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"Because of the nature of film and television casting, our members, like all performers, must take their own steps towards getting agents, auditions, and roles," according to the Screen Actors Guild.

ACTORS WANTED

Being part of a staged workshop reading gives you an opportunity to practice your craft, work with a great group of actors reading an original screenplay, and meet people who can help you find roles. And besides, it's fun!

Actors should always be looking for that next great role in a big budget feature film, a network TV show, or in Equity theater. In between such opportunities it is important to keep busy improving your craft and being seen. Ways to do that include indie films, non-Equity theater, showcases, acting classes, and staged readings. Many actors are unfamiliar with the workshop reading process, so let's talk about what that experience is like and its potential benefits.

Screenplay Workshops holds script readings weekly. At our readings an original script is read straight through. The writer or writers are typically present, and sometimes producers and directors. Afterwards everyone has an opportunity to discuss the script's merits and make suggestions for improvements.

"If it's not on the page, it's not on the stage", is an old adage in show business. To the writer a screenplay never sounds the same when performed as it did in his or her head. Having a script read aloud by actors is a good way to find ways to improve a script, to save money in production. For actors our readings are an opportunity to become known to writers, producers, and other working actors.

The writers help defray our costs of organizing readings. Our fees aren't enough to enable paying actors, but actors gain the benefit of a free workshop and exposure. One of the challenges we face in casting is our regular actors tend to get more work, that they become too busy.

Before the Reading

• Actors usually receive a copy of the script a few days beforehand. That provides a chance to prepare, but nobody is expected to memorize lines. Feature screenplays are about a hundred pages long. It takes about two hours to read through.
• Being on time is important. With perhaps fifteen actors cast, plus the host, casting director, writers, and other audience present that's a lot of people waiting. Starting late keeps everyone later.
• If you will be unavoidably delayed call the casting director. Make sure you have the casting director's mobile number.
• When you arrive downstairs at the Strasberg ask at the front desk (usually staffed by Geo) which room we are in.
• Look for your casting director.
• Look for your chair on stage. There should be a printed script there with your name on it.
• Just before we start the actors are asked to say their names and mention their latest show or other claim to fame. Say it in a quick sound-bite. There will be more time to talk about your new show during socializing afterwards. If you want to put out flyers please make arrangements beforehand.

Typical Reading Agenda

• Welcome
• Reminder to keep quiet in the halls, not disturb nearby classes
• Introductions: host, casting director, writers, actors
• Reading
• Feedback
• Reviewers can hand in notes
• Put away chairs
• Socializing downstairs

Reading Tips

• It doesn't matter how well you speak your role if nobody can hear you. Not being loud enough to be heard cheats yourself and the audience. Project with a good theater voice and try to avoid speaking into the pages. Look up. Make eye contact with fellow actors and the audience.
• Dialects can be tricky. If your part specifies speaking a dialect, such as a French accent, consider whether you actually can. It is better to read your part well without a dialect than to do it badly with the dialect. If you read badly people may assume you aren't a good actor, not that you can't speak French. If you are unsure of your capability to carry a dialect ask the casting director for help.
• Pronunciation of unfamiliar words is another pothole that can trip unwary actors. Mark any words ahead of time that you feel unsure of when you first see the script. You will get an opportunity just before starting the reading to ask how to pronounce unfamiliar words. Be ready.

The Feedback Process

• After the reading the actors usually go first in providing feedback to the writers. If you don't want to comment nobody will make you. Often actors are uncomfortable at first with giving an opinion, but quickly overcome reservations when they feel the positive energy in the room as others give feedback.
• Give all your positive feedback about the script first. What the writers need to know most is what are the best parts, the areas that the writers should concentrate on expanding. Unless the script is too long, what needs to be cut is less helpful feedback. It doesn't point a way forward.
• Don't forget that the writers just heard it for the first time, too. They may already be aware of issues you are about to comment on. Writers, like actors, tend to be very self-critical. Help them understand what's good.
• Give feedback as monologue, not dialog. It is permissible to address the writers to ask them a question, but it is your individual opinion the writers want to hear. Do not seek consensus by making feedback into a discussion. Diversity of opinion sparks more ideas.

Depending on the length of the screenplay, after the feedback there may be time to socialize downstairs. Sometimes there is food and drink. We must be out of the Strasberg by 11pm.