Auditions

What’s the first step for preparing for a Musical Theatre Audition?  

Choosing material - About Song Selection

What do we look for?

• Performability – does this song allow you to perform the drama and storyline, as well as the music? Don’t just “sing” – perform the story.
• Is the piece Good for your voice
  • Shows you off to the greatest advantage
• Target the role/s you want – Does it help the directors hear/see you in the role/s you are most interested in?
  •  Similar sound/style/character/emotional journey
  • Without you indicating, those listening would know what character you want/
• Entertaining- there’s no rule against it. 
  • Know which story and how to tell it
  • Personal story layered onto a song?
  • Story of the song in context to the show from which you took it?
• Contrast- at the very least Ballad vs up-tempo
  • A ballad shows emotional range, phrasing, and sensitivity to the words.
  • Up-tune shows a sense of Personality, rhythm, and excitement as a performer, 

What to avoid

• Anything extremely well-known 
  • Overdone songs
  • Anything that you feel you’ve heard a MILLION times in the past week
• “Signature” songs
  • If a song is SO associated with a particular performer that the directors will instantly compare you with the iconic performance is not going to serve you well.
• One-joke wonders (single gimmick songs)
• Too cheerful/sticky sweet - don’t make anyone sick (religious or morally uplifting songs can sometimes come across as judgmental or preachy.
  • Yes, I know it sounds weird – But don’t preach to the auditioners.​
• Too depressing or self-deprecating
  • Remember - we know you are performing, but you want the directors to want to work with you when you are finished.
• Too boastful
• Original Material
  • If we spend more time wondering where the song is from than we do listening to it – it’s not serving you.
• Too difficult- don’t make your job harder
  • Typically, Sondheim, Jason Robert Brown, Adam Guettel, and similar “complex composers” are not easy to audition with. Set yourself up for success – find a less complex time signature, key, or rhythm that you can easily nail in your audition with a pianist who may have never seen your sheet music before.
• From the score or by the composer in the room (unless specifically requested to do so)
• 5-year rule
  • If the Broadway Production has not been closed for at least five years, do not sing a song from the score.
• Songs composed for a character of the Opposite gender- does it read as ignorance or a choice? 
  • It's not a no-no, but you have to make sure the people behind the table know it's a choice. Know what story YOU are telling. Beware of problem  lyrics- changing them to make the song fit your story could cause other problems.
• What story are you trying to tell?
• Does the lyric directly contradict your story?

Why no Sondheim??

• Difficult for accompanists to sight read.
• Complicated time signatures
• Complex rhythms
• Chromatic movements – don’t do it unless you KNOW you can absolutely nail it!

Where to look for material

• Recordings:
• Musicnotes.com
• Sheetmusicplus.com
• Private copiers/transcription
• Personal collections

I have my song selected- now what?

• Set yourself up for the greatest success
  • Cuttings-  Cuttings should make logical sense, musically, dramatically, and emotionally
  • Complete musical phrases
  • Don't start or end in the middle of a musical phrase.
  • Emotional/Dramatic phrases should be resolved as well.
• about a minute’s worth in common time
  • 32 measures - Uptempo
  • 16 measures - Ballad
  • 8 measures – If auditions are running behind schedule – you may be asked to sing only your BEST 8 measures.
• Do your selections offer this option?
  •  Audition cuts CAN be a few measures more or less than 32/16/8 – just make sure the music and the storytelling are logical.
  • Marking Cuts – STICKY NOTES are great for adjusting song cuts temporarily.
  • Internal cuts
  • Second endings
  • Skipping pages
  • Cut and paste
• More fun with Sticky notes
  • Mark the starting pitch
  • indicate Bell tone, cords, two-measure intro, etc.
  • Create tabs so you can open the song you want, to where your cut begins
  • In a pinch, it can be used to tape pages together.
• Page turns - minimize them
  • If possible, get your cut down to two pages facing each other.
  • Single sided copies can be taped back to back (stronger this way)
  • Accordion fold outs (3-4 pages)
  • Be sure to mark the page that folds out.
• Three whole punch!!!!!
• In a binder, or folder
• Not in plastic sleeves – You don’t want the glare to affect their ability to accompany you

Communicating with the accompanist

• Have the book already open when you approach the piano.
• Please keep your backside to yourself!!!
  • You may look great in your slacks or skirt, but do your best not to stand with your back to the director while standing at the piano.
• Greet the pianist as you place the book on the piano or music stand.
• If they reach out for it, take the cue. But don’t expect it.
• Walk the pianist through BOTH your songs.
  • Point out key changes, special moments, or tricky cuts, page turns, etc.
  • Indicate tempo physically and audibly
• Don’t sing the song to teach tempo
• Don’t snap/clap the beat in the pianist’s face
• Softly speak the lyrics if necessary
• Tap the piano, or “golf clap” your own hand
  • Be prepared to answer any questions the pianist has for you.

You only have 30-45 seconds with the pianist. Once you have finished this communication,

• step to the center of the room
• Not too close to the directors.
• (There is often a mark on the floor to help you) take a moment to collect yourself.

Confidently and clearly slate your audition
("Hello, I'm Meryl Streep. I'll be auditioning with WHERE OR WHEN by Rodgers and Hart, followed by STRONGER from Finding Nederland.").  

1. Take another moment or two to breathe and prepare, and 
2. give a slight nod to your accompanist to inform them you are ready to begin.
3. They will play your intro or your bell tone.
4. The rest is on you- Perform your heart out.
5. It's not always about perfect singing
6. Personality, Preparation, characterization, and acting are other important factors

  Winnifred the Woebegone – Princess of the swampland, brash, larger than life personality, “anything but delicate” yet charming and sincere. (Alto)

  Prince Dauntless – a momma’s boy – eager to fly on his own, but still strangled by his mother’s apron strings.  (Bari-Tenor)

  Minstrel – The narrator of the show (Tenor)

  Wizard – an aging, former professional entertainer, he schemes with the queen in between attempting to relive his glory days...

  Lady Larken – sweet and naïve, though no longer innocent. The “Damsel in distress." (Soprano)

  Queen Aggravain – Loud-mouthed, talkative, cunning, and manipulative iron-fisted ruler. She treats her full-grown son as though he’s still a child. Under the guise of love and protection from an ill-suited wife, she schemes to keep him from leaving the nest. (Alto)

  King Sextimus the Silent – emasculated husband of Aggravain. Was cursed some years ago with silence. Jovial and always chasing the ladies, he has a genuine concern for his son. Regains his voice in the final scene.

  Jester – the son of a great, renowned father, this jester works to thwart the queen’s plans and help save Lady Larken’s reputation. – Must be able to tap dance/softshoe (Bari-tenor)

  Sir Harry – Lady Larken’s chosen suitor, charismatic and charming, despite being dense as a rock and rather self-absorbed. (Baritone)

  Nightingale – She sings the princess to sleep with a lullaby. (Soprano)

*ENSEMBLE: Singing and dancing ensemble consisting of Ladies-in-Waiting and Knights – several cameo lines and featured moments for men and women.