The cast list email lands. You scroll it once, then again more slowly, and your name is either missing or sitting somewhere you didn’t hope it would be. Somewhere between the disappointment and the second glass of wine comes the thought: should I ask them why?
I have asked. In Evita with Erewash Musical Society I auditioned to be a principal dancer and didn’t get it. I asked for feedback, and the only thing I really got back was that the panel didn’t remember me.
It wasn’t the answer I wanted, but it turned out to be useful, just not in the way I expected. So this post is about how to ask for feedback well, what you’re likely to hear, and how to get something useful out of it even when the answer is thin.
If you’ve just had a no and you’re not ready to think about feedback yet, that’s completely fine. Come back to this one in a week. And if you’re already preparing for the next one, my guide to what to expect at an am dram audition is a good place to start.
Should You Ask for Audition Feedback at All?
The case for asking
Asking shows the panel you’re serious and that you’ll be back. In a society, the people on the panel are often people you’ll be in a rehearsal room with for the next few months, and a calm, polite request lands well. It also gives you the one thing you can’t get by guessing: a view from the other side of the table.
The bigger reason is for you, not them. Without feedback you fill the silence yourself, and the story you tell yourself at midnight is usually far harsher than the truth. Even a short answer replaces that story with something real.
The case for waiting
If you’re still raw, wait. A feedback email written while you’re upset tends to read as “why not me?”, and no panel can answer that in a way that will make you feel better. Give it a day or two, or longer if the role really mattered to you.
It’s also worth checking how your society handles it. Some panels offer feedback as standard, some only on request, and some prefer not to give it at all. If your society has said it doesn’t give individual feedback, respect that and look for other ways to learn (more on that below).
When not to ask
Don’t ask to reopen the decision. The cast is set. Feedback is about your next audition, not this one. If what you really want is for them to change their minds, sit with that feeling for a bit before you send anything.
Who to Ask, and When
The right person
Ask whoever ran the auditions, usually the director. If the society has a production secretary or a named contact on the audition notice, that’s often the proper route, and they’ll pass it on. Avoid cornering a panel member in the pub or at the next rehearsal. It puts them on the spot, and you won’t get a considered answer.
The right moment
A day or two after the cast list goes out is about right. Long enough that you’re calm, soon enough that the panel still has the auditions fresh in their minds. Leave it a month and you may get a polite “I’m afraid I can’t remember the detail now”.
The right channel
Email or a private message is best. It lets the director reply when they have time to think, and it means you have the answer in writing to come back to. A phone call can feel more personal, but it asks them to respond on the spot.
How to Ask: A Short Email You Can Copy
Keep it short, warm and forward-looking. Here’s a version you can adapt:
Subject: Audition feedback for [show]
Hi [name],
Thank you for running the auditions for [show], and congratulations to everyone who was cast. I’m really looking forward to being part of it [or: to seeing it].
If you have a moment, I’d be grateful for any feedback on my audition for [role]. I’m keen to keep improving, so anything you noticed, good or bad, would really help me prepare for next time.
No worries at all if you’re too busy.
Thanks again,
[your name]
Why this works
| What the email does | Why it matters |
|---|---|
| Thanks them first | Panels give up evenings and weekends for auditions. Acknowledging it sets the tone |
| Congratulates the cast | Shows you’re not bitter, and that you’re still on the team |
| Names the role | Gives them something specific to answer about |
| Asks about next time | Signals you want to learn, not argue |
| Gives them an easy out | Takes the pressure off, which makes a reply more likely |
What to leave out
Don’t compare yourself with whoever got the part. Don’t list everything you’ve done before or how long you’ve been in the society. Don’t ask “what did I do wrong?”, which invites a list of faults. “What could I do differently next time?” gets you the same information in a far more useful form.
What You Might Hear Back
Useful, specific feedback
Sometimes you’ll get gold: “your vocal was lovely but we needed someone who could belt higher”, or “we’d have liked to see more character in your reading”. That’s something you can actually work on. If you get feedback like this, write it down somewhere you’ll see it before your next audition.
“It was close”
A lot of feedback boils down to this. It can feel like a brush-off, but often it’s simply true. In am dram the panel is casting a whole company, not just one role, and the final choices can come down to height, vocal blend with another lead, playing age, or how a pairing looked together. None of that is about whether you were good.
“We were looking for something different”
This usually means the director had a picture in their head and someone else fitted it. Again, not a verdict on your talent. It can be worth a gentle follow-up (“is there anything I could have shown that would have helped?”), but only if the tone of the reply invites it.
“We didn’t remember you”
This is the one I got for Evita. It isn’t a criticism you can argue with or work on directly. You just hadn’t registered.
But I took something from it: I needed to start making myself stand out. Not by being loud or doing something odd, but by giving the panel a reason to remember me when they sat down to cast. A panel can see a lot of people in one evening. If you’re competent but forgettable, you’re in the hardest possible position, because there’s nothing for them to argue for.
How to Use Feedback (Even When It’s Thin)
Look for the one thing
Most feedback, even good feedback, boils down to one thing you can change. More character. Stronger top notes. Better preparation. More energy in the dance call. Find that one thing and work on it before the next audition, rather than trying to fix everything at once.
Read between the lines
Thin feedback still tells you something. “We didn’t remember you” told me I needed to stand out. “It was close” tells you your standard is there and the gap is fit, not ability. “We went with experience” tells you the next step is getting stage time, which is exactly what ensemble gives you.
Turn it into preparation
If you’re told you needed more character, research the role properly next time: read the character breakdown, know where they sit in the story, decide what they want in the scene you’re reading. If it was vocal, a few lessons before the next big audition can make a real difference. I took vocal lessons throughout Hot Mikado when I was singing soprano as Yum-Yum, and they helped me find my voice. If you’re not sure where your voice sits, my guide to vocal types will help, and my guide to musical theatre audition songs covers choosing a song by voice type. NODA’s audition workshop notes recommend the same kind of thing: singing lessons, drama workshops and working with a variety of directors.
Prepare for the format, too
Feedback won’t always mention it, but the audition format matters. My first audition as an adult was for Bad Girls with Erewash Musical Society, and I was underprepared for the open format, where other members can watch. I auditioned for Yvonne and didn’t get it, but because it was my first one, I wanted the experience more than the part. So my advice is to find out exactly how an audition will run before you walk in. My first am dram audition guide walks through what to expect.
What Not to Do With Feedback
Don’t argue
Even if you disagree, thank them and leave it there. You asked for their view and they gave it. Debating it won’t change the cast list, and it will change how they think about casting you next time.
Don’t share it around
Feedback is given to you privately. Posting it in a cast group chat or picking it apart with friends who also auditioned can cause real hurt, especially if it touches on other people’s casting.
Don’t let it define you
One panel’s view of one audition for one show is a tiny slice of information. It’s not a ruling on whether you belong on stage. Use what’s useful and let the rest go.
If You Didn’t Get the Part: Still Worth Taking Ensemble?
What ensemble actually gives you
I’ve been in the ensemble in Evita and Bad Girls with Erewash Musical Society, and in The Curious Incident of the Dog in the Night-Time with Encore Performing Arts. Ensemble builds confidence and community. It’s a great way to learn to work with others and be part of a great production. It’s also where the people who cast future shows get to see you work.
Only audition for what you want
I only audition for roles I want. If you do the same, any disappointment is about a part you genuinely cared about, and you can put all your preparation into one role rather than spreading yourself thin.
Sometimes second choice is the right one
I’ve been cast in my second choice before, and I realised very quickly it was the best role for me. I was happy. Panels see things from the outside that you can’t see from the inside, and sometimes they’re right. That’s worth remembering when the email lands.
Frequently Asked Questions
Is it rude to ask for audition feedback?
No. A short, polite request a day or two after the cast list goes out is normal and usually well received. It only becomes awkward if it reads as a complaint or an attempt to change the decision.
How long should I wait before asking?
A day or two is about right. You want to be calm, and you want the panel to still remember the auditions clearly.
What if they don’t reply?
Leave it. Directors are busy, especially in the weeks after casting. One gentle nudge after a week or so is fine. After that, let it go and don’t read anything into the silence.
What if the feedback is just “it was close”?
Take it at face value. In am dram, casting is about the whole company, and close calls often come down to fit rather than talent. Keep doing what you’re doing and keep auditioning.
Should I ask for feedback if I got a part, just not the one I wanted?
You can, and the same email works. Just make it clear you’re thrilled to be in the show, so it doesn’t read as unhappiness with the role you’ve been given.
Final Thoughts
My Evita feedback was about as unflattering as feedback gets: they didn’t remember me. It would have been easy to sulk about it. Instead it told me exactly what I needed to work on: standing out.
So ask, ask nicely, and listen for the one thing you can use. And if the answer is thin, read between the lines. There’s almost always something there.
If you’re getting ready for your next one, my am dram audition guide covers what to expect, and my audition songs guide will help you pick the song. And if you keep seeing the same people cast, I’ve written about casting fatigue in amateur theatre too.