“OK, Joshua, go ahead and sing.”
I still get butterflies when I hear that.
Few adult experiences leave you quite so exposed as auditioning for a play. As a kid, there are plenty of firsts: meeting new classmates, wearing the “wrong” sneakers, bathroom mishaps.
Most adults survive those moments and move on. But those who venture into community theater willingly put themselves back under the lights, where almost anyone is welcome — and everyone is judged.
And the judging doesn’t stop with the rehearsal. I played the role of Herr Schultz in Cabaret in college and a reviewer had a little fun with my performance in the college newspaper.
His exact words, ones which I will never forget:
“Joshua Peck, though he cannot sing a whit — no, not even a whit — performed very creditably in the role of Herr Schultz.”
It’s a brutal world.
At an audition, evaluators assess your skills right in front of you. Among those watching are actors who want the very same role.
Eek.
In front of the director
On Saturday, Jan. 10, I went through it again — not for the first time, perhaps for the 100th.
I’ve acted in children’s, college and adult plays since I was about 7 — from Smee in “Peter Pan” (Hackensack, New Jersey, 1964) to Issachar in “Joseph and the Amazing Technicolor Dreamcoat” with North Georgia Community Players in May-June 2024. Those are just the roles I got.
I’ve missed many others — including recent auditions for “To Kill a Mockingbird” and “Pride and Prejudice” at Habersham Community Theatre.
The rejections are always tough. The process starts under the lights, with competitors watching. It ends days later with a polite but impersonal email, which I interpret as: “You were all great; now go away.”
It stings. Every time.
Still, you get back on the horse. This time, I aimed for Tevye in “Fiddler on the Roof.”
At 7 or 68 — my current age — it never gets easier. You stand before friends, peers, and, most importantly, the director who will choose you or someone else.
Rebecca Bilbrey has directed musical productions for North Georgia Community Players for four years, filling the intimate auditorium at Dillard City Hall near the North Carolina border. She has staged “The Sound of Music,” “Little Shop of Horrors,” “I Love You, You’re Perfect, Now Change,” and “9 to 5.”
I’ve appeared in two Dillard productions: “Joseph,” and, two years earlier, the two-person drama “Love Letters,” directed by Foy Tootle.
Actors of every stripe
The company draws performers of all ages and backgrounds — teachers, students, laborers, homemakers, retirees. Sometimes entire families audition.
In between Dillard shows, I performed in three productions at Habersham Community Theatre in Clarkesville: “Big Fish,” “The Curious Savage” and “Footloose.” (I’ve played more than one grouchy authority figure. I try not to overthink that.)
The audition process is familiar: sing, read and sometimes dance — my weak point — while the director and staff watch. They usually need only a minute to decide.
Rebecca’s audition was closed. Actors waited in the lobby while each person took the stage alone.
Though performers often choose songs from other musicals to show range, I selected Tevye’s “If I Were a Rich Man.” I had one advantage: I’ve played him before.
In 1981, at the University of Michigan, I portrayed Tevye in a weeklong run at a 1,200-seat theater. For five performances, I lived the role.
Too old for Tevye?
Forty-four years later, I’m closer to Tevye’s age — perhaps on the far side of it. I’d long hoped to revisit the role.
“Fiddler on the Roof,” which debuted on Broadway in 1964, is based on stories by Sholom Aleichem. Its themes of tradition and change resonate across cultures.
I practiced for weeks at home, usually when my wife was out.
On audition day, I paced the lobby. One rival, Atha Thomas, seemed comfortable and looked the part. He sang first. He sounded strong.
My turn came. I walked down the aisle, connected my phone to the stage speaker and began the spoken introduction.
Then the song.
I had deliberately rested my voice all day. It felt steady. Rebecca appeared pleased.
Assistant director Megan West revealed little.
After the first verse, Rebecca stopped me.
“Thank you.”
Back to the lobby.
Acting time
After a brief break, we read scenes. Besides Tevye, the age-appropriate option for me was Lazar Wolf, the butcher.
Atha and I read the Tevye-Lazar scene twice, switching roles. I also read opposite Joy Ruhe, who would be a natural Golde.
The scrutiny was intense but professional. Then Rebecca dismissed us.
Callbacks
A week later, callbacks narrowed the field. It appeared Atha and I were the final contenders for Tevye.
We read again, including scenes with Joy. The quiet duet “Do You Love Me?” felt comfortable and genuine.
Forty-five minutes later, we were done.
In the parking lot, I complimented Atha.
“I like your accent,” he said.
“I came by it honestly,” I replied. “You were so good, I’m afraid I’m going to have to set fire to your car,” I add. He takes it in the right spirit. (Note to Dillard police: I didn’t do it.)
Decision day
A few days later, Rebecca posted the cast list.
“Tevye: Atha Thomas.
Lazar Wolf: Joshua Peck.”
Disappointed but not surprised, I called her.
“It was a hard call,” she said. “You were so good as Lazar. I hope you’ll take it.”
“I will,” I told her.
And rehearsals began this week. Opening night, April 24th, the first of three weekends. See you there?
Then, for the next one? It’s YOUR turn.
