The Legit Musical Theatre Sound Today - Page 2

[HogansHero]

Posted: 7/4/15 at 10:26pm

Pinto,

If you look back to the first item in this thread, you'll see it asked about the last 10 years. And then you give Phantom and Sweeney as examples. 

If you want to limit yourself to that sort of work, fine. Just understand that once mommy and daddy have cut you loose, making a living may loom large for you. And even if you have a trust fund to live off of forever, most performers would rather work onstage rather than sit around waiting for the roulette wheel to land on their number. My sense is that Soaring is interested in the best path to maximize the chances of finding gainful employment in the business. Now I know plenty of people who want to do only what they want to do, and some actually pull it off. But I also know plenty who get dispirited when they see that they are waiting tables and some of their college friends are up on stage every night. But the choice is yours;I just offer that you may rue the day that you followed a path that foreclosed your future options. Who would I offer you as a role model? Michael Cerveris, who has been able to negotiate everything from Tommy and Hedwig to Sweeney and now Bruce. Not shabby.

And soaring, it's great to love LCT but that's a pretty crowded audition room you are trying to bust into, and it is worth remembering too that composers like JRB aren't writing hits. 

[Dave19]

Posted: 7/5/15 at 5:04am

In a way it is a good filter to find the best natural, legit, singing voices.

I find that many people who trained in opera have developed a sound that is too disconnected from their real voice. Especially with male voices. Singing should always be an extension of speech. In female voices I can really appreciate the head voice, because it seems like more connected to their speech as long as the sound is clear and open. (I love some Christine's in POTO), and some wonderful female opera singers. 

But too many opera-trained singers sound like drag queens or imitators.

I like to use the recent London revival of Miss Saigon as an example, there is a certain truthful quality in the singing that was absent in, for example, the Manila version where it was all technique and outside. Same goes for many productions of POTO.

[CindersGolightly]

Posted: 7/5/15 at 6:05am

GOODNESS. Any thread Philly gets their hands on is a mess.

Soaring, if you're auditioning for "Spring Awakening" or "Dogfight", don't sing in legit. If you're auditioning for a "The Light in the Piazza" or a show written by Rodgers and Hammerstein, don't sing a rock ballad. Expand your range or you won't get far very fast. Laura Osnes sings in legit and belts like nobodies business. Kelli can also belt! She just looks like more of a soprano in terms of type. Soaring, continue practicing your legit voice. I believe you'll get to do what Kelli has done. Besides, classical musicals are far from over. But try your voice out on some more contemporary scores that classic sopranos have done. Maybe some "Bonnie & Clyde"? I believe in you, and I don't think you should abandon your classical training. But you need to continue expanding. Just look at Kelli. Her first (and only?) belting role was in 2006! Sorry for such a long response, but I felt like you needed to hear this. I hope to see you (or maybe even work with you!) on the stage of Lincoln Center someday. :)

Updated On: 7/5/15 at 06:05 AM

[broadwayboy223]

Posted: 7/5/15 at 10:51am

I'm classically trained but I sing a wide range of material from classical art songs to mix belty musical theatre pieces like "Being Alive". In my mind you need classical technique to sing anything. Plus I know way to many people my age who have no experience with Legit styles or Classical styles. 

[Bilbo3]

Posted: 7/5/15 at 11:03am

That being said,  it is my main goal to work at Lincoln Center in  a golden age musical or  in  a more classical show like Light In The Piazza  or on Broadway in a revival of a Golden Age show.  So I have no intention of not doing legit repertoire   because the reality is my voice is much more suited to legit singing.

It's hard to make a living just off of Lincoln center shows. I mean we get it, you love Kelli O'hara and you want to be Kelli O'hara....but don't limit yourself and just try to do the path of your hero. Kelli  didn't do that. She made her own path and you should also. 

 

Updated On: 7/5/15 at 11:03 AM

[Soaring29]

Posted: 7/5/15 at 12:02pm

I may have used the wrong word before- It is my main dream to star in Lincoln Center shows, but I do  know  that you can't make a living doing them.  Not only that, but you have to work your way up to  working in an environment like that.  I would never say no to any opportunities that come my way and to work in any Broadway or Off Broadway capacity would be terrific. Contemporary musical theatre shows like Bridges, Fun Home,  Bonnie And Clyde, and other JRB   still have a more flowing, more musical theatre sound that (With the exception of Bridges) don't have the legit, semi-operatic style, but fit my voice and style of singing more then pop-rock shows like Kinky Boots and Rock Of Ages do.  Still, I'll start working on pop to get strong in that regard so I can stretch myself and doing that will also help with contemporary musical theatre. But I don't think that will change  the fact that legit musical theatre is what I do best in and if I ever become famous, that's what people will associate me with. 

Updated On: 7/5/15 at 12:02 PM