I know. I know. The Contemporary Comedic Monologue the most important, most requested piece and it’s a total b*tch to find.
The number one request I receive from potential new clients is, “Can you find a contemporary comedic monologue for me?” My answer is always a firm but loving, “Sorry.” Here’s why: I can’t find a monologue for you because I can’t love a monologue for you. What do I mean by that? Well, here’s the thing. Comedy is ether. Comedy is intangible. What’s funny to one person is not funny to another. Some actors are able to mine seemingly non-comedic material for laughs. Others need a more obvious punchline. Some are clowns. Some are dry as dirt. I can’t read material through your eyes. What I think is funny might be absolutely boring to you. What you think is funny might go straight over my head. This is why monologue finding can be so intimidating and often fruitless.
Strategies for Finding and Preparing a Contemporary Monologue
These strategies work for any kind of monologue, but they are particularly helpful for contemporary comedic.
1. Do not look for a monologue. Wait, what? You heard me right. Stop searching for monologues. Rather, read plays and fall in love with characters. Your search for a perfect 60 second chunk of text is doomed from the start. Find a character you love. We can build a monologue from there. Stick with me.
Here’s a character I love. Niles Crane. True, he’s on tv, and I absolutely do not advocate using monologues from television or film for auditioning. However, Niles is quite theatrical and will help me to illustrate the ins and outs of a comedic piece.
2. It’s totally fine to cut and paste. This is for an audition, not a production. Editing for time, clarity, and function is a-okay.
3. Don’t necessarily look for a punchline. In the context of auditioning, “comedic” isn’t so much about the big laugh. It’s about a command of language and presence that reflects the human circumstance in a way that evokes an empathetic response from the audience. Not sympathetic (leave that for drama) but rather empathetic. We laugh when we “get” it. It’s hard to talk about comedy.
The important thing is that the piece you use gives you (and the audience) joy and speaks the (often painful) truth.
If nothing else, the comedic monologue should be fun for you to perform.
4. The comedy isn’t always in the language. There are many comedic monologues that, on paper, don’t appear to be particularly hilarious. But the right performer finds physical cues, pauses, glances, gestures that evoke the laughs. The following scene could be captured with the words, “Niles irons his pants.” But it’s so much more. So very much more.
While it is wordless, make no mistake. This is a monologue. What are the keys? Specificity. Commitment. Consistency. An obstacle to be overcome. And the highest stakes possible.
For audition purposes, this cannot be an everyday moment in this character’s life. Even the most banal circumstances are significant. It can begin that way, but it must develop into something extraordinary.
Specificity: Niles is nothing if not precise. It starts with precision and simplicity. Niles begins by attempting to smooth a small wrinkle in his pants. In the wrongs hands, this small gesture could be unnoticeable or muddy. In the hands of David Hyde Pierce, it’s genius.
Commitment: You cannot half-ass good comedy. If you make a choice, make it. Do not apologize for it. Weak gestures, choices, and decisions kill comedy.
Consistency: Much of the comedy in this bit comes from establishing a joke, and then sticking with it. Niles cuts his finger and then becomes faint at the sight of the blood. He then maintains a commitment to the established joke by keeping his finger raised come hell, high water, or in this case, fire. The more consistent he is, the more the laughs build.
Obstacle. There are two obstacles here. The wrinkle. And Time. He must remove the wrinkle before his date shows up.
High Stakes. In the words of Mel Brooks, “Tragedy is when I cut my finger. Comedy is when you fall into an open sewer and die.”The obstacle creates a tension that allows for something as simple as ironing pants to become the most threatening and suspenseful circumstances. Life and Death. Fire and Blood. All from a little wrinkle. If you are truthful and committed, absolutely NOTHING is over the top.
4a. Sometimes it’s in the subtext. What’s the elephant in the room? How can you establish it?
5. Don’t forget contrast. How does piece contrast with other monologues in your repertoire?
6. Take a risk. Commit to the big choice. Don’t acknowledge it’s funny. We, the audience, will do that for you. That doesn’t mean you can’t enjoy yourself. In this clip, Niles is really thrilled about his new skill. He’s happy. He’s proud. He isn’t quite his normal, dry self. But he also isn’t hamming it up. He is merely committing to the joyful. It then roundly bites him in the ass.
7. What is the opposite for you? What is unexpected? What is charmingly out of character? Comedy is often a character at the end of their rope.
8. He’s not really Niles. He’s David Hyde Pierce.
Without the talents of David Hyde Pierce, we wouldn’t even have Niles. It’s his choices. His physicality. His presence that makes Niles such a delight to watch. The words on the page aren’t nearly as funny unless there is an actor there to flesh out this human being. What can you do to really own the piece? Where are YOU in it? If you found it entertaining, there is something that is “you” in the text.
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9. Make smart edits. So how does this all add up to a monologue? The following is a monologue I put together from one episode of Frasier. I redacted many of Frasier’s lines and commandeered one for clarity. Note: Do not use this piece to audition as it is from television. I use this only to illustrate a method of putting together a comedic monologue:
NILES: I have never experienced that kind of happiness. Not in my whole life. Note even when I bought these $400 Bruno Maglis. (examines shoes)
Do you like them? {FRASIER redacted} What about the tassles? [I’m not really a tassle guy] Nevertheless, there they are.
Oh I have no reason to be unhappy. I have my health. I have a wonderful home. Beautiful wife. Did your eyebrow just move? I have my practice, although lately I’ve lost track of the ideals that led me to psychiatry in the first place. Ah, but look who I’m talking to: psychiatry’s answer to the drive-thru window. You know, sometimes I wonder if I’m not just in psychiatry for the money.
{FRASIER redacted}
What? What were you going to say? Oh there’s no need to. I think I know what you were going to say. You’ve been wanting to ask me this for years. Did I marry Maris for the money? I resent that. I did not marry Maris for the money.
Just a delightful bonus.
{FRASIER redacted}
Of course I love her, it’s just a different kind of love. {FRASIER redacted} It doesn’t burn with the passionate intensity of a Tristan and Isolde. It’s more comfortable. More familiar. Maris and I are good friends. We can spend an afternoon together. Me at my jigsaw puzzle. She at her autoharp. Not a word spoken between us and just be perfectly content.
This is a great example of a piece that isn’t about building to a big punchline. Notice how there’s no big guffaws? There are little hints at who Niles is. “Did your eyebrow just move?” If you needed a very short piece, you could end it after,”Just a delightful bonus.” This is a monologue built for sly and subtle humor. It’s not stand up. There’s no huge payoff. That’s for the actor to find. It let’s us really see Niles. Who he is. Where he’s at. And we get a couple laughs in too. This is the point of a comedic monologue: to interest us, delight us, and most of all, earn us as allies.
10. Say the thing. Notice how the monologue doesn’t fart around getting to the point? It starts out not with exposition or non-sequitors or small talk. It starts out big: “I have never experienced that kind of happiness.” BOOM. We’re in. My God, the audience says. What is going on here? Is that how his line begins in the actual episode? Not at all. He builds us in by telling us about a documentary he was watching. But for audition purposes? Who cares? Say the thing. (By no coincidence, this is also a rule of Improv. Say it. Don’t dick around. Say the thing.)
Say. The. Thing.
Never save the best for last. They stop watching by then. And the best isn’t always the laugh. Sometimes it is. Sometimes it isn’t. If you create a piece that Says the Thing and is also a big punchline? GOLD, Jerry! Gold.
For reference, here is the episode. All of these lines occur within the first ten minutes.
Now, you may be thinking, where the hell do I find this magical text?
Sources for Contemporary Work:
1. When searching for a piece, take a look at recent play anthologies. Humana Festival. Best New Plays. One Acts. They are guaranteed to be contemporary and you run almost zero risk of someone bringing in the same piece. Also check out playwright organizations and playwright-centric theatres.
In my posts You Need a Hero, Stop Look and Listen: Best Practices, and Contemporary Musical Theatre, I cover a lot of strategies that are absolutely just as effective for monologues and plays as they are for songs and musicals. To review:
2. Pick actors that are in your age range whose work you enjoy. Mine their resumes for roles and plays that you can utilize to create contemporary comedic monologues. Check out ibdb.com for a good start.
3. Go see shows. Expose yourself to what is truly “contemporary.”
4. Read plays. Lots of them. Look for characters that pique your interest. Find a playwright whose work you adore.
Fall in love, y’all. Because love is nothing if not hilarious.
XO,
Your Audition Coach
P.S. For further ruminating on preparing a monologue, check out my post The Down and Dirty Guide to Monologue Prep.
I’m very interested in the idea of innovation as it applies to life in the creative arts, performance in particular. This is something I’m sort of jamming on today in my brain, so I thought I might put it out there for everyone:
If you were just starting out in your career today with no knowledge of “how it’s done”, BUT with all other life experience intact, how would you start? What would you do? If the “way it’s done” or the common practice was not available to you, how would you make it happen?
Imagine absolutely no such thing as “supposed to” or “well-rounded.” Just you, what you do best, and an open road. How would you proceed? No rules. No past. Just your way. What would you do?
A little mental jazz for you.
And yes, the title is from Potter.
Rock on,
E
Source: Playbill
WOW. We have put that book through the wringer!
Before we wrap this series up, I have a couple more strategies to help you spit shine your repertoire and feel prepared for almost anything.
Double It
Once you’ve decided what categories you should address in your book and once you find pieces that fit those categories, brace yourself: Find an alternative piece for each established piece in your book. Wait! Don’t leave. Hear me out.
1. Why? Because the world of musical theatre is small. At some point, you are going to end up in front of the same director several times. You won’t want to use the same piece over and over again. This is a strategy to help avoid the “Oh-my-god-they’ve-seen-this-a-million-times” panic.
2. There is no need to ultra-prepare these pieces. Just having them alleviates that panic. You can effectively prepare these pieces fairly quickly.
3. This also helps when you need to audition for a show and your standard audition piece is from the same show.
4. This is just a “if you want to” strategy.
5. You don’t necessarily need a double for every category in your book. You probably don’t need more than one novelty piece. But you might want a couple showstoppers
Copy It
Insurance, my friends. What if, just what if you left your audition book on the bus? Or if you dropped it in a puddle. Or you name it. Consider making either a dropbox file or a physical copy of your audition book just, as Chris Rock says, “in case shit.” At the very least, make a list of your current repertoire and keep it separate from your book for reference.
Resources:
Books
- A Performer Prepares by David Craig
- On Singing Onstage by David Craig
- Audition by Michael Shurtleff. On the surface, this may strike you as a book on cold reads. However, all of his advice can be applied to song preparation.
- Auditioning for the Musical Theatre by Fred Silver (intro by Charles Strouse)
Movies and Documentaries
All That Jazz. (Fictional) Great audition sequence.
Every Little Step. (Documentary) Nearly required viewing.
Theatre of War. (Documentary) Watch Jeanine Tesori (Violet, Shrek the Musical) and Meryl Streep work together on original music.
Classes:
Chicago Musical Theatre Workshop
Hire a coach!
Sometimes one time only Master Classes pop up. People like Ann Reinking and Faith Prince have popped into Chicago in my recent memory. Keep you ear to the grindstone for these opportunities.
Websites
Musicaltheatreaudition.net – I’m not sure this site gets updated very often but it’s still a treasure trove
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So…um, that’s it. That’s everything. That is pretty much, minus individual actor-specific advice, everything I know about building musical theatre audition repertoire. If you’ve been with me from the beginning, I thank you. If you just showed up, I thank you. I just wanted to get this series out of my system. And here it is! I do have some potential future plans for this series, but I’m not quite sure how they will manifest.
Again, I want to thank you for taking the time out to read my posts. I’ve tried to provide both standard and alternative methods of repertoire building. Hopefully some of these posts have shaken up how you look at your book. Although my advice may not be for everyone, I do believe in it and I use it myself. I hope I’ve provided some new ideas for finding repertoire, and considerations that might improve what you’ve already got.
Source: University of Iowa
ADDENDUM
So, when writing a 30 day blog series while you are also in tech means your forget a few things. Here’s what I forgot to mention:
William Finn. I think I somehow managed to write the equivalent of 150 pages about musical theatre without mentioning a show or any work by William Finn. So, William Finn everyone.
I never suggested any pop country written by men. Take a look at Tim McGraw, Toby Keith, Kenny Rogers, Rascal Flatts, Luke Bryan.
Story Song/Narrative Ballad – As much as I harp on choosing pieces that are active and directed at someone, it is worth it to have a dedicated story song in your book. Story songs show up in almost every genre. Their purpose is fairly obvious; they show your ability to tell a story, maintain a clear narrative, establish a beginning, middle and end, and be entertaining while you do it. Take a look at pieces like “A Boy Named Sue” by Johnny Cash, “A Day in the Life” by the Beatles, anything called “The Ballad of…” as the original meaning of “ballad” was “story” (Think medieval balladeers), “Stars and the Moon” from Songs for a New World. It will be up to you to decide what genre makes the most sense in relation to a specific audition or for your particular interests. Actors that are interested in children’s theatre would want to take that style into account. Actors who are interested in historical dramas may want to look at authentic pieces from the era.
Ask a question! I can’t always answer them all, but I usually know who to ask. I meant to open up a forum at the beginning of this thing.
THE THING ITSELF
Okay. Now let’s talk about your actual physical book.
For your A Book, try to stick to a binder 1″ or under. Most piano music stands can’t take much more than that.
Presentation of cuts: There are several ways to visually cut a song. You can literally cut and paste. This is very effective. You can mark the music and direct the accompanist. No matter how you do it, think about it not from your perspective but from the accompanist’s. The charts are for them, not you. Try to keep their page-turning to a minimum, and try to make those page turns happen at opportune times and not in the middle of a difficult musical phrase. If you change the lyrics to your music for any reason (I often use second or third verses and attach them to the music under the first verse) make sure you mark that in the music. That is how the accompanist is going to be able to follow you and find you again should you get off track.
The general standard for audition books is a three ring binder with protective NON-GLARE plastic sheeting for the individual pieces of music. This protects the music, and makes it far easier for the pianist to turn the pages. Some accompanists don’t care how you bring in the music, but some do. A lot. Those accompanists that do care want the standard. They are there to help you, make it as easy for them as possible. Don’t bring in loose music. And never bring in an actual printed book of music. It looks unprofessional, inexperienced, and worse, unprepared.
If you want to make things really easy on yourself, make the actual 16, 32, and full cuts of each of your songs and have them pre-arranged and all ready to go. It will save you time in the future.
I also suggest a Table of Contents for your A Book. If they ask for something else, you can either hand them the list or tell the accompanist that it is there (they are often the music director as well), or you can scan it before you walk in the room to remind yourself what you have on hand. Just stick in the front pocket, and don’t forget to update it, particularly if you make a couple B Book selections for a specific audition.
Organization and Strategy: I slightly reorganize my A Book for almost every audition. I put the piece(s) I will be performing in the front. Behind it I put potential pieces that may work for a “something else.” Behind that, I might pull a couple genre appropriate pieces from my B Book in case I need to show a particular skill set. The rest of the A Book follows. For example, let’s say I was auditioning for Jesus Christ Superstar. Sure, I’m aiming for Mary Magdalene but I’m also willing to play an ensemble member. So I bring in “Will You Still Love Me Tomorrow” by Carol King, and I bring in “Where Are You Going” from Godspell. Since I know it’s “the song” I bring in “I Don’t Know How to Love Him” just in case. I also stick a pop/rock belt piece behind that. And then I put my showstopper behind that. Now, there is nothing stopping the casting team from asking for a classic show ballad from the Golden Era. There is also a chance I will get out 16 bars of “Will You Still Love Me Tomorrow” and they say Thank you! And it’s over. But when I’ve made the effort to think it through, I can relax a little more about the unknowns.
I also put a little note to myself that is taped inside the front cover. This is because I am a spaz. It says:
- Keys
- Wallet
- Directions
- Phone
- Calendar/Conflicts
- Book
- Headshots
- Sides
- Water
- Rehearsal Kit
It’s there because I have forgotten all of those things at one time or another (individually…but still.)
That’s just how I do it. The important thing to remember is that once you cross the threshold of the audition room, you no longer need the book. You pianist does. Keep them in mind when you are “Putting It Together”. Keep it clean, neat, and organized. The shape and style of your book is an extension of you as a performer.
Tomorrow, we wrap this thing up! I’ll talk about safekeeping of your repertoire, resources for book building, strategies to help you be as prepared as possible, and maybe a couple bloggy hugs.
Okay, now that we’ve covered sources and categories of repertoire, let’s get practical and start putting your book together!
I tried to come up with a lovelier name for this activity but it’s a song dump. Ain’t no gettin’ around that. The song dump is kind of a weekend project sort of thing. I do it about once a year. Or you could be in constant song dump mode. Always weeding and assessing. It just sort of depends on if you are a vigilante auditioner or a set it and forget it type. I’m more of a set it and forget it. Then assess it once a year.
Source: Colorado.edu
To song dump, gather everything. EVERYTHING you are considering for your A or B Book. Sometimes this is physical sheet music. Sometimes it’s mp3’s or little notes you’ve written yourself. Perhaps you’ve checked out some scores from the library.
1. Try them out. In your living room. In auditions. With a coach. With a friend. Try them on for size. Play with different cuts. And then pay attention to how you feel. Do you enjoy singing this piece? Does it help you access something? As a bad example, I will immediately cry upon singing ‘Somewhere Out There’. This song is not in my book. It doesn’t harness workable emotion. It harnesses childhood memories that leave me a helpless puddle on the floor. ‘Not a Day Goes By’ however gets me on a deep level, but it gives me things to work with and struggle against.
Source: Sheet Music Plus
2. Assess Potential Cuts and Audition-Worthiness. There are some songs, as marvelous as they are, that are just not auditionable. They don’t cut well. They might be repetitive. Most (not all) of the pieces in your entire reperetoire shouild cut well into 32 and/or 16 bars. Almost every piece in your A Book should do this. (24 or 48 bars are less common, but also workable). It isn’t so much about a somewhat arbitrary amount of bars. It’s that 16 bars usually takes around 30 seconds and 32 takes about a minute. If you’ve got 48 bars that comes in around a buck fifteen, that’s totally fine most of the time.
3. Begin to categorize individual pieces into your A Book and your B Book. The more you whittle, the more obvious the potential function of each piece will become. Pick your priorities. Below I am going to list the categories we’ve covered in this series. You decide which ones you care about and which ones you don’t. Remember, most pieces can and SHOULD cover more than one category. There is absolutely no need for each category to require it’s own stand alone piece to be fulfilled. That would be impractical and unweildy. YOu need to be able to carry your repertoire around with you. Categories in Bold indicate common “A” Book categories.
- Showstopper (Contemporary and/or Classic)/Upbeat Belt
- Ballad – Classic (Legit/Mix)
- Ballad – Contemporary (Belt)
- Upbeat – Legit/Mix/Swing Ballad
- Sondheim
- Rodgers and Hammerstein
- Porter/Gershwin/Berlin
- Gilbert and Sullivan or Operetta
- Comedic
- “Me” Song
- “Me” Song
- Type Song
- Type Song
- Jazz or Torch
- Patter
- Special Skill(s)
- Novelty
- Turn of the 20th Century through 1918/WW I
- 20’s/30’s
- 1940’s
- Golden Age – Upbeat
- Golden Age – Ballad
- Great American Songbook (See Jazz/Torch)
- 1950’s/Early 60’s Pop
- Rock Piece/Rock Musical
- Pop Piece/Pop Musical
- High Belt/Rangey
- Country
- Gospel/Religious
- Holiday
- Folk/Specific Cultural Tradition
- Patriotic
Another way to think of this exercise is to pretend you are building your big album. What do you want to record? What do you want to show off? Take a look at the solo albums of Broadway stars. They are often structured in a manner not unlike audition repertoire. You’ll see Showstoppers, dramatic ballads, upbeat comic numbers, alternatively sourced pieces, rewritten or rearranged classic, torch, and quirky novelties.
An alternative way to “song dump” is to come up with your own list of priorities. Put all my categories and suggestions aside. Start from scratch. What do you need a song to do? Make a list of features or purposes that these pieces need to serve specifically for you. This is how I used to song dump so I’ll give you some examples.
- Earthy/Mellow sound – I have a warm voice that sounds jazzy/torchy instead pop-belty. I like songs that show that off.
- Non-ingenue – minus a couple well-considered examples in my past, I am not ingenue material.
- Has depth – As an actor, I like a lot of levels to chew on. I like my drama complex and my comedy clever (as opposed to cute)
- Shows off upper range
- Shows off lower range
- Villain – I love to play villains
- Sassy
- Good beat changes/tactic changes
Basically I end up coming with 20 or so “traits” that songs could have that I look for. Not all songs can be everything, but if they are at least half the things, they are usually keepers. You can combine this method with the more traditional categorical method I list above. This is a good secondary editing method for when you feel like you have way too many options to lug around with you. It’s also a good way to suss out when something is missing. You’ve got high belt. You’ve got classics. You got a mix of eras, and comedy and drama. But there’s just a little something missing. Try making a list like this to help you define your search.
No matter what, You may not be able to fill in all the blanks. You also might not want to. The purpose is to see an outline of your repertoire. Take a look at your dream roles. Are there pieces in this outline you can use? If yes, great! If not, no biggie. The pieces you pick for some dream roles may be solidly B Book. Because of her cockney accent and quirky personality, all the pieces I have selected if I were to go in for Mrs. Lovett are very B Book. I just can’t really use them for much else. What is nice is that I have a plan. I would need to spend a week preparing these pieces because I don’t use them very often, but I wouldn’t have to run around like a crazy person trying to find something appropriate.
And guess what? I made a free downloadable planning sheet just for you: 30 Days to a Better Book Bonus
You can also, um, group Song Dump…God, I have GOT to come up with a better name for this… Have a couple friends who are of similar type over. OR have a big diverse group get together so that you can really objectively help each other suss and you might even have pieces lying around that are C Book for you, but would easily be A Book for somebody else. Also, consider forming a supportive Circle of Actorly Song Dumping Trust (something I will discuss further at the end of this whole series) and survey each other about each other FOR PROFESSIONAL PURPOSES AND WITH LOVE IN YOUR HEART. This is not the time to clear the air. People, friends! Eyes up here. Anybody who giggles gets detention. This is sensitive.
Here are some suggested questions:
1. What are some roles you think might be good for me?
2. Is there something that you think I should highlight?
3. What cut do you think works best?
4. What do you think is my strongest asset as a performer?
The cool thing about having friends around is that you get their musical knowledge along with your own. They may even have experience “behind the table” or they might play the piano or something. Or maybe YOU have that kind of experience and can help somebody out. Love expands folks. Scarcity mentality and secrecy doesn’t really help anybody out when it comes to building audition repertoire.
Have fun Dumping! I’ll try to come up with a better name. Repertoire Scatter. 16 Bar Scan. I don’t know. Suggestions welcome.
Let’s talk Special Skills! The main thing about special skills is that you are ready to go when they ask to see them. I mean, no, they aren’t going to say, “I see you drive a stick shift. Let’s go out to the parking lot and have a look.” BUT if you say you can sing classically, it might help to have an aria available.
FOREIGN LANGUAGE
1. You speak a foreign language. Is there a piece that you can translate into said language OR (even more cool) is there a piece from the musical theatre cannon of that country or culture that you can use?
2. You may not truly speak a foreign language but you are comfortable singing in French, German, Italian, etc. This is also a skill.
MUSICAL INSTRUMENTS
Broadway Revival of Sweeney Todd
Of all the special skills in musical theatre, this is by far the most requested. Particularly guitar and piano. Banjo and fiddle are having a bit of a moment. Henrik, in A Little Night Music, plays cello. There is also a self-accompaniment trend happening as well. If you can play a musical instrument, it makes sense to have a couple pieces that are ready for auditions. I play piano. I have one Beethoven piece that I use specifically to indicate skill level. I have a pop piece or two that I am comfortable singing and accompanying myself, and I also have the same from musical theatre. For those who play instruments such as the guitar or ukelele…fairly portable, there’s no need to haul them to every audition, of course. But do enough research to find out if it might behoove you to do so. You can always leave it in the lobby. The auditors will never know.
SPECIFIC VOCAL SKILLS
Classical/Opera/Operetta
I mentioned classical above in reference to foreign language. But in general, if you can swing it (even somewhat) consider having a piece in your B Book.
Yodeling: There are a couple types of yodeling. There’s that Alpsy type. And then there’s that bluegrassy/cowboy type. They are both awesome and if you can do it, it’s nice to be prepared. I can’t do it, so that’s about all I can tell you about it.
Scat: I mentioned scat in the post about the 40’s but seriously, it is so awesome. It’s also a nice alternative to that tired of tireds, the American Idol style riff.
Riffs: Riffs are awesome when done right, but an attempted and badly executed riff is not a wonderful thing. So if you can do it, DO IT. If you can kinda do it, don’t do it.
Beatbox:
A Capella: A Capella singing can manifest itself in many styles from Barbershop, to pop, to chant, to ancient ballads. If there is a style you love, have a piece in mind. You want to be prepared if they say, “I see you sing in a Barbershop Quartet. Want to give us a sample?” Of course you can’t manifest three other singers to surround you, so pick something melodic that you can stylize. Think about something like this:
It’s a barbershop classic sung by an individual. You’re saying 1. I can sing. 2. I am familiar with that style. 3. I know the classics from said style.
Range: If you can hit the highest of the high or the lowest of the low or both, make sure you’ve got a way to show that off. You may not be able to do it all in one song, that’s okay. You can have a couple pieces that address your range OR you can have someone help you arrange a piece that elegantly shows off your range.
DIALECT
Singing in dialect is …dubious. But sometimes you need it. Cockney, British, Irish, etc. This is a Dream Role strategy.
British RP
Cockney
Irish
Caribbean
Eastern European
Thai – This is one of the most beautiful songs in all of musical theatre.
Southern
CABARET PATTER:
When auditioning for Cabaret pieces, it’s nice to have some patter to surround the number. Or you could put together a medley with some patter.
DRAG
If drag is your bag, having a number that helps play that up or something that is signature for your drag character is good idea. That way you don’t have to wing it.
CHARACTER SPECIFIC
Think of characters like The Drowsy Chaperone, or Conrad Birdie, Billy Flynn, The Villains, The Matriarchs, The Lounge Lizards. Consider having a piece in your bag that really goes all the way towards these types of characters if that is a skill for you.
IMPERSONATION
I do a mean Ludwig Von Drake. No one will probably ever ask me about this. And I certainly don’t have any sheet music. But I do have a plan:
If you can do a great imitation of someone, consider picking a song that’s already in your repertoire and doing it as said person you imitate. I once got cast doing this. I swear. Camp theatre. Biographical theatre. Journalistic theatre. These pieces exist. I’ve seen auditions asking for Liza Minellis, Bob Dylans, Phyllis Dillers, James Deans, Marilyns, you name it. If you can imitate an icon, this could be a major asset.
I do a great Marie Curie singing “Poor Unfortunate Souls”, but I haven’t quite found a way to use that one yet. This would be one of those times where obscure doesn’t always pay off.
OTHER
There is no possible way I covered every amazing thing that the human voice can do. I’m thinking of those Tibetan monks that can sing two notes at one time. THAT IS AWESOME. From sacred training to stupid human trick, only an actor could find a way to add these things to your resume. You won’t always use them, but it’s important to have a plan for when you can. Sure, they might throw something crazy your way “Can you do that song, but as if you were raised by wolves?” that you simply can’t prepare for. BUT if you identify something as a skill, pull that skill from the hypothetical into reality by digging up repertoire ahead of time that will show your kooky self right off.
Robert Preston in The Music Man
Today we are going to talk about patriotic and culturally-specific pieces and whether or not it makes sense for you to include something like this in your book.
Patriotic
Yesterday, we talked about using Country, Folk and Gospel to beef up your book for a certain subgenre or two of musical theatre. Today, I want to tweak that idea a bit and talk about patriotic themed pieces. Like many American musical genres, these pieces will mostly come in handy for the “play where there is singing” as opposed to true musical theatre. However, let us not forget about patriotic cabarets and revues, shows written by George M. Cohan, historical drama and re-enactments. Also, there is also the musical theatre-friendly gig of singing the national anthem at a large (or small) event. Plus, there are many other performance venues like the USO, Veteran’s Benefits, school and university functions, government-sponsored dinners and events, special presentations, memorials, and making your WW II vet Grandfather happy, right? Dancers may want to pay particular note. Parades, patriotic production numbers and revues, vintage style singing groups, drag shows, and even The Rockettes may put together a piece that is shiny, glitzy and All American.
Local
Some actors hail from regions that are famous for a certain type of music, or a famous era in history, or a specific event. It can be fun to have a piece that reflects these scenarios. In Chicago, we’ve got tons of options. Chicago is famous for Chicago style blues. We’ve got that whole gangster thing happening. We also have many songs about Chicago:
A kid from Appalachia might want to consider having some bluegrass in their back pocket. Somebody from New Orleans may want some jazz in their book. A Texan may do well with a cowboy song.
Does this play into stereotypes? It doesn’t have to. If you’re proud of where you’re from and your roots, it can feel special to be able to represent that in your repertoire. Ten gallon hat not required.
If nothing else, consider learning your Alma Mater (college or high school.) It can be an instant connection in the right circumstances.
Songs from Childhood, Camp, Church and Family
Speaking of your roots, there are songs many of us grew up singing that may fit well into some specific audition requests. Story songs, personal songs, and childhood songs may work well when audition for folk or children’s theatre. Here’s one from my childhood that I keep in my back pocket. I don’t even have the physical sheet music. It’s not necessary. It’s just a little piece of me that I can reveal if asked:
Johnny Appleseed planted an orchard on my family’s land. Plus, we occasionally sang this number around the dinner table at my house and the houses of family friends. I know, it’s so wholesome you could blush. The point is, I’m connected to this. Brainstorming about these types of pieces help you plan ahead for weird requests. Did I ever tell you about the time I was asked to do my monologue as an elephant? Stranger things have happened. If you’re having a hard time coming up with something, think about songs from camp or church or school. Also see my post on Novelty Songs.
Culturally specific
Are you at all attached to your cultural background? Do you have experience in any folk tradition? Pieces like this are so interesting and evocative, plus foreign language and folk art forms are special skills. I’ll talk more about special skills in a future post. Right now, I’m specifically talking about culturally specific song and singing styles. Reggae, Bluegrass, Gospel, Klapa (A Croatian choral style), Kekawin (A Balinese Singing Style), Gregorian Chant, Tibetan Chant, Cantoring (Jewish or Catholic, for example), Native American, I could on for days with this one.
I have a couple Scottish numbers in my B Book, as well as some Irish, Bluegrass, Gospel and Hymns. I also have the Bach “Ave Maria”. It shows that I can sing in, not necessarily speak, Latin. It’s also a classical piece of music.
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Find ways to really show off who you are and where you come from. These pieces may never make it into your A Book, but doing some critical thinking about them now will help you when the odd audition requests pop up or if you find yourself being asked to audition with “alternative material.” These types of songs are inherently interesting and unforgettable. Harnessing our roots can be very powerful. Personal pride reads as confident and attractive. If you hear the question, “What’s your story?” it’s very freeing to be able to answer.
30 Days to a Better Book: Day 25 – You’re Lookin’ at Country . Might as Well Take it to Church
September 25, 2013
There comes a time in every musical theatre actor’s life when they could use a little country in their book.
Now, if the idea of doing a countrified anything, from Dolly Parton’s Dixieland Stampede to a production of Floyd Collins makes you want to hurl, then say no more. This ain’t fer you. See you tomorrow. Not everybody needs a country piece. But if you are attempting to be prepared for anything, then you may want to consider this genre.
There are also those among us, myself included, who actually grew up kicking a little shit whether we wanted to or not and some aspects of the Country/Americana world speak to us. I am a bluegrass girl. I love it. And the two times I’ve gotten to sing publicly with a bluegrass band were two of the most blissful moments of my life. As such, bluegrass has a home in my book. I also grew up singing in church, so I’ve got some hymns in there, too. These are comfortable pieces for me, and I do use them quite a bit. Although, typically these auditions are usually for a straight piece that will include music, rather than true musical theatre.
Slashies (Musical Theatre/Straight Theatre Actors) take note. Americana, Hymns/Gospel, Country, and Folk are popular fodder for straight shows that utilize music. Much of the cannon is public domain. It’s kind of weird but true. If you don’t consider yourself a true musical theatre actor, BUT you do consider yourself an actor who sings, this genre could be very helpful for you.
Note: For any musical I mention, you could easily use a piece from the musical theatre cannon to audition. These are suggestions to get your gears clicking and to address possibilities for a second audition piece.
Countrified Musical Theatre
Representative Shows: Oklahoma, Annie Get Your Gun, Seven Brides for Seven Brothers, Calamity Jane, Lil’ Abner
Classic Country
Representative Artists: Patsy Cline, Older Dolly Parton, Loretta Lynn (avoid her collaborations with Jack White. Those are more in the bluegrass vein.), Hank Williams
Representative Shows: Always Patsy Cline, Regional Shows (Think Branson, Galtinburg) like Dolly Parton’s Dixieland Stampede, Theme Parks, Singular Country Songs like “One More Angel” from Joseph and the Technicolor Dreamcoat, Will Rogers Follies
Pop Country
Hidden underneath the glitz of Pop Country is good ol’ high belt. In fact, if you’re smart, you can find a great high belt piece in the world of Pop Country. A couple tweaks to accompaniment and your performance, and the country goes away. Just a lil’ bitty piss-ant trick you can put up your sleeve in a pinch.
Representative Artists: Faith Hill, Newer Dolly Parton, Reba Macintire, Carrie Underwood,
Representative Shows: The Best Little Whorehouse in Texas, Bonnie and Clyde, 9 to 5
Bluegrass – Accompaniment warning. Banjo and fiddle don’t translate very well to piano. Luckily, bluegrass’s roots are ancient Celtic and British ballads that were meant to be sung on their lonesome. This is kind of a special skill sort of piece. Often you’ll be able to pull it off unaccompanied. However, if you need piano notation, look to slower, guitar based pieces or bluegrass style hymns. You can do most of the styling with your voice. Bluegrass is heavily belt. It’s got a cry/call sound that hearkens to its ancient roots. (Can you tell this is my favorite genre of music?)
Representative Shows: Floyd Collins, Big River, new work
Representative Artists: Allison Krauss, Emilou Harris, Some Dolly Parton, Ricky Skaggs, Ralph Stanley, The Osborne Brothers
Americana, Folk, and Maritime
Another way to approach the earthier shows is to utilize music from certain eras and regions in the United States. Maritime pieces often share similiarity with bluegrass. The instrumentation is similar because the instruments are portable. What works well on a mountainside also works pretty well on a ship. And guess what? That same group of instruments are highly sought after in the world of historical and outdoor drama. I’m telling you, if you can play guitar and sing at the same time, you will work forever.
Representative Shows: The Civil War, Dessa Rose, outdoor dramas, Shows using authentic era-appropriate music
Representative Artists: Peter, Paul and Mary, experimental Springsteen, Sting (I swear), some Gordon Lightfoot
Sacred Harp/Shape Note
The Sacred Harp tradition is old. Like Bluegrass, it’s roots go back to Celtic and British music. Civil War, Appalachian, Southern, and religious music all share roots here. It’s a special skill, and one to consider adding to your book if historical or genre pieces appeal to you. For the unfamiliar ear, the sound may be a bit off-putting. Take a listen. It’s powerful and has a ritualistic quality. The first round is sung in “solfege” followed by the lyrics.
Gospel/Religious
Representative Artists: Mahalia Jackson, Sela, Kirk Franklin, Lead Belly, Odetta
Representative Shows: Myths and Hymns, Crowns, The Color Purple, Sister Act, Dream Girls (A big bad ass gospel piece could seriously come in handy if you want to audition for Effie), original work, film, passion plays, church gigs
Holiday Songs
I don’t need to tell you there is a certain type of show that opens Once Upon every December. Having a well thought out Christmas piece can come in very handy when you are auditioning for a Christmas Carol. Often, we are asked to sing, and often we panic and knock out a round of Jingle Bells in our “happy birthday to you” voice. Consider sticking a holiday piece into your repertoire if you are at all interested in the huge market of holiday shows.
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It’s important not to write off the entire Country genre without exploring it a bit. It’s not all Daisie Mae and Garth Brooks. There are some beautiful and gentle ballads to be found, as well as some powerful pieces that cover themes of love, loss, family, friends, history, and struggle. Sounds a little like theatre, huh?
30 Days to a Better Book: Day 24 – Contemporary Musical Theatre 1970 to the Present. Plus Ten Things I Believe About Being an Actor.
September 24, 2013
For me, Contemporary Musical Theatre arrived when Company opened on Broadway in 1970.
Stephen Sondheim had been around for years as a lyricist co-authoring masterpieces such as Gypsy and West Side Story. But Company was new. It was personal. It was modern. It pushed the art form of musical theatre to a new level. Even now it sounds like nothing else, not even other Sondheim, really. The score is heavily upbeat. The content has depth and nuance not typically seen on the musical theatre stage at this point. And the characters are, for the most part, three dimensional and far from stock. Even more notable, they are part of an ensemble. While Bobby is undeniably the “lead,” he’s almost a narrative vehicle introducing us to this world of grown ups. A true thinking, feeling, flawed, sexual and human grown up had been a bit of a rarity in the musical theatre at this point (I’d argue still). Let’s put it this way: We’ve come a long way from Floradora.
So Company is the moment for me.
Is all new musical theatre “Contemporary” by virtue of happening in the now? Not necessarily. Book of Mormon, while contemporary in content and sound (for some songs), is nothing less than a classically structured big book musical. “I Believe” is a contemporary showstopper, yes. But “Turn It Off” is a classic old school tap number. My point is, as an actor, it’s important to consider character as well as the show as a whole (Check my analysis of Herrod from Jesus Christ Superstar for further thoughts on this concept.). Those actors aiming for Elder Price probably want to stick to a Contemporary Showstopper in an audition. The McKinleys of the world might venture into Gene Kelly or Fred Astaire territory.
Or not.
Here’s the thing with auditioning for Contemporary Musical Theatre. If in doubt? Belt your face off. Sometimes creativity doesn’t pay off until the callback.
Or (insert long, dramatic, pained sigh here) … Ever.
I happen to think that sucks. When producers, casting teams, and directors are afraid to make a non-traditional choice because of money or perceived audience response or whatever, I think the work loses something. BUT if I didn’t talk about it, as a coach, I’d be doing you a disservice. A lot of the time, they go with what they know.
I think actors are artists, not imitators. I believe in deep joy and personal integrity (i.e. being yourself, not somebody else) when auditioning. Does that mean I often go home without the contract? You bet. And I think I’m happier because of it. I’m telling you this because I find that musical theatre…scratch that…..COMMERCIAL musical theatre is an undeniably prolific and astoundingly uncreative phase right now. That means there is a particular contemporary sound that is very popular and sought after. I also find a lot of actors trying to imitate it. And I totally get why. Typically, that’s the sound that gets hired. I just wonder what auditions would be like if everyone sang in their real voice.
Now, it should be said that Contemporary Musical Theatre is butter for some actors, and it’s the classic stuff that really stresses them out. I get that, and we’ve definitely covered that in this series. No matter what your personal struggle is, the solution is showing up as yourself. That’s scary as hell. If you show up trying to blend in, and you don’t get the part, at least you know that you weren’t really being you. You didn’t show EVERYTHING you’ve got. You’re protected. What they rejected was the status quo. But if you show up as yourself and you get rejected? Ouch. I know. You have to get a special place of secure in who you are to be able to do that, and sometimes it takes a really long time to get there. Mentally, I mean. Shit, it’s vulnerable for me to just write this.
Man, sometimes it takes a long time to sound like yourself. – Miles Davis
So why do I bring this up during a discussion of Contemporary Musical Theatre? Because it’s what’s happening now. And the human tendency is to mold oneself to the zeitgeist. I find that profoundly uninteresting. So here is where I tell you a little about me as a coach and artist, and some of my deeply held beliefs about an acting career.
1. Deep Joy. The journey is supposed to be fun. Hard work? You bet. Sleepless nights? Sometimes. Utter exhaustion? Absolutely. I’m in tech right now, folks. I get it. But if the journey is miserable, the arrival will be too. Some actors are profoundly unhappy people and they exist at every level, from storefront to Broadway. And I think that’s a choice.
2. Don’t judge a book by its cover. Sometimes opportunities come along that, from a sales pitch perspective, seem a little…small. They aren’t big and shiny. They might not impress the hoi polloi. But they feel good. They are fun. And they give you experience and value that larger venues may not be able to provide.
3. No comparing. No striving. The day I became a happy actor was the day I stopped caring about what the other guys were doing, when they were doing it, and how.
4. If I don’t want to, I don’t. I totally believe in pushing through fear. Auditioning is scary. Actors have to take big risks. Good risks. Leaps. But then, sometimes a project or an opportunity comes along and…it looks great. You know it’s an honor, or a compliment that it was offered to you. And yet, you kinda don’t wanna. You get tense when you think about it. You avoid dealing with it. It feels heavy.
Don’t do it. That’s how you get burned out. Deep joy. I’m telling you. It works. As actors, we know that we have chosen to sacrifice participating in some big life events with family and friends. We miss weddings. Graduations. Funerals. Holidays. But sometimes, in the words of one of my dearest friends, you just have to “be a human.” So yeah, sometimes you have to pass up an opportunity in the name of love and connection.
5. If I don’t get the part, the part wasn’t on my path. That might be a little spiritual and woo woo for some actors. That’s what I believe. And that’s how I show up as myself. And that means here, not just in the audition room.
6. I deserve to be here. I have to know I deserve to be here because no one else will ever tell me that I do. OR for every person that tells me that I do, there will be someone waiting in line to tell me that I don’t. This isn’t about entitlement. It’s about owning your happiness and your confidence and not needing a permission slip. Don’t make other people responsible for your happiness.
7. They are auditioning for me, just as much as I am auditioning for them. We all want to work with awesome people. Sometimes auditioning for something is a joyous experience. You would just flip to work for this company. Other times they are disorganized and joyless. Not people I’d like to spend three months or more with. Or sometimes the folks behind the table are great, but you find out more about the project and while it sounds spectacular, it also sounds like it’s in a style of theatre you don’t enjoy. So you pass. Or you stretch your wings and try it. Either way, it’s your call. Empowering, isn’t it?
8. You aren’t really competing with anybody until the callback. And even then…
9. It just doesn’t matter. This too shall pass. The good and the bad. It’s all in the ephemera.
10. This is awesome. We have the privilege of telling stories to other people in a room together. We are practicing an ancient art form that connects not only to the people we are with today, but to the people who practiced this art form in the past. Even if the story is simple or goofy or corporate or whatever. Entertaining another human is a divine thing. And not everybody can do it.
Cultivating a Gratitude Practice can change everything. When you say “thank you” right before you leave the room, mean it. Thank you for having me. Thanks for sharing this time with me. Thanks for seeing me. Thanks for giving me this experience.
And you guys. From the bottom of my heart, thank you for reading.
Right.
Let’s talk repertoire.
Way way back, when we started discussing the “A” Book, I suggested having at least a contemporary upbeat, and a contemporary ballad. If you are really looking to be prepared for absolutely anything, I would also suggest having both a classic AND a contemporary Showstopper. But what is contemporary? There is no generic “contemporary” sound, really. At least not a singular one you can harness or utilize for audition purposes. We can identify a piece as “sounding contemporary” but that’s academic, not practical. Avenue Q is just as “contemporary” as A Light in the Piazza.
I’ve spent a lot of this series offering up alternative sources (i.e. outside the theatrical arena) for musical theatre repertoire, but for this category, we want to stick to Contemporary Musical Theatre proper (with perhaps a well-considered trip to the Musical Theatre suburbs. Stay with me.)
The number one way to find Contemporary stuff is to go straight to the major composers or to the other works of the composer in question. I covered many of them in the post The Big Guys. If you are just generally searching for contemporary pieces, pick a composer and work your way (at least partially) through their work. Keep going until you find some keepers. If you are auditioning for a particular show, start with that composer.
The second way, and my personal favorite, is introducing yourself to the really New stuff. The website I recommended in Shiny and New: http://newmusicaltheatre.com/, is an absolute goldmine.
The third way, is the method I mentioned in You Need a Hero. Take the resume and solo album of your Broadway idol (or Off Broadway…what have you) and look to their roles and set lists as potential repertoire. This would be one of those “Musical Theatre Suburbs” I was talking about. As I mentioned previously, big time and up-and-coming composers often lend pieces that sound like musical theatre, but are not from a larger show, to these stars for their albums. These are great options for your book. Here’s Audra singing one of my faves: “Cradle and All.”
That would work wonderfully as a contemporary ballad even though it isn’t from an actual musical. It just sounds like it is. And “sounds like” is enough.
Fourth, pick your type, dig through some shows and find that type within the show. Sometimes the formulaic can be very helpful. So let’s say you are the quirky sidekick type. You might for a cute comedic number. OR maybe you go in the energetic loveable villain direction: http://www.youtube.com/watch?v=04uNN7yMwMY
No matter what, I find that using contemporary pieces is all about the smart cut. You want 32 bars with a money note and a 16 bar option. Easier said than done, but once you find it it will work for you for some time. You don’t necessarily need to end on the money note. In fact, in an audition, don’t save the best for last. From my own experience behind the table, I know within 10 seconds whether or not I’m going to call someone back. Your presence reads immediately upon entering the room. Sometimes it’s better if that big belt shows up quickly. The same goes for comic pieces, if you can crack the jokes early, you win over the casting team earlier. No bad thing. The filter is You. You decide your priorities. Just don’t make them wait.
So, let’s say you are a mid-to-late 20 something mezzo. (The law of averages says you are.) Let’s talk about different ways to approach a go-to 32 bar money note contemporary cut.
Here is “Once Upon a Time” from Brooklyn. This song offers quite a few options for a great 32 cut, with the potential with a couple of money notes:
Here is “A Way Back to Then” from [Title of Show]. It’s belt but not high belt. It’s got room for riffs (or not. Your call.)
How about upbeat? Here’s a piece from Legally Blonde (go to 1:21 in the video). This is Vivienne. It’s great high belt. It’s upbeat, and the character is awesome. Strong. Opinionated. http://youtu.be/3hEwcM0MmeI?t=1m21s
Here’s the thing about that 32 bar contemporary money note cut. I quote Amy from Little Women: “You don’t need scores of suitors. You need only one. If he’s the right one.”
Okay, two or three, in this case. So yes, it can be a bit of a challenge, but you don’t need a million options. Just a few.
While I may bemoan a certain lack of artistic risk in today’s commercial musical theatre, I am thrilled at the availability of scores, cast recordings, videos, sheet music, etc. that is available. Truly, you can just immerse yourself until you find something or things that you can’t wait to perform.
My other bit of advice is: Don’t search in a blind panic. Really try to give yourself some head space and some room to enjoy the journey. Also don’t type yourself out. While character type can be a guide and a filter to help you narrow down the vast amount of material that is out there, don’t let it be a tool for limiting yourself. If you absolutely cannot find something, throw type, gender and everything else out the window. Start with pure personal like or dislike. I don’t care if an 85-year-old hermaphrodite space alien sings the piece. If you like it, it’s worth considering. You may not be able to use that exact piece all the time, but you can look for pieces like it, pieces by the same composer, or pieces in the same style.
In short, finding Contemporary pieces is far more about strategy and personal preference than adhering to some generic sound. The cannon is far too large to leave yourself out of the picture. Remember: You Trump Everything.
Not to be confused with the Contemporary Musical (A Light in the Piazza, The Last Five Years), Pop Musicals (The Wedding Singer) or Jukebox Musicals (Mamma Mia) often stick to a Top 40 Radio sound or use a mix of Pop and Musical Theatre sound (Wicked). Making a big demarcation between Rock Musical and Pop Musicals can be a bit forced. Is Miss Saigon pop or rock? Both, really. But then there are pieces like Altar Boyz that are undeniably pop. As an actor, as opposed to a theatrical historian, the distinction doesn’t matter all that much from a macro perspective. What matters far more is the style of song of the character YOU want to play. So if you are aiming for Robbie in The Wedding Singer, you might want to go a little more rock. But if you want George? It’s pop all the way, baby.
Here is a list of musical examples that are pretty definitively pop.
- Altar Boyz
- Footloose
- Mamma Mia
- Fame
- High School Musical
- Saturday Night Fever
- Zanna, Don’t!
- Legally Blonde
- The Wedding Singer
The sound calls for a certain brightness and energy. Here’s a number from Altar Boyz that is representative of the genre:
There is certain self-awareness in the pop musical. So, making choices that are a bit tongue in cheek make a lot of sense for audition preparation.
While you can always use a piece from the Pop Musical Theatre Cannon, you can also use something from pop music at large. Per usual, make sure the accompaniment is elegant and frames your voice nicely. If you are looking at a boy band piece, for example, look to the ballads as opposed to the dance pop numbers. Unlike other areas of musical theatre, using ballads here adds to the humor. Also, steer clear of brand spankin’ new pop. It hasn’t had time to become quite as familiar and as such, some of the humor is lost. Plus, if something is particularly topical, your audition take on it might prove to be a bit tiresome (i.e. Maybe no Miley right now.) That’s merely my opinion. Take it or leave it. Just know that 10-year-old pop can be a lot more funny than current pop. NOT A RULE. You know how I feel about rules.
Also, icons can be a bit tricky. We all know the songs so well. The audition version will be a bit dull. There just aren’t any synthesizers around or sound checks and backup singers. While you can definitely use pieces by Madonna, Adele, Beyonce, and Justin Timberlake, tread carefully. Make big clear choices. Make sure the accompaniment is smart. Take it to the level of actual acting, meaning that 1. You are speaking to someone. 2. You want something from them. 3. The stakes are high. You might die if you don’t get it from them.
Making pop music life or death is what takes these pieces to a spectacular level of comedy and entertainment.
If you want to avoid doing a comedic piece, I would suggest sticking to Pop Musical Theatre instead of actual Pop Music. There is something inherently funny about acoustic piano playing the Top 40. Partially, it’s because is an audition we are adding given circumstances to pieces. We are developing a story line around stand alone songs. Trust me when I say Billy Jean is a hysterical piece of music when given outside theatrical context. “She is NOT my lover. She is just this girl…” She is indeed.
Here are some potential sources for good candy pop audition pieces:
Boy Bands – Backstreet Boys, N Sync, New Kids, Boyz II Men.
Ace of Base
Toni Braxton
Kylie Minogue
J Lo
Janet Jackson
Stevie Wonder
Celine Dion
Cee Lo
Christina Aguilera
Ricky Martin
Norah Jones
Bonnie Raitt
Whitney Houston
Robbie Williams
Taylor Dane
Seal
Peter Gabriel
Phil Collins (Pay special attention here. Like Elton John, Phil Collins has written many songs for Disney and Disney songs are animated musical theatre, my friends.)
You’ll notice I stick to older and fairly established artists. That’s because pop musicals are written far more in that style than the most current version of pop. Pop right now is very dance pop and electronic. It doesn’t cross over as well to today’s musical theatre. The lyrics are also fairly repetitive and don’t give you much room to be an actor.
1980’s Pop is particularly wonderful for this genre. If in doubt, look here.
The Bangles
Samantha Fox
Heart (leans more rock than pop)
Wilson Phillips
Blondie
Pat Benatar
Tiffany
Michael Jackson (iconic, yes, but his body of work is massive. Look to slightly more obscure stuff.)
Tears for Fears
Prince
Duran Duran
Eurythmics
Like any other audition piece, a pop piece deserves the same level of clarity and commitment as the most dramatic theatrical ballad or showstopper. Use these pieces to add a sense of humor and play to your audition repertoire. They also come in handy when auditioning for cabarets or revues with a jukebox sensibility.
Tomorrow, we talk Contemporary Musicals!
Authentic Auditioning 