Weak in the knees: braving auditions at Duke

These days, senior Russell Williams has been spending a lot of time haunting the Duke theater scene as part of the cast of Love's Labours Lost. It's not where he thought he'd be a few years back. Williams did theater in high school, auditioned for a few productions freshman year at Duke, didn't get in and stopped trying. But this year, some unknown force--perhaps his proclivity for Shakespeare--compelled him to pull out his actor persona one last time and face the task of auditioning. Since he hadn't been acting regularly, he had to pick up a monologue and learn it over the space of a few days by pacing around his room reciting madly. It was a tough task for Williams, filled with anxiety, but ultimately one that ended in success.

The auditioning process can be scary, but for everyone who wants to perform at Duke, it's a way of life.

The stress that accompanies the auditioning process is universally felt from the theater to the music studio. For most performers, it's the time just before an audition that's the most stomach-churning. Freshman Davis Hasty, who will also perform in Love's Labours Lost, explained that "auditioning makes a performer absolutely vulnerable. [You're] at the complete mercy of the production team, and having no real control over [your] fate is a horribly nerve-racking feeling." And after the ordeal, waiting for results can be just as draining. Freshman Chloe Chien likened the suspense to waiting for college acceptances, a grueling time, while sophomore Trey Sherard, who also auditioned for Duke Players, offered some cautionary words of wisdom: "Stay really interested, check e-mail every 15 minutes but don't worry too much about it."

For the select few with the will and desire to perform, auditions begin right after classes start. For theater auditions, monologues are a staple, and actors are allowed to choose and prepare to their own tastes. A capella auditions feature a prepared verse and chorus followed by some range-checking and music auditions run similarly with a prepared piece and sight reading. Contrary to its nominal implication, improv comedy auditions also demand a scripted funny story for their try-out process. Only with certain dance tryouts can you just show up armed with nothing but yourself.

The process can by just as stressful for those holding auditions. Jackie Ou from the a capella group "Out Of The Blue" put in 7-8 hours a day for four days in a row to attend auditions. Aside from the time and energy required, she said "the hardest part was after we accepted the girls, and we had to wait those 5 hours for them to make the decision as to whether or not they will accept us."

Making decisions is taxing and time consuming and brings with it the burden of being fair and alert to each performer. Justin Bernstein, a member of the improv group "Inside Joke," recalled how challenging it was to pay attention to every movement and word, confessing that with so many auditioners it can be difficult to keep up. And while it's difficult for a performer to be turned down for a group, it is also extremely difficult to be the one responsible for making decisions.

In the end, not every audition story can be as successful as Williams. But even though Freshman Vinombi Nshan did not make the Dancing Blue Devils team, she plans to continue trying out for other dance groups and knows that "if you really want something you keep working for it even if you don't get it the first time." But as sophomore Jess Davis, who just joined "Borrowed and Blue," pointed out, auditioning is frightening and nerve-wracking, the process "made it exponentially more of an accomplishment to me."

Auditions are chancy and somewhat mysterious, but their was summed up very aptly by orchestra member and Hoof'n'Horn music director Ethan Eade: "What makes auditions both awesome and terrifying is that all of your talent has to be represented in one short performance. That better be a good day."