Sep 21, 2026 · 34 min · 10 segments
Ever wondered what casting teams are really looking for? In this episode of the Fit2Perform Podcast, Bobby shares the biggest lessons he's learned from sitting on the other side of the audition table…
Steffan Lloyd-EvansHostAnd also now... running dance schools um so yeah hopefully hopefully these make sense hopefully these are beneficial but i'm going to start off number one perform perform like it it doesn't matter if you are the best dancer in the world like you could be phenomenal you could be doing turns for days you could have all the tricks in the book if you're not performing if you're not interesting to watch Nobody cares.
Like I think sometimes people can focus on being really perfect in audition rooms and just going, I'm going to nail this routine.
I'm going to nail every single detail of this routine, which is great.
But actually like we're in musical theater and it's like, Most choreography is, or most good choreography, is based on storytelling.
So actually telling the story through your performance is much more important than being technically like fabulously gifted, in my opinion.
You should obviously want to be technically fantastic, but if you're not performing it, then it's not interesting.
And I, as, as a creative team member, I would always go for the person or lean towards the person who I find interesting to watch, who is performing it, who is telling me the story rather than the person who is like just blank faced, just doing the choreography, but doing the choreography very well.
Like that's not interesting to me because I don't, I don't see why we're doing this.
Does that kind of make sense? It makes perfect sense, and it's very, very great to hear as somebody who has never been able to be the best technical person in a room full of dancers.
But I think it's worth mentioning that sometimes you have a dance call, it might be an hour, and they don't tell you the whole story of it.
it and tell me it you know it is my job therefore to create the story that my character is going through and perform that right
for sure for sure and like it doesn't take it doesn't need to be the most nuanced performance in that you don't like you don't need to have like really thought about your entire kind of character and and and every situation but it I would say if you can do a bit of research beforehand, going into it, going, oh, OK, I need to know roughly what this story is.
Most choreographers will tell you, either at the beginning of the audition or across the audition, what the story is.
So listen to that.
And if that doesn't happen, put your own take on it.
Make a choice.
Have an opinion with your... performance like it's again rather even like again in the same way that I don't want to see a blank face I also don't want to just see like a fixed like Great.
That's
This is down to like the basics of being an artist, isn't it? You can paint a canvas as exceptional as you want.
But if there was no point behind it, if there's no intention or there's no reason, it actually doesn't make anybody feel anything.
And also now... running dance schools um so yeah hopefully hopefully these make sense hopefully these are beneficial but i'm going to start off number one perform perform like it it doesn't matter if you are the best dancer in the world like you could be phenomenal you could be doing turns for days you could have all the tricks in the book if you're not performing if you're not interesting to watch Nobody cares.
Like I think sometimes people can focus on being really perfect in audition rooms and just going, I'm going to nail this routine.
I'm going to nail every single detail of this routine, which is great.
But actually like we're in musical theater and it's like, Most choreography is, or most good choreography, is based on storytelling.
So actually telling the story through your performance is much more important than being technically like fabulously gifted, in my opinion.
You should obviously want to be technically fantastic, but if you're not performing it, then it's not interesting.
And I, as, as a creative team member, I would always go for the person or lean towards the person who I find interesting to watch, who is performing it, who is telling me the story rather than the person who is like just blank faced, just doing the choreography, but doing the choreography very well.
Like that's not interesting to me because I don't, I don't see why we're doing this.
Does that kind of make sense? It makes perfect sense, and it's very, very great to hear as somebody who has never been able to be the best technical person in a room full of dancers.
But I think it's worth mentioning that sometimes you have a dance call, it might be an hour, and they don't tell you the whole story of it.
it and tell me it you know it is my job therefore to create the story that my character is going through and perform that right
for sure for sure and like it doesn't take it doesn't need to be the most nuanced performance in that you don't like you don't need to have like really thought about your entire kind of character and and and every situation but it I would say if you can do a bit of research beforehand, going into it, going, oh, OK, I need to know roughly what this story is.
Most choreographers will tell you, either at the beginning of the audition or across the audition, what the story is.
So listen to that.
And if that doesn't happen, put your own take on it.
Make a choice.
Have an opinion with your... performance like it's again rather even like again in the same way that I don't want to see a blank face I also don't want to just see like a fixed like Great.
That's
This is down to like the basics of being an artist, isn't it? You can paint a canvas as exceptional as you want.
But if there was no point behind it, if there's no intention or there's no reason, it actually doesn't make anybody feel anything.
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