Insiders' Theatre with Druid's Maureen Hughes and Tim Smith by Theresa Nguyen

In Galway, we met Maureen Hughes, the casting director who has worked with the Druid Theatre and the film, Once, as well as Tim Smith, the general manager of Druid Theatre. Not only did we get insider tips on auditioning, but also an overview of the administrators’ role in theatre, notably Irish theatre.

Our class getting ready for the talk with Maureen and Tim

Charlotte introduces Maureen and Tim

            When asked the difference between casting for film and theatre, Maureen points to the different focus on “acting muscle.” In film, the emphasis is placed on the face, particularly on the eyes. Subsequently, it is to the one’s advantage to memorize the script completely, even if it means sacrificing meaningful choices. And here’s the reason: given the nature of the audition, the camera will catch every extraneous movement. Stillness and the well-intentioned facial gestures are thus key components that a director keeps in mind (albeit subconsciously) when casting. In other words, although the director has a general idea of his cast members during the auditioning process, he makes the final cut after reviewing the clips at home. On the other hand, auditioning for the theatre is a completely different world in itself, and arguably harder than auditioning for film. In a theatre audition, the emphasis is place on both the face and body, namely a strong physical presence. A person performing in theatre must not only be able to deal with a live audience and some spontaneity, but also exude “fresh quality” for every repeated performance. In some cases, Maureen argues there is more freedom casting for film; the people in film are not required to have a stamina that will last that for two plus hours of live performance and can depend on the cinematographers for any shortcomings they may have, for example the inability to move across stage. Another aspect that differs is the tendency for productions to tour around the country or across the world. Consequently, the director has to not only consider the performer’s talent, but also his personality, and if he has the flexibility to travel and work intimately with others for the duration of the production. In other words, theatre directors endorse niceness, which will in any case ultimately serve the performer a long way for casting, networking, and any sort of collaboration processes.

Maureen and Tim bounce ideas and stories off of each other.

Tim talks about the history of the building that Druid is based in,
telling the story of this wall that has lived through the centuries. 

            The most striking characteristic of Irish theatre is the lack of training in both acting and administration. Like acting, no one is formally trained in administration and most people enter the field through apprenticeship, In fact, Tim entered the field by networking and “reading a chapter on stage management each night” when he landed his first job stage managing a play. Though he admits that often times his promotions in theatre resulted from pure luck, he was passionate and gave his best efforts, identifying hard work as a trait in great Irish theatre. Another aspect that Maureen notes about Irish theatre is its abundance of raw, natural creativity. There’s almost this relaxed approach to the rehearsal process in Irish theatre, as opposed to British theatre that overly emphasizes technical training. For instance, many directors would spend an hour getting to know the actor and have them work with improvisation during the auditioning process, rather than have the actor present a formal script. Maureen points out that “Irish actors are [also] self-sufficient” and only need a cigarette to get started in contrast to British actors who need their “usual cup of tea and endless rituals” before rehearsals. All in all, Irish actors are just as comparable to actors worldwide, despite their lack of training. Great Irish actors, as Maureen tells us, can come from the streets and still “change something in the room…and that change keeps you wanting more even after you have seen a thousand auditions that day.”

            The number one advice that Maureen gives us when dealing with competitive auditioning process was to take advantage of the Internet, most importantly YouTube. Film directors, especially, love YouTube and will not resist watching a two-minute clip from a person who wishes to get noticed during the audition. As Maureen puts it, “With innovative technology, there’s no need reason for talent to be hidden anymore.” The only thing that you need to succeed is your own initiative.*

* Another very Irish characteristic in the quest to create new and compelling work.  

A super happy Samanta Cubias and engrossed Michael Kunze.

Charlotte, Maureen and Tim.  Charlotte met Maureen for the first time in Berkeley, CA when she did a talkback with her for Cal Performances when they brought Druid's DruidSynge in 2008!