Actor FAQ

Registering for Stonehenge

  • Pre-registration is required (no walk-ins).
  • Registration is online only. When registration is open and a registration website exists, it will be listed here. Since it isn’t listed here, that means no amount of emails to us will reveal its location nor when it will appear. We don’t know. In other words, when we know, you will know. To know when we know, join our mailing list.
  • Audition slots are assigned first-come, first-served.
  • Audition times are divided into 15-minute timeslots from 10am until 5:45pm (with a break from 1:15pm to 2:30pm for lunch).
  • 5 actors are assigned to each 15-minute timeslot. These are guaranteed or regular spaces. In addition, there will be a pool of standby spaces which will be filled after all the guaranteed spaces are filled.
  • Actors will get email confirmation of their slot as well as reminders of the date and time of their Stonehenge audition, however it is incumbent on the actor to remember.

Preparing for Stonehenge

    • Monologue(s) must be 90 seconds or less.
    • Please choose monologues appropriate for TV and film.
    • You will be required to bring 50 copies of your headshot and resume. If you do not have enough copies of your headshot/resume or they are improperly formatted, you will not audition (further details below).
    • If you need to cancel, do so through the website IMMEDIATELY. This will be easier when there is a website, but hey, since you don’t know when the next Stonehenge is and can’t register for it, just relax. It’s when you register that you need to remember the “immediately” part.

Attending Stonehenge

    • Give yourself plenty of time to get to the audition location. Check the given Stonehenge event page for location information.
    • You must check in 30 minutes before your audition. If you do not check in when your audition slot is called, your space will be given to an actor on the standby list for that timeslot.
    • There are no substitutions for any of the timeslots.
    • Any actor (guaranteed OR standby) who does not cancel is expected to attend. Actors who have registered and do not attend will be penalized, to quote Julie Andrews, “In the most delightful way.” And by delightful, we mean to Team J and all the responsible actors out there. Details to come!
    • Remember, both we at Team J and the producers want you to do well. Budget your time to come to the audition relatively relaxed and ready to impress. That will probably involve some “hurry up and wait” time, but that’s film.

Actor FAQ

1. What am I auditioning for again?
2. Should I attend?
3. Should I audition if I’ve been to a previous Stonehenge?
4. What if I’m already booked the day of Stonehenge?
5. How does the first-come, first-served system work?
6. What if I’m registered and I have to cancel?
7. What if I registered and now need to change my audition time?
8. What if I’m late?
9. What if I’m early?
10. What if I’m on standby?
11. Do you accept walk-ins?
12. How do I get there?/What’s the deal with parking?
13. What’s the deal with the camera and screen?
14. Can I use a chair for my audition?
15. How do I ‘slate?’ What does ‘slate’ mean?
16. What’s the deal with the video release?
17. What’s the deal with SAG (union) actors?
18. What happens if I go over 90 seconds with my monologue?
19. May child actors audition?
20. How many copies of my resume should I bring?
21. How should the headshot/resumes be formatted?
22. Should I bring demo CDs or other media?
23. May I email you my headshot and resume?
24. May I mail (post) you my headshot and resume?
25. How do callbacks work?
26. What should I expect if I am cast?
27. What do you mean by “monologues suitable for TV and film?”
28. Do you have any additional suggestions based on previous Stonehenges?
29. What if I have other questions about Stonehenge not answered on this website?

 

1. What am I auditioning for again?
Stonehenge! Stonehenge is a “speed-casting” event where actors deliver a short monologue to dozens of local fimmakers. You may have hear of similar mass auditions conducted by the Actors’ Center or the League of Washington Area Theaters. Stonehenge is different because it is primarily for film and video work. You’ll have a camera and bright lights pointed at you, won’t really be able to move, and hopefully have a monologue appropriate for TV or film.

Since Stonehenge started, we know that at least 250 projects have cast at least 1,000 roles with actors first seen at Stonehenge—and that’s just the ones of which we’ve been told.

 

2. Should I attend?
The short answer is: that’s your call. We can provide information to help your decision, but the decision rests with you.

87% of actors surveyed reported getting calls or follow-up auditions out of Stonehenge. 100% of the companies reported seeing actors at Stonehenge they have since used or planned to use—that’s at least 1,000 roles in 250 projects since Stonehenge started.

The issue, especially for the experienced actors, many of whom are SAG, is paid projects. We always have producers offering paid projects, however, we recommend that you check out the particular Stonehenge page for their info (bear in mind producers may register up to noon the day before the event).

Pay particular attention to specific company information as companies list their pay scales:

      None/Deferred
      Low Pay
      Non-Union (commercial rates)
      SAG (low budget agreement)
      AFTRA (commercial rates)
      SAG (commercial rates)

Remember any given production company may offer several of these pay scales. One company may compete in the 48 Hour Film Project and also make industrial films for clients. Whenever you get a call from a company, don’t be hesitant to get details—and we don’t just mean pay (which can vary even in the categories above).

Stonehenge is open to both aspiring and experienced actors just as it’s open to both aspiring and commercial filmmakers. As many actors have told us, the most rewarding acting work is not always the most lucrative. This is one of the reasons why SAG has low budget agreements with many indie filmmakers.

Think about your expectations for the audition, check out the producers and companies listed before actor registration closes, and decide whether or not you’ll benefit from auditioning.

 

3. Should I audition if I’ve been to a previous Stonehenge?
This question should have been at least partially answered by the question above, but here’s a few more factors to help you with your decision to attend:

The producers and companies will never be exactly the same each Stonehenge, which is one of the reasons we won’t say no to any actor.

You will be able to see the producers who are attending as they register and check out their company website if they list them. If you see many of the same producers and companies, ask yourself, “What has changed so you want to audition for a given company again?”

However often you choose to attend Stonehenge, please change your monologue. There are enough producers who attend every Stonehenge. We will remember and we will compare your delivery to your previous performance (perhaps subconsciously). Moreover, some filmmakers may just think, “jeez, this monologue again.” and tune you out as they wait for the next actor.

 

4. What if I’m already booked the day of Stonehenge?
We’re sorry we won’t be able to see you. New Stonehenge dates are always being set. You can check back at the Team J blog, subscribe to our Twitter Feed, or best yet, join our mailing list to learn when the next Stonehenge will occur.

 

5. How does the first-come, first-served system work?
You’ll need to check the schedule of the particular Stonehenge, but once registration opens, you will need to log into the website and register yourself for a particular timeslot. There are 5 Guaranteed spaces per 15-minute timeslot and 30 general Standby spaces.

    1. GUARANTEED (5 spaces per timeslot, 120 spaces total) You will be auditioning! If you are unable to attend, please cancel as soon as possible through the website (i.e., you will login in and cancel at the same website you logged in and registered). You will need 50 copies of your headshot and resume in the proper format.
    2. STANDBY (30 spaces total) You might be auditioning. If enough actors don’t show, you will audition. If enough actors cancel before the day of Stonehenge, you will be notified You will still be able to drop off your headshot/resumes for distribution with the production companies. If you are unable to attend, please cancel as soon as possible through the same website that you registered. Plan on having 50 copies of your headshot and resume.

 

6. What if I’m registered and I have to cancel?
Whether you have a guaranteed or standby space, please let us know as soon as possible—and know that you will have made another actor quite happy.

The website will reflect how many free spaces are open, so other actors will, presumably, register and take any free spaces that are offered.

Remember, if you have registered and do not cancel, there will be an as yet undisclosed penalty.

If you have a standby space and cannot attend, you also need to cancel. A quick visit to the registration website will allow you to cancel your registration and another actor has a chance to audition. Go for the good karma.

 

7. What if I registered and now need to change my audition time?
Unfortunately, because all available spaces fill up so quickly, we are not able to accomodate timeslot changes. You may cancel your existing slot in hopes of another slot opening up, but we don’t advise it. Historically, over 400 actors vie for the 120 guaranteed slots.

 

8. What if I’m late?
First off, remember that you must check in 30 minutes before your audition time to allow us to collect your resumes. (e.g., if you have a 12:30 audition, your check-in is 12:00pm). There is no phone number to call if you are running late. Please do not call the audition location as neither they nor we can change the clock.

That said, if you miss your timeslot, you will go into the standby pool and we will try and fit you in at a later timeslot. If enough people do not show up, we will.

At the same time, do not plan on us being able to fit you in. Your best chance of being seen is to arrive on time for your timeslot.

 

9. What if I’m early?
If you arrive well before your check-in time (30 minutes before your audition slot), feel free to relax. The staff at the check-in table will announce when they’re collecting resumes for your timeslot.

However, if you’re tuned out listening to your iPod, deep in conversation with a friend, or have somehow locked yourself in the bathroom, we don’t have the time to look for you. Please help us help you and be sure to be within earshot of the check-in table as your check-in time approaches.

 

10. What if I’m on standby?
This process will be changing for the next Stonehenge as we will be switching from timeslot-by-timeslot standby spaces to an overall standby pool. Details to come.

 

11. Do you accept walk-ins?
No. Every Stonehenge, all guaranteed and standby spaces fill up.

 

12. How do I get there?/What’s the deal with parking?
Check the specific Stonehenge event page for details and directions. Essentially, depending on other events going on that day, parking may be sparse to downright awful. Please budget plenty of time and/or money for parking or plan to take mass transit.

 

13. What’s the deal with the camera and screen?
There will be a camera pointed at you during the audition. The setup is so the producers can see how you look on camera (often markedly different from how you look in person).

The audition space is usually less than 4′ x 4′ so plan to deliver your monologue standing or sitting. Please slate to the camera. You may deliver the monologue to a character “offscreen” or to the camera as your monologue dictates.

 

14. Can I use a chair for my audition?
The audition space includes a chair. You may sit in the chair or stand in front of it. Please do not move the chair as it is already set up for the camera. Remember, the tiny space in which you have to audition is by design. Moreover, the camera operator has not rehearsed moving the camera with your monologue so sitting and standing during the monologue is not recommended.

 

15. How do I ‘slate?’ What does ‘slate’ mean?
“Slate” in this case means introducing yourself prior to beginning your monologue. After you are in position, seated or standing, look for the camera operator. They will signal you to begin. State your name and the name of your piece. For instance:

“Hello, my name is John Smith, and I’ll be doing a piece from Seven Guitars by August Wilson”

“Good afternoon. My name is Jane Doe. I’ll be doing Marina from Local Hero.”

That’s it. Remember, the timer will not begin the stopwatch until you begin your actual monologue.

 

16. What’s the deal with the video release form?
When you register for Stonehenge, you will have the option to electronically sign a release to have your audition video-taped. If you forget to sign the release before the event day, you may log into the website and do so then as long as the release is signed before you audition.

If you email us with questions, we will most likely refer you to a specific clause in the release. However, we do want to note a few important points:

  • You must be eighteen years or older to sign and be taped. No exceptions.
  • We cannot, at this time, provide you with a separate video. It is planned to be uploaded to the Stonehenge Auditions YouTube channel.
  • You may, at any time, write Team Jabberwocky and we will take your video down from our YouTube channel.
  • We will be collecting the signed releases and determining who gets taped WHEN YOU CHECK IN, so it’s very important that you either read the release provided online before the event WELL BEFORE you need to check in the day of the event.
  • This is a free service being offered on top of the audition and is being offered “as is.” If you have any doubts, ignore the taping and focus on the audition.

 

17. What’s the deal with SAG (union) actors?
SAG actors are very welcome to audition. Some of the companies plan to use one of the SAG contracts designed for indie films, specifically the short film agreement or the ultra-low budget agreement. Producers using any of these agreements should have “SAG (low budget agreement)” listed in their company information. Bear in mind that Stonehenge is open to aspiring and commercial filmmakers just as it is open to union and non-union actors. We want a good percentage of attending companies to offer paid work as well as SAG work, but that’s in the hands of the producers. We recommend checking the list of producers attending, bearing in mind that producers may wait until noon the day before to register (space is limited though, so they usually sign up beforehand).

 

18. What happens if I go over 90 seconds with my monologue?
Remember that 16-ton weight from Monty Python that dropped on people who overstayed their welcome? Seriously though, please choose and practice your monologue so that you can reasonably perform it in under a minute and a half—without sounding like a speed reader.

If you do happen to go over 90 seconds, a staff member, who has been timing you, will say, “time” whereupon we ask you to simply thank the filmmakers and exit the stage.

This might be a good time to reiterate that we really are very excited to have you audition and want you all to do wonderfully. At the 90-second mark, some actors are hitting the crescendo of their monologue and the timer would rather not stop you. But hey, we have 120 people to get through in the course of the day. We need to keep things moving. So again, please pick a monologue comfortably under 90 seconds.

 

19. May child actors audition?
Yes, with caveats. First, we would prefer any actor under 18 to be accompanied by a parent or guardian. The world is not as nice or safe a place as any of us would want. Second, we have no way to place all child actors in one audition slot. Therefore, the child actor will audition with 4 other actors, some of whom may have monologues with adult language or mature themes. While this has not appeared to be a problem for our previous Stonehenges, we do want to make parents aware of it. Third, while it’s important for actors to include contact information on their resume, please consider what contact information to share—again, simply to be prudent and safe.

 

20. How many copies of my resume should I bring?
Plan on bringing 50 headshots/resumes. Please count out the exact number before handing them to us upon check-in. Nice headshot copies can be pricey and if we receive extras, they may regrettably find their way to the trash. If you do not have the proper number of headshots, you will not audition.

 

21. How should the headshot/resumes be formatted?
Headshots and the attached resumes need to be 8″ x 10″ or 8 1/2″ x 11″. Professional 8″ x 10″ headshots are preferred. They should either be printed on both sides or the headshot should be secured to the resume with four neat staples on each of the four corners. (You’ve naturally already done this and aren’t hoping we’ll have a stapler.) If you are not printing on both sides, make sure the resume and headshot are the same size. Don’t attach any business cards or extra photos to your resume either.

99% of you already do this, for which we’re thankful. Resumes in folders, resumes in slippery sheet protectors, or headshots in non-standard sizes will not be accepted and you will not audition.

Incidentally, the most important thing about the headshot remains whether or not it looks like you: really you on any given day.

 

22. Should I bring demo CDs or other media?
No. Not all of the filmmakers will be interested in those media. Those that are interested may contact you for them after the auditions.

 

23. May I email you my headshot and resume?
No. All headshots and resumes will be collected and distributed at the event. Headshots and resumes sent to any of our email addresses will be deleted.

 

24. May I mail (post) you my headshot and resume?
No. All headshots and resumes will be collected and distributed at the event. You may wish to follow up with a particular production company after the event, but please check their website as some companies prefer not to receive unsolicited resumes.

 

25. How do callbacks work?
As you will see from reviewing the attending producer list, most everyone has some specific projects they plan to work on in the coming months. Each company will handle its own callbacks based on your audition today and their individual needs. In some cases, they may simply keep your headshot on file. You may not hear from anyone for months, or you might hear from a bunch of people next week. We often schedule Stonehenge right before film competitions such as the 48 Hour Film Project to increase the chance of you getting work sooner.

 

26. What should I expect if I am cast?
The short answer is: the pay varies, but you should always aim for good experience.

A specific producer will be able to tell you what compensation they offer. Please bear in mind that the 48 Hour Film Project and the National Film Challenge are volunteer only. No one on the teams gets paid (but they should definitely feed you).

In the realm of independent film, most of the projects in this area are currently low to no pay, or for deferred pay. “Deferred pay” usually means no pay unless the film makes money. Producers generally offer screen credit and a copy of the final film, as well as feeding you during the shoot—and hopefully giving you some great acting opportunities. We are by no means advocating actors should not expect to be paid. Be sure to ask the producers for details and if it doesn’t sound like a good opportunity, pass.

Casting agencies, multimedia companies, and production houses all have different rates of compensation, not coincidentally related to the budget of the project they’re working on.

Acting for film and video offers several different challenges unlike acting for theatre. Rehearsal time is truncated and sometimes non-existent. You may need to take one of your fellow actors aside to run lines and feel comfortable. Films are often shot out of sequence. You need to find a way to pop into whatever emotional state your character is at that time. Films are usually shot by location, not in scene order.

Another aspect of filmmaking that actors should know about is that long hours are not uncommon (but always make sure filmmakers are up front with you about their schedule, their expectations, and your compensation). Not only that, as an actor, you will be asked to do the same scene again and again—and to hit your marks as precisely as possible each time! Then, the filmmakers will tinker with their equipment and ask you to do that same scene again, so the camera can take it from a different angle. The routine is monotonous, but your acting has to remain fresh. And remember, you might do a perfect “take” and an equipment glitch—something forever out of your control—means you have to do it again. Welcome to film!

 

27. What do you mean by “monologues suitable for TV and film?”
Besides picking a monologue that can be comfortably performed in 90 seconds, the
basic guidelines for choosing a monologue apply: choose a monologue that best shows your skills and is appropriate for the project you’re auditioning for.

As an actor, you should already have a number of monologues in your repertoire. You may have a dramatic monologue, a comedic monologue, and a classical monologue. In fact, if you do a lot of classical work, you may have a dramatic and comedic monologue for that as well, because your Neil Simon piece just won’t fit when you’re auditioning for a Shakespeare comedy.

Likewise, you should have a TV or film monologue. This doesn’t have to be a monologue from TV or film—in fact, you may wish to avoid popular, well-known film monologues as you would popular monologues from plays. The important thing is that you practice the monologue in the style of TV and film.

What does that mean? That means you are much more understated. Even if you are in a film with a hyper-real genre (e.g. horror or fantasy), the acting generally starts from a more naturalistic place. Take care not to pick monologues that are too melodramatic. Monologues with such histrionics do not lend themselves to film. Good monologues should have subtlety and powerful meaning in subtext. We want to see small moments and you act with your eyes.

This underscores another point. Yes physical presence is important and, naturally, as filmmakers we are very concerned about your appearance. However, you don’t need to gesticulate much—if at all. Indeed, some filmmakers would rather have you in a straitjacket for the whole audition so you will be forced to act with your eyes and face alone. Why? In production, you may be six inches from the camera and you won’t be able to move—otherwise you fall out of the camera’s frame.

If your strength is as a quirky or off-the-wall character, find a monologue that allows you to do that with your eyes and subtle intonation of your voice. Film is an intimate medium and you want to draw us in, not push us away.

This leads to the next point. Thankfully, since this FAQ debuted for Stonehenge III, actors have learned to dial themselves down. However, lest we backslide into loud, unpleasant, and inappropriate monologues, we will continue to be frank and perhaps a little harsh. Here it is:

No yelling.

To be clear, we are not looking for timid actors who can’t be heard. We are not opposed to high-energy monologues or enthusiasm in general. If you need to belt out an expletive or a command to a character “off-camera” in the course of your monologue, that’s fine. None of this involves yelling.

No monologue we want to see, regardless of the source material, involves yelling, especially the sustained yelling we had to endure far too many times during the previous Stonehenges. We will be sitting right there, not 10 feet from you. Out of simple decency, you don’t need to yell.

Imagine, if you will, that you’re reading a web page, perhaps very much like this FAQ right now, and all of a sudden THE WRITING BECOMES LARGE AND IS IN ALL CAPS FOR NO APPARENT REASON. IT ISN’T HELPING EXPLAIN ANYTHING. IT’S JUST BIG AND OBNOXIOUS AND HORRIBLY OUT OF PLACE. Did you enjoy that? Neither did we. Yelling takes us out of the moment, and in that moment we have one thought: “Don’t hire this person.”

When you yell “in all caps” like that, you have no chance to display subtlety, subtext, or tell the story with your eyes. Moreover, we’ve noticed that actors who succumb to sustained yelling have more awkward physicality, or worse yet, start gesticulating wildly. Remember those filmmakers that would prefer you be straitjacketed? They’re now looking for a taser—anything to stop you before you hurt yourself or others.

Speaking of weapons, brandishing one during your monologue, even if it is actually fake, (“it’s just a prop revolver”) is not a good idea. Luckily, no one has done that yet at Stonehenge, but there may be an actor out there not reading this, ready to make that ill-conceived choice. Do them a favor and let them know scaring the bejeezus out of people you hope to work with is very counterproductive.

 

28. Do you have any additional suggestions based on previous Stonehenges?
Did we mention “no yelling” and that monologue choice is very important?

Don’t forget to put your phone number AND an email address on your resume.

Please allow plenty of travel time.

Lastly, don’t forget to have fun. We’re doing this because we love to make films and are excited to have you come and audition.

 

29. What if I have other questions about Stonehenge not answered on this website?
Email us at stonehenge@teamjabberwocky.com.