So, let’s say you’ve rocked your monologues. You nailed your song. You hit it out of the park at your audition.

What if you don’t get called back?

OMG, what if you DO?

Okay. Deep breath. You got the callback. Whew. Another deep breath. What’s next?

Most callbacks consist of cold readings. Alright.  All you have to do is read from the script, right?

Actually, no. Cold readings are neither cold, nor readings.

Here’s what’s really going on:

The director liked you. They found you to be interesting. Something in your audition touched them. You made them laugh, or you touched a heart string, or they saw a glimmer (or a whole bunch of them strung together) of something they can work with. Now they want to know if you can bring it.

They want to know if you can readily and consistently be yourself. Reveal yourself. Take risks. Play hard. Fight for what you want and mean it.

You can practice all of this in “real life,” by the way. Are you willing to allow yourself to be vulnerable, genuine, open and present on a regular basis? It sounds pretty appealing, actually. Aren’t we all striving for mindfulness, presence, peace, emotional freedom, etc.? What if we were in that state all of the time? Oh yeah, buddy, that sounds very cool and Zen.

In the meantime, practice being in that state as much as you can. Everywhere.

So. Cold readings are really about being yourself. Check. Got it. Do lots of practice. You’re on it.

Okay, now for the text of the play you’ve been called back for.  Read the play first, if at all possible. Understand the relationships, setting, and context. Read it aloud. Get a feel for the language in your mouth. As much as you can, get out of your head and into your body. Tune into your breathing. Posture. Heart rate. Emotions. Reactions. Who are you rooting for? What does each character want from the others? What do they do to get it? Do they succeed? Or is there the agony of defeat? Understand the story and its arc.

Next, ask for sides before the callback. These are the script pages you will be asked to “read” (more on how it’s not actually reading in a sec). Recall where this scene lies in the context of the story. Then your job is to do your best to memorize the scene. Become very familiar with the gist of each line. Don’t worry about getting it word perfect (yet — it must be word perfect once you are in rehearsal and performance). Understand what your character (which is simply YOU) wants from the other person in the scene.

Often, you want the other person to come toward you or move away from you. Are you drawing them near or driving them away? “Come to me, my beloved,” or “Take one more step and I’ll chop off your head”?

Be ready to connect with your partner. Remember, you have been practicing connection and presence everywhere in your newfound Zen state. Breathe. Really listen. Determine what you want from the other person, then ask yourself: “What am I going to do to get it?”

Plays are about what people do. How they feel is secondary. The emotional part is not forced, or planned, or pretended; it is a byproduct of action. Expect to get what you want, and then celebrate your victories and grieve your losses. In order to fight for what you want, choose something to do.  Literally make it a verb. If  you can physicalize the verb, even better.

Here are some examples of active verbs:
corner
move
block
engage
restrain
needle
mimic
enrage
interfere
charge
amaze
comfort
groom
tantalize
nurture

Now pick one of these, and apply it to your scene. Physically do it. Understand why this is important — and I mean life and death — to your character. Channel your own nerves at the callback to be in the space where this is really important to me. Use your chosen verb, take a risk, and fight for what you want.  Allow yourself to be fully in the present with your partner, moment to moment, and you’ll be pleasantly surprised if you win. Or shocked if you don’t. Instead of playing the end, hang on every word and action your partner gives you, and respond authentically with all of the passion you carry in your heart, using your verb.

Have courage. Be brave. Don’t go in cold; read the play, understand the story, memorize the scene. Don’t read. Fight. Look at your partner. Absorb them. Glance at your script if you need to, but give all of your attention and focus to your partner. Listen. Open your heart. Try something. Try anything, and do it 100 percent. There is no right or wrong. Fire the judge. Interfere with your partner. If their head is buried in their script, make them look at you. Oh, and be open to changing your verb, if it’s not working. Be in the moment, and your heart will guide you.

Bonus: What if your scene partner is fighting, and breathing, and listening, too? Then you’ve got synergy, passion, combustion. Then, my friends, you have a play.

Welcome to the cast.

P.S. Stay tuned for news on a Cold Reading Workshop I am putting together for this summer! Get ready for hands-on practice, confidence and greatness!