| You've just heard about your first musical theater | | | | around you), it's imperative that your vocal |
| audition. You've not auditioned for musicals before, | | | | technique is strong and clear enough for you to |
| so you don't know what will happen. What should | | | | sustain and repeat what you are doing accurately |
| you aim for? | | | | and without strain. If not, a single cold can knock |
| First, let's explore what an audition is for. For the | | | | your performance sideways. For dancers who are |
| casting panel, it's an opportunity to see new | | | | used to expressing themselves in movement, |
| people, or to remind themselves of familiar people. | | | | using words and music can be a real challenge. |
| It's a chance to see who and what is out there, | | | | And since many dancers start very young, |
| to make decisions about casting, and to match up | | | | learning a solid technique in a new discipline can |
| different actors to make a company. For you, it's | | | | seem like a mountainous task. It's important for |
| an opportunity to let the casting panel get to | | | | dancers to find voice, text or singing teachers |
| know your performing ability, hear you sing and | | | | who are able to adapt their teaching styles to the |
| see you in your choice of character. | | | | dance-trained body and mind. Choose repertoire |
| Now let's explore what the first audition is not. It's | | | | that you have a physical connection with, pieces |
| not a true performance - the audience doesn't | | | | that you feel they can play with. And don't be |
| applaud, they haven't paid to see you, there are | | | | afraid to move during an audition - you don't have |
| no lights, no costumes and no makeup (other | | | | to stay rooted to the spot! |
| than what you have brought with you). It's not a | | | | When coaching a singer/actor/dancer for the first |
| complete show either, as the panel will expect to | | | | call, the sessions usually focus on choosing |
| watch you come in as you, then change into | | | | repertoire that suits your physical and energetic |
| character in front of them. And finally, the first | | | | casting, and helping you find (and maintain) your |
| audition will not get you the job. That may sound | | | | very best performance of it. We'll also focus on |
| odd, but in reality West End auditions and | | | | the different problems of using your own songs in |
| Broadway auditions can go on for up to 9 recalls | | | | an audition. How to give the pianist YOUR version |
| spread over several months. And with the larger | | | | of the piece in less than 15 seconds, how to grab |
| musicals you definitely would not be cast on how | | | | the focus of your song and become the |
| good your first audition was. | | | | character straight away, whether you should |
| Remind yourself that the panel wants to know | | | | interact with the panel, and even how to change |
| your level of skill, how good you are at staying in | | | | your performance of your favorite songs to suit |
| character, whether you look comfortable on | | | | the musical style of the show you're auditioning |
| stage, and if you are the right professional level | | | | for. |
| for their production. So the key points are to | | | | Sometimes you can alter the subtext or storyline |
| appear professional, well-prepared and confident | | | | of a song to fit the show that is currently casting. |
| with your material. And for the first audition it's | | | | If you have to sing just a 16bar excerpt or a cut |
| vital for an actor, singer or dancer to use song | | | | version, your storyline will be different anyway - |
| material that's suitable for their casting, voice and | | | | it's not a good idea to try playing the full song |
| abilities. | | | | journey if you're only singing half the song! You |
| Let's examine some of the common mistakes | | | | might focus on the one aspect of the character |
| that auditionees make. Singers might be confident | | | | that appears in that extract, or impose a journey |
| of how they sound, but don't think about | | | | on the music, or bring an event that happens later |
| character or story. In musical theater, this is a | | | | in the full song into that particular musical moment. |
| complete no-no. Yes, you might have a lovely | | | | If you are planning to use the same song for the |
| voice but we're interested in your character's | | | | cattle call and the first private audition, you will |
| journey through the song. Musical Theater differs | | | | probably need more than one mind map of the |
| from opera or song recital in that the music | | | | song journey. |
| serves and heightens the text, and | | | | Once you have found good songs, a session from |
| characterisation is vital. Conversely, actors might | | | | a qualified coach can help you find your own |
| be very confident of their subtext and | | | | version of the material, and lead you to create |
| characterisation, but might not have a solid vocal | | | | living, sustainable characterisations that use your |
| technique. While strong character decisions can | | | | best talents and assets. With songs that match |
| carry an actor through dodgy vocalising, | | | | your casting, good performance skills and a |
| remember that this is a musical genre, and usually | | | | professional attitude, you will definitely be noticed. |
| you will be performing 8 shows a week or more. | | | | And what do you aim to achieve in the first |
| For your own sanity (and the sanity of those | | | | audition? To get the first recall. |