LFHS Theatre
La Feria High School Theatre
Audition Packet

UIL One Act Play Audition Information

“Ponder long and hard what your shoulders can and cannot bear….”

 Horace, Art of Poetry; c. 15 BC



   Read the following and take it to heart. 

:Because every member of the UIL OAP company is equally important to the success of the production, collaborative cooperation in the production process is essential. The following is basically “The Six A’s of Casting”:

1.    Academics

2.    Availability

3.    Attitude

4.    Adaptability

5.    Appropriateness

6.    Ability

(notice that ability is not at the top)


 1.    Academics

 The job of a high school student is to be a student; to complete the requirements for graduation. Participation in the UIL OAP is a privilege, not a right---and to ensure experiencing this privilege, a student must pass his coursework.

            **The following are questions we will be considering:
                                    Will this student be eligible for the long haul???
                                    Given the hours required for OAP participation, it follows that a student whose grades are shaky before casting will have even less time to devote to his schoolwork. Should this kid really give up that many hours to OAP??? Can they afford to???


2.      Availability


The individual is a part of the company and therefore must subordinate his personal desires to the good of the production. Rehearsals and crew calls are NEVER missed without prior permission. Student must check and initial the callboard daily. Rehearsals and crew calls begin at exactly the indicated time.

  **The following are questions we will be considering:

                      Am I prepared to dismiss a student who cuts rehearsal to go “shopping, out to eat, etc??” YES

                      Does this student historically miss a lot of school?


3.    Attitude

The most successful OAP students and directors are always those who think “we, our, ours” instead of “I, my, mine.”

 **The following are questions we will be considering:

                   ***Can this student accept constructive criticism??

                   ***Does this student respect himself??

                   ***Does this student have the type of work ethic that is needed to produce a play of this magnitude?

                   ***What kind of ensemble can we hope to achieve if a student’s attitude is poor?

                   ***Is the company important enough to them that they will fight for it??



4.    Adaptability

Along with good attitudes comes adaptability. I need students whose emotional flexibility and maturity permit them to “weather the storms” and provide positive leadership.  You must know that ALL ASSIGNMENTS WITHIN OUR COMPANY ARE SUBJECT TO CHANGE AT ANY TIME. Underclassmen need to be aware that you are fighting for a part among the entire high school. Please know that if you are kept as an alternate or "understudy", it is because I like your attitude, I have observed your abilities, and I want to hang on to you.

  5.    Appropriateness

Fair or not, like it or not, physical and vocal attributes of the students are critical in casting. Students will be cast, as much as possible, according to character appropriateness.

**The following are questions we will be considering:

           Is this student effective visually and audibly?

          Will this student be able to deliver lines effectively? Does she/he have the vocal variety to enhance and sustain the role??

         Can this student learn dialects if required??

         Can this student handle the physical demands of the role?? The style of the role??

           Does this student have enough self-confidence to carry the role??

  6.    Ability

What do I mean by ability??? It is that rare combination of academics, availability, attitude, adaptability, and appropriateness plus an overwhelming desire to DO ONE’S BEST in the entire process. It is realizing that one’s self-esteem comes from doing well: “Act well your part; there all the honor lies.” Ability is the maturity to place one’s grades as the first priority, to accept the discipline for the time commitment involved in OAP, to maintain a positive attitude, to adapt to changing circumstances without whining, and to acknowledge that there are physical and vocal requirements which must be considered when a director casts a play.


“Talent,” difficult to define at best, is more often than not a balanced combination of the first 5 A’s I have already mentioned. Of course, experience contributes to “developed talent,” and that grows with every theatre experience.


Ability must truly come from the actor’s heart; for if his heart is NOT in the play, is NOT committed to excellence, refuses to accept help, is unwilling to foster ensemble, CANNOT share, and is unable to think WE instead of ME, then the actor is obviously a risky candidate for inclusion in our OAP company.


The sweetest words ever heard by a director are:

        “Just put me where you need me.”


UIL State Theatre Director

Mr. Luis Munoz
UIL Theatre Director
Many times you may hear directors refer to the UIL State Office and mention Mr. Luis Munoz.  Mr. Munoz is the Theatre Director in charge of UIL One-Act Play.  He works diligently all year round to ensure that students across the state of Texas enjoy a rewarding educational theare experience. He is a nice guy!

Here is a letter he wrote addressed to students participating in the One-Act Play contest: