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If permitted, use your own parts since they will look familiar to you. However, make sure that they conform exactly to the parts provided by the orchestra, and that you play only what is required. Be sure your editions match (this is why you checked all editions before coming to the audition - if something is different, you won't be thrown off by it now).
Blow some notes on stage only if it is absolutely necessary. This is not a warm up time. A few mezzo forte notes in the middle register should quickly tell you all you need to know about the acoustics of the hall. An extended "show off" warm up that quotes excerpts and concerti is an assault on the already oversensitive ears of the committee members, and you may lose points even before your audition officially begins.
Blow freely, but don't overblow; don't be careless but don't be overly conservative either. Neither play as loudly nor as softly as you can. Always have room to spare at both ends of the dynamic range in case you are asked to play the excerpt again louder or softer.
If you are asked to play something again differently, make sure it is different! Don't be stubborn and think to yourself, "That's not the way it goes." You're there to win the job, not educate the committee and conductor. If they ask for an excerpt double tempo, do it. Be flexible.
When you finish your round, wait until you are dismissed by a committee member or the on-stage monitor. Maintain concentration after you finish since you may be asked to play something again immediately. Do not be depressed if the committee members speak in a terse, cold manner to you from behind the audition screen. It is a waste of energy to read things into a committee's behavior. Leave the stage confident that you projected yourself in the best way you could on that day under those circumstances.
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