“Which Material Should I Present to an Agent?”
Though I have some performing experience myself, as an agent, I am admittedly not an acting coach nor a director. I think it is important that actors realize this, so that they can better understand which material works best for agents, and what kind of feedback to expect in these settings. Here are some questions to ask yourself when selecting material to perform in front of an agent.
Do I like this piece?
This is the absolute most important question to answer and it should be YES every time! When you don’t like the material you’ve chosen or it’s something someone else told you to perform, it always reads through. You will do the material you like better than the material you don’t like—it’s as simple as that. Do not guess what you think I’ll like; pick material you like!
Does this piece feel authentic to who I am and the roles I play?
Right after liking the piece comes authenticity. Your piece should be age appropriate and fit your “type,” showing me that you have a good understanding of who you are and what you do. This is not the time to show me a role you’d love to play in ten years or something you’ve worked on as a challenge or “stretch.” Start with what you do best right now, and ideally, following your piece, I’ll be able to rattle off all of the roles I’d submit you for. The goal is for me to get a good sense of where you currently fit in the industry.
Does this piece have a beginning, middle, and end?
Your piece must, must, must have a beginning, middle, and end. This shows that you have an understanding of basic storytelling and structure, which provides comfort to your audience. If you need to rework any of the piece due to time or character limitations, or because the piece takes a turn in the larger work, this is permissible to me in this setting. I’d rather you make cuts or add a sensible ending to your piece than worry about altering the original (in most cases).
Does this piece have a scene partner?
Even in a monologue or song, it should be clear who you are talking to. The strongest audition material has a clear scene partner. Find a piece where connecting to that scene partner is easy for you, where you can demonstrate listening and reacting. More often than not, this will show you in your strongest light as an actor.
How high are the stakes?
High. The stakes must be high. By this, I mean that your character must have a lot to lose (or gain) in the scene. To understand the concept of “stakes,” I find it helpful to incorporate the words “must” and “or else” into the circumstances of the scene. For example:
You MUST get an A on this test OR ELSE you won’t graduate.
You MUST cross the border undetected OR ELSE you will get deported.
You MUST get your car to start OR ELSE you’ll miss your sister’s wedding.
You MUST say “I love you” OR ELSE you’ll never know how he feels about you.
You MUST give your father a kidney OR ELSE he will die.
See how there is a lot “at stake” in all of these examples?! The feeling of immediacy and urgency in a scene with high stakes is captivating to watch.
If, for whatever reason, the stakes are not obviously high in a given scene, you must do your best to create that immediacy and urgency in your character in a way that “raises the stakes.” A good exercise to test the stakes is one I call “OR ELSE you’ll die,” where you figure out what your character needs in the scene and if they don’t get it they’ll “die.” For example, in a rather mundane scene about going grocery shopping, raise the stakes so that “if you don’t find organic eggs ‘you’ll die.’” See what that does to drive the scene (without turning to melodrama), and hopefully you’ll make some useful discoveries!
Is this piece “appropriate?”
Though a lot of plays delve deeply into dark issues such as rape, abuse, or suicide, these are not the topics of the kinds of pieces that I enjoy seeing when meeting an actor for the first time. Same goes for anything overly sexual or with a lot of swearing. I want to remember you, not how graphic the material was. If you have the option to choose something funnier or lighter, but the stakes are still there, I would recommend doing that over the overly dramatic piece.
Does a scene, monologue, or song serve me best?
Depending on the setting, this answer will change. First and foremost, make sure you understand what is being asked of you and which resources are available. Is a reader or an accompanist provided? Have you been asked for two contrasting pieces or just one? Does this event have an assigned theme such as “TV,” “musical theatre,” “comedy,” or “Shakespeare?” Does this agency specialize or have certain well-known preferences? These are all important questions to consider first. If your options are more open, think about your strengths and which kinds of roles you want to be submitted for. If you are a singer who primarily wants to focus on musical theatre (and an accompanist is available), I would suggest presenting a song cut. If you want to focus on TV/film (and a reader is provided), I would prepare copy from one of those mediums. If you want to do both TV/film and theatre but only get to perform one piece, think about the material you have that feels most you and do that. An alternative piece or monologue can be good to have in your back pocket in case no reader or accompanist is provided or the agent asks to see something else. Monologues are also useful if you want to maintain complete control in the room. Regardless of what you choose, your storytelling should shine above everything else and we should get a good sense of who you are and what you do best.
How has this piece been received in the past?/Is it overdone?
This is something you can usually avoid thinking about unless you consistently get the same feedback from multiple industry members about a particular piece. Because this is a subjective industry where everyone has their own opinions, it is possible that certain pieces will work better for certain audiences, HOWEVER, it is not a good use of your energy GUESSING what other people will or will not like (see Question 1 above)! For example, I worked at a casting office while they were holding auditions for Elf the Musical. I have those lines so deeply ingrained in my head that I would probably prefer never to hear them again, BUT, there is no way for you to know that (except that you are reading this right now)! So, if you’re the perfect Buddy or Jovie, I cannot hold that material choice against you.
Material tends to go in and out of popularity in cycles and often resurfaces when revivals pop up or rights become available to regional theatres. All you can do is your best in trying to avoid “overdone” material. There is not a perfect science to this.
One final thing to consider is if the piece is “iconic” or “classic.” I would generally avoid doing material that is going to be tied to a specific performer or famous production, such as a song like “The Ladies Who Lunch” or a play like A Streetcar Named Desire.