FREQUENTLY ASKED QUESTION #2: OmG! C0LLEGE AUDITIONZ!

[Aigoo]

Posted: 7/12/05 at 5:21pm

To assist you in selecting suitable songs or monologues for your audition, you may want to consider some simple guidelines. We call them the "DOs and the DON'Ts" of Musical Theatre auditions.
DO avoid overly familiar material, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Can't Help Loving That Man of Mine."

DO avoid songs associated primarily with particular artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra's and "Over the Rainbow" is Judy's. Comparisons are inevitable.

DO avoid the current hit from the current Broadway smash or revival. These songs are simply performed too often at auditions to work to your advantage and include numbers from The Phantom of the Opera, Les Miserables, Jekyll and Hyde, The Scarlet Pimpernel, Beauty and the Beast and Aida, among others.

DO NOT present a choreographed routine. Dance skills are evaluated at the dance audition. DO, however, approach the material with a free body and move whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your head then at your watch on the words "I know now.")

DO select material suitable for youthful performers. Many students hide behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Remember, we want to see who you are.

DO NOT attempt songs obviously created for mature characters ("I'm Still Here," "Send in the Clowns," "Fifty Percent," "Rose's Turn" and almost any Sondheim song.)

DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require careful coordination between pianist and singer. These songs are hard to perform without adequate rehearsal and under the naturally competitive circumstances of an audition..

DO avoid excessively emotional pieces. It is difficult to build a sentiment quickly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Weather" twice because, as she says, she has to "build up to it." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, make-up and lighting are often unintentionally hilarious in the unforgiving light of an audition room.

DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't wear a white half-mask or a lion's head.

DO NOT outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head voice, chest voice, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can move!" ranks as the most often heard evasion in answer to a question about previous dance training.

DO bring sheet music in the correct key and with all cuts or repetitions clearly marked. DO place your music in a binder or tape the sheets together for the benefit of the accompanist. DO speak clearly to the pianist and articulate the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Man River" or "Corner of the Sky." And please note that if we do not feel your songs adequately represent your vocal range, we may ask you to perform some simple vocal exercises at the keyboard or present another song.

In selecting a monologue, DO pick material that reflects your strengths as a performer, suits your age and demonstrates the image you wish to create. Differentiate between monologues that have literary value (good pieces of writing) and those that are dramatic (they play well). Opt for the latter.

DO select a piece that allows you to make strong acting choices. Most importantly avoid those hackneyed pieces that elicit groans from the adjudicators ("Tuna fish" from Laughing Wild, "I brushed my hair" from The Fantasticks, "Peter Pan" from 'Dentity Crisis, "Sunbonnet Sue" from Quilters and pieces from the often-performed Brighton Beach Memoirs, Biloxi Blues, The Odd Couple, Night Luster, Nuts and Boys Life.) Avoid monologues from anthologies, and, of course, read the entire play before attempting to perform the speech.

DO NOT select pieces that attempt to shock with their use of bad language or obscene physical action. Auditors are never shocked but often bored! Present the material naturally, and remember that you are using the words of others in order to sell yourself. Through your choice of material and your performance behavior, show yourself to be a person of taste, confidence, sincerity and sensitivity.

DO NOT perform material written for a character significantly younger or older than you are and avoid pieces written in dialect. We want to hear your voice expressing emotion or making us laugh. Yes, you may use a chair, but no props or costumes — and if you must do "Glass Marbles" from Talking With, please DO NOT drop them on the floor!

DO pay attention to your personal appearance. Look your best. Dress casually but neatly in clothes that allow freedom of movement and are flattering to your physique. We suggest two "outfits"—one for the dance audition and one for the song and monologue.

Make sure your clothes are appropriate both for your personality and for the institution to which you are applying. It may be hard, but take a long, objective look at yourself in a mirror and assess what you see. Decide on your best physical presentation. If you need to lose weight or gain muscle, begin as soon as possible — but please do it safely. Visit the dentist, invest in a new hairstyle, pamper your complexion, learn the fundamentals of make-up, get in shape, start working out or jogging. Exercise your mind. Take a dance class or a yoga class or just get some sleep! Eat well and pass on the double whoppers with cheese. Present yourself as a prospective student who will be fun to teach and highly employable after graduation.

For the dance audition, invest in some basic dance wear -- an ensemble that will show your figure or physique in action. Women may wear character shoes, jazz shoes or ballet slippers, leotards, tights, dance skirts or non-bulky warm-up wear. Men may wear jazz or ballet shoes, tights, t-shirts or shorts. No-one should wear oversized sweat pants or shirts (in fact, you will be asked to remove them!) Sneakers are not recommended -- how can you do a double pirouette when your Nikes keep you nailed to the floor?

DO consider your deportment. That means the way you behave (and are seen to behave) from the moment you arrive at the audition to the moment you leave. Show that you are well prepared and have done your research about the school and the program. Ask intelligent questions, exude confidence as you enter the room, say your name with authority, answer questions in a provocative way, look your best, thank the faculty for their attention and leave with the air of a job well done. And if you are really interested in pursuing the program, write a note to the faculty on your return home. You may do a brilliant audition and ruin your chances by appearing obnoxious. If you seem to have "attitude," are a "diva" or possess an ego the size of Manhattan, you are unlikely to be accepted into a first rate program. On the other hand, you may be a good performer but slink in and out of the room, appear as confident as a Jello on the San Andreas fault and miss your chance. Find a happy medium!

DO be confident. Like yourself. Be proud of who you are. In short, make the faculty want to teach you. Arouse their interest through the sheer force of your personality. Dare to be different -- in other words, true to yourself.

DO ask questions about the school or the program if you wish. Remember you are auditioning the faculty, too. But how shall we say this -- keep the questions logical and to the point. Take the opportunity to talk to our current musical theatre majors— they'll be happy to give you the dirt of the school, the faculty, the classes and the productions. Just remember, the often give us feedback on the behavior of prospective students, too.

Taken from CCM's Audition Guidelines page
https://www.ccm.uc.edu/musical_theatre/dos.htm

What NOT to do when auditioning...(from Student Board)

https://forum.broadwayworld.com/readmessage.cfm?thread=858137&boardname=student&dt=071105115328

[Aigoo]

Posted: 7/16/05 at 11:50am

El bump!

[GypsyRoseLee]

Posted: 7/16/05 at 11:00pm

Very helpful, Aigoo! Thanks!

[seasons of love]

Posted: 7/18/05 at 2:10pm

Once again.... Aigoo you are my hero! Thanks so much!

[luvliza89]

Posted: 7/18/05 at 3:35pm

I do have a question that probably has been posted before and I did try looking, but...

Is it bad to transpose songs to fit your range? It's easy enough to do if you buy your sheet music off of Sheet Music Direct so it's not really a question of transposing itself, but is it frowned upon if you sing a song in you range that wasn't orginally written for your range? Hehe thanks in advance.

[Aigoo]

Posted: 7/18/05 at 7:28pm

I don't think it's a horrible thing to do, if you truly want to do the song, but here's my take:


You're trying to show off your range, and I'm sure there are PLENTY of songs out there that are available for that. Before transposing your song, just keep searching for another. The auditors might not know off-hand that it was a step lower or step higher, but they'll definitely sense that something is different.

Especially if a song has a signature "money note", it's best just to find another song that really fits your voice. Obviously if you need a piece transposed, it doesn't fit your voice as well as you think it should.

[pndmnd]

Posted: 7/18/05 at 7:57pm

However, keep in mind that often times anthology books publish songs in different keys than in the score.

[brdwaybaby17]

Posted: 7/18/05 at 8:39pm

Gah... Nuts is overdone... good to know...
Question...
Is it ok to do monologues that come from musicals?

[Aigoo]

Posted: 7/18/05 at 9:35pm

I think it'd be better to go with a straight play, if you can. It's not like they're very hard to find...>___> Most plays are at your local library. Maybe it'll stand out as unique though...I'll ask some people and let you know.

[pndmnd]

Posted: 7/19/05 at 9:07pm

Do a monologue from whatever show carries the monologue that you like, connect with, and suites your age and type. Having said that, don't do something from a show that is currently on Broadway (or very popular), or really anything that has been in the past few years. Oh, and if you are doing a monologue from a musical, don't do a monologue from the same show that you are singing from. If you are only doing one monologue and one song, then have them contrast eachother.

[brdwaybaby17]

Posted: 7/20/05 at 6:48pm

I was thinking of doing the Sally monologue from YAGMCB... just one of the obviously and let the other contrast it completely. But, I don't know. I requested about 4 or 5 plays from the library and I am going to read them and try to find something. Also, I have a bunch of scripts here from shows I've done before (R&G Are Dead, Wait Until Dark, etc.) and a few others that I can look through. It's just most of the plays I know aren't comedic (unless they are English farce), so I thought that could be a comedic one.

[TabooWickedFan]

Posted: 7/22/05 at 1:07am

wow Aigoo thank you so much for your help!