There are many ways to achieve this. There was a time when we held completely open auditions but then the number of potential performers became too much to process. Generally, we use a casting director to present lists of people and then, once that list has been whittled down, they organise the casting sessions. The use of the casting director allows us to see people who we do not know and can bring people who don’t know us into audition.

The problem with this is that performers are often presented to casting directors by agents and not every aspiring actor has (or should have) an agent. It can feel like an unhelpful exclusivity.

However, I am always on the lookout for performers and am encouraging of actors who want to be seen for parts (but don’t necessarily have the agent that will put them forward). Being seen in a workshop environment is potentially much more telling than being seen in an audition. In that audition you will have prepared and will be presenting what you might imagine is the best version of yourself as a performer, but I will be looking for a bit more than that. I want to know how you respond to mistakes, how you listen, how creative you are in response to a suggestion. Sometimes a workshop environment gives me a better understanding of someone’s ability to be a company member. Auditions are not the only way to be seen.

Many of our practitioners have come through Ignition or being seen through other training opportunities. The same can be true for performers as I have employed more and more Ignition graduates over the past few years.

Practitioners are also always reporting back on performers or exciting people in workshops and residencies. It is important to look beyond the audition as the only way to see or be seen.