two audition rooms run simultaneously: one for actors and one for actor-singer-dancers. You can't audition in both, so it's essential you choose the one that will showcase your strongest talents. NETC advises applicants with limited musical theater experience not to apply for musical auditions; previous experience is a strong consideration in filling these slots. Performers have two minutes to present two contrasting selections: two monologues, two songs, or one of each. An accompanist is provided (no transposing), or you can bring your own. Singing a cappella or to recorded music is strongly discouraged. Obscene or violent material is frowned upon. Costumes and props are unnecessary; just bring yourself and your talent.CALLBACKS/DANCE AUDITIONS: Callback lists will be posted every hour, and most theaters will hold callbacks and interviews after each audition session, so plan to stay at least an hour after your audition. Some theaters may ask performers to attend callbacks at other times and places. A dance call will also be held at each day's end.DESIGN/TECH/STAFF POSITIONS: Interviews for staff/technical positions will take place Mon., March 19, 1:30 to 6 p.m. A list of theaters and the positions they're seeking to fill will be distributed at the auditions. Unless specified by a theater, there are no advance appointments, though some companies may post specific interview times. Remember to bring your best work samples to prove your qualifications.CONTACT INFO: For full information, visit the website at www.netconline.org or contact Joseph Juliano Jr., auditions chairperson, New England Theatre Conference, 215 Knob Hill Dr., Hamden, CT 06518; (617) 851-8535; mail@netconline.org.New Jersey Theatre AllianceNew Brunswick, NJAugustFor New Jerseyans who prefer to audition in their home state this summer, the New Jersey Theatre Alliance is for you. Representing 35 of the Garden State's professional Equity theaters, NJTA generally holds its combined lottery-based auditions in August. Preference has traditionally been given to New Jersey performers, both Equity and non-Equity and 1525 theaters usually attend. Details on 2012's auditions will be posted at www.njtheatrealliance.org this spring. Email rcarr@njtheatrealliance.org or call 973-731-6582, ext. 15, for further information. Ohio Theatre AllianceNew Concord, OhioJan. 21The North Central Regional Auditions and Technical Interviews are held annually by the Ohio Theatre Alliance on the campus of Muskingum University, about 70 miles east of Columbus. Last year, several statewide theater companies along with producers from Michigan (Barn Theatre), Indiana (Amish Acres, Blue Gate Theater), and Virginia (Blue Ridge Dinner Theatre), as well as RWS & Associates (cruise ship/theme park talent), saw more than 275 actors and 35 technicians. Past attendees include Thunder Bay Theatre, Huron Playhouse, and Porthouse Theatre.Registration is on a first-come, first-served basis, so get those applications in early. Before Dec. 31, the registration fee for an audition or design/tech/staff interview is $50 ($60 for both). After that, it is $60 ($70 for both). Equity and non-Equity actors who are at least 18 are eligible. Performers will audition in groups and have 90 seconds to act, sing, or do both (accompanist provided). Callbacks are posted immediately after each half-hour audition block, with dance auditions held after the regular auditions end. Design, tech, stage manager, and administrator applicants should bring a professional portfolio and rsum.See www.ohiotheatrealliance.org for detailed info and to download an application. For additional questions, email ota@muskingum.edu. Portland Area Theatre AlliancePortland, Ore.Apr. 5-7 and 9This year the Portland Area Theatre Alliance will hold its annual auditions April 5-7 and 9 at Artists Repertory Theatre. Representatives from local/regional Equity and non-Equity companies will be present. Registration begins in February. All performers must be a current PATA member in good standing to audition. Equity performers must also have current and updated AEA card in hand.Good news for those actors and singers that can move, but don't consider themselves dancersthey have added an audition for performers who move. There will also be a full dancers call as well. More info will be available on the website (www.portlandtheatre.com) in January. If you have specific questions, contact Sam Hull, the auditions chair at info@portlandtheatre.com.Southeastern Theatre ConferenceSpring Professional AuditionsChattanooga, Tenn.March 8-10WHEN & WHERE: Auditions will be held from Thurs., March 8, to Sat., March 10, in Chattanooga, Tenn.WHO WILL BE THERE: Approximately 850 actors will vie for the attention of about 75 professional companies for full-time/seasonal and summer-only employment at the spring auditions.REGISTRATION: The online application deadline is Jan. 15. (There's no mail-in registration for performers.) Non-Equity participants must become SETC members and register for the convention; Equity participants must only join SETC, but you'll pay extra if you want to attend the convention. (See Fees below.) Applications are completed online for both Equity and Non-Equity. Pull complete guidelines from www.setc.org/theatre/professional/spring-auditions.ELIGIBILITY: To be eligible for the spring regional professional auditions, non-Equity actors must be high school graduates, at least 19, available for full-time, year-round employment, and not currently enrolled in school. You'll also need at least two paid professional theater acting jobs on your rsum and two recommendations from professional directors. Equity auditionees must be at least 19, a high school graduate, and available for full-time, year-round employment and be current AEA members. Performers wishing to audition who don't meet these requirements may attend one of SETC's professional screening auditions at a state level. A percentage of auditionees at each state qualify for the March auditions.Dancers with extensive training and experience may audition as dancer only. These applicants must be at least 19, high school graduates, available for summer or full-time year-round employment, and have a minimum of four years dance training and performance experience, or two paid professional dance jobs on his or her rsum. All applications require director or choreographer's reference on the application, and applicants must also submit a videotape or DVD; see the application for additional requirements.FEES: $155-$195 for students; $230-$270 for non-Equity participants; costs are determined by date of registration. Dancer only auditionees are $230-$270 (students $155-$195). Fees for registration (except Equity) also include 5 days of the SETC annual convention, 1-year membership, year round listing for jobs, a yearly subscription to Southern Theatre magazine, discounts at theaters nationwide, and other networking opportunities. $90 for Equity members (with option to add convention). AUDITION FORMAT: The day begins with a mandatory audition briefing at 8:30 a.m. Afterwards, actors are seen in groups of 40 and have 60 seconds to perform a monologue or song, or 90 seconds to perform both. Auditionees choose one audition category: acting-singing, acting only, or singing only. An accompanist is provided. SETC does not allow recorded music, self-accompaniment, or singing a cappella. For singing auditions, you will give your musicin the right keyto the accompanist & discuss before your audition begins; you'll also need to write the last two lines of your monologue at the top so the accompanist knows when to start playing. No lead sheets, and remember to turn off your cell phone before you enter the audition room.Actors are strongly advised not to use dialects and to avoid doing Shakespeare unless you're a proficient, classically trained performer. Standard American diction should be used for all audition material. Stay away from "sexually explicit or socially offensive material," according to the SETC website.CALLBACKS/DANCE AUDITIONS: Lists will be posted after each group of 40. Callbacks are held throughout the day and well into the night. Dance call is held after the regular auditions end. Unless you're auditioning in the dancer-only category, attendance at a dance audition is solely at the request of a theatre company. You'll choose from various combinations: advanced ballet/jazz (mandatory for dancer-only applicants), intermediate/advanced tap, and "actors who move well."DESIGN/TECH/STAFF POSITIONS: SETC's Job Contact Service, which takes place the same dates, connects theatre professionals with theatrical employers year-round through a rsum-matching service, an online database of available positions nationwide (with weekly email updates), and personal interviews conducted at the convention. This year's interviews will be held March 810. You must supply one reference. Be sure to bring plenty of rsums and your portfolio. Registration (including SETC membership and convention admission) is $230 for adults, $155 for students. Among the many companies that hired in 2010 were Orlando Shakespeare Festival, Theatre by the Sea, and Maine State Music Theatre.CONTACT INFO: SETC, April J'C Marshall, 1175 Revolution Mill Dr., Ste. 14, Greensboro, NC 27405; (336) 272-3645; april@setc.org; or www.setc.org/auditions.Southeastern Theatre Conference Fall Professional AuditionsAtlanta, Ga.Sept. 9-10WHEN & WHERE: Auditions will be held in Atlanta, Ga.WHO WILL BE THERE: Approximately 250 actors will vie for the attention of about 35 professional companies for full-time/seasonal employment at the fall auditions. REGISTRATION: The online application opens May 15th. Non-Equity and Equity participants complete applications online. Pull complete guidelines from www.setc.org/theatre/professional/fall-auditions. ELIGIBILITY: To apply, non-Equity actors must be high school graduates, at least 19, available for full-time employment, and not currently enrolled in school. You'll also need a minimum of two paid professional theater acting jobs on your rsum and two recommendations from professional directors. Equity auditionees must be at least 19, a high school graduate, and available for full-time employment and be current AEA members. ($35-$60 dependent on date of application). Walk-ins with pre-filled applications accepted.Dancers with extensive training & experience may apply as Dancer-Only. These applicants must be at least 19, high school graduates, available for full-time employment, and have a minimum of four years dance training and performance experience, or two paid professional dance jobs on his or her rsum. All applications require director or choreographer's reference on the application.AUDITION FORMAT: The day begins with a mandatory audition briefing at 9 a.m. Afterwards, actors are seen in groups of 40 and have 60 seconds to perform a monologue or song, or 90 seconds to perform both. Auditionees choose one audition category: acting-singing, acting only, or singing only. An accompanist is provided. SETC does not allow recorded music, self-accompaniment, or singing a cappella. For singing auditions, you will give your musicin the right keyto the accompanist & discuss before your audition begins; you'll also need to write the last two lines of your monologue at the top so the accompanist knows when to start playing. No lead sheets, and remember to turn off your cell phone before you enter the audition room.Actors are strongly advised not to use dialects and to avoid doing Shakespeare unless you're a proficient, classically trained performer. Standard American diction should be used for all audition material. Stay away from "sexually explicit or socially offensive material," according to the SETC website.CALLBACKS/DANCE AUDITIONS: Lists will be posted after each group of 40. Callbacks are held throughout the day and well into the night. Dance-Call is held after the regular auditions end. Anyone who wishes to dance before the theatres may do so. You'll choose from various combinations: advanced ballet/jazz (mandatory for dancer-only applicants), intermediate/advanced tap, and "actors who move well." Dancers complete must complete application online and submit a videotape or DVD; see the guidelines for complete requirements.CONTACT INFO: SETC, April J'C Marshall, 1175 Revolution Mill Dr., Ste. 14, Greensboro, NC 27405; (336) 272-3645; april@setc.org; or www.setc.org/professional.StrawHat Auditions NY CityFeb. 18-20WHEN & WHERE: Saturday, Feb. 18, to Monday, Feb. 20, at Pace University in NY City.WHO WILL BE THERE: In 2011, more than 700 participants were seen by more than 30 summer-stock theaters, live entertainment companies, casting directors, and freelance stage directors offering hundreds of non-Equity positions. (Last year, 85 percent of auditioning actors received callbacks). Musicals tend to predominate at the attending theaters, so they're partial to performers who can sing well. The website, www.strawhat-auditions.com, reportedly receives a million visitors a year.REGISTRATION: Actor applications must be received by Jan. 14; for production personnel, the cutoff is Feb. 6. You can register on StrawHat's website, but you must print and mail the application with your fee, headshot, and rsum. Audition slots fill up fast, so the organizers encourage applicants to register early. A few standbys are scheduled in advance, but no walk-ins are allowed.ELIGIBILITY: Applications are screened to match the needs of the attending companies, but every performer who pays the registration fee gets his or her photo and rsum posted in a casting database (see Fees below). Actors selected to audition will also have their photo and rsum published in a directory distributed to attending theaters. You must be a non-Equity performer and at least 18 when you start working. Theatre students need the recommendation of a faculty member.FEES: The nonrefundable registration fee is $35 for actors. There's an additional $45 audition fee, which will be returned if you don't receive a slot. (There's also an additional $25 fee should you wish to change your audition time slot.) The registration fee gets your profile, photo, and rsum posted in StrawHat's Online Casting database, which the organizers say participating theaters use to cast shows. You also gain access to the site's members-only area, with information on the attending theaters, audition tips, discussion forums, a bulletin board, articles, and other perks.AUDITION FORMAT: You can sing or just do a monologue, but fewer companies (about a third) attend the acting-only auditions and slots are limited. Performers have exactly 90 seconds to present two pieces. If you're singing, a monologue should follow your song. An accompanist will be provided or you can bring your own.CALLBACKS/DANCE AUDITIONS: Callback lists are posted throughout the day. As part of your callback, you may be asked to attend a dance call in the evening. Some theaters prefer to contact actors at a later date, but most will hold callbacks in the late afternoon and evening, so plan on staying all day. At the dancers who sing audition on Monday, Feb. 20, space is limited to 30 candidates with extensive dance training in all disciplines. Dancers must be prepared to sing an up-tempo song following their dance combination.DESIGN/TECH/STAFF POSITIONS: To meet the high demand for qualified production personnel, StrawHat will post your rsum in its searchable online database for free as soon as it receives your application. You can also post three selections from your portfolio. Musical directors and accompanists may provide a CD with three short piano samples to be posted as an audio portfolio for $20. Production candidates (including Equity stage managers) will have access to a list of theaters and the positions they're seeking to fill. CONTACT INFO: StrawHat Auditions, 1771 Post Road East, #315, Westport, CT 06880; info@strawhat-auditions.com; or www.strawhat-auditions.com.Theatre Alliance of Greater PhiladelphiaPhiladelphiaJuneParticipants in the Theatre Alliance of Greater Philadelphia's annual auditions must live within a 50-mile radius of Center City, Philadelphia. If you live in New Jersey, check the map on the group's website. (NY City residents are out of luck.)Actors who qualify have three minutes to showcase their abilities to more than 50 theater representatives, along with local agents and casting directors. See the website for links to participating theaters, including Bloomsburg Theatre Ensemble, Delaware Theatre Company, Theatre Ariel, the Shakespeare Theatre Company, and the Wilma Theater. The alliance also hosts an audition workshop where applicants can meet local casting directors, and the group's website features audition tips as well as the Philly Talent Database, showcasing performers and behind-the-scenes personnel from the Greater Philadelphia region. More specific information will be available in the coming months; check out www.theatrealliance.org, call (215) 413-7150, or email info@theatrealliance.org for updates.Theatre Bay AreaSan Francisco Bay Area Feb. 4-6San Francisco boasts a combined audition; however, Dec. 5 was the application deadline, and late applications for non-Equity actors are not accepted. Equity applications can be accepted anytime prior to the audition, but appointments will be filled on a first-come, first-served basis (based on space). If Equity appointments fill up, there will be a waiting list.Theatre Bay Area's general auditions are an opportunity to be seen by 100 to 150 representatives from 80 to 90 West Coast theater companies large and small, as well as independent directors and casting directors. (See the website for a complete list of the 2010 attendees.) Actors new to the area, mature actors, actors of color, and actors who are physically challenged are especially encouraged to apply.Equity members are automatically eligible for audition slots; non-Equity actors with at least one year of full-time training or eight nonschool productions on their rsum can join TBA for the chance to participate in a weighted lottery based upon the casting needs of the attending theaters. Last year, more than 500 applicants vied for some 350 slots. Those not selected had their headshots distributed to the auditors. Equity performers get three minutes and non-Equity performers get two minutes to showcase themselves however they wish.Applications can be downloaded at www.theatrebayarea.org. For more information, call Dale Albright at (415) 430-1140, ext. 14, or email him at dale@theatrebayarea.org.Unified Professional Theatre AuditionsMemphis, Tenn.Feb. 3-6WHEN & WHERE: Fri., Feb. 3, to Mon., Feb. 6, 7:30 a.m. to 7:30 p.m. (or later), at Playhouse on the Square in Memphis, Tenn. (Callbacks are held at the nearby Memphis Marriott Downtown.)WHO WILL BE THERE: Last year 1,044 registered attendees (57 were Equity) were seen by 87 companies (36 of whom attended the Equity auditions). Among the theater companies registered to attend in 2012 are Cumberland County Playhouse in Crossville, Tenn., and Wayside Theatre in Middletown, Va., as well as roughly 60 others countrywide.REGISTRATION: Actor registration forms must be received by Jan. 7, and actors must upload their photos and rsums. Space is limited, no walk-ins are allowed, and registration doesn't guarantee an audition slot. Registration materials for production personnel must be received by Jan. 21. Registration forms (which outline further requirements) are downloadable from UPTA's website, www.upta.org, or send a self-addressed stamped envelope to the address below.ELIGIBILITY: Both Equity and non-Equity actors are eligible. For the Pre-Professional Auditions, actors must have an undergraduate theater degree by Sept. 1, 2012, be available for year-round employment (no returning to college in the fall or spring), and have their registration form signed by the head of their theater program.For the regular auditions, actors must be available for employment year-round and have at least one of the following: (a) a postgraduate theater degree by Sept. 1, 2012; (b) their registration form signed by a registered 2011 or 2012 UPTA theater; (c) their registration form signed by a current Theatre Communications Group member theater; (d) attendance at a previous UPTA; or (e) membership in Equity or the Equity Membership Candidate Program.For production jobs, candidates must be available for work year-round and have at least one of the following: (a) an undergraduate degree in their technical/administrative/design field by Sept. 1, 2012; (b) their registration form signed by a registered 2011 or 2012 UPTA theater; (c) their registration form signed by a current TCG member theater; (d) attendance at a previous UPTA; or (e) membership in Equity as a stage manager.FEES: $50.AUDITION FORMAT: Actors are seen in groups of 25. You'll have 90 seconds (which won't include the time it takes to say your name and audition number), and your audition must include at least one monologue. Musical and nonmusical auditions are run separately, but, again, all musical auditions must also include a monologue. An accompanist is provided. Equity actors will audition on Sunday and Monday following lunch. All non-Equity auditions will be videotaped. (Equity actors will not be videotaped.) CALLBACKS/DANCE AUDITIONS: After each session, callback lists will be posted at the Memphis Marriott Downtown. Acting and dance callbacks occur in the evening, so make sure you're ready and rested. Have extra songs and monologues prepared. Some companies may not have a piano at their disposal for the callbacks, so bring a small music player and recorded accompaniment. For the dance auditions, you'll choose two of three routines that involve tap, ballet, and jazz, so bring appropriate attire and shoes.DESIGN/TECH/STAFF POSITIONS: On Saturday at the Holiday Inn SelectAirport, production personnel will be interviewed for design, technical, and administrative jobs. Remember to bring your portfolio, drawings, slides, marketing materials, and anything else you need to show off your dazzling skills behind the scenes.CONTACT INFO: Unified Professional Theatre Auditions, 66 S. Cooper, Memphis, TN 38104; phone: (901) 725-0776; fax: (901) 272-7530. You can reach audition coordinator Michael Detroit at upta@upta.org or assistant audition coordinator Courtney Oliver at courtney@upta.org. On UPTA's website, www.upta.org, you can register online and find detailed info.Wisconsin Theatre Workshops, Auditions & Tech InterviewsMadison, Wis.Feb. 10-11Wisconsin Theatre Workshops, Auditions & Tech Interviews, a 30-plus-year-old gathering open to non-Equity actors, will be held Friday, Feb. 10, and Saturday, Feb. 11, on the University of WisconsinMadison campus. Among the theaters participating in last year's auditions were American Folklore Theatre, American Players Theatre, Santa Fe Opera, and the Utah Shakespeare Festival.The nonrefundable registration fee is $30 for a performance audition or tech interview ($45 for both). Performers have two minutes (including their introduction) to present two contrasting monologues OR one song and one monologue (accompanist provided; no recorded music). Performers are also encouraged to attend the dance call that follows the regular auditions. Designers, technicians, and management staff will receive individual 10-minute interview appointments with the companies of their choosing; bring rsums and portfolios.Registration forms are downloadable at www.witheatreauditions.org. Your form must be received no later than Feb. 3 (after this date, applications will only be accepted on-site). For more information, contact Sarah Marty at (608) 263-2790 or smarty@dcs.wisc.edu. 2012 Regional Combined Auditions December 28, 2011 Compiled by Michael Coughlin Here's a list of the upcoming combined regional auditions for 2012. Make the most of your opportunities by first reviewing this information.Illinois Theatre AssociationJan. 28-29ChicagoThe Illinois Theatre Association's 33rd annual non-Equity professional auditions will be held Saturday, Jan. 28, and Sunday, Jan. 29, at the theater department of the University of Illinois at Chicago. Saturday's auditions will focus on musical theater (including a dance audition) and Sunday's on non-musicals. Several casting representatives from throughout the state and beyond will be in attendance. Past attendees include the Goodman Theatre, Steppenwolf Theatre Company, and the Timber Lake Playhouse. The auditions have drawn nearly 300 actors annually in the past. The application deadline is Jan. 6. Non-Equity actors, children and senior performers, talent new to Chicago, and recently graduated students are eligible to audition. A professional or faculty letter of recommendation is required. The nonrefundable registration fee is $25 for ITA members, $35 for nonmembers. Actors get a minute and a half to present two contrasting monologues.To download an application, and for all other details, visit www.illinoistheatre.org, or call Aimee-Lynn Newlan at (312) 265-5922 or email her at auditions@illinoistheatre.org.League of Washington Theatres Silver Spring, Md.At this time, there are no dates set for the 2012 League of Washington Theatres auditions. The moment dates are announced, Chesapeake-area performers should make a beeline to Maryland for the LOWT's annual open call. Check frequently for upcoming online registration procedures and more information on the website of this D.C.-area nonprofit professional theater group at www.lowt.org. For more info, email info@lowt.org. (Do not call the Round House Theatre for audition information.)Institute of Outdoor DramaGreenville, N.C.March 12If you've always wanted to act against a backdrop of starsliterallythen the Institute of Outdoor Drama may be nirvana. It will hold its annual National Outdoor Drama Auditions on Sat., Feb. 18, at East Carolina University. Reps from approximately 10 companies that specialize in this genre will audition performers and interview crew for summer employment. Jobs are available for actors, singers, dancers, and technicians. Companies slated to participate this year include Horn in the West (Boone, N.C.), the Lost Colony (Manteo, N.C.), Tecumseh! (Chillicothe, Ohio), Kentucky Shakespeare Festival (Louisville, Ky.), Theatre West Virginia (Beckley, W.Va.), Trumpet in the Land (New Philadelphia, Ohio), Unto These Hills (Cherokee, N.C.), and Pennsylvania Renaissance Faire (Manheim, Pa.).The application deadline is Feb. 3 at 5 p.m. Online registration begins Jan. 17 at 8 a.m. You must be at least 18, have previous theater experience, and be willing to make a nine- to 12-week commitment (including two weeks of rehearsal). Most jobs are non-Equity, but some companies hire union members or participate in the Equity Membership Candidate Program. The nonrefundable registration fee is $75. All audition applications require the approval of a sponsor, which could be a director, teacher, or past employer. They will accept the first 225 applications.Actor-singers will be given 90 minutes to present a monologue and a song. Actor-only and singer-only applicants will receive one minute to present a monologue or song. Prepare additional pieces for callbacks (accompanist provided; no recorded music). Dance auditions will include combinations in various styles. You may attend dance auditions only if you signed up as a dancer only, or if you have been requested to dance by a theater company after your acting/singing audition. Technicians should check the company callback schedule on Feb. 18, then sign up for an interview at the company's callback location. For an application or more information, go to http://outdoordrama.unc.edu, call (252) 328-5363, or email outdoor@ecu.edu.MidWest Theatre AuditionsSt. LouisFeb. 17-19Unless your application is already in, you are too late for the 2012 auditions, to be held Feb. 1719 on the Webster University campus, home to the Repertory Theatre of St. Louis. Dec. 9, 2011, was the application deadline for actors. (In past years, space permitting, late applications were accepted for an additional fee; call the number below for information.) Designers, technicians, and stage managers should move fastthe postmark deadline for production personnel is in January. Among the 50 to 70 summer stock and year-round theaters that attended last year were the Arrow Rock Lyceum Theatre, the Blue Ridge Dinner Theatre, and the Shakespeare Festival of St. Louis. (See the website for a full list, along with audition dos and don'ts, including songs and monologues to avoid.)Open to Equity and non-Equity actors, the auditions attract more than 600 performers and 100 production hopefuls annually. Actors have 90 seconds to perform a monologue and/or song (accompanist provided; no recorded music). Callbacks follow, and an optional dance audition is held at day's end. Designers, technicians, and stage managers will be assigned a time slot on Sat., Feb. 18, to interview with the theaters of their choice.The nonrefundable application fee is $40. Applications, which must be signed by a professional director or theater educator, are available at www.webster.edu/depts/finearts/theatre/mwta. For more information, call (314) 968-6937 weekdays, 11 a.m.1 p.m. CST (long-distance calls won't be returned), or email mwta@webster.edu. You can also snail-mail to MWTA, 470 E. Lockwood Ave., St. Louis, MO 63119.New England Theatre Conference Natick, Mass.March 17-19WHEN & WHERE: Sat., March 17, to Mon., March 19, 9 a.m. to 6 p.m., at the Crowne Plaza Hotel Boston-Natick, in Natick, Mass. (about 15 miles west of Boston).WHO WILL BE THERE: About 710 actors are expected to audition for approximately 60 Equity and non-Equity theaters, including college-based summer theaters, repertory theaters, Shakespeare and Renaissance festivals, and outdoor dramas. REGISTRATION: Applications must be postmarked by Feb. 1. (Design/tech/staff applicants can submit their applications until the date of the auditions.) You can download an application from NETC's website or have one mailed by sending a business-size self-addressed stamped envelope to the address below. If you also have a knack for carpentry or consider yourself a budding administrator, you can apply as both performer and technical/staff person, but you must fill out separate applications.ELIGIBILITY: Auditions are open only to non-Equity actors and Equity Membership Candidates who are at least 18 and no longer in high school. Applications are screened by a panel of theater professionals. Those selected to audition (along with a limited number of standbys) will be notified about three weeks in advance. Those not selected will have their rsums distributed to the attending theaters. Standbys won't receive a time slot, but they're guaranteed a chance to audition on a first-come, first-served basis.FEES: For current NETC members, the application fee is $30. The $55 nonmember fee ($45 for students) gets you membership in NETC through August 2012. For those applying for actor-tech positions, there's an additional $5 charge. Fees are nonrefundable and do not guarantee an audition appointment.AUDITION FORMAT: Two audition rooms run simultaneously: one for actors and one for actor-singer-dancers. You can't audition in both, so it's essential you choose the one that will showcase your strongest talents. NETC advises applicants with limited musical theater experience not to apply for musical auditions; previous experience is a strong consideration in filling these slots. Performers have two minutes to present two contrasting selections: two monologues, two songs, or one of each. An accompanist is provided (no transposing), or you can bring your own. Singing a cappella or to recorded music is strongly discouraged. Obscene or violent material is frowned upon. Costumes and props are unnecessary; just bring yourself and your talent.CALLBACKS/DANCE AUDITIONS: Callback lists will be posted every hour, and most theaters will hold callbacks and interviews after each audition session, so plan to stay at least an hour after your audition. Some theaters may ask performers to attend callbacks at other times and places. A dance call will also be held at each day's end.DESIGN/TECH/STAFF POSITIONS: Interviews for staff/technical positions will take place Mon., March 19, 1:30 to 6 p.m. A list of theaters and the positions they're seeking to fill will be distributed at the auditions. Unless specified by a theater, there are no advance appointments, though some companies may post specific interview times. Remember to bring your best work samples to prove your qualifications.CONTACT INFO: For full information, visit the website at www.netconline.org or contact Joseph Juliano Jr., auditions chairperson, New England Theatre Conference, 215 Knob Hill Dr., Hamden, CT 06518; (617) 851-8535; mail@netconline.org.New Jersey Theatre AllianceNew Brunswick, NJAugustFor New Jerseyans who prefer to audition in their home state this summer, the New Jersey Theatre Alliance is for you. Representing 35 of the Garden State's professional Equity theaters, NJTA generally holds its combined lottery-based auditions in August. Preference has traditionally been given to New Jersey performers, both Equity and non-Equity and 1525 theaters usually attend. Details on 2012's auditions will be posted at www.njtheatrealliance.org this spring. Email rcarr@njtheatrealliance.org or call 973-731-6582, ext. 15, for further information. Ohio Theatre AllianceNew Concord, OhioJan. 21The North Central Regional Auditions and Technical Interviews are held annually by the Ohio Theatre Alliance on the campus of Muskingum University, about 70 miles east of Columbus. Last year, several statewide theater companies along with producers from Michigan (Barn Theatre), Indiana (Amish Acres, Blue Gate Theater), and Virginia (Blue Ridge Dinner Theatre), as well as RWS & Associates (cruise ship/theme park talent), saw more than 275 actors and 35 technicians. Past attendees include Thunder Bay Theatre, Huron Playhouse, and Porthouse Theatre.Registration is on a first-come, first-served basis, so get those applications in early. Before Dec. 31, the registration fee for an audition or design/tech/staff interview is $50 ($60 for both). After that, it is $60 ($70 for both). Equity and non-Equity actors who are at least 18 are eligible. Performers will audition in groups and have 90 seconds to act, sing, or do both (accompanist provided). Callbacks are posted immediately after each half-hour audition block, with dance auditions held after the regular auditions end. Design, tech, stage manager, and administrator applicants should bring a professional portfolio and rsum.See www.ohiotheatrealliance.org for detailed info and to download an application. For additional questions, email ota@muskingum.edu. Portland Area Theatre AlliancePortland, Ore.Apr. 5-7 and 9This year the Portland Area Theatre Alliance will hold its annual auditions April 5-7 and 9 at Artists Repertory Theatre. Representatives from local/regional Equity and non-Equity companies will be present. Registration begins in February. All performers must be a current PATA member in good standing to audition. Equity performers must also have current and updated AEA card in hand.Good news for those actors and singers that can move, but don't consider themselves dancersthey have added an audition for performers who move. There will also be a full dancers call as well. More info will be available on the website (www.portlandtheatre.com) in January. If you have specific questions, contact Sam Hull, the auditions chair at info@portlandtheatre.com.Southeastern Theatre ConferenceSpring Professional AuditionsChattanooga, Tenn.March 8-10WHEN & WHERE: Auditions will be held from Thurs., March 8, to Sat., March 10, in Chattanooga, Tenn.WHO WILL BE THERE: Approximately 850 actors will vie for the attention of about 75 professional companies for full-time/seasonal and summer-only employment at the spring auditions.REGISTRATION: The online application deadline is Jan. 15. (There's no mail-in registration for performers.) Non-Equity participants must become SETC members and register for the convention; Equity participants must only join SETC, but you'll pay extra if you want to attend the convention. (See Fees below.) Applications are completed online for both Equity and Non-Equity. Pull complete guidelines from www.setc.org/theatre/professional/spring-auditions.ELIGIBILITY: To be eligible for the spring regional professional auditions, non-Equity actors must be high school graduates, at least 19, available for full-time, year-round employment, and not currently enrolled in school. You'll also need at least two paid professional theater acting jobs on your rsum and two recommendations from professional directors. Equity auditionees must be at least 19, a high school graduate, and available for full-time, year-round employment and be current AEA members. Performers wishing to audition who don't meet these requirements may attend one of SETC's professional screening auditions at a state level. A percentage of auditionees at each state qualify for the March auditions.Dancers with extensive training and experience may audition as dancer only. These applicants must be at least 19, high school graduates, available for summer or full-time year-round employment, and have a minimum of four years dance training and performance experience, or two paid professional dance jobs on his or her rsum. All applications require director or choreographer's reference on the application, and applicants must also submit a videotape or DVD; see the application for additional requirements.FEES: $155-$195 for students; $230-$270 for non-Equity participants; costs are determined by date of registration. Dancer only auditionees are $230-$270 (students $155-$195). Fees for registration (except Equity) also include 5 days of the SETC annual convention, 1-year membership, year round listing for jobs, a yearly subscription to Southern Theatre magazine, discounts at theaters nationwide, and other networking opportunities. $90 for Equity members (with option to add convention). AUDITION FORMAT: The day begins with a mandatory audition briefing at 8:30 a.m. Afterwards, actors are seen in groups of 40 and have 60 seconds to perform a monologue or song, or 90 seconds to perform both. Auditionees choose one audition category: acting-singing, acting only, or singing only. An accompanist is provided. SETC does not allow recorded music, self-accompaniment, or singing a cappella. For singing auditions, you will give your musicin the right keyto the accompanist & discuss before your audition begins; you'll also need to write the last two lines of your monologue at the top so the accompanist knows when to start playing. No lead sheets, and remember to turn off your cell phone before you enter the audition room.Actors are strongly advised not to use dialects and to avoid doing Shakespeare unless you're a proficient, classically trained performer. Standard American diction should be used for all audition material. Stay away from "sexually explicit or socially offensive material," according to the SETC website.CALLBACKS/DANCE AUDITIONS: Lists will be posted after each group of 40. Callbacks are held throughout the day and well into the night. Dance call is held after the regular auditions end. Unless you're auditioning in the dancer-only category, attendance at a dance audition is solely at the request of a theatre company. You'll choose from various combinations: advanced ballet/jazz (mandatory for dancer-only applicants), intermediate/advanced tap, and "actors who move well."DESIGN/TECH/STAFF POSITIONS: SETC's Job Contact Service, which takes place the same dates, connects theatre professionals with theatrical employers year-round through a rsum-matching service, an online database of available positions nationwide (with weekly email updates), and personal interviews conducted at the convention. This year's interviews will be held March 810. You must supply one reference. Be sure to bring plenty of rsums and your portfolio. Registration (including SETC membership and convention admission) is $230 for adults, $155 for students. Among the many companies that hired in 2010 were Orlando Shakespeare Festival, Theatre by the Sea, and Maine State Music Theatre.CONTACT INFO: SETC, April J'C Marshall, 1175 Revolution Mill Dr., Ste. 14, Greensboro, NC 27405; (336) 272-3645; april@setc.org; or www.setc.org/auditions.Southeastern Theatre Conference Fall Professional AuditionsAtlanta, Ga.Sept. 9-10WHEN & WHERE: Auditions will be held in Atlanta, Ga.WHO WILL BE THERE: Approximately 250 actors will vie for the attention of about 35 professional companies for full-time/seasonal employment at the fall auditions. REGISTRATION: The online application opens May 15th. Non-Equity and Equity participants complete applications online. Pull complete guidelines from www.setc.org/theatre/professional/fall-auditions. ELIGIBILITY: To apply, non-Equity actors must be high school graduates, at least 19, available for full-time employment, and not currently enrolled in school. You'll also need a minimum of two paid professional theater acting jobs on your rsum and two recommendations from professional directors. Equity auditionees must be at least 19, a high school graduate, and available for full-time employment and be current AEA members. ($35-$60 dependent on date of application). Walk-ins with pre-filled applications accepted.Dancers with extensive training & experience may apply as Dancer-Only. These applicants must be at least 19, high school graduates, available for full-time employment, and have a minimum of four years dance training and performance experience, or two paid professional dance jobs on his or her rsum. All applications require director or choreographer's reference on the application.AUDITION FORMAT: The day begins with a mandatory audition briefing at 9 a.m. Afterwards, actors are seen in groups of 40 and have 60 seconds to perform a monologue or song, or 90 seconds to perform both. Auditionees choose one audition category: acting-singing, acting only, or singing only. An accompanist is provided. SETC does not allow recorded music, self-accompaniment, or singing a cappella. For singing auditions, you will give your musicin the right keyto the accompanist & discuss before your audition begins; you'll also need to write the last two lines of your monologue at the top so the accompanist knows when to start playing. No lead sheets, and remember to turn off your cell phone before you enter the audition room.Actors are strongly advised not to use dialects and to avoid doing Shakespeare unless you're a proficient, classically trained performer. Standard American diction should be used for all audition material. Stay away from "sexually explicit or socially offensive material," according to the SETC website.CALLBACKS/DANCE AUDITIONS: Lists will be posted after each group of 40. Callbacks are held throughout the day and well into the night. Dance-Call is held after the regular auditions end. Anyone who wishes to dance before the theatres may do so. You'll choose from various combinations: advanced ballet/jazz (mandatory for dancer-only applicants), intermediate/advanced tap, and "actors who move well." Dancers complete must complete application online and submit a videotape or DVD; see the guidelines for complete requirements.CONTACT INFO: SETC, April J'C Marshall, 1175 Revolution Mill Dr., Ste. 14, Greensboro, NC 27405; (336) 272-3645; april@setc.org; or www.setc.org/professional.StrawHat Auditions NY CityFeb. 18-20WHEN & WHERE: Saturday, Feb. 18, to Monday, Feb. 20, at Pace University in NY City.WHO WILL BE THERE: In 2011, more than 700 participants were seen by more than 30 summer-stock theaters, live entertainment companies, casting directors, and freelance stage directors offering hundreds of non-Equity positions. (Last year, 85 percent of auditioning actors received callbacks). Musicals tend to predominate at the attending theaters, so they're partial to performers who can sing well. The website, www.strawhat-auditions.com, reportedly receives a million visitors a year.REGISTRATION: Actor applications must be received by Jan. 14; for production personnel, the cutoff is Feb. 6. You can register on StrawHat's website, but you must print and mail the application with your fee, headshot, and rsum. Audition slots fill up fast, so the organizers encourage applicants to register early. A few standbys are scheduled in advance, but no walk-ins are allowed.ELIGIBILITY: Applications are screened to match the needs of the attending companies, but every performer who pays the registration fee gets his or her photo and rsum posted in a casting database (see Fees below). Actors selected to audition will also have their photo and rsum published in a directory distributed to attending theaters. You must be a non-Equity performer and at least 18 when you start working. Theatre students need the recommendation of a faculty member.FEES: The nonrefundable registration fee is $35 for actors. There's an additional $45 audition fee, which will be returned if you don't receive a slot. (There's also an additional $25 fee should you wish to change your audition time slot.) The registration fee gets your profile, photo, and rsum posted in StrawHat's Online Casting database, which the organizers say participating theaters use to cast shows. You also gain access to the site's members-only area, with information on the attending theaters, audition tips, discussion forums, a bulletin board, articles, and other perks.AUDITION FORMAT: You can sing or just do a monologue, but fewer companies (about a third) attend the acting-only auditions and slots are limited. Performers have exactly 90 seconds to present two pieces. If you're singing, a monologue should follow your song. An accompanist will be provided or you can bring your own.CALLBACKS/DANCE AUDITIONS: Callback lists are posted throughout the day. As part of your callback, you may be asked to attend a dance call in the evening. Some theaters prefer to contact actors at a later date, but most will hold callbacks in the late afternoon and evening, so plan on staying all day. At the dancers who sing audition on Monday, Feb. 20, space is limited to 30 candidates with extensive dance training in all disciplines. Dancers must be prepared to sing an up-tempo song following their dance combination.DESIGN/TECH/STAFF POSITIONS: To meet the high demand for qualified production personnel, StrawHat will post your rsum in its searchable online database for free as soon as it receives your application. You can also post three selections from your portfolio. Musical directors and accompanists may provide a CD with three short piano samples to be posted as an audio portfolio for $20. Production candidates (including Equity stage managers) will have access to a list of theaters and the positions they're seeking to fill. CONTACT INFO: StrawHat Auditions, 1771 Post Road East, #315, Westport, CT 06880; info@strawhat-auditions.com; or www.strawhat-auditions.com.Theatre Alliance of Greater PhiladelphiaPhiladelphiaJuneParticipants in the Theatre Alliance of Greater Philadelphia's annual auditions must live within a 50-mile radius of Center City, Philadelphia. If you live in New Jersey, check the map on the group's website. (NY City residents are out of luck.)Actors who qualify have three minutes to showcase their abilities to more than 50 theater representatives, along with local agents and casting directors. See the website for links to participating theaters, including Bloomsburg Theatre Ensemble, Delaware Theatre Company, Theatre Ariel, the Shakespeare Theatre Company, and the Wilma Theater. The alliance also hosts an audition workshop where applicants can meet local casting directors, and the group's website features audition tips as well as the Philly Talent Database, showcasing performers and behind-the-scenes personnel from the Greater Philadelphia region. More specific information will be available in the coming months; check out www.theatrealliance.org, call (215) 413-7150, or email info@theatrealliance.org for updates.Theatre Bay AreaSan Francisco Bay Area Feb. 4-6San Francisco boasts a combined audition; however, Dec. 5 was the application deadline, and late applications for non-Equity actors are not accepted. Equity applications can be accepted anytime prior to the audition, but appointments will be filled on a first-come, first-served basis (based on space). If Equity appointments fill up, there will be a waiting list.Theatre Bay Area's general auditions are an opportunity to be seen by 100 to 150 representatives from 80 to 90 West Coast theater companies large and small, as well as independent directors and casting directors. (See the website for a complete list of the 2010 attendees.) Actors new to the area, mature actors, actors of color, and actors who are physically challenged are especially encouraged to apply.Equity members are automatically eligible for audition slots; non-Equity actors with at least one year of full-time training or eight nonschool productions on their rsum can join TBA for the chance to participate in a weighted lottery based upon the casting needs of the attending theaters. Last year, more than 500 applicants vied for some 350 slots. Those not selected had their headshots distributed to the auditors. Equity performers get three minutes and non-Equity performers get two minutes to showcase themselves however they wish.Applications can be downloaded at www.theatrebayarea.org. For more information, call Dale Albright at (415) 430-1140, ext. 14, or email him at dale@theatrebayarea.org.Unified Professional Theatre AuditionsMemphis, Tenn.Feb. 3-6WHEN & WHERE: Fri., Feb. 3, to Mon., Feb. 6, 7:30 a.m. to 7:30 p.m. (or later), at Playhouse on the Square in Memphis, Tenn. (Callbacks are held at the nearby Memphis Marriott Downtown.)WHO WILL BE THERE: Last year 1,044 registered attendees (57 were Equity) were seen by 87 companies (36 of whom attended the Equity auditions). Among the theater companies registered to attend in 2012 are Cumberland County Playhouse in Crossville, Tenn., and Wayside Theatre in Middletown, Va., as well as roughly 60 others countrywide.REGISTRATION: Actor registration forms must be received by Jan. 7, and actors must upload their photos and rsums. Space is limited, no walk-ins are allowed, and registration doesn't guarantee an audition slot. Registration materials for production personnel must be received by Jan. 21. Registration forms (which outline further requirements) are downloadable from UPTA's website, www.upta.org, or send a self-addressed stamped envelope to the address below.ELIGIBILITY: Both Equity and non-Equity actors are eligible. For the Pre-Professional Auditions, actors must have an undergraduate theater degree by Sept. 1, 2012, be available for year-round employment (no returning to college in the fall or spring), and have their registration form signed by the head of their theater program.For the regular auditions, actors must be available for employment year-round and have at least one of the following: (a) a postgraduate theater degree by Sept. 1, 2012; (b) their registration form signed by a registered 2011 or 2012 UPTA theater; (c) their registration form signed by a current Theatre Communications Group member theater; (d) attendance at a previous UPTA; or (e) membership in Equity or the Equity Membership Candidate Program.For production jobs, candidates must be available for work year-round and have at least one of the following: (a) an undergraduate degree in their technical/administrative/design field by Sept. 1, 2012; (b) their registration form signed by a registered 2011 or 2012 UPTA theater; (c) their registration form signed by a current TCG member theater; (d) attendance at a previous UPTA; or (e) membership in Equity as a stage manager.FEES: $50.AUDITION FORMAT: Actors are seen in groups of 25. You'll have 90 seconds (which won't include the time it takes to say your name and audition number), and your audition must include at least one monologue. Musical and nonmusical auditions are run separately, but, again, all musical auditions must also include a monologue. An accompanist is provided. Equity actors will audition on Sunday and Monday following lunch. All non-Equity auditions will be videotaped. (Equity actors will not be videotaped.) CALLBACKS/DANCE AUDITIONS: After each session, callback lists will be posted at the Memphis Marriott Downtown. Acting and dance callbacks occur in the evening, so make sure you're ready and rested. Have extra songs and monologues prepared. Some companies may not have a piano at their disposal for the callbacks, so bring a small music player and recorded accompaniment. For the dance auditions, you'll choose two of three routines that involve tap, ballet, and jazz, so bring appropriate attire and shoes.DESIGN/TECH/STAFF POSITIONS: On Saturday at the Holiday Inn SelectAirport, production personnel will be interviewed for design, technical, and administrative jobs. Remember to bring your portfolio, drawings, slides, marketing materials, and anything else you need to show off your dazzling skills behind the scenes.CONTACT INFO: Unified Professional Theatre Auditions, 66 S. Cooper, Memphis, TN 38104; phone: (901) 725-0776; fax: (901) 272-7530. You can reach audition coordinator Michael Detroit at upta@upta.org or assistant audition coordinator Courtney Oliver at courtney@upta.org. On UPTA's website, www.upta.org, you can register online and find detailed info.Wisconsin Theatre Workshops, Auditions & Tech InterviewsMadison, Wis.Feb. 10-11Wisconsin Theatre Workshops, Auditions & Tech Interviews, a 30-plus-year-old gathering open to non-Equity actors, will be held Friday, Feb. 10, and Saturday, Feb. 11, on the University of WisconsinMadison campus. Among the theaters participating in last year's auditions were American Folklore Theatre, American Players Theatre, Santa Fe Opera, and the Utah Shakespeare Festival.The nonrefundable registration fee is $30 for a performance audition or tech interview ($45 for both). Performers have two minutes (including their introduction) to present two contrasting monologues OR one song and one monologue (accompanist provided; no recorded music). Performers are also encouraged to attend the dance call that follows the regular auditions. Designers, technicians, and management staff will receive individual 10-minute interview appointments with the companies of their choosing; bring rsums and portfolios.Registration forms are downloadable at www.witheatreauditions.org. Your form must be received no later than Feb. 3 (after this date, applications will only be accepted on-site). For more information, contact Sarah Marty at (608) 263-2790 or smarty@dcs.wisc.edu.

Supermodel Alessandra Ambrosio Pregnant With Second Child

First Published: December 27, 2011 10:53 PM EST Credit: KirillWasHere.com LOS ANGELES, Calif. -- Caption Victorias Secret Angel Alessandra Ambrosio hosts the second annual Follow the Sun summer party at East Hamptons SL East, NY, July 3, 2011Victorias Secret supermodel Alessandra Ambrosio has another little angel on the way! The Brazilian beauty, 30, reportedly broke the news to Brazils Istoe Gente magazine, saying, Im going to be a mom! Alessandra reportedly revealed she is four months along and does not yet know the sex of the baby, but added that she hopes to learn the gender at an upcoming ultrasound scheduled for January. The impending bundle of joy would be the second child for the model and her longtime fianc, businessman Jamie Mazur, who are already parents to 3-year-old daughter Anja. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

MovieMantz: Top 10 Christmas Movies Of All-Time

First Published: December 21, 2011 2:07 PM EST Credit: Composed by AccessHollywood.com Caption MovieMantz Top 10 Christmas Movies Of All-TimeLOS ANGELES, Calif. -- Some Naughty, Some Nice So, the Holidays got you down, eh? Tired of beating the crowd to shop for Christmas gifts that you probably cant afford, only to get presents in return that you dont even want (or already have)? Bummed that the crappy economy put the kibosh on your Christmas bonus, or maybe even deep-sixed your job completely? Dreading the prospect of spending what little free downtime you have with nosy family members that you wouldnt even bother keeping in touch with on the other 364 days of the year? Well, fear not, my movie-loving friends! The following list of Holiday Season classics is sure to put the zing back in your Christmas spirit. Despite some of the more obvious choices that simply cannot be ignored, not all of them are bona-fide Christmas movies in the traditional sense. But if you want traditional, hey, go buy a Hallmark card. 10) Bad Santa (2003) Starring: Billy Bob Thornton, Bernie Mac, Tony Cox Directed by: Terry Zwigoff The Story: Thornton plays a miserable con man who poses as you-know-who to rip off department stores on Christmas Eve, but his ice-covered heart begins to thaw when he reluctantly befriends a troubled kid. Why its a classic: This raunchy, R-rated, mean-spirited dark comedy flies in the face of everything that defines a more traditional Christmas movie, but thats the beauty of it. And yet despite its incredibly sour tone, the heart of the movie ultimately prevails to make moviegoers feel good in unexpected ways. 9) Scrooged (1988) Starring: Bill Murray, Karen Allen, John Forsythe Directed by: Richard Donner The Story: Charles Dickens A Christmas Carol gets a contemporary makeover, with Bill Murray playing a ruthless television executive who works his staff to the bone in an effort to increase his networks ratings. Why its a classic: Though not nearly as dark as Bad Santa, its still very funny, and Bill Murray is obviously having a blast playing a modern-day Scrooge who learns the old familiar lesson the hard way. 8) Gremlins (1984) Starring: Zach Galligan, Phoebe Cates Directed by: Joe Dante The Story: The citizens of a picturesque small town ignore three very important rules about these cute-and-fuzzy little creatures, only to watch them turn into trouble-making monsters that destroy everything in their path. Why its a classic: What starts off as an idealistic and endearing cousin to E.T.: The Extra-Terrestrial turns into a chaotic nightmare thats twisted, mischievous and loads of fun. And if you remember correctly, Billy (Galligan) gets Gizmo as wait for it a Christmas present! 7) Die Hard (1988) Starring: Bruce Willis, Alan Rickman Directed by: John McTiernan The Story: Employees at a Christmas party in an upscale Los Angeles high-rise get taken hostage by ruthless terrorists, and its up to a wise-cracking off-duty NY cop to save the day. Why its a classic: One of the best action movies of all time, and game-changer that created a sub-genre unto itself (Die Hard on a plane, Die Hard on a boat, etc.). Moonlightings Bruce Willis earned a then-record $5 million to star, and he earned every penny of it. Yippee-kiy-yay Motherf****r, indeed! 6) Love Actually (2003) Starring: Hugh Grant, Colin Firth, Laura Linney, Emma Thompson Directed by: Richard Curtis The Story: More than a dozen characters around London weave in and out of each others lives (and hearts) over the course of one very eventful Christmas holiday. Why its a classic: The ultimate romantic comedy has something for everyone maybe a little too much, actually but its so delightful and touching that its hard to resist. 5) Home Alone (1990) Starring: Macaulay Culkin, Joe Pesci Directed by: Chris Columbus The Story: After accidentally being left behind when his family leaves for a vacation in France, a young boy learns to fend for himself and protect his home from two bumbling burglars. Why its a classic: Think Die Hard for kids. The slapstick humor can be a bit much, but what young boy wouldnt dream of getting rid of the rest of the family for a few wild and crazy nights during the Holidays? 4) The Nightmare Before Christmas (1993) Directed by: Henry Selick (animated) The Story: Halloweentown resident Jack Skellington puts a little too much spirit in the Christmas spirit. Why its a classic: Not only does this delightful feature, produced by Tim Burton, boast incredible stop-motion animation, a Grammy-nominated soundtrack and a clever, ingenious, heartwarming story, but you cant go wrong with a movie that covers two holidays for the price of one. 3) Elf (2003) Starring: Will Ferrell, Zooey Deschanel Directed by: Jon Favreau The Story: A regular-sized man raised as an elf in the North Pole goes to NY City to search for his biological father. Why its a classic: A smart, clever and very funny screenplay is fully realized through Jon Favreaus assured direction and Will Ferrells career-defining performance as the idealistic, sweet-natured and irresistible title character. 2) A Christmas Story (1983) Starring: Peter Billingsley, Darren McGavin, Melinda Dillion Directed by: Bob Clark The Story: A young boy tries to convince his friends, teachers and family that a toy BB gun is the ultimate Christmas gift. Youll shoot your eye out, kid. Why its a classic: Its wry, funny, touching, nostalgic and timeless. No wonder cable TV channels run it on a continuous loop for 24 hours on the big day. 1) Its a Wonderful Life (1946) Starring: Jimmy Stewart, Donna Reed Directed by: Frank Capra The Story: A discouraged businessman considers suicide, until a guardian angel eager to earn his wings helps him see the light. Why its a classic: Like you need to ask? Frank Capras classic is quite simply the Citizen Kane of Holiday movies and it just keeps getting better every year. Copyright 2011 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Andrea Riseborough Occupies an authentic Royal Romance in 'W.E.'

Andrea Riseborough Occupies an authentic Royal Romance in 'W.E.' By Jamie Painter Youthful December 16, 2011 Andrea Riseborough has among people faces that could meld into whomever she must portray, whether playing lady friend to Sally Hawkins' Poppy in Mike Leigh's "Happy-Go-Lucky," wearing a beehive hair to get a vehicle plant worker protesting sexual discrimination in "Created in Dagenham," or turning up one of the more-experienced grown ups inside the haunting "Never Allow Me To Go." Offscreen, she's a beauty, nevertheless the Brit doesn't see herself by doing this. "I've always considered myself as pretty plain," states the humble Riseborough. "I don't bemoan that. I'm really quite pleased the symmetry of my two eyes, lips, and nose are fairly malleable if this involves who I am in a position to play. My face has always offered me well. I can easily look both truly ugly and fairly attractive, that's useful." On her behalf latest role as Wallis Simpson inside the new film "W.E.," co-written and directed by Madonna, Riseborough transforms into her most colorful role yet because the American divorce who infamously stole Edward VIII's heart and also the king from his throne, marriage to him and having the Duchess of Windsor. Simpson composed on her behalf plainsome say masculinelooks with designer, pricey jewels, together with a gregarious personality which is carried out by Riseborough for the maximum. The standout role will definitely open further options for your Royal Academy of Dramatic Arts graduate.Listed below are five things Riseborough recognized from concentrating on "W.E."1. Thanks, Margaret Thatcher. Riseborough thinks she showed up her "W.E." role mainly because of her portrayal of one other historic character, Margaret Thatcher, inside the 2008 TV movie "Margaret Thatcher: The Extended Walk to Finchley." Amazed by Riseborough's performance since the future pm, additionally to her be employed in other projects, Madonna sent Riseborough the script for "W.E." and requested a celebration. The actor was immediately intrigued, particularly with Madonna's choice to tell Wallis' story via numerous flashbacks from present, in which a youthful admirer named Wally explores her idol's personal possessions before they are offered by auction. "I taken proper care of immediately the script very strongly. I felt like that was a brave, bold, and various idea," states Riseborough, who was simply also intrigued because when Madonna had created moments through which Wally and Wallis interact. 2. There's much more to Wallis Simpson than met the attention. Riseborough understood little about her character in "W.E." before she began researching her. Just what the actor found surprised her. "My perception only agreed to be of possibly a still-monochrome picture of androgyny and couture which beguiling smile. However, if I started to think about her, which happened as soon as I received the script, I came across a number of vulnerability and defects, fears, historic details that didn't seem to match, and very the entire factor looked like a ginormous and endless puzzle of people perceptiona public considered just what a lady was, rather than who she actually was.Inch 3. Madonna rocks just like a filmmaker. States Riseborough of her director, "She was very helpful, invaluable. There's no page unchecked. She am passionate concerning the story. She'd been concentrating on it for 10 years. So that it really was just an enormous labor of love, and there has been lots of images, quotes, anecdotes from dinner get-togethers, deeply personal letters that individuals had at our disposal. It absolutely was quite wonderful."With the production, Madonna ongoing to please Riseborough. States the actor, "I really could not need loved more working with her, because she's so prepared, and every moment must be vital and was, which is the means by which Personally i consider my work. We met in a really artistically complicit place. It absolutely was a very truly fulfilling experience."4. She was stunned with the artistry in the costumes in "W.E." Riseborough estimations that throughout production there has been nearly 80 costume changes, including pieces by Dior that have been produced for that duchess while not made to date. Sometimes, Riseborough found herself wearing a couple of from the jewelry pieces that belonged to Simpson, which aided the actor funnel her character. "I have got a completely respect for your architecture of couture too for the way it affects people around," states Riseborough. "The impeccable turnout and several might have mentioned sometimes garishbut always avant-gardetastes truly enabled [Simpson] being noticeda lady who believed that they didn't cash to show physically possibly." At one fitting, a dressmaker concentrating on the film wept within the actor's foot when she saw her creation worn by Riseborough. "It had hundreds of sections around everything sewn together in the truly complex pattern. It absolutely was most likely probably the most complicated architectural task. It absolutely was like nuclear physics.Inch5. Learning is part of the job. "I'm always learning," states Riseborough. "In my opinion this is actually the best part in regards to the job, as well as the most fulfilling part is the fact that, much like whatever you are terribly passionate about, you'll be able to not only learn daily but moment to moment." From her time allotted to "W.E.," she states she appreciated the worth of seeing existence through Simpson's eyes. "If you stop getting a goal relationship while using character, and you also go past being subjectivebut really adopt, preempt, improvise their reactions towards the planet, their opinions, whatever they really did, whatever they might do, how they would experience a thingyou get yourself a different perspective, as they say, because you harbor another spirit, another outlook. You adopt different points of interest. It isn't saying that you just disappearbecause, by character as stars, we are our personal tools, which i've just the flesh, bones, experience, intellect, emotion that's inside me just like a tool to be capable of express a personality or transform into another person simply. Nevertheless the a couple of things coexistthem and you also. And that means you receive the opportunity to start to see the world through different eyes with any character. Which I it had been considering that chance with Wallis." Andrea Riseborough Occupies an authentic Royal Romance in 'W.E.' By Jamie Painter Youthful December 16, 2011 Andrea Riseborough has among people faces that could meld into whomever she must portray, whether playing lady friend to Sally Hawkins' Poppy in Mike Leigh's "Happy-Go-Lucky," wearing a beehive hair to get a vehicle plant worker protesting sexual discrimination in "Created in Dagenham," or turning up one of the more-experienced grown ups inside the haunting "Never Let Me Go." Offscreen, she's a beauty, nevertheless the Brit doesn't see herself by doing this. "I've always considered myself as pretty plain," states the humble Riseborough. "I don't bemoan that. I'm really quite pleased the symmetry of my two eyes, lips, and nose are fairly malleable if this involves who I am in a position to play. My face has always offered me well. I can easily look both truly ugly and fairly attractive, that's useful." On her behalf latest role as Wallis Simpson inside the new film "W.E.," co-written and directed by Madonna, Riseborough transforms into her most colorful role yet since the American divorce who infamously stole Edward VIII's heart as well as the king from his throne, marriage to him and having the Duchess of Windsor. Simpson composed on her behalf plainsome say masculinelooks with designer, pricey jewels, together with a gregarious personality which is carried out by Riseborough for the maximum. The standout role will certainly open further options for your Royal Academy of Dramatic Arts graduate.Listed below are five things Riseborough recognized from concentrating on "W.E."1. Thanks, Margaret Thatcher. Riseborough thinks she showed up her "W.E." role mainly because of her portrayal of one other historic character, Margaret Thatcher, inside the 2008 TV movie "Margaret Thatcher: The Extended Walk to Finchley." Amazed by Riseborough's performance since the future pm, additionally to her be employed in other projects, Madonna sent Riseborough the script for "W.E." and requested a celebration. The actor was immediately intrigued, particularly with Madonna's choice to tell Wallis' story through numerous flashbacks from present, in which a youthful admirer named Wally explores her idol's personal possessions before they are offered by auction. "I taken proper care of immediately the script very strongly. I felt like that was a brave, bold, and various idea," states Riseborough, who was simply also intrigued because when Madonna had created moments through which Wally and Wallis interact. 2. There's much more to Wallis Simpson than met the interest. Riseborough understood little about her character in "W.E." before she began researching her. Just what the actor found surprised her. "My perception only agreed to be of possibly a still-monochrome picture of androgyny and couture which beguiling smile. However, if I started to think about her, which happened as soon as I received the script, I came across a number of vulnerability and defects, fears, historic details that didn't seem to match, and very the entire factor looked like a ginormous and endless puzzle of people perceptiona public considered just what a lady was, rather than who she actually was.Inch 3. Madonna rocks just like a filmmaker. States Riseborough of her director, "She was very helpful, invaluable. There's no page unchecked. She am passionate concerning the story. She'd been concentrating on it for 10 years. So that it really was just an enormous labor of love, and there has been lots of images, quotes, anecdotes from dinner get-togethers, deeply personal letters that individuals had at our disposal. It absolutely was quite wonderful."With the production, Madonna ongoing to please Riseborough. States the actor, "I really could not need loved more coping with her, because she's so prepared, and every moment must be vital and was, which is the means by which Personally i consider my work. We met in a really artistically complicit place. It absolutely was a really truly fulfilling experience."4. She was stunned with the artistry in the costumes in "W.E." Riseborough estimations that throughout production there has been nearly 80 costume changes, including pieces by Dior that have been produced for that duchess while not made to date. Sometimes, Riseborough found herself wearing a couple of from the jewelry pieces that belonged to Simpson, which aided the actor funnel her character. "I have got a completely respect for your architecture of couture too for the actual way it affects people around," states Riseborough. "The impeccable turnout and several might have mentioned sometimes garishbut always avant-gardetastes truly enabled [Simpson] being noticeda lady who believed that they didn't cash to show physically possibly." At one fitting, a dressmaker concentrating on the film wept within the actor's foot when she saw her creation worn by Riseborough. "It had hundreds of sections around everything sewn together in the truly complex pattern. It absolutely was most likely probably the most complicated architectural task. It absolutely was like nuclear physics.Inch5. Learning is part of the job. "I'm always learning," states Riseborough. "In my opinion this is actually the best benefit in regards to the job, as well as the most fulfilling part is always that, much like whatever you are terribly passionate about, you cannot only learn daily but moment to moment." From her time allotted to "W.E.," she states she appreciated the requirement for seeing existence through Simpson's eyes. "If you stop obtaining a goal relationship while using character, and you also go past being subjectivebut really adopt, preempt, improvise their reactions all over the world, their opinions, whatever they really did, whatever they might do, how they would experience a thingyou get yourself a different perspective, as they say, because you harbor another spirit, another outlook. You adopt different points of interest. It isn't saying that you just disappearbecause, by character as stars, we are our personal tools, which i've just the flesh, bones, experience, intellect, emotion that's inside me just like a tool to be capable of express a personality or transform into another person simply. Nevertheless the a few things coexistthem and you also. And that means you receive the opportunity to determine the earth through different eyes with any character. Which I it had been considering that chance with Wallis."

'The Hollywood Reporter' Actress Roundtable

Rare is the Hollywood blockbuster that showcases a single strong female role. This year, "The Help" featured about a half-dozen fully realized women and grossed $167 million domestic, among the biggest female ensemble films ever. For this reason, THR broke with tradition and invited two stars from the same movie Viola Davis, 46, and Octavia Spencer, 39 to participate in the first awards roundtable of the season. Davis and Spencer, the heart and soul of "The Help," joined a diverse group who challenged themselves with performances as varied as a 19th-century woman pretending to be a man (Glenn Close, 64, in "Albert Nobbs"), an out-of-control lounge singer with suicidal tendencies (Carey Mulligan, 26, in "Shame" she also played a young mother in "Drive"), a mean-spirited and possibly ill Y.A. novelist (Charlize Theron, 36, in "Young Adult"), and perhaps the most iconic woman in Hollywood history, Marilyn Monroe (Michelle Williams, 31, "My Week With Marilyn"). The roundtable took place Oct. 24 at Smashbox Studios in West Hollywood. The Hollywood Reporter: Given your success, does a bad review still hurt? Glenn Close: A bad review can be very hurtful. People don't think that we are as engaged and invested in what we do as we are. So they think they can come up and say anything sometimes, and it's very, very hurtful. THR: People really come up to you and say nasty things? Close: They usually don't say nasty things to my face. Well, they do say, "You look much better in life than you do on film." Viola Davis: I get that all the time.Close: It's unbelievable. You think to yourself, "Is that a compliment?"Davis: I'll take it. I'll take whatever I can get. [Laughs.]THR: What has surprised you most about being an actress? Davis: I always thought that when you put your heart into it and you're doing a great job, people would acknowledge that. Everyone would say, "Oh, you're great, you're fabulous." But I remember the first time I walked out the stage door and I got nothing. I didn't understand that people would not always be receptive, and that a lot of the times you just have to be happy with your work. People don't tell you there are so many outside elements that invade your love of the work: the jealousy of other people, the reviews, bad ratings for a television show, getting older and the kind of roles that are not out there for you, roles that aren't on the page and you try to make something out of them and you can't. Sometimes you do it for the money because you're broke. All the outside elements that invade the love of the work that's been the biggest surprise. Because, hey, I would perform in a parking lot. THR: Have you done roles that you were disappointed by afterward? Octavia Spencer: I never watch my work, so I can't say that I'm disappointed. THR: You haven't seen "The Help"? Spencer: I sort of had to. [Davis and I] saw it together. THR: Did you like it? Spencer: I did like "The Help." I was really scared that I would just hate everything. When you watch yourself, it really does take you out of the purity of that world that you create. I'm thinking, "Really? Does my stomach look like a smiley face? Really? You went with that take? Ugh, there was one that was better." Michelle Williams: I haven't seen everything I've done. THR: Michelle, did you have conversations about who Marilyn Monroe was and how to play her before you agreed to the role?Williams: No, I wouldn't even have known how to have a conversation about how to play her. I do a lot of prep work. A lot of my work is done before I ever get on a set. And it's lonely, lonely work. My director isn't really involved at that point. THR: What kind of prep work? Williams: Well, for "Marilyn" it was unlike anything I've ever done. There was so much material; there was so much you can research all the books, all the movies. I feel like I finally learned how to use my computer for good and not evil. It became such a resource. And YouTube I have a whole new appreciation for it.THR: What most surprised you about Marilyn? Williams: The biggest "aha" moment was that Marilyn Monroe was a character that she played. Marilyn Monroe was like a Groucho Marx or a Charlie Chaplin or something; it was a facade. She was the greatest part she ever played. So that was a big moment. THR: Carey, I read that "Shame" originally was set in London, but director Steve McQueen couldn't find people there to talk about sex addiction. True? Carey Mulligan: Yeah, in England you can't find people that talk about sex. He and [co-writer] Abi Morgan tried to write it in London, but no one was willing to have the conversations. Charlize Theron: That's because they don't have sex [in Britain]. [Laughter.]THR: There's full-on nudity in the film. Did that make you uncomfortable? Mulligan: The notion of it always has. I've never wanted to take my clothes off and be sexy. I'm horribly afraid. [But] it wasn't that at all. Actually, Steve and I spent a lot of time looking at an artist called Francesca Woodman, who was a photographer who started taking nude photos of herself when she was 15 and committed suicide when she was 22, back in the early '80s. She just had sort of a freedom with her body; it was sort of an instrument for her art. And Sissy, the character I had to play, she wants to be loved and she wants to be seen. The nudity felt like exactly who she was. There was one camera and Michael [Fassbender], who's naked throughout. Theron: The idea of somebody saying, "Take your clothes off" was a little frightening, and then I did it and I was like, "Oh, okay." THR: Charlize, do you ever worry that the audience might not like you when you play a nasty character? Theron: Wait, what are you trying to say? [Laughter.]THR: In "Young Adult" you play a role that's Theron: She's a bitch. I don't like sympathy, I like empathy. Sympathy to me is not natural behavior. I don't think it's reasonable to expect people to have sympathy for other people. I never expected people to have sympathy for Aileen Wuornos [in "Monster"] or for Mavis [in "Young Adult"]. And I don't aim for that. I just aim for understanding: If you can understand her, you might hate her, but if you can understand her, then I've done my job. That's all I care about. THR: So you equate sympathy with liking? Theron: I think sympathy is more like "I feel sorry for you." I don't want my character to be a victim. We have innately bad human behaviors that sometimes we can explain and justify. It's easy to say someone's an asshole because they had this, this, and this happen to them, so we have to forgive them. But what if someone was just an asshole? That's interesting to me. THR: Do you have to have those nasty qualities somewhere deep inside you in order to play it? Theron: Yes, I am an asshole. [Laughter.]THR: Glenn, what do you think? Theron: Wait, you're going to leave me there on "I am an asshole"? [Laughter.] Close: I really agree with the sympathy/empathy thing. You have to find a place where you can love your character to do them justice, because if you're judging them, that separation will show. To totally find that connection between you and the character that is what will connect you to the audience.THR: Could you play Hitler? Theron: You see, that's exactly the problem. Close: You could, but you would want to know where he came from to be absolutely committed to that character. I don't think Hitler was someone you wanted to empathize with. Theron: People are so concerned that if you look at a monster, you might find a human being. There was this great story that I came across when I did research for "Monster" about the guy who originally came up with profiling serial killers. His name is John Douglas, and he had a chapter in his book about writing. He believes that fables and werewolves and Dracula and all these scary characters were created because people don't want to believe human beings are capable of bad things. But we definitely are capable of some shit that will scare you, given the right circumstances. The quintessential character is Hitler. You have to be brave enough to say he's a human being. And on that level, we're all like him. It doesn't mean that you're saying what he did was right, but you've got to admit that he's from the same breed as all of us. It has to make you aware that, given the right circumstances, there are things you might do that you don't want to believe you're capable of doing. And I think that is the work that is what's interesting for me in my work: to try and find those things that you can't just kind of go, "Easy, easy, easy." It's the stuff that scares you a little bit that makes you go: "What if I find something about that guy that I can actually have empathy with? F." THR: What scares you? Spencer: The scariest thing for me was growing up without my mother. My mother passed away when I was 18. So who I am as a woman was something I had to figure out. You always want to be able to have those conversations with the quintessential woman your mother. But every time I walk onto a stage, that scares the hell out of me until I start doing whatever I'm doing. I'm neurotic, so everything scares me.THR: When did you decide to be an actress? Spencer: I was very young, and my mother was very practical, and of course, I wanted to be an actor, and she's like, "You have to be able to provide for yourself." I secretly always wanted to do that and then reached the crossroads. I didn't ever want to look back at my life and have regrets.THR: Do any of you watch your earlier films? Maybe catch them on TV? Close: "Fatal Attraction" seems to be on all the time.Theron: You know, that's how I learned about the birds and the bees.Close: What?Theron: I grew up in a farm community town [in South Africa], and we didn't have movie theaters. My mom loved movies, and every Friday she would drive us out to a drive-in 45 minutes away from our farm. But we didn't know what would play. When the cars started lining up, you would see what was playing and you would see the rating, and my mom would hide me under a blanket if the rating was R. So I was about 8 or 9, and it was "Fatal Attraction," and my mom was sitting in the car, and I could feel the panic. And this conversation started, and it ended up being my sex conversation. It screwed me up, so I can't have a healthy relationship. [Laughs.]Close: Oh, that's great.Theron: You guys were so graphic about it, I was like, "Okay, what's happening?" So that movie is very near and dear to me.THR: Viola and Octavia, are opportunities better or worse for black actresses now than when you started? Davis: I would be foolish if I said it wasn't better. It's obviously better. I worked with Gloria Foster, a great black actress from "Nothing but a Man" she was in "The Matrix" also. She said that when she started in the business, there was nothing. Maybe only one or two black actors had an agent. So it's definitely different. I just always feel like it starts and stops. One year you have "Precious" with Gabourey Sidibe and Mo'Nique, and then you have two years of nothing. THR: And then you have "The Help" Davis: And then "The Help." You know, even listening to the conversations about sympathy and empathy, I remember when I played the character in "Doubt," it was a character that not a lot of black people embraced, because they didn't like her. I think women face that more than men. Black women really face it. We are always overly sanctified [in movies], overly nurturing, and overly sympathetic. And to find that place where you're messy, it's very difficult. THR: One critic said you brought dignity to that character with restraint. Do you agree? Davis: [Smiles painfully.] I love and hate the word "dignity." I feel it's overused for black actresses, as with "sassy" and "soulful." I can go on. The same adjectives are pulled out of a magic box. That's who she is in the book. My job was to create her. So yes, she is a quiet character. People always migrate toward the flashy character. They say what they mean; they're out there; you can see it in their behavior. The character that doesn't speak a lot is usually in the background. One of my favorite roles I ever played was a serial killer, which didn't get a good response, either. It was for television, "Law & Order." I appreciated killing a whole family with a baseball bat. You know, sometimes one person's junk is another person's treasure. THR: Do you like the book "The Help"? Do you think the portrayal is accurate? Davis: I thought it was a very good book. And I think one of the things I loved about the book is that Kathryn Stockett, who is a white woman, her main objective was to find out who her maid Demetrie was. That's a great place to start. Now, because I grew up in abject poverty, there were certain things about the book that struck me as disingenuous, like the fact that everybody had a phone. That's the first thing that goes when you don't have money. Minnie had a phone, and Minnie could barely afford to feed her family. The phone would be gone. Spencer: We have to remember that it's a work of fiction. It's accurate; it's sentimental; it's a work of fiction. It takes you on an emotional journey, and good art does that. THR: Is it necessary to enjoy art? I was thinking of Michelle's "Blue Valentine." Every second was torture for me to watch, but no film has stayed with me like that. It was so painful. Williams: Painful like you hated it because it was painful to watch? Or you just hated it? [Laughter.]THR: This is what was interesting: I hated it because it was painful to watch, but I thought it was the best film of that entire year. Theron: Me too.Williams: Wow, thanks, guys. Theron: For me, as an actor, watching you do the scene when you're driving in your car and you see your dead dog on the side of the street for me, driving scenes are the hardest. I was like, "Oh, I hate her, I love her." THR: Is it harder to do those scenes when you're acting with someone whom you don't find authentic? Close: That's when you really act!Williams: I erase their face and put someone else there.Close: There are a couple of actors I've worked with who let you in this far [indicates a big space between them]. There's a way to let people know that, "If you let me in, I'm not going to take advantage of that. You're going to be safe with me."THR: Carey, after "An Education," you said you were afraid of the camera, especially when it's close. Do you still feel that way? Mulligan: Yeah. I didn't have it so much in "Shame." But now I'm doing "The Great Gatsby," and these 3-D cameras are here [points to the sides of her face], and it takes me, like, 15 takes. And sometimes I catch my reflection in the camera and then I don't know.THR: Do you like to rehearse? Mulligan: No. I force myself into rehearsing when I don't really want to. Williams: I've really had to learn not to "spend" things, because it can happen once, and it needs to happen when there's a camera to catch it. I learned on "Blue Valentine," there's something about the first time that's magical.THR: What's the biggest difference between stage and film acting? Close: It's where you put your energy. My first film [1982's "The World According to Garp"], I thought I was going to blow the camera out. I didn't know what to do with my energy. Davis: I always go back to David Mamet, who says: "If there's an actor on the stage with a cat, who are you going to watch, the actor or the cat? You're going to watch the cat because the cat's just being a cat." It's the power of doing nothing. It's the power of just being. It's like what Glenn said, just trusting what's going on behind your eyes is enough. The only thing I would like to add: The worst part of the camera for me is watching myself. I just hate looking at myself. I mean, I've got big lips. And I'm looking at the screen, and I'm like, "The lips!" THR: Onstage, do you get distracted by people? Have you stopped to address the audience? Close: I did in "Sunset Boulevard." The big entrance down the stairway, I was coming down the stairs, and I heard all these flash cameras going off from up in the balcony, and as I was singing the song, I thought, "Do I stop?" It was so distracting. I just stopped, and I walked to the edge of the stage, and I said, "We can either have a photo shoot or we can do a play."Theron: Oh, that's incredible! And did people applaud?Close: The trick was getting back into the play.Theron: Wow.THR: Carey, how has your life changed since "An Education" two years ago? Mulligan: In terms of this [promotional] stuff, I was so freaked out, and I just have learned to enjoy it being in a room with people that I've watched and admired. Before, I was a rabbit in the headlights, and I sort of felt like I really shouldn't be invited to the party. And now I feel like someone accidentally sent me an invite, but f it, I'm going to have a really good time, and I do!THR: Is there any role or character you would love to play? Davis: Oh, so many. Lady Macbeth. Close: I knew you were going to say that! THR: Very last question: What's your biggest regret? Theron: I don't have one. Are you kidding me? I don't work in construction; I have a job that I love.Davis: They're princess problems, like, "Gosh, I took that for the money." I was able to pay my mortgage but God, I took it for the money!The Performances Glenn Close, "Albert Nobbs" Close has been Oscar-nominated four times since her first nom for "The World According to Garp" but has yet to win.Viola Davis, "The Help" and "Extremely Loud and Incredibly Close" Davis burst into the public's awareness with her Oscar-nominated role in 2008's "Doubt."Carey Mulligan, "Drive" and "Shame" Nominated for her first movie lead in 2009's "An Education," Mulligan this year has two acclaimed supporting roles.Octavia Spencer, "The Help" Spencer was among the first cast in this ensemble drama, having worked on director Tate Taylor's 2003 short "Chicken Party."Charlize Theron, "Young Adult" An Oscar winner for 2003's "Monster," Theron was also nominated in 2006 for "North Country."Michelle Williams, "My Week With Marilyn" Williams is a two-time Oscar nominee for her roles in 2005's "Brokeback Mountain"and last year's "Blue Valentine." By Matthew Belloni and Stephen Galloway December 15, 2011 PHOTO CREDIT Mary Rozzi Rare is the Hollywood blockbuster that showcases a single strong female role. This year, "The Help" featured about a half-dozen fully realized women and grossed $167 million domestic, among the biggest female ensemble films ever. For this reason, THR broke with tradition and invited two stars from the same movie Viola Davis, 46, and Octavia Spencer, 39 to participate in the first awards roundtable of the season. Davis and Spencer, the heart and soul of "The Help," joined a diverse group who challenged themselves with performances as varied as a 19th-century woman pretending to be a man (Glenn Close, 64, in "Albert Nobbs"), an out-of-control lounge singer with suicidal tendencies (Carey Mulligan, 26, in "Shame" she also played a young mother in "Drive"), a mean-spirited and possibly ill Y.A. novelist (Charlize Theron, 36, in "Young Adult"), and perhaps the most iconic woman in Hollywood history, Marilyn Monroe (Michelle Williams, 31, "My Week With Marilyn"). The roundtable took place Oct. 24 at Smashbox Studios in West Hollywood. The Hollywood Reporter: Given your success, does a bad review still hurt? Glenn Close: A bad review can be very hurtful. People don't think that we are as engaged and invested in what we do as we are. So they think they can come up and say anything sometimes, and it's very, very hurtful. THR: People really come up to you and say nasty things? Close: They usually don't say nasty things to my face. Well, they do say, "You look much better in life than you do on film." Viola Davis: I get that all the time.Close: It's unbelievable. You think to yourself, "Is that a compliment?"Davis: I'll take it. I'll take whatever I can get. [Laughs.]THR: What has surprised you most about being an actress? Davis: I always thought that when you put your heart into it and you're doing a great job, people would acknowledge that. Everyone would say, "Oh, you're great, you're fabulous." But I remember the first time I walked out the stage door and I got nothing. I didn't understand that people would not always be receptive, and that a lot of the times you just have to be happy with your work. People don't tell you there are so many outside elements that invade your love of the work: the jealousy of other people, the reviews, bad ratings for a television show, getting older and the kind of roles that are not out there for you, roles that aren't on the page and you try to make something out of them and you can't. Sometimes you do it for the money because you're broke. All the outside elements that invade the love of the work that's been the biggest surprise. Because, hey, I would perform in a parking lot. THR: Have you done roles that you were disappointed by afterward? Octavia Spencer: I never watch my work, so I can't say that I'm disappointed. THR: You haven't seen "The Help"? Spencer: I sort of had to. [Davis and I] saw it together. THR: Did you like it? Spencer: I did like "The Help." I was really scared that I would just hate everything. When you watch yourself, it really does take you out of the purity of that world that you create. I'm thinking, "Really? Does my stomach look like a smiley face? Really? You went with that take? Ugh, there was one that was better." Michelle Williams: I haven't seen everything I've done. THR: Michelle, did you have conversations about who Marilyn Monroe was and how to play her before you agreed to the role?Williams: No, I wouldn't even have known how to have a conversation about how to play her. I do a lot of prep work. A lot of my work is done before I ever get on a set. And it's lonely, lonely work. My director isn't really involved at that point. THR: What kind of prep work? Williams: Well, for "Marilyn" it was unlike anything I've ever done. There was so much material; there was so much you can research all the books, all the movies. I feel like I finally learned how to use my computer for good and not evil. It became such a resource. And YouTube I have a whole new appreciation for it.THR: What most surprised you about Marilyn? Williams: The biggest "aha" moment was that Marilyn Monroe was a character that she played. Marilyn Monroe was like a Groucho Marx or a Charlie Chaplin or something; it was a facade. She was the greatest part she ever played. So that was a big moment. THR: Carey, I read that "Shame" originally was set in London, but director Steve McQueen couldn't find people there to talk about sex addiction. True? Carey Mulligan: Yeah, in England you can't find people that talk about sex. He and [co-writer] Abi Morgan tried to write it in London, but no one was willing to have the conversations. Charlize Theron: That's because they don't have sex [in Britain]. [Laughter.]THR: There's full-on nudity in the film. Did that make you uncomfortable? Mulligan: The notion of it always has. I've never wanted to take my clothes off and be sexy. I'm horribly afraid. [But] it wasn't that at all. Actually, Steve and I spent a lot of time looking at an artist called Francesca Woodman, who was a photographer who started taking nude photos of herself when she was 15 and committed suicide when she was 22, back in the early '80s. She just had sort of a freedom with her body; it was sort of an instrument for her art. And Sissy, the character I had to play, she wants to be loved and she wants to be seen. The nudity felt like exactly who she was. There was one camera and Michael [Fassbender], who's naked throughout. Theron: The idea of somebody saying, "Take your clothes off" was a little frightening, and then I did it and I was like, "Oh, okay." THR: Charlize, do you ever worry that the audience might not like you when you play a nasty character? Theron: Wait, what are you trying to say? [Laughter.]THR: In "Young Adult" you play a role that's Theron: She's a bitch. I don't like sympathy, I like empathy. Sympathy to me is not natural behavior. I don't think it's reasonable to expect people to have sympathy for other people. I never expected people to have sympathy for Aileen Wuornos [in "Monster"] or for Mavis [in "Young Adult"]. And I don't aim for that. I just aim for understanding: If you can understand her, you might hate her, but if you can understand her, then I've done my job. That's all I care about. THR: So you equate sympathy with liking? Theron: I think sympathy is more like "I feel sorry for you." I don't want my character to be a victim. We have innately bad human behaviors that sometimes we can explain and justify. It's easy to say someone's an asshole because they had this, this, and this happen to them, so we have to forgive them. But what if someone was just an asshole? That's interesting to me. THR: Do you have to have those nasty qualities somewhere deep inside you in order to play it? Theron: Yes, I am an asshole. [Laughter.]THR: Glenn, what do you think? Theron: Wait, you're going to leave me there on "I am an asshole"? [Laughter.] Close: I really agree with the sympathy/empathy thing. You have to find a place where you can love your character to do them justice, because if you're judging them, that separation will show. To totally find that connection between you and the character that is what will connect you to the audience.THR: Could you play Hitler? Theron: You see, that's exactly the problem. Close: You could, but you would want to know where he came from to be absolutely committed to that character. I don't think Hitler was someone you wanted to empathize with. Theron: People are so concerned that if you look at a monster, you might find a human being. There was this great story that I came across when I did research for "Monster" about the guy who originally came up with profiling serial killers. His name is John Douglas, and he had a chapter in his book about writing. He believes that fables and werewolves and Dracula and all these scary characters were created because people don't want to believe human beings are capable of bad things. But we definitely are capable of some shit that will scare you, given the right circumstances. The quintessential character is Hitler. You have to be brave enough to say he's a human being. And on that level, we're all like him. It doesn't mean that you're saying what he did was right, but you've got to admit that he's from the same breed as all of us. It has to make you aware that, given the right circumstances, there are things you might do that you don't want to believe you're capable of doing. And I think that is the work that is what's interesting for me in my work: to try and find those things that you can't just kind of go, "Easy, easy, easy." It's the stuff that scares you a little bit that makes you go: "What if I find something about that guy that I can actually have empathy with? F." THR: What scares you? Spencer: The scariest thing for me was growing up without my mother. My mother passed away when I was 18. So who I am as a woman was something I had to figure out. You always want to be able to have those conversations with the quintessential woman your mother. But every time I walk onto a stage, that scares the hell out of me until I start doing whatever I'm doing. I'm neurotic, so everything scares me.THR: When did you decide to be an actress? Spencer: I was very young, and my mother was very practical, and of course, I wanted to be an actor, and she's like, "You have to be able to provide for yourself." I secretly always wanted to do that and then reached the crossroads. I didn't ever want to look back at my life and have regrets.THR: Do any of you watch your earlier films? Maybe catch them on TV? Close: "Fatal Attraction" seems to be on all the time.Theron: You know, that's how I learned about the birds and the bees.Close: What?Theron: I grew up in a farm community town [in South Africa], and we didn't have movie theaters. My mom loved movies, and every Friday she would drive us out to a drive-in 45 minutes away from our farm. But we didn't know what would play. When the cars started lining up, you would see what was playing and you would see the rating, and my mom would hide me under a blanket if the rating was R. So I was about 8 or 9, and it was "Fatal Attraction," and my mom was sitting in the car, and I could feel the panic. And this conversation started, and it ended up being my sex conversation. It screwed me up, so I can't have a healthy relationship. [Laughs.]Close: Oh, that's great.Theron: You guys were so graphic about it, I was like, "Okay, what's happening?" So that movie is very near and dear to me.THR: Viola and Octavia, are opportunities better or worse for black actresses now than when you started? Davis: I would be foolish if I said it wasn't better. It's obviously better. I worked with Gloria Foster, a great black actress from "Nothing but a Man" she was in "The Matrix" also. She said that when she started in the business, there was nothing. Maybe only one or two black actors had an agent. So it's definitely different. I just always feel like it starts and stops. One year you have "Precious" with Gabourey Sidibe and Mo'Nique, and then you have two years of nothing. THR: And then you have "The Help" Davis: And then "The Help." You know, even listening to the conversations about sympathy and empathy, I remember when I played the character in "Doubt," it was a character that not a lot of black people embraced, because they didn't like her. I think women face that more than men. Black women really face it. We are always overly sanctified [in movies], overly nurturing, and overly sympathetic. And to find that place where you're messy, it's very difficult. THR: One critic said you brought dignity to that character with restraint. Do you agree? Davis: [Smiles painfully.] I love and hate the word "dignity." I feel it's overused for black actresses, as with "sassy" and "soulful." I can go on. The same adjectives are pulled out of a magic box. That's who she is in the book. My job was to create her. So yes, she is a quiet character. People always migrate toward the flashy character. They say what they mean; they're out there; you can see it in their behavior. The character that doesn't speak a lot is usually in the background. One of my favorite roles I ever played was a serial killer, which didn't get a good response, either. It was for television, "Law & Order." I appreciated killing a whole family with a baseball bat. You know, sometimes one person's junk is another person's treasure. THR: Do you like the book "The Help"? Do you think the portrayal is accurate? Davis: I thought it was a very good book. And I think one of the things I loved about the book is that Kathryn Stockett, who is a white woman, her main objective was to find out who her maid Demetrie was. That's a great place to start. Now, because I grew up in abject poverty, there were certain things about the book that struck me as disingenuous, like the fact that everybody had a phone. That's the first thing that goes when you don't have money. Minnie had a phone, and Minnie could barely afford to feed her family. The phone would be gone. Spencer: We have to remember that it's a work of fiction. It's accurate; it's sentimental; it's a work of fiction. It takes you on an emotional journey, and good art does that. THR: Is it necessary to enjoy art? I was thinking of Michelle's "Blue Valentine." Every second was torture for me to watch, but no film has stayed with me like that. It was so painful. Williams: Painful like you hated it because it was painful to watch? Or you just hated it? [Laughter.]THR: This is what was interesting: I hated it because it was painful to watch, but I thought it was the best film of that entire year. Theron: Me too.Williams: Wow, thanks, guys. Theron: For me, as an actor, watching you do the scene when you're driving in your car and you see your dead dog on the side of the street for me, driving scenes are the hardest. I was like, "Oh, I hate her, I love her." THR: Is it harder to do those scenes when you're acting with someone whom you don't find authentic? Close: That's when you really act!Williams: I erase their face and put someone else there.Close: There are a couple of actors I've worked with who let you in this far [indicates a big space between them]. There's a way to let people know that, "If you let me in, I'm not going to take advantage of that. You're going to be safe with me."THR: Carey, after "An Education," you said you were afraid of the camera, especially when it's close. Do you still feel that way? Mulligan: Yeah. I didn't have it so much in "Shame." But now I'm doing "The Great Gatsby," and these 3-D cameras are here [points to the sides of her face], and it takes me, like, 15 takes. And sometimes I catch my reflection in the camera and then I don't know.THR: Do you like to rehearse? Mulligan: No. I force myself into rehearsing when I don't really want to. Williams: I've really had to learn not to "spend" things, because it can happen once, and it needs to happen when there's a camera to catch it. I learned on "Blue Valentine," there's something about the first time that's magical.THR: What's the biggest difference between stage and film acting? Close: It's where you put your energy. My first film [1982's "The World According to Garp"], I thought I was going to blow the camera out. I didn't know what to do with my energy. Davis: I always go back to David Mamet, who says: "If there's an actor on the stage with a cat, who are you going to watch, the actor or the cat? You're going to watch the cat because the cat's just being a cat." It's the power of doing nothing. It's the power of just being. It's like what Glenn said, just trusting what's going on behind your eyes is enough. The only thing I would like to add: The worst part of the camera for me is watching myself. I just hate looking at myself. I mean, I've got big lips. And I'm looking at the screen, and I'm like, "The lips!" THR: Onstage, do you get distracted by people? Have you stopped to address the audience? Close: I did in "Sunset Boulevard." The big entrance down the stairway, I was coming down the stairs, and I heard all these flash cameras going off from up in the balcony, and as I was singing the song, I thought, "Do I stop?" It was so distracting. I just stopped, and I walked to the edge of the stage, and I said, "We can either have a photo shoot or we can do a play."Theron: Oh, that's incredible! And did people applaud?Close: The trick was getting back into the play.Theron: Wow.THR: Carey, how has your life changed since "An Education" two years ago? Mulligan: In terms of this [promotional] stuff, I was so freaked out, and I just have learned to enjoy it being in a room with people that I've watched and admired. Before, I was a rabbit in the headlights, and I sort of felt like I really shouldn't be invited to the party. And now I feel like someone accidentally sent me an invite, but f it, I'm going to have a really good time, and I do!THR: Is there any role or character you would love to play? Davis: Oh, so many. Lady Macbeth. Close: I knew you were going to say that! THR: Very last question: What's your biggest regret? Theron: I don't have one. Are you kidding me? I don't work in construction; I have a job that I love.Davis: They're princess problems, like, "Gosh, I took that for the money." I was able to pay my mortgage but God, I took it for the money!The Performances Glenn Close, "Albert Nobbs" Close has been Oscar-nominated four times since her first nom for "The World According to Garp" but has yet to win.Viola Davis, "The Help" and "Extremely Loud and Incredibly Close" Davis burst into the public's awareness with her Oscar-nominated role in 2008's "Doubt."Carey Mulligan, "Drive" and "Shame" Nominated for her first movie lead in 2009's "An Education," Mulligan this year has two acclaimed supporting roles.Octavia Spencer, "The Help" Spencer was among the first cast in this ensemble drama, having worked on director Tate Taylor's 2003 short "Chicken Party."Charlize Theron, "Young Adult" An Oscar winner for 2003's "Monster," Theron was also nominated in 2006 for "North Country."Michelle Williams, "My Week With Marilyn" Williams is a two-time Oscar nominee for her roles in 2005's "Brokeback Mountain"and last year's "Blue Valentine."