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by Theresa Tova
April 26- Last night in Stratford, I audited a Musical Theatre audition class taught By Susan Schulman and Michael Lichtefled. As the director and choreographer of Broadway shows and National tours such as The Secret Garden, Sound of Music, Camelot, Sunset Boulevard and of course Fiddler, they had much to share about the DO's and DON'T's of musical theatre auditions. I took copious notes and with their approval am sharing the more salient points with you, as they say, straight from the horse's mouth.
THE DAY YOU HEAR ABOUT THE AUDITION
- Ask as many questions as possible of your agent. Where is the production to be produced and for how long? Who is directing? Who is the choreographer? What is the vocal range of the part you will be considered for? All this information is available on the breakdown.
- Do your homework. Know the show... And be familiar with both the libretto and the score. If you are auditioning for a NEW show ask for a reading copy. Usually you can go the producer's office sit there and read it.
- If the breakdown says not to bring a song from the show, don't believe them. Always have the songs prepared for the role you want to be considered for and have them in your book. Just in case.
- "Be prepared to sing two songs" is a euphemism for "you may sing parts of two songs". But bring your whole book and be prepared at a moment's notice to pull out other choices. If the director is interested, he or she might ask to hear another ballad or an up-tempo. The rule of thumb is to have at least 8 - 12 songs you can sing cold and make sure to include selections from the STANDARD musical theatre repertoire (i.e. Lerner and Lowe, or Rodgers and Hammerstein).
- Make sure your first choice of material shows you off at your best and shows them your range (i.e. If you are a belter, leave the legit tune until asked.... if you have fabulous top to your voice let them hear it). If the director doesn't know you already they can tell by the first 5 notes whether you can sing or not and want to know that you can act a song. So make actor choices.
- Choose a short song or cut the tune by a third. Remember they are probably seeing up to 300 other singers that day. The best 16 bars of a tune will do you much better than a 5 minute drone... If you don't keep them interested they will stop you so make sure your song has a beginning a middle and an end.
- Have charts prepared that resemble the arrangement you are going to sing, are in your key and that any accompanist can play... or bring your own pianist.
- Make sure your resume is an actor's resume, not full of director or choreographer credits. Keep those credits on a separate resume. The last actor a director wants to hire in a show is someone they feel wants their job.
AT THE AUDITION
- Make sure you are on time or, if possible, early. If an emergency happens call and let them know you will be late.
- From the moment you enter make sure you are the nicest person in the building. The monitor and other surrounding staff are working for the director and you can be assured any negative situation will get back to the director.
- Ask the monitor who is in the room. Find out before you enter so you won't be surprised.
- When you are called in to the room leave all your stuff outside except for your valise and/or your purse. The last thing you want to do is fumble trying to find all your bags after a great audition.
- When you enter the room do not race to the table to shake hands unless a hand is offered. Keep a polite and professional distance. After shaking 300 hands, a director could get tennis elbow and more than likely.... a cold
- As you enter say "hello" to the table. Tell them what you want to sing and then go talk to the pianist. Keep your instructions brief and make sure you have practiced how to give them the tempo. If you quietly sing the first phrase this will give a good accompanist all the info they will need to know. Rule of thumb: a 3-page chart is OK taped together. Anything larger should be in a book.
- If asked if you have anything else to sing, remember they may have just heard 10 other renditions of "What I Did for Love" that morning so be flexible. If you have the recommended 8 - 10 choices ready to go, you won't be put off.
- DO NOT use PROPS. Not even a chair. This shows lack of self-possession. Own the space on your own
- Where do you look? Not above the auditioners. If singing an "up" tune feel free to use the folks in front of you as you would an audience. If they are uncomfortable and look away you can easily shift focus away from them. If the song has you singing to another character, you have two choices. Either ask if they mind you playing to them or place your other character in your space, in front of you but slightly off centre.
- Create the environment. Who are you? Where are you?
- Don't hide your body. Be comfortable with your body type no matter what type you are. Dress professionally but appropriately for the show you are auditioning for. Don't wear a costume. You can suggest a period look but be subtle.
- Don't choreograph your song unless you are auditioning for ANDY LEE in 42nd street. If they want to see you move they will ask you back to a dance call. Err on the side of stillness.
- Don't ask the table how they want to see you attack a song or monologue. Make a choice and go for it. Let the auditioner direct you after they have seen your initial impulse.
- Keep the personal chatter to a minimum ... and above all else NO NEGATIVITY about anyone. Be a company person, no matter what you really feel about the last director you worked with. You never know who the director is sleeping with.
- Don't argue. If asked to do something you hadn't expected, show you have courage and just try it. The director is trying to find out if you can be directed.
- If your song gets off on a bad foot.... STOP. Ask to start again. It's OK but don't do it 3 times.
- Don't back phrase, scoop, etc. Sing your pieces as written. Warm up and above all else make sure you are on pitch. If the notes are questionable get material better suited for your voice.
- Singers.... Bring your dance clothes. Dancers ... bring your music. And if you are asked to sing after a three-hour dance call make sure you go to the washroom and change clothes.
- Wear the same clothes to a call back.
- If you need glasses wear contacts if at all possible.
- Don't lie. References will be checked.
NEGOTIATIONS
- Don't turn down a tour because you don't want to tour. You should have known the deal before you went to the audition. Don't waste a director's time if you don't want to do the show.
- Don't be afraid to ask for what you know you need. The worst they can say is no.
- If you are developing another project make sure to ask for an OUT. Most producers will give it to you because they know how rare it is for a new show to actually get off the ground.
Thanks to Karen Skidmore, Craig Ashton, Jen Waiser, Bruce Dow, Kim Jamieson, Phillip Hughes, Jen Frankel, Steven Lilly and Michael Walcholts (sorry for the misspelled name) for being brave enough to get up and strut their stuff last night.
As Melody Mcshane (fabulous audition pianist) added last night: This is an ongoing process. It will take a commitment of time and energy to coach, take classes and have charts prepared. Natural talent is one thing, but directors love meeting knowledgeable professional musical theatre performers. Be prepared and be the best you can hope to be.
Hope this helps us all to feel a little more in control.
Regards, Yenta Tova
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