Sitcom Acting: How to Book Sitcoms and Comedy Roles

To book sitcoms you need proof you're funny: training from a comedy school casting directors recognise, footage of you getting laughs, or stand-up and improv experience your agent can pitch. In the room, say the words as written, because sitcom jokes live in the rhythm. We asked 25 casting directors whether actors can improvise or change lines in auditions, and most told us to stick to the script.

How do you get sitcom auditions?

Show casting proof. Kym explains that sitcom acting is a specific skill set with its own rules and devices, and sitcom casting directors often want to see training from schools they know, or previous comedy work, before they'll bring you in. That proof can be footage of you being funny, or credentials your agent can pitch, like finishing every level at an improv school.

Relationships matter too. Casting director Bonnie Zane, who calls comedy her bread and butter, said quick episodic roles often go to actors she knows can deliver.

Do you need improv or sketch training for sitcoms?

It's the clearest signal you can send. Kym describes the big three in Los Angeles: the Groundlings, known for character work, where you don't perform on their main stage until you reach an advanced level; Upright Citizens Brigade, where you perform for an audience after only a few weeks; and Second City, which started in Chicago. Independent schools are fine to try, but they carry less weight with comedy casting directors.

Jess Orcsik adds that the Groundlings is more character based and UCB more long-form improv, so choose by the kind of comedic actor you want to be. Improv also keeps you loose and quick, Kym says, even though you won't be improvising the script.

Should actors do stand-up comedy?

If you're drawn to it, yes. Kym says it builds self-esteem and nerve, and many professional stand-up shows in Los Angeles have an agent or manager in the audience looking for comedic actors. Manager Chris Roe told us he has signed clients he first saw at comedy shows.

Can you improvise or change lines in a sitcom audition?

Mostly, no. Of the 25 casting directors we asked, only a handful were relaxed about it. John Frank Levey called improvising in comedy auditions a terrible idea: say the words, and if you get the job, discuss them with the writer then. Bonnie Zane said comedy writers tend to take changes personally, and Deborah Barylski warned that if you don't book it, they may keep your ad-lib anyway. Seth Yanklewitz wants a clean take of the writer's words.

If you want to play, ask first. Carmen Aiello suggests asking whether there's room to play a little, rather than asking to improvise. Casting directors Victoria Burrows and Rachel Sutton were more open, but even Victoria will ask for a take as written.

Why does comic timing matter so much?

Because the joke is built into the rhythm. Deborah Barylski told us that adding even one syllable can throw a joke off. Lisa Zambetti said writers work very hard to land their jokes, and Meg Morman explained that adding a line changes both the rhythm and the effect of a scene. Kym's view is that sitcom writing is so precise that every word has been planned.

Josh Einsohn adds that if an added beat gets a laugh in the room, it may only mean it was unexpected.

Can you add a button at the end of a comedy scene?

Carefully. Lisa Zambetti said the start and end of a scene are the safest places to add something, because the middle holds the writer's rhythm. Risa Bramon Garcia agreed a small button at the very end can work. Josh Einsohn prefers a physical beat to extra words, so the moment doesn't just fall off your face. And when it's just you and her, Bonnie Zane may tell you to leave it clean, because she knows who will watch the tape.

How do you self-tape a comedy scene?

Start with funny writing. Kym's first rule for a comedy reel scene is that it has to make you laugh out loud on the first read; if it doesn't, it won't get funnier with rehearsal. Making unfunny writing funny is a rare skill. For a real audition scene, do your best with what you're given, and get expert help with it, because sitcom comedy is one of the hardest things to do well.

To check whether your comedy lands, Kym suggests showing your work to people without telling them it's a comedy, then watching where they laugh. See our self tape tips for the technical side.

How do you find the tone of a comedy?

Watch previous episodes if the show exists. Actor and acting teacher Anthony Brandon Wong says to notice how serious it gets and whether serious moments are followed by a laugh. For a new show, ask your agent to get what they can from casting, or ask in the room whether it's closer to one show or another.

Size matters too. Seth Yanklewitz told us about a talented actor whose first read was too big and theatrical. His note: make it a TV audition, not a performance for the back of the theatre.

Is comedy harder than drama?

Many of the people we asked think so. Bonnie Zane said comedy is a different skill set and harder for actors, because being serious comes more naturally than getting comic timing right. Lisa Zambetti finds comic actors move into drama more easily than dramatic actors move into comedy, and she loved casting comedy actors in serious roles.

Breaks can come later, too: Seth Yanklewitz said many comedy performers spent years in sketch and stand-up before it turned into acting work.

Do you need a separate comedy reel?

Only if you have the footage. Kym says if you can cut a strong reel of a minute and a half to two minutes for both comedy and drama, keep them separate, so sitcom casting isn't watching edgy dramatic scenes. Otherwise, one combined reel is fine. Branding expert Ryan Basham says you don't need two brands, just a clear sense of how you come across in each.

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