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Additional Information

Selecting Materials

Time management is a very important consideration in selecting material. Actors will be stopped at the time limit at all levels of the audition. There is no grace period at any level. Actors are strongly encouraged to allow time in their audition both for audience reaction and to fully develop the acting moments. It is a disadvantage to the actor to prepare an audition which requires the actor to rush to finish the material.

Student artists participating in the Irene Ryan Scholarship auditions are encouraged to select material and make artistic choices with consideration of the following criteria:

• Choosing material suited for the actor that reflects self-awareness, expressive emotional range, wide vocal range, and physical connectedness.
• Engaging in active objectives and tactics to affect who they are speaking to their imaginary scene partner. (acting is action, what is your objective? what/who is your obstacle?)
• Expressing truthful investment in the moment of their given circumstances. (who, what, where, when, why, how) 
• Expressing a compelling story with a clear arc from beginning to middle to end.
• Demonstrating a connection with an imaginary scene partner (who you are speaking to?), projected imagery, and specific fourth wall focal points. 
• Making a Body/Voice Connection. - (Are you filling the space vocally, energetically, and in connection with your body? Can we understand you?)

In conjunction with the KCACTF RED Initiative, the following websites may be a resource in your journey for selecting work: 

Rehearsing the Material

1. Make strong, positive and varied choices aimed at putting your character at the forefront of the scene.
2. Locate and explore counterpoints and tensions between yourself and the character, tensions within the character, and tensions between the character and the dramatic situation.
3. Take a journey and allow the text to surprise you. Use discoveries, realizations, unusual tactics, and make nonverbal choices in the scene to keep the journey the character makes spontaneous and surprising.
4. Give movement specificity, anddramatic validity. Simple but completely realized movements and gestures are the most effective. Avoid literal interpretations of the text in movement and gesture.
5. Avoid working on too many physical levels (on chairs, tabletop, etc.) Look for staging choices that grow more from a thorough understanding of the text than a desire to use the audition venue in a unique and clever way.
6. Maintain  safe vocal practice throughout the scene.  Don't let emotions drive you into unsafe vocal practices.
7. Imagine the physical space appropriate for your scene; set the environment and maintain during the performance.
8. Movement should develop organically from the material; the connection between the physical action and its emotional source should be strong and clear.
9. Ask your acting teachers and your coaches to help you with your audition. Don't let the regional festival be the first place your audition will be seen by others. Feedback from coaches and as much rehearsal in front of others as possible is essential.
10. Your introduction is an important part of your audition. Make it count. Script and rehearse it as if it is an additional scene in your audition. Be sure both you and your partner are introduced by name (but do not identify your school), and that you identify the title and author of each piece you are performing. Keep the introductions brief, personable and professional.
11. Adequate rehearsal is vital. It is suggested that a five minute presentation should be rehearsed a minimum of six hours, excluding time spent learning the material and discussing it with coaches.

At the Audition

1. Wear simple, comfortable clothes and shoes suited to your movement choices. Current stylistic trends are not necessarily the most professional attire. Remember, your clothes aren't auditioning – you are.
2. It is recommended that no costume be used, unless absolutely essential to the scene.
3. It is recommended that no properties be used, unless absolutely essential to the scene.
4. Style your hair to ensure that your face can be seen during the audition.
5. Warm up your voice and your body. Take time to connect to your partner.
6. Assess the acoustic qualities of each performance space and make choices regarding how much vocal energy you will need to be heard.
7. Be respectful of others in the audition room and as you set your scene. You are being watched the moment you enter the space.
8. You may certainly end your audition with "Thank you."

A Note about Time

In the regional semifinal round and beyond, be sure to clearly specify the ending of one piece and the beginning of the next. Do not run scenes together. To avoid going over the time limit, a good rule of thumb is to use no more than 2 minutes, 45 seconds total in the preliminary round, 4 minutes, 45 seconds in the semifinal round, and 5 minutes, 45 seconds in the final round.

Time the performance carefully so that it is always within the required limits; audience laughter is part of your time. Carefully weigh the decision of how long you wish the preliminary round scene to run. If you decide to consume all three minutes in the preliminary round scene, you will have only two additional minutes to perform a contrasting scene in the semifinal round. The choice is entirely yours, but plan accordingly.

Royalties & Permissions

Audition material should be selected from the following:

1. Public domain (non-copyrighted material).

2. Material written for or by the candidate.

3. Material for which permission of the rights holder can be secured.

Written proof of permission from the rights holder must be presented at each level (regional and national) of Irene Ryan Auditions for any material that has not previously been designated as available (see rights holders' information below).

As with any copyrighted material, if you wish to use non-dramatic source material for your audition (i.e. a novel, short story, etc.), you must obtain written permission from the author or rights holder if required to perform the piece.

Once you receive written permission (if applicable), you must provide A COPY to the Irene Ryan coordinator at the regional festival auditions (keep the original secured in your possession at festival, as this is a legal document entitling you to perform the piece.)

Any royalty fee(s) for material performed in the auditions is the sole responsibility of the nominee. Be advised that if a royalty fee is required, it must be paid prior to receiving written permission to perform the material. Please plan accordingly.

Performers should seriously consider that when internal cuts and the realignment of text are made to scenes or monologues, there is the risk of significantly altering the interpretation of the dramatic idea of the play and the author's intent. Most authors would not support such an action, even for an audition. Both coaches and students are reminded that they assume the liability should any rights holder choose to formally complain about the way the material is used.

Publisher

To find the publisher of a particular play, go to the following website: 

Once you ascertain who the publisher is, then go to the section for that publisher (below) and follow the instructions specific to that company. If the play you have selected is handled by an agency not listed below, you must contact that agent to secure written permission to perform your selection.

Public Domain Material

(non-copyrighted material) – i.e. the works of Shakespeare and other classic plays written pre-twentieth century whose copyright has expired. Many plays that may be in the public domain in their original language are not in the public domain when translated into English. If you wish to perform a translation of a play not originally written in English, make certain that the rights are available for that translation and, if necessary, obtain written permission and pay whatever royalty is required. For more information about plays in the public domain, go here: 

Smith and Kraus

Most Smith and Kraus collections and monologue books include a blanket permission statement for audition use. These collections provide a loophole if you're desperate to perform a piece listed on Sam French's Red Light List of plays. Remember, however, the particular piece you're interested in performing MUST be found in one of these collections that include blanket permission. You must provide evidence of this at the check-in for each round at festival, so please bring the book with you.

Broadway Play Publishing, Inc.

All plays for which Broadway Play Publishing, Inc. represents the stage rights (unless designated "restricted" in the catalogue description) may be used in the Irene Ryan Auditions with no royalty or written permission required, provided the excerpt taken from the play is performed in its entirety (no internal cutting).

Samuel French

We will continue to respect the wishes of the following playwrights (or their estates) and not allow plays by these individuals that are licensed by Samuel French  for the audition:

Edward Albee, Woody Allen, Amiri Baraka, Enid Bagnold, Philip Barry, Samuel Beckett, Bertolt Brecht, Eduardo DiFillipo, Ben Elton, Michael Frayn, Charles Fuller, John Guare, David Hare, Eugene Ionesco, George S. Kaufman (and co-authors), Ira Levin, Charles Ludlam, David Mamet, Jane Martin, Peter Nichols, Eugene O’Neill, Elmer Rice, Willy Russell, Claudia Shearer, Sam Shepard, Tom Stoppard, Hugh Whitemore, and Thornton Wilder.

Exceptions (these ARE available for audition use):

• David Hare: GALILEO, MOTHER COURAGE, AMY’S VIEW, THE JUDAS KISS, THE BLUE ROOM
• David Mamet (and Anton Chekhov): UNCLE VANYA
• George S. Kaufman: JUNE MOON, THE BUTTER AND EGG MAN
• Tom Stoppard: ROSENCRANTZ AND GUILDENSTERN ARE DEAD, DOGG’S HAMLET/CAHOOT’S MACBETH
• Elmer Rice: THE ADDING MACHINE
• Sam Shepard: THE TOOTH OF CRIME
• Thornton Wilder: THE MATCHMAKER, THE SKIN OF OUR TEETH
• Willy Russell: SHIRLEY VALENTINE

1. All other Samuel French licensed plays and playwrights are available for use.
2. If the student actor advances to the final round of the scholarship audition at the regional level, s/he is responsible for paying a royalty for the Samuel French licensed monologue or scene. èßäAVwill consolidate this process and coordinate payment AFTER each regional festival.
3. If the student actor advance to the national finals for the acting scholarship at the Kennedy Center during the National Festival, the Kennedy Center will consolidate and coordinate this process and pay the royalty
4. Neil Simon plays are only allowed if the student agrees to pay a full performance royalty if s/he advances to the final round of the regional audition process.
5. Students should not reach out to Samuel French to inquire about rights, apply for a license or attempt to pay a royalty.

Dramatists Play Service, Inc.

Do not send Dramatists an application for the Regional festival level. You may perform selections from any Dramatist play, except the works of Edward Albee & Samuel Beckett, at the regional level without written permission or paying a royalty fee. However, if you progress to the National finals at the Kennedy Center, you must apply for and receive written permission from Dramatists to perform the piece(s). This must be a quick turnaround, so don't delay if advanced to national finals!

Dramatic Publishing

There are no restrictions, except please observe their no internal cutting or changes policies, found here:

The nominee is expected to pay a $15 royalty per piece if they make the regional audition's final round.

ICM

Permission will be granted with no royalty fee for all of the playwrights represented by ICM who are not handled by any of the major houses (Samuel French, Dramatists Play Service, etc.). To use a piece from an unpublished work (but it appears in a collection for example), a letter requesting permission, and a subsequent response by ICM, is required. No royalty will be necessary, but permission is required.

40 West 57th Street
New York, New York 10019

(212) 556-5600

Playwrights Guild of Canada

All properties are available with no royalty charges, and no written permission is required.

PGC 54 Wolseley St. 2nd Floor
Toronto, Ontario
Canada, M5T 1A5

(416) 703.0201
(416) 703.0059 (fax)

[email protected]

Tams-Witmark

Do Not Call Tams-Witmark! If your school has an ASCAP license, you should be covered by the license as representatives of your school (check with an appropriate faculty member for clarification). If not, you may not perform the piece.

Tams-Witmark Music Library, Inc.
560 Lexington Ave.
New York, NY 10022

(212) 688-5656 (fax)

Music Theatre International (MTI)

If your school has an ASCAP license, you should be covered by the license as representatives of your school. Check with an appropriate faculty member for clarification.

Rodgers & Hammerstein Music Library

The creation and use of an excerpt or any other adaptation of a copyrighted work without the express authorization of the authors or their agents is a violation of copyright law. When available, R & H is happy to license excerpts, scene cuttings or individual songs for participation in theatre auditions and festivals. You must advise R&H of the nature of the specific excerpt or cutting, along with the dates, place and number of performances to be presented in the initial audition and, if approved, R&H will issue the appropriate Special License. They ask that you keep them informed of subsequent auditions should you move on to the next level, and they will amend the license accordingly. They cannot, under any condition, grant permission to omit the score from one of our musicals for presentation as a straight play.

If your school has an ASCAP license, you should be covered by the license as representatives of your school. Check with an appropriate faculty member for clarification. Otherwise, you must obtain written permission from:

R&H Theatricals
229 West 28th St. 11th floor
New York, NY 10001

(800) 400-8160
(212) 268-1245 (fax)

[email protected]

Playscripts, Inc.

Currently, royalties are waived for the performance of "excerpts lasting less than 10 minutes" at adjudicated school theatrical festivals or auditions, unless otherwise noted. These particular performances, and only these, are automatically authorized by the playwright when you purchase books from Playscripts. (Note: Any other cuttings must receive prior approval from Playscripts.)

Judy Boals, Inc.

All properties are available with no royalty charge, and no written permission is required.

208 West 30th Street Rm
401 New York, NY 10001

(212) 868-1068
(212) 868-1052

[email protected]

Theatrical Rights Worldwide

Permission for the Irene Ryan Auditions will be granted with no royalty fee for all musicals represented by Theatrical Rights Worldwide. However you are required to use copyrighted, authorized sheet music. Any music not commercially available can be purchased by contacting TRW. Sheet music from the piano/conductor score can be purchased for $10 each per performer (includes shipping and handling).

You must also request a festival license using any of the contact information below. When making your request, include the name of the festival, the song(s) you are looking to perform, the full name(s) of the performer(s), the date(s), the location of the festival, and your email address. You will then receive a license via e-mail which you must sign and return before receiving permission.

Theatrical Rights Worldwide
1359 Broadway, Suite 914
New York, NY 10018

646-736-3235 (direct)
866-378-9758 (toll free)
212-643-1322 (fax)

Theatrefolk

Monologues and scenes/excerpts lasting ten minutes or less taken from plays published by Theatrefolk may be performed for the Irene Ryan Acting Scholarships without royalty.