Early-career actors often flatten all three into "acting," but the casting side considers them almost different professions. The faster you internalize what each room actually wants, the faster you start booking them.
Commercial
The product is the star. You are the reason the audience trusts that the product is for them. Commercial auditions want immediate, readable likability. Energy up. Big facial choices. Your slate matters more here than anywhere else.
- Memorize the sides enough to stay off-book, but don't polish.
- Decisions fast — first instinct on every line. There's no room for discovery in a 30-second spot.
- Bring your wardrobe to match the character brief ("dad at BBQ", "young professional"). Casting shouldn't have to imagine.
Theatrical
The casting director wants to see a specific person — not a vibe. Theatrical tapes that book are the ones where a reader's first thought is "oh, it's THAT guy." You do that with emotional specificity, not volume.
- Slow down. Let the line land before you deliver the next one. Silence is cheap; most actors overpay.
- Make one strong, unexpected choice. "Happy to see them" becomes "relieved they're still alive." Same line, completely different tape.
- Eye contact is with the reader, not the camera (unless the sides say otherwise). You're in a scene, not a spot.
VO
You have your voice and maybe one pickup take. No wardrobe, no face. Everything is tone, pacing, and specificity. VO audiences tune out the second they hear "voiceover voice."
- Read the copy out loud three times before you record. Figure out which words carry the weight; everything else should be subtext.
- One mic position. Don't dance with the mic mid-read.
- Record two takes max. Pick your favorite. Over-producing a VO reel makes you sound like a demo, not a person.