The situation is this: theatres operating under Equity contracts are required to hold open EPAs (Equity Principal Auditions). In the audition notices for EPAs the theatres must list a character breakdown and state whether any roles have been offered and accepted previous to the open call. It seems to be the practice that many of these theatres already have a very good idea who they want to cast, but being unable to get a 100% commitment before the audition, make the announcement that they are looking to fill roles when they are in fact, not. Many actors believe theatres are just going through the motions before casting their first choice despite the auditions.
Of course, Equity wants the very sizeable portion of their dues-paying membership who believe that EPAs are a waste of both their time and money, to feel at ease and that they are getting a fair shake at employment. To this end, Equity News has launched this series of articles.
Well surprise! Some people do get cast from these auditions. But truly, the complaint is not that people are not getting cast. By phrasing the complaint in this manner, Equity is attempting to dismiss the legitimate concern that theatres are only holding these auditions out of obligation and not as genuine casting opportunities. Yes, ensemble, understudies, supernumeraries and interns may get cast from EPAs, but the principal characters – Equity Principal Auditions – honestly, when is the last time the Phantom or King Lear or Willy Loman was cast from an EPA? Or Carlotta or Kent or Happy?
Perhaps these are principal auditions in the sense that these are the principal auditions that the company holds, and not necessarily that they are looking for actors to fill principal roles. Fair enough, but the theatres still should be up-front about which roles they are looking to fill, seriously looking to fill, from these auditions.
A more constructive article, and an argument that would help to settle the myth one way or the other, would be to release the names of theatres holding EPAs, how many roles advertised were cast through the EPAs, which advertised roles were cast through EPAs, how many different actors were cast through EPAs, and conversely how many roles and which roles that were advertised for the EPAs were given to actors through different means. Every professional actor is aware of the incredible odds against getting cast out of EPAs due to the shear number of people auditioning. Actors want to know what roles the theatres are actually looking to fill, and whether or not they should waste the time and money.
The writer signs off saying: ‘After all; if you don’t show up for the audition, you won’t book the job.’ To which actors respond: ‘Well, if the theatre is not interesting in casting the role, why should you show up?’
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