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May 12
2010
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Every year many of our students participate in musical theatre productions - mainly high school shows, community theatre, and summertime festivals. It is auditioning for these venues that this article is addressing although people also need to audition for admission to choral groups, solo parts in choral productions, school talent shows and participation in major all-state events.
A few have their eye on highly competitive venues like American Idol, America’s Got Talent, or contracting with an agent. Auditioning is challenging. and good preparation is essential. It helps to have an understanding of the overall process and a good attitude. What follows is some practical advice that comes from training people year after year. It’s an accomplishment to win a leading role in a production but it’s also a huge commitment of time and energy that often involves the family schedule -- getting to long, after-school rehearsals, being 100% reliable, staying healthy and, in the end doing anywhere from three to eight performances. Even a minor role in the ensemble is very time consuming but can be an important part of the learning process.
I’m often asked “what should I sing for an audition?”
First of all, check carefully all the information you can get about the specific audition. Do they want something from a specific show? Will they listen to a complete song or is the audition limited to part of a song, like one minute, or 32 bars, or even only 16 bars? When the selection is particular short it may take some guidance to determine which sixteen bars will show your voice in the best light.
First of all, check carefully all the information you can get about the specific audition. Do they want something from a specific show? Will they listen to a complete song or is the audition limited to part of a song, like one minute, or 32 bars, or even only 16 bars? When the selection is particular short it may take some guidance to determine which sixteen bars will show your voice in the best light.
YOU ARE NOT JUST AUDITIONING FOR A PARTICULAR SHOW
One thing I always tell my students is that very often the director has someone in mind for the lead roles before the auditioning process. When directors (or producers) are deciding which show to do, they are often influenced by the talent they know is available. It may just be that they have heard a performance at an audition the previous season that inspired them to consider a show for the next season and it could be you that sparked that inspiration, in which case it would be a very good idea for you to audition again, rather than avoid auditioning because you didn’t get a part the previous time. You are not just auditioning for a particular show; you are being heard, and hopefully will be remembered for future productions.
Be sure to include a headshot with your resume with the name of your audition piece to remind them of what you sang. Once you know the parameters for the particular audition, consider the role you would like to play. If you are inexperienced, try out for the role you want, but consider participating in the ensemble to gain experience. Not only will you learn what goes into producing a show, but they will learn something about you; e.g. are you reliable, show up regularly and on time for rehearsals? Are you enthusiastic and cooperative? Producers rarely give leading roles to people without knowing these things about the auditioner either from working with them or by getting good references from a resume.
CHOOSE A SONG YOU ARE ENTIRELY COMFORTABLE WITH
Whatever level you are at, choose a song you are entirely comfortable with. Don’t try to wow them with something that is challenging you at the moment to get to the next level. Choose something within your comfort zone which shows as much vocal range as possible.
Often an audition will ask for an up-tempo and a ballad, ignoring the fact that a show or even a role may require completely different uses of the voice. I’ve seen it happen, in schools for example where the director will give a role to a student based on her singing an audition in her soprano voice, and then expect that soprano to perform a belting role in the show, with no understanding that it’s a whole different way of using the voice. this can create a lot of confusion and frustration.
PERFORM IN BOTH VOICES IF POSSIBLE
In Oklahoma! for example, there are two female leads, one a legitimate soprano (Laurie) and the other a belting role (Ado Annie). In a school production, it would be helpful for the director to hear the student perform in both voices, before deciding what role to place her in. Usually, in order to be heard singing in both the legitimate and belting voices it takes two separate songs. There are some songs that incorporate both voices in one song but these are rare and unusually challenging. Of greater importance is the matter of choosing the segment of a song that displays the range of your voice within the auditioning guidelines.
CHOOSE SOMETHING BRIEF THAT SHOWS OFF YOUR BEST QUALITIES
In an audition where one is allowed to sing the entire song, consider the situation: if there is a line of people waiting their turn, choose something brief that shows off your best qualities, and have something longer with you in case they want to hear more. Always know the songs from the show, in case they want to hear something from it after hearing your audition piece. If it’s a private audition, for college or for an agent, you can take more time. However, brief is always best for a first piece.
CONSIDER THE ACCOMPANIMENT
Also, it is important to consider the accompaniment, who will be accompanying you at the piano. If you’re not absolutely certain of the competence of the pianist, be wary of bringing anything too complex or unknown to an audition.
On the other hand, there are some popular pieces that auditioners are just tired of hearing, so avoid them.
If you are singing a cappella (unaccompanied), have a way of getting your starting pitch. If you are being accompanied, and the accompanist begins the piece too fast or too slow, have the good sense to stop them and give them your tempo. they will respect you for that. Don’t suffer through a painful performance at the wrong tempo. Establish a friendly rapport with the accompanist. If, on the other hand, the accompanist is just not up to the piece, just ignore him or her and do the best you can under the circumstances.
Christina Rovics
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