Industry ABCs — Jackie Gubow

Industry ABC’s

When I first became a Casting Intern, I felt like there was a whole new language I had to learn to communicate around the office. Here are my best definitions of the industry lingo I see and hear:

· 29-Hour Reading – Also known as a “Staged Reading,” this is a contract/code outlined by AEA (Actors’ Equity Association) where Equity members can rehearse and present a theatrical reading without an Equity contract. This is an intermediate step between a cold reading and a fully staged production, typically put on for new or developing works. From the AEA website, “Members may participate for a maximum of 29 hours (including both rehearsals and no more than three presentations) over the course of 14 days. No admission may be charged at the time of the readings, which may not use sets, props, wigs, make-up or costumes. The readings may not be advertised to the public or reviewed by critics.” There is no required actor salary for these readings. For more information, visit the AEA website.

· Actors Access – This is the actors portion of Breakdown Services where actors can host a profile with headshots and a resume, view project breakdowns, and submit themselves for roles.

· ADR – “Automated Dialogue Replacement.” In TV/Film, this is the process of re-recording audio in a studio after filming. This can improve audio quality or give the actor an opportunity to change the inflection of the lines, based on direction.

· AEA – “Actors’ Equity Association.” Founded in 1913, this is the US labor union that represents professional Actors and Stage Managers.

· Alt. – “Alternate.” When an actor is cast as an “alternate” to a lead role, they will usually perform as that (typically physically or vocally challenging) role one or two performances a week (often matinees), to allow the actor in that role time to rest. Common roles with alternates include Christine in The Phantom of the Opera and Dolly Levi in Hello, Dolly!

· Age Range – Separate from (though often inclusive of) an actor’s actual age, this reflects the range of ages an actor could play on stage or screen. Most often, this will span a decade, such as 20-30 years old.

· Agency/Agent – An actor’s representation franchised through AEA and/or SAG-AFTRA. An “Agent” is different from a “Manager” because of the union-approved contracts, but their roles can overlap. Moreover, an actor may have both an Agent and a Manager (or neither).

· “Are Offers Out?” – Following final callbacks, as casting decisions are made, producers will make offers to actors (directly or through their representation). This is a question often asked by an Agent to a Casting Director to see if an offer has been made for a particular role—usually one where a client was under final consideration—to gauge the client’s likelihood of booking the role. Just because an offer is “out” does not mean that the offer will be accepted, but because casting decisions are typically private until announcements are released by a publicity team, this is a way to understand where the team is in the casting process, usually as it relates to specific clients.

· Avail Check/Checking Avail – Shortened from “availability,” this refers to a casting team making lists of actors who might be right for a role in a project and then wanting to see if said actors are available for the project dates. Casting will email or call to check an actor’s “avail,” sometimes without even giving the name of the project or the role. “Avail checks” can lead to auditions or offers, but they might not. They are also not always inclusive of an actor’s interest in the project. When casting does want to gauge interest, sometimes they will ask if they can check the “i and a” (interest and availability) of a certain actor. Responses to avail checks include “avail” (available for all listed dates), tech avail (technically available because there is nothing conflicting on their professional calendar at the moment), or NA (not available due to a specific conflict).

· Backstage – Either the literal space behind the scenes in a theatre, or an online magazine that includes job postings and profiles for actors (similar to Actors Access, but less used by agents).

· Behind the Table – This refers to the people in the audition room who are not auditioning, but instead are often seated “behind the table,” such as members of the Casting and Creative Teams who use the table to take notes and review headshots/resumes during auditions.

· Board/Boarded/Cross-Boarded – Most commonly used in the context of filming episodic television, a “board” refers to a detailed shooting schedule that has been assigned to an episode, scene, or role. An offer for a role cannot typically go out to an actor until that role has been “boarded,” so that they know how many days the actor will be needed and can outline those terms in the deal memo. Sometimes, two episodes will be “cross-boarded,” meaning that they will shoot within the same period of time.

· Booked – If an actor has “booked,” it means that they were cast in the role—they “booked it!”

· Book Out – Actors can “book out” days when they are not available to audition or work. “Booking out” is important to communicate to Agents and Managers so that they can take note of when an actor is unavailable to audition, rehearse, or perform. Common “book outs” are for weddings, trips, grad school, or other life events, and thus may span from one day to over a year in duration.

· Booking Info – When an actor is offered a role, their “booking information” will be required to draw up the necessary hiring paperwork. Typically, this includes: legal name, billed name, address, phone number, social security number, and email address.

· Boutique Office – These are smaller than large corporate offices. For agencies, this means that they have fewer agents and clients, and might not be “full service” in terms of the departments they offer (legit, commercial, voiceover, modeling, etc.). “Boutique offices” typically represent fewer star names than larger offices, but might offer a more personal agent/client relationship.

· Breakdown – This refers to a document containing project details and character descriptions, typically used when seeking actors to fill certain roles. A “breakdown” should offer the following: the title of the piece (or a fake title), type of project (theatre, episodic, film, etc.), plot summary, character names and descriptions, creative team, casting team, union status of the project, location, project dates, and base salary.

· Breakdown Express – This is the Agent/Casting Director website from Breakdown Services, which hosts project breakdowns, EcoCasts, audition appointments via CMail, and actor profiles. Breakdowns are released to Agents by Casting Directors through this site, where they can then submit their clients for roles.

· Breakdown Services – This is the company that hosts Actors Access, Breakdown Express, Sides Express, and ShowFax—all common websites used by the theatre/TV/film industry to help employ actors in acting jobs.

· Broadway – Though the term is often used more broadly outside the industry, this technically refers to full performances in the 41 professional theatres (each with at least 500 seats) in the Midtown Manhattan Theatre District.

· Cast It – This is a website used by certain Casting Directors, usually to receive self-tape submissions for TV/film projects.

· Casting – This refers to the Casting Office which is hired by the Creative Team of a project to help with the audition process. “Casting,” after conferring with the Creative Team, will typically make lists of actors they want to see for certain roles and bring them in to audition, usually just for members of their team during the first round, and then called back to be presented to the Creative Team in subsequent rounds. A Casting Office’s job is largely to present strong actor options to the Creative Team, who can then select their favorites to cast in the project.

· Casting Networks – This is a website with similar function to Breakdown Services where actors have profiles, Casting Directors post breakdowns, and Agents submit on them. Casting Networks tends to be more popular for commercials, but recently, the Fox network decided to use them instead of Breakdown Express, leading to an increase in usership.

· CDs – “Casting Directors.” As opposed to Associates and Assistants, these are the most senior roles in a Casting Office. “Casting Directors” work directly with members of a Creative Team to help cast a project.

· Check Autho – “Check Authorization.” This is a document often used by an actor’s representation when the actor books a TV/film project and wants their representation to receive their commission without having to write them a personal check. The actor signs the “check authorization” to give permission for their payment on a project to first be received by their representation directly. The representation will then take out their commission and give the rest of the payment to the actor. For theatre projects, “check authos” are less necessary, because many theatre producers can “deduct commission” from an actor’s paycheck every pay cycle and provide separate checks to actors and representation respectively.

· Cold Reading – This refers to auditioning with sides without receiving them in advance. A “cold reading” can serve as a demonstration of an actor’s impulses and how they approach material without rehearsing it first.

· Co-star/Guest Star/Recur/Series Regular – These are types of roles on episodic programming. A “series regular” is hired for an entire series and guaranteed pay for a certain number of episodes (as negotiated). It is expected that the series comes first for a series regular. A “recur” will recur in more than one episode, but can continue to pursue other work more easily. A “guest star” is featured in one episode. A “co-star” is smaller than a guest star and could just have one line or maybe multiple scenes. There are not hard and fast rules in regard to these labels, but the label can affect the actor’s salary. Moreover, an actor can typically only get cast in one role on a particular show, so some actors pass on co-star auditions to be considered for larger roles.

· Commercial Headshot – Headshot styles are constantly changing. A “commercial” shot has come to be known as a headshot that is a bit more “cheesy” and less serious/dramatic, often with a large toothy smile and bright colors.

· Commission – This is the money an actor’s representation will take from the actor’s booking, for aiding in the process of helping the actor find work. For agencies, this is always 10% for union projects, unless the actor’s salary is less than $525/week, in which case, it is 5%. For managers, it is designated by the manager, and usually ranges from 10%-20%.

· Confirm(ed) – This is a term Casting Offices use to identify when actors have RSVP’d “yes” to their audition. Similarly actors should “confirm” their audition with their representation or with the Casting Office directly (if unrepresented) when they have looked over the audition details and are committed to attending their scheduled appointment.

· CORST – This is a type of AEA contract, short for the “Council of Resident Stock Theatres.” Its specifications can be viewed on the AEA website under the Rulebook Library.

· COST – This is a type of AEA contract, short for “Council of Stock Theatres.” Its specifications can be viewed on the AEA website under the Rulebook Library.

· Creatives – This refers to the “Creative Team” associated with a project. For musical theatre, this will usually mean the director, assistant director, music director, and choreographer.

· CSA – Short for “Casting Society of America,” this is an organization that was founded in 1982 to establish professionalism in casting and provide support for its members. This is not a union, and Casting Directors are not required to join. To join, a Casting Director must have at least 100 weeks of experience casting principal roles in Television, Film, or Theatre, and have received a casting credit without the title “associate” or “assistant,” among other requirements outlined on the CSA website.

· Deal Memo – Once an offer is made to an actor, a “deal memo” may be presented before an official contract is sent. This happens most frequently in TV/film deals. The document will outline the job details without the formality of the forthcoming contract. Signing a deal memo is generally not binding, but serves as an indication that the actor will accept the terms of the formal contract and sign upon receipt.

· Developmental Lab – This is a type of AEA contract, used to develop new works, usually prior to an intended Production Agreement engagement. For more information, visit the AEA website.

· Downloadable File/Link – Most frequently in regard to self-taping, a downloadable link or file means that Casting/Creatives can download and save (or upload) an actor’s self-tape (or reel) in addition to simply viewing the audition video.

· EcoCast – This is part of Breakdown Services, where an actor or agent can upload a self-taped audition that had been requested by a Casting Office.

· EOD – “End of Day.” This often refers to a deadline, for example, “I need your self-tape by EOD Tuesday,” which can either mean by Tuesday at 11:59pm or the end of the Tuesday’s business day—usually 6pm.

· EMC – “Equity Membership Candidate.” This refers to an actor who has received Equity “points,” by being part of an AEA production without having joined AEA. Once an EMC actor has accumulated enough points (currently 25), they are eligible to join AEA outright.

· EPA/ECC – “Equity Principal Audition” / “Equity Chorus Call.” These are two different kinds of auditions required by AEA for AEA productions. The specifications for each can be found on the AEA website.

· Fake Title/Fake Sides – For projects that want to maintain a level of secrecy, a breakdown may be released with a title different than its true title. This was common for the Marvel TV shows, as well as other high profile projects that did not want to release spoilers. In addition to “fake titles,” these breakdowns often contain fake character names and will provide actors auditioning with fake sides. They may also require auditionees to sign an NDA (non-disclosure agreement).

· Feedback – After actors audition, they often want to hear notes from Casting regarding their performance and if they will be getting a callback or an offer. Rather than constructive notes (which would often be given in the audition room), common feedback for actors is generally, “They were great. It’s not going their way this time.”

· Freelance – A client who is “freelancing” with an agency is a client who has not signed a contract with that agency. This means that technically they could freelance with more than one agency and that they are not obligated to pay a commission for projects they book without the assistance of their agency.

· Full Service Agency – In contrast to a “boutique” office, a “full service agency,” is a larger, more corporate office with numerous departments, such as “legit,” “commercial,” “voiceover,” “print,” and “literary.” Full Service Agencies benefit from the ability to “package” a project, such as connecting a playwright with a director and a TV star.

· “Going a Different Direction” – This is a common phrase used by Casting Offices to indicate that an actor is not getting a role.

· Guest Artist – This is a type of AEA contract where educational or community theatres can hire one or two professional actors for a project. Further specifications can be found on the AEA website.

· H/R – This is shorthand for “headshot/resume,” as in, “Please bring your h/r with you to your audition.”

· Hold On / On Hold – Two very different phrases, both often heard from a Casting Office. If they want to “hold” on an actor, it means that they are not interested in seeing them at this time, but they might continue to keep them in mind if something changes down the line. If they want to put an actor “on hold,” this means that the actor is in a small group of final choices for a role.

· Holding Room – If an audition is expected to have a large turnout, or it is a required call like an EPA or ECC, a “holding room” will be provided for auditioning actors where they can wait/get ready before they audition.

· In Rep – Short for “in repertory,” this refers to a theatre season of shows that run in rotation, rather than having one show finish its run before the next begins.

· LB / MLB / ULB – These are the three levels of “low budget” SAG films, standing for “low budget,” “modified low budget,” and “ultra low budget,” respectively. The corresponding budgets decrease in that order. Specifications can be found on the SAG-AFTRA website.

· Legit – In the performing arts industry, “legit” refers to “TV, Film, and Theatre” as opposed to “commercial.”

· LOA – “Letters of Agreement.” These are documents provided to hired actors by an independent theatre. Still governed by AEA, “LOAs” may provide modifications to an AEA contract that are specific to that theatre.

· LORT – “League of Resident Theatres.” This is a designation by AEA to qualifying regional theatres. The contract specifications can be found on the AEA website.

· Lunch – A required break in the audition day, rehearsal, or shoot. For example, an actor may wish to audition at 1pm, when they are on break from their rehearsal, but will be unable if the Casting/Creative Team is taking their lunch from 1-2pm.

· Manager – An actor’s representation that is not franchised through any unions. “Managers” often provide similar services as “Agents,” but they may focus on a smaller roster and offer more individualized/detailed attention. Technically, Managers are not supposed to negotiate AEA or SAG-AFTRA contracts, while Agents (and lawyers) can.

· “Materials” – If a Casting Director or Agent wants to see an actor’s “materials,” they are usually referring to a headshot/resume, and perhaps additional footage/clips. If an actor is asking for audition “materials,” this refers to the sides/songs sent by Casting in the audition invitation.

· NA/NATA – “Not Available” or “Not Available to Audition.” This is common shorthand by Casting Offices to keep track of actors who have turned down an audition. “NA” usually means the actor is not available for the project dates, while “NATA” means that the actor cannot come in for the audition, but could still be part of the production.

· NDA – “Non-disclosure agreement.” This is a document provided when a project is private or secretive, and the creative team does not want any of the project details leaked to the general public. Upon signing an NDA, the actor cannot discuss the project details with anyone. Sometimes a signed NDA is required to even receive sides to audition for one of these secretive projects.

· Non-Eq – Short for “Non-Equity,” this refers to an actor who is not a member of AEA or a theatre project that is not AEA. Projects that are “Non-Eq” can only hire actors who are “Non-Eq.”

· O/A – “On or about.” This is common shorthand for project/audition dates. A project may begin rehearsal “o/a” a certain date or an actor may be scheduled to shoot “o/a” a certain date, for example. “O/a” is used so that the date can change without penalty.

· Off-Broadway – This refers to professional theatres in New York City with seating capacities between 100 and 499, and the productions that occur there.

· Off-Off Broadway – This refers to professional theatres in New York City with seating capacities lower than 100, and the productions that occur there.

· Offer Only – Sometimes, actors who are stars or very experienced will make themselves “offer only” for a role, meaning that they would not have to audition before getting cast.

· On Tape with Casting – This is a phrase commonly used in the context of TV/Film auditions, where a member of a Casting Team will film an actor’s audition at their office. If Casting feels strongly positive about the audition, they can share the tape with producers and other members of the Creative Team, who will then make hiring decisions, often based on that one filmed audition.

· OOO – “Out of the office.” This can refer to an automatic email reply or shorthand for communicating that an employee is not currently in the office.

· OOT – “Out of town.” This is common shorthand used by Casting Offices to indicate that an actor is not currently in NYC.

· Open Call – This refers to an audition that anyone can attend, regardless of union status. Because of this, typically open calls are very crowded with long wait times.

· Outs – This refers to the termination clause in a contract. Depending on the kind of contract or negotiation, theatre projects will typically have a two or four week-out, meaning that actors will have to give notice of two or four weeks before leaving the project earlier than its end date.

· Outside Dates – This refers to the range of dates allotted to a shoot, typically in regard to an episode. For example, Episode 2 may have outside dates from 10/1 – 10/15. If an actor books a role in that episode, they will shoot at some point within that window, usually not for the entire duration.

· Pilot Season – This refers to the time between January and April when TV Networks make decisions about new shows for their lineup. Networks are pitched hundreds of new show ideas and from those, they select a number to film a “pilot”—the first episode—which serves as a test for that show, where the Network will decide if they want to “pick it up” and put it on the air. During “Pilot Season,” many series regular roles are available, so actors will often prioritize pilot auditions over other opportunities, in hopes that they will book a new show that will get picked up by the Network. Pilot Season has changed with “streaming,” because streaming services such as Netflix, Hulu, and Amazon Prime create original content that does not follow the schedule of traditional Networks. They also have a lot of “straight to series” content that does not use a pilot to test the waters.

· Pin/Pinning – This is a term most often used by Casting in the context of episodic television. Following an audition, Casting will send certain actors’ audition videos to producers, where they will begin to make casting decisions. When the choice comes down to a small group of contenders, they may have the Casting Office put a “pin” in each of the actors that are still in contention. They will do this by emailing the actors or their representation and asking them if they have any conflicts with the episode’s outside dates and saying that they’d like to “pin” them. “Pinning” means that there is interest in those actors for the role and it is likely that one of them will get the offer. By “pinning,” Casting and producers expect that those actors will keep the episode’s outside dates clear from conflicts. Once a casting decision has been made, sometimes Casting Offices will remember to “unpin” the remaining choices. Otherwise, the actor’s representation will have to check in to see if the actor is still under consideration or has been “released from the pin.” Pinning can feel like a version of a final callback for episodic television—it is good feedback.

· Prescreen – This is typically the first round of auditions that is held for a theatre project before including the Creative Team in the audition room. Often, one or two members of the Casting Office will be present at a “prescreen.” They might use this early round audition to get to know new talent before taking a chance on them with the Creative Team members present.

· Producer Session – This is most used in the context of an episodic television audition, where instead of being sent audition videos, the producers will actually see talent in the audition room. Producer sessions are often callbacks from a session with just Casting, or certain talent may be sent “straight to the producer session.”

· Production Contract – This is a type of AEA contract that covers Broadway and some National and International tours. For specifics, refer to the AEA website.

· Reel – This is a video, usually under five minutes in length (though often much shorter), meant to give an overview of an actor’s work. Actors should include clips that feature themselves clearly and are a good representation of the work that they do. Actors who sing or dance may have separate musical theatre or dance reels instead of/in addition to a TV/Film reel of their work.

· Required Call – This refers to an EPA or ECC for a long-running Broadway show that AEA requires every few months, regardless of whether or not there are actual openings in the company. For example, if an actor sees an audition notice for Wicked, but there are no breakdowns released to agents on Breakdown Express, it is likely that this is just a “required call,” and Casting is not currently seeking any roles in the show.

· SAG-AFTRA – “Screen Actors Guild” and the “American Federation of Television and Radio Artists.” Formerly two separate unions, both formed in the 1930s, they merged in 2012 and currently represent about 160,000 film and television actors, journalists, radio personalities, recording artists, singers, voice actors, and other media professionals worldwide.

· SAG-e – “SAG eligible.” This refers to an actor’s union status when they have worked on a SAG project but have not yet joined SAG.

· S/W/H/F – “Start / Works / Hold / Finish.” This typically refers to dates an actor is scheduled to work on a TV or film set. If it says SWF 10/9, it means that an actor will start, work, and finish their shoot on October 9th. If it says S/W 10/9, H 10/10, F 10/11, it means that an actor should start and work October 9th, not plan to work October 10th but hold the date in case needed, work and finish their shoot October 11th.

· Scale/Scale +10% - This refers to a salary designation by SAG-AFTRA for a certain level of project, which is the minimum daily or weekly rate. Sometimes, a higher rate can be negotiated, but the scale rate serves as a guaranteed minimum. The “+10%” refers to a 10% representation commission tacked on to the scale rate so that actors do not have to pay the commission from their base salary. For example, if scale is $1,000/day, an actor would owe a 10% agent commission, or $100, leaving them with a revised rate of $900/day. If they are instead offered scale +10%, the offer would be $1,100/day, and the actor would make the full $1,000 after paying their $100 commission.

· Self-Tape – This is a kind of audition where the actor will record themselves performing the audition material on camera, usually with a reader, and email the video to casting instead of attending a live, in-person audition. Self-tapes are common for when actors are working out of town, or during a global pandemic.

· Session – In a Casting Office, this refers to the time when auditions are being held. If a Casting Director is out of the office because they are “in session,” it means that they are watching auditions.

· Session Sheet – In a Casting Office, this is a list of the day’s (invited and confirmed) auditionees for a particular project, used to keep record of the auditionees and take notes during their audition. Besides the name of the project, the session sheet will include the actors’ names, audition times (in order), the role(s) they are auditioning for, their contact info, and their representation, with a space for notes.

· SETA – “Short Engagement Touring Agreement.” This is a type of AEA contract that applies to some National and International Tours. The salary minimums are lower than those in a Production Contract. For specifics, visit the AEA website.

· Show Schedule – Conventionally, this refers to the eight shows/week schedule used by Broadway productions. Most will perform Tuesday – Saturday evenings, Sunday matinees, and additional matinees Wednesday and Saturday, with Mondays “dark,” but there is some variation in this. Oftentimes, when Casting is “checking avail” for a reading or workshop, they say that they are “working around show schedules,” meaning that a current Broadway performer could rehearse for this reading/workshop without having performance conflicts.

· Showcase – This refers to a collection of short performances by actors either at the conclusion of their BFA or MFA program or put on by a third party organization, where actors can seek representation or hope to get seen by other industry professionals.

· Showcase Code – This is a designation by AEA where AEA members can perform without a contract in a NYC theatre with less than 99 seats. It guarantees basic conditions for actors to hone their skills. There are no minimum salaries for Showcase Codes. For more specifics, visit the AEA website.

· Signed Client – This is a client who has signed a contract with representation, ensuring that they will pay them a commission on bookings. For agencies, these contracts will be through AEA or SAG-AFTRA for clients who are union members. For managers, these contracts are specific to that manager.

· Slate Shot – A “slate” is an introduction to an actor’s audition where the actor will state their name and usually what they will be performing for the audition (when sides have not been assigned), among other requested details. A “slate shot” is a recorded slate which can stand alone or begin an actor’s audition video. The actor will typically state their name, the role they are auditioning for, their height, their base location, and their representation. Stand alone “slate shots” can be uploaded to an actor’s Actors Access page for Casting to view.

· SPT – “Small Professional Theatre.” This is a type of AEA contract used outside of NYC and Chicago in theatres with less than 350 seats. For more details, view the AEA website.

· s/b – “Standby.” This is a kind of understudy who typically covers one lead role in a play or musical, but does not otherwise perform in the show.

· Status List – This is a list used by Casting Offices to keep track of actors who have passed on auditioning for a production. Separate “status lists” are maintained for every project, and contain the actor’s name, date of passing, and reason for passing on the project.

· Swing/Vacation Swing – This is a role in a musical for an actor who understudies several roles, usually in the ensemble, but does not otherwise regularly perform in the show. The “vacation” designation refers to a shorter contract, when a show anticipates scheduled absences from enough cast members that additional coverage is needed.

· Table Reading – Often the first time a script is read aloud by the cast, actors will typically sit around a table and read their lines (and scene directions) without any staging, costumes, or props.

· Tech – Short for “technical,” this refers to the time in the rehearsal process for a play or musical when the technical elements, such as lights, sound, and other special effects are added. Because of the specificity of these elements, “tech” rehearsals can be a bit laborious and slow, with lots of repetition to get the elements just right. It is also a time in the rehearsal process, because the pieces are coming together, all of the cast and crew needs to be present.

· Tech Avail – “Technically available.” This is a response to an “avail check” from Casting, where an actor does not currently have a conflict with suggested productions dates on their professional calendar.

· Tracking – This usually refers to the roles played by ensemble members in a musical. For example, in Wicked, one ensemble member plays the Witch's Father and an Ozian Official, while covering (understudying) The Wizard and Doctor Dillamond. All of this is considered that actor’s “track.”

· TYA – “Theatre for Young Audiences.” This is a kind of AEA contract covering productions to be performed for children. For more specifications, visit the AEA website.

· U5 – “Under Five.” This is a role, typically on episodic television, with under five lines.

· UCB – “Upright Citizens Brigade.” This is one of the most popular improvisation comedy groups with classes in NYC.

· Union Status – An actor’s “union status” refers to whether or not they have joined an actors’ union such as AEA or SAG-AFTRA. Casting Offices may check an actor’s union status to see if they might consider them for a non-union project or to gauge their level of experience.

· Unofficial List – This is a sign-up sheet created by auditionees to keep track of actors’ order of arrival to an audition before an official audition monitor arrives. Typically, this is used by non-union actors at EPAs and ECCs, but it may be used by anyone at an open call where union status is not prioritized. The audition monitor does not have to honor the order of the unofficial list, but they often will.

· URTA – “University Resident Theatres Association.” This is a kind of AEA contract available to colleges and universities that employ professional actors and stage managers on a regular basis to perform with students. For more information, visit the AEA website.

· u/s – “Understudy.” Also known as a “cover,” this is an actor who learns a an additional (typically larger) role in a play or musical so that they can go on for that role, should the actor cast in that role need to call out of the show for any reason. Usually, an understudy also regularly performs in the show in a role smaller than the one they cover, as opposed to an “alternate” or “standby,” who does not.

· Understudy Rehearsal – Once a show is up and running, understudies will continue to rehearse, usually once a week, to make sure they are ready should someone call out of the show.

· VO – “Voiceover.” This refers to work where an actor is only heard, not seen. Voiceover work is used on audio books, radio, podcasts, commercials, or behind the scenes in film, TV, or theatre. Some agencies will have entire Voiceover departments, where they submit clients for Voiceover work specifically. Facility with language is appreciated in Voiceover work, whether an actor can speak many languages, do a variety of dialects, or manipulate sound effects.

· Work Session – During the audition process, occasionally a “work session” will be held before the final callback. This session is often a more casual individual coaching with either the director or music director, where they will work on specific material with final contenders for the role to be presented at the final callback.

· Workshop – These are part of the developmental process of a show, where actors will rehearse and then present a full presentation in a rehearsal room with staging and choreography. Unlike in readings, minimal costumes/sets/props are allowed.