Last Word - Casting the talent net far and wide
When David Grindrod talks about talent he means someone that can act while waterskiing, sing on a trapeze and remember their lines as they face an army of orks. But as a casting director for some of the most popular West End plays, the challenges sound very similar; spot the best upcoming actors, ensure that the best are ready to step up to another level; and ensure they are good enough to perform consistently. Then again, when he talks about the casting process for the stage production of Lord of the Rings, conversation seems a little distant from the corporate world.
“We had a hobbit call,” he says, perched on a battered chair that looks more student soapbox then West End throne. “It was open to anyone under 5ft 6”. About 700 people turned up all inspired by the film, and in the end about two of them were cast. We don’t usually do open calls but it’s nice to sometimes open it up to the general public and give them a chance.”
Lord of the Rings hit the boards of London’s Theatre Royal Drury Lane back in June to rave reviews, but since then Grindrod has found himself back in familiar territory, working with Andrew Lloyd Webber. In fact, it was Webber who set him on the road to being a casting director in the first place, encouraging him to start up his own business and trusting him with the casting of all of his shows. Recently, Grindrod has taken another unprecedented step with the legendary composer, leading the casting for TV reality programmes How do you solve a problem like Maria and Any dream will do.
“A lot of people auditioning had only ever seen the film,” he explains, referring to the x-factor-style competition that landed its winner the lead role in the West End’s production of The Sound of Music. “So people came in with American accents and thought they had to act like Julie Andrews. Of course that wasn’t what we wanted and Connie, who eventually won, shone through with natural quality and talent.”
Despite the view of an actors life being full of glamour and extravagance, the reality is often very different. In theatre land, the industry norm requires them to perform eight times a week, so a strong work ethic is crucial to keep the combination of dance, songs and drama fresh. Grindrod concedes it is up to individuals to motivate themselves, and all he can do is be there to provide support where he can. It helps though, he concedes, to pay close attention at the hiring stage, not just to find those who might not be able to cope, but also to avoid hiring troublemakers.
“It is up to the casting director to put a balanced cast together. You have to know who has been trouble before and who will make a good company member and who won’t. It means I talk to other casting directors a lot, which a lot of people find weird as they are meant to be your competitors. But it isn’t like that, its just very useful.”
Casting directors see high turnovers of talent. With general recasting of shows every year and lead actors being on six, sometimes three-month contracts, they have to constantly develop their pipelines. “You have to constantly be on the look out,” says Grindrod. “It is your job to know what is out there and theoretically line up replacements in your head.”
The strategy all sounds oddly familiar, even if the environment is not. The lesson here is in application, rather than talk: Grindrod’s relentless drive to recruit the best talent has helped establish him as the best in his profession. If the world is a stage, then it might be best to follow his example in casting…
By Rob Drake
