#9.5 IDS: Glengarry Glen Ross

At first I wasn't crazy about the sides (a monologue and a two-person scene) I had to use for this audition. I thought they were weak. I mean, sides for Glengarry Glen Ross that didn't involve being outright furious at someone? But then I thought,

"Fucking sides are weak? You're weak."

My roommates God damn love Glengarry Glen Ross. My class' acting studio produced a whole array of scenes from it. It's practically in their blood now.

As the auditions drew closer though, it dawned on Joe and I that Boston isn't Emerson College, and I've come to this realization time and time again. If someone needs an old grumpy man, they are not going to need a young grumpy man, and certainly not a young disagreeable boy-man. At that point the audition was nearly over in my mind. I didn't have the gusto to work on the sides.

But that wouldn't stop me from trying. I would have to make the most of these sides. Wit. Resourcefulness. That's what separates the men from the old men.

When I got to the audition, I recognized a few faces from the small theatre circuit. I suddenly felt way better because 1) familiar faces do that and 2) they were fresh, unwrinkled faces. This meant that I wouldn't be the biggest outlier in terms of age next to them.

I was set to go in by myself, but a fellow named Michael dropped in and asked if he could still audition even if he hadn't signed up in advance. He was asked if "now" worked for him, and he said Yes.

We strolled in together. The director asked how Rough Week's show went. I said, "Very well." He then asked us what we would like to do - that is, which of the provided materials we felt most comfortable with. I had worked mostly on Roma's monologue rather than the Moss/Aaronow scene, because I thought I had the best chance with Roma in terms of age requirements. (The character I would most like to have tried out is Williamson, but there was no material for him) Michael said he was ready for whichever.

The director had Michael step out and let me to Roma's monologue. He asked me if I had any questions. I was taken aback - I thought asking questions in an audition meant your were stupid! Maybe it was a trick. I just verified whether or not Roma was talk to/near Lingk. He reminded me, above all, that this was a pitch. I appreciated the direction. I don't know if it helped. I felt resolute, but not very deep.

Then Michael came back and read for Moss, while I was Aaronow. The Moss-heavy scene was mostly for his sake.

Everyone was nice.

Not like anyone in a Mamet play.



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