Not sure if I should do school play

[AliceSmith2]

So I recently auditioned for my high school's production of The Curious Incident of the Dog in the Night-time. I was really excited because a) I love the show b) I recently added a role from aprestigious theatre to my resume and c) there are a ton of roles with just a couple of lines. As a sophomore, all I wanted was one of those couple of lines roles. But I got into the "ensemble" in which I will basically just walk across the stage like a civilian. This is my second year in an ensemble like that. I know the director really likes me so I was sort of heart broken. On top of that, my best friend who also got into this ensemble doesn't want to do the show. What REALLY pisses me off is that one girl my age is legitimately playing 7 roles, each with several lines. If she only had one of those parts, 6 other girls like myself could have a couple of lines. My mom understands where I am coming from and doesn't think I should do the show. But my vocal teacher thinks that I should do it because it will me help me get a lead role in the future. I am very torn. If I can't get a speaking role in my high school shows, how can I ever be on Broadway one day.

[dramamama611]

I'm going to be very blunt here.

Well, you certainly won't get a lead if you quit.  There is no such thing as a small part - only small actors.  You can learn a LOT by watching the kids that do have parts and the director.   

I love how you want someone else to have LESS so you can have more.   If all the small ensemble roles were split up, it kind of defeats the style of an ensemble show.

As a director, the liklihood of considering a quitter that thinks there is no value in minor parts is MUCH less likely to be considered the next time. 

Do you really want to get cast because the director LIKES you?   How would you feel if that was the reason you felt OTHERS got "bigger" parts?    

There's a reason you aren't getting parts yet: you aren't ready. (I can't tell you why since I'm not your director.)

Do the show, observe, learn, and be the best damn stage crosser there is.

[AliceSmith2]

Thank you so much for your honesty. Re-reading what I wrote, I realize I sound ungrateful and whiney. I know I am ready to be a lead. I have been a lead before (in musicals though, not straight plays). But my director doesn't think so, which is why I need to be in the ensemble to prove it to her. It's nice to hear advice coming straight from a director.

[TheGingerBreadMan]

As someone who also directs from time to time, I would absolutely not cast a person in a lead if they had previously dropped out of an ensemble role - and I'd be hesitant to even cast them in the ensemble again. It shows that you aren't dedicated and aren't in it for the fun of the show or for the experience - you're only there for the attention and glory, which are not the reasons you should be doing theatre. You could ask the director if they would be willing to have a conversation about which areas they feel that you need to grow in and what skills you could hone to potentially get a larger role in the future. Dropping out would be the immature thing to do. Definitely not something that should be done by somebody with their sights set on professional theatre.

[A Director]

I understand your feelings.  Don't quit the show.

On the other hand, how are you to grow/improve as an actor if you only play roles with no lines.  Also, I know there are high school directors who play favorites when it comes to casting and some pre-cast the shows. The same is true of some community theatre directors!

 

[Simón Bolívar]

I am **** and work in fine dining venture for only 8 hours a week. I do not think the role is small. What I do might be considered 'basic' its very important it gets done. EVERYONE in a team is important. From Better Midler to the Stagehands . It takes a village maybe west village to create a show 

[dramamama611]

A Director said: "I understand your feelings. Don't quit the show.

On the other hand, how are you to grow/improve as an actor if you only play roles with no lines. Also, I know there are high school directors who play favorites when it comes to casting and some pre-cast the shows. The same is true of some community theatre directors!

"

And I'm sure,  theater directors EVERYWHERE to be sure.

 

From The Ginger Bread Man, "You could ask the director if they would be willing to have a conversation about which areas they feel that you need to grow in and what skills you could hone to potentially get a larger role in the future."

 

This is good, too.  Not all directors like doing this, however, which is why ASKING if he/she is willing is great advice.  I'm always willing to do so.  In fact, I had a young man a few years ago, that came and chatted after every audition.   And the best part?  He always worked hard on whatever we had discussed to be able to improve.   His thrill at finally getting a speaking part near the mid/end of Jr year was the best thing ever.

[jv92]

I understand your frustration, and that whole "no small parts, only small actors" canard gets tiresome, doesn't it?

 

But stay involved. Forget guaranteeing you a good part in the future. You'll learn by watching. I learned plenty about how not to treat people in the theatre from watching self-indulgent high school and college diva directors. You may learn something other than that, too, if the director brings something other than the usual to the experience. 

 

You may not act in the future. You may write, or direct, or design, or stage manage, or, or, or... Anything is possible! This experience may help you figure out what you like, which will definitely help when you decide on a college program, and will more than definitely help in your professional life in the theatre.

 

[ScottyDoesn'tKnow2]

Remember, even some of the biggest Broadway stars were cast as ensembles in their school productions. If they can do it, then you can too. Also, if you're a sophomore you have a lot of years in high school left which means there will be more opportunities for you to work and improve and to audition for more parts. This business does not always seem fair, and it's better to learn that lesson early. You just have to work on what you can do which is improve and keep trying. 

[Esther Blodgett]

This may be too blunt, but do the show in whatever role you are assigned. Nothing, but nothing, beats experience. Nothing. Especially at this point in your life.

No one cares about this show outside your immediate area. And no one cares how large or small your role is.

Jean Kerr wrote, "Never hire a known alcoholic. The unknown ones will give you trouble enough." The same goes for whiny actors, divas and the like. Say the words, don't bump into the furniture, take the money and go home.

Spend your down time figuring what makes you special. How is your talent unique? How can you develop those singularities into something sellable? That is what will benefit you in the long run. After all the song starts, "One singular sensation..."