In this installment, we ask Professor
Julie D. Petry, MFA—who teaches all dance courses offered at BU, in addition
to teaching Voice and Movement for the stage, about how to successfully
audition for a musical theatre show. Julie will choreograph this fall's
production of The Rocky Horror Show, and serves each spring as
the Artistic Director for the annual Dance Minor Concert.
How does one prepare for a
Musical Theatre audition?
Most of the same rules apply
when auditioning for a musical that would apply if you were
auditioning for a play. For example, you should know the show’s plot (if
it isn’t a brand new one), be aware of the roles that fit your
playable range (both physical type and vocal range), and know if
the show requires you to dance, use a dialect, play an instrument, or anything
else you can learn about it in advance. You should be prepared
to sing, act and dance! If you don’t have dance training, get some.
If you don’t have vocal lessons in your history, start training
immediately. The competition in regional theatres across the US is
strong. There are many triple threats in the world. What is a
triple threat? It means there are many fellow artists who
have trained in all three areas their whole life. So….to be your
best self, you should strengthen yourself in all three areas.
And, lastly, (of course) plan to bring an updated headshot and resume that
reflects both the musicals and plays you’ve performed in, as well as the performance training
you’ve had in acting, singing and dancing.
Always prepare both a song
book and a monologue book:
One should always have a broad
selection of rehearsed pieces collected in a binder that you know fit your
vocal range and playable type. Just like you want to have an arsenal of
monologues ranging from classical to comedic to contemporary, you want to have
an arsenal of musical theatre repertoire that covers up-tempos,
ballads, classical pieces, country, holiday tunes, and rock/pop
selections. This will prepare you for any type of show.
Additionally, you should have both shorter and longer
versions of all of your audition material. For example, have 16 bars of
every type of song in your arsenal, but also have a version that is 24 to 32
bars long. Further, it is best to know the whole song you are presenting
that day in case you are asked to keep going. Do note, however, in every musical
audition you may well be cut off in the middle of your song if you
provide more than was originally requested, so only initially plan to
sing whatever the audition calls for. Mainly, you just want to
have several options at the ready. It is quite common
a director may ask you to sing another type of selection, or to
hear a bit more of the piece you’ve chosen, if they want to gauge your
flexibility, vocal range, and/or preparedness.
What part of the song should I
choose for my cut?
Recently, my artist friend
was asked to sing 8 bars, and 8 bars only, during her NYC equity
audition. Terrifically, she was offered the part. This is because the 8
bars she chose were carefully selected to showcase the
highlights of her voice. Her amazing range, pitch-perfect ear,
powerful use of breath-control, and her acting techniques were
all sized up that quickly by the auditioning team, who saw hundreds of
performers that day. The golden rule, anything that comes out of your
mouth needs to be your absolute best work. Don’t sing a note that is
sometimes shaky. Don’t pick something that is new and that you haven’t
already rehearsed a hundred times. And, definitely absolutely do
not pick something because it sounds great when your friend sings it, or
it sounds amazing on the cast recording. You need to pick what
fits your voice, and your voice alone. If you are a
character performer, show that. If you are a soprano who hits high A’s, show
that! Figure out what your personal vocal/acting strengths are
and work to showcase them. And, remember, to finish strong. In
musical auditions, the directors are looking for “the money note”. That’s
an extra special moment that will wow everyone. This may mean the
way you growl on some special word, hold out a note a bit
longer than usual, or belt out your final phrase with such energy
that you become unforgettable after they hear the next 50 people. You
want to leave a lasting impression on everyone in the room.
Should I prepare the song like a
monologue?
YES! You should understand your given
circumstances, experience “the moment before”, a final moment of
resolution, know who you’re singing to in the song, know how this
piece fits in the character’s journey within the show, and be able to introduce
the piece like you would a monologue. i.e. “Today I’ll be singing ‘Far
From the Home I Love’ from Fiddler.” Once you have introduced the piece, nod to
the accompanist to start. As soon as you hear one note, you should
immediately be in character. If there is music following your last word,
remain in character until the music ends, and even a slight beat thereafter.
Can I sing from the show?
You should definitely pick
something in the style of the show, but avoid songs from the show unless it
states in the audition call this is acceptable. They don’t want to hear
the same pieces all day. Also, keep in mind they need to know your vocal
range. Be prepared to answer, “I am a mezzo soprano, and can sing from a
low G to a high G” (for example). If you don’t know your vocal range
and type, you should find a private vocal coach and take some lessons.
You will learn exercises to develop your range, and understand your vocal
potential much faster this way.
Following your singing audition,
you may be lucky enough to be asked to stay and dance. You should always
approach this with positivity, regardless of your background training.
During a dance call, you will likely dance with several people around
you, watching you. Possibly, there will be so many individuals, it will
fill the room and you won’t have much space to move. This is known
as a cattle call. Sometimes, this can make it challenging to
pick up the movement material being given/demonstrated by the choreographer,
as space is limited and, therefore, so is sight. However,
stay focused, and move to another area if you can see better. Avoid
getting lost in the mirror watching others, or counting in your head.
Rather, assign names to the steps you are being shown, so you
can memorize them quickly. Example: Kick, kick, drop, jump, kick, turn.
The choreographer may shout out words like the above, or right/left, and/or
counts. However, to memorize, stick with names, or you will forget what
“one, two, three” was by the time you learn “eight, nine, ten.” Eventually, once everyone
learns the material, you will break down into smaller groups to perform for
the Director/Choreographer. Do not try to hide in the back. Just do
your best with what you’ve got. If there are stronger dancers in the
room, oh well. See it with humor and stay focused on doing your best
work. And, absolutely make sure you are wearing something
that shows the lines of your body. Form fitted attire that is meant for
movement. (Purchase some actual dance wear/athletic wear). If you
are singing first, you can either plan to change in between calls, or
layer dancewear underneath your preferred singing attire.
For more information about BU Players auditions, which are open to all Bloomsburg University students, visit http://bloomu.edu/buplayers-auditions.
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