Thursday, September 9, 1999
Casting: Frequently Asked Questions
How do you cast the parts for your readings?
Casting for the writer's group meeting is broken down into two general forms:
Open Casting:
Open casting is when a writer chooses to have the parts in their work read by any actors attending the reading. An announcement will typically be made via e-mail before the meeting stating the number of parts available for reading and any limitations the writer may put on the roles, such as age and/or gender. If you are interested in coming to a meeting and reading, then we ask that you let us know in advance that you are coming. At the reading, we will read through a list of the open roles and ask for actors interested in reading. Roles are then assigned at random (working within any age/gender restrictions requested by the writer) by picking poker chips, flipping a quarter, or picking names from a hat.
Closed Casting:
This is when a writer wants to pre-cast their play for the reading. If a reading is closed, we will make it known in the meeting announcement. In these instances, casting is at the sole discretion of the writer. They may cast the work themselves or they may ask The Drama Foundry for our assistance and our casting director John Dranshak will cast the reading. Sometimes the writer already has actors they want to use and will bring them to the readings. If they have asked us to cast the reading, we will pre-cast the reading from our known pool of actors.
Why do you cast things this way?
The Drama Foundry's primary goal is to serve writers. However, whenever possible we work to serve writers while also working to promote cross-disciplinary collaboration. To that end, the group as a whole reached a decision to ultimately leave the casting decision in the hands of the writer, while trying to balance the needs of the actors by encouraging writers to have at least one “open cast” piece at each meeting. Since the start of our readings in July of 2009 we have had roughly an equal number of open and closed castings for our readings.
I'm a writer and I want to read my own work.
Ultimately that decision rests with you, the writer. We won’t stop a writer from reading in their own piece, but we would strongly advise against it. Our primary intention in creating The Drama Foundry was to create a tool for writers to get out of their own head and see their work come alive. Reading in their own piece often makes it harder for a writer to objectively critique their own work.
When a writer sits and listens to their work being read by others, they have the opportunity to see and hear the script from the perspective of a literary manager, director, or artistic director to whom they are submitting. It is much harder for a writer to adopt this perspective when they are reading in the piece.
I'm an actor. How do I improve my chances of reading?
Send us an acting resume and a head shot. We keep these on file and this is the best way to be considered for a part when we are pre-casting a reading. For closed readings we generally try to cast people who fit the role, so the more familiar we are with you, the better. Therefore, we recommend attending some of the open readings so we can meet you and hear how you read.
I’ve been pre-cast in a reading. Now what?
We recommend reading the play out loud a few times before the meeting. This will give you the opportunity to familiarize yourself with the script and any particular challenges it might present. That being said, do not feel the need to develop a character and do not worry about memorizing the play. The writers are expecting a cold reading, not a complete performance. You have been cast for what you bring to the role, so be yourself. Our goal is to let the writer see and hear their work, often for the first time. So read clearly and simply.
Casting for the writer's group meeting is broken down into two general forms:
Open Casting:
Open casting is when a writer chooses to have the parts in their work read by any actors attending the reading. An announcement will typically be made via e-mail before the meeting stating the number of parts available for reading and any limitations the writer may put on the roles, such as age and/or gender. If you are interested in coming to a meeting and reading, then we ask that you let us know in advance that you are coming. At the reading, we will read through a list of the open roles and ask for actors interested in reading. Roles are then assigned at random (working within any age/gender restrictions requested by the writer) by picking poker chips, flipping a quarter, or picking names from a hat.
Closed Casting:
This is when a writer wants to pre-cast their play for the reading. If a reading is closed, we will make it known in the meeting announcement. In these instances, casting is at the sole discretion of the writer. They may cast the work themselves or they may ask The Drama Foundry for our assistance and our casting director John Dranshak will cast the reading. Sometimes the writer already has actors they want to use and will bring them to the readings. If they have asked us to cast the reading, we will pre-cast the reading from our known pool of actors.
Why do you cast things this way?
The Drama Foundry's primary goal is to serve writers. However, whenever possible we work to serve writers while also working to promote cross-disciplinary collaboration. To that end, the group as a whole reached a decision to ultimately leave the casting decision in the hands of the writer, while trying to balance the needs of the actors by encouraging writers to have at least one “open cast” piece at each meeting. Since the start of our readings in July of 2009 we have had roughly an equal number of open and closed castings for our readings.
I'm a writer and I want to read my own work.
Ultimately that decision rests with you, the writer. We won’t stop a writer from reading in their own piece, but we would strongly advise against it. Our primary intention in creating The Drama Foundry was to create a tool for writers to get out of their own head and see their work come alive. Reading in their own piece often makes it harder for a writer to objectively critique their own work.
When a writer sits and listens to their work being read by others, they have the opportunity to see and hear the script from the perspective of a literary manager, director, or artistic director to whom they are submitting. It is much harder for a writer to adopt this perspective when they are reading in the piece.
I'm an actor. How do I improve my chances of reading?
Send us an acting resume and a head shot. We keep these on file and this is the best way to be considered for a part when we are pre-casting a reading. For closed readings we generally try to cast people who fit the role, so the more familiar we are with you, the better. Therefore, we recommend attending some of the open readings so we can meet you and hear how you read.
I’ve been pre-cast in a reading. Now what?
We recommend reading the play out loud a few times before the meeting. This will give you the opportunity to familiarize yourself with the script and any particular challenges it might present. That being said, do not feel the need to develop a character and do not worry about memorizing the play. The writers are expecting a cold reading, not a complete performance. You have been cast for what you bring to the role, so be yourself. Our goal is to let the writer see and hear their work, often for the first time. So read clearly and simply.
About Us
What we are...
The Drama Foundry is a community that provides opportunities for dramatic writers to hone their craft and forge new work.
Who we are...
The Drama Foundry is made up of mostly local actors and writers in Central Ohio interested in Dramatic Writing in all of its forms.
How are we...
Thanks for asking. We're Good. You?
Why we are...
Because... There doesn't seem to be a lot of opportunities in the central Ohio area to help dramatic writers develop their work or to bring actors and writers together to collaborate.
When we are...
Usually at least once a month on Saturday afternoons. Sometimes more sometimes less.
Where we are...
Upper Arlington Library
2800 Tremont Rd.
Upper Arlington, Ohio
Conference Room B or Theater
The Drama Foundry is a community that provides opportunities for dramatic writers to hone their craft and forge new work.
Who we are...
The Drama Foundry is made up of mostly local actors and writers in Central Ohio interested in Dramatic Writing in all of its forms.
How are we...
Thanks for asking. We're Good. You?
Why we are...
Because... There doesn't seem to be a lot of opportunities in the central Ohio area to help dramatic writers develop their work or to bring actors and writers together to collaborate.
When we are...
Usually at least once a month on Saturday afternoons. Sometimes more sometimes less.
Where we are...
Upper Arlington Library
2800 Tremont Rd.
Upper Arlington, Ohio
Conference Room B or Theater
Links
Some of our Friends:
Junctionview Studios
The Dramatist Guild of America
Roland Teco - Dramatist and Film Director
Adam Brouillette - Artist and Designer
Mid-Ohio Filmmakers Association
The Theatre Vault
See Spot Run Improv Comedy Troupe
Raconteur Theater Company
Lisa Rosenthal - Playwright, Author, and Writing coach
Available Light Theater Company
Madlab Theater Company
The Playwrights' Binge - Playwright Marketing Group
Reggie Edmund - Playwright
Chris Shaw Swanson - Playwright
The Vet Art Project
Junctionview Studios
The Dramatist Guild of America
Roland Teco - Dramatist and Film Director
Adam Brouillette - Artist and Designer
Mid-Ohio Filmmakers Association
The Theatre Vault
See Spot Run Improv Comedy Troupe
Raconteur Theater Company
Lisa Rosenthal - Playwright, Author, and Writing coach
Available Light Theater Company
Madlab Theater Company
The Playwrights' Binge - Playwright Marketing Group
Reggie Edmund - Playwright
Chris Shaw Swanson - Playwright
The Vet Art Project
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