one thing i definitely picked up from my time in L.A., from BOTH sides of the casting table, is that it's good to work with people you've enjoyed working with before and/or seen and enjoyed their work elsewhere. i got just as many, if not more, roles from friends and people i've worked with previously and people who saw me in other plays, improv shows or new media work. sure, you're always going to want to see new talent and make fresh discoveries (and have to trudge through the awkward parade of mediocrity and atrocity that surrounds them in the auditioning process), but it's always good to have a few names and faces in your back pocket where you can say, "you know who'd be really good for this?" or "you know who's awesome that i've been wanting to work with?"
likewise, as an actor, i love working with directors and crews i've had a good time with before and/or am friends with because it helps me relax into the set environment and gives us a nice short hand in the process. and heck, auditioning is practically its own skill subset...not always indicative of the performance you're going to get. i was casting a play i wrote and gave the role to a guy who had a phenomenal audition but was then a total flake in rehearsals and performances, couldn't remember his lines, showed up late constantly (that's when he didn't just forget we were having a rehearsal altogther, as in the case of our dress/tech) and was just a chore to work with as an actor overall. on the flip side, i've had brilliant actor friends who could give you chills in a performance who become utterly tame in the audition room.
on the improvisor/actor side, how many ideas go unproduced or unfulfilled or only pulled off half ass because we don't have always have access to good equipment and skilled technicians to help out? not just directors, but a good DP, quality sound guys...heck, i don't know about Austin, but an above competent editor in Los Angeles can practically write their own check.
we're always going to have auditions. we're always going to have casting networks, breakdown services and databases. but creating opportunities to see each other's work first hand, fostering potential friendships alongside creative and professional relationships, these can only be good things and won't be a disservice to anyone. improv's been ghettoized for so long...i say anything that allows Austin improv to connect and expand and intersect with other artistic communities (as we've made great strides in the wider theatrical community already) can only be a good thing.
