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.
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.
While American musical theatre entered the “golden era” beginning in the 40’s, 1950 – 1966 was when the art really hit its stride. While admittedly, hard and fast delineations between years are pretty arbitrary, I cut this off at 1966 because it was the year before Hair and the advent of the Rock Musical. So we’ll talk about that soon.
The musicals of the Golden Era are hardly uniform in nature. However, most of them share classical dramatic structure, lush sound, big production numbers, and larger than life characters. It’s a virtual playground for repertoire building. Songs from this era are beautifully structured and versatile. While I really hate definitive rules, I highly encourage any actor to have a piece or two from this era in their book. You could have a ballad and an upbeat, for example, or a comedic piece and a dramatic showstopper. You could go with a sidekick-type song and another from a Leading Man. However you want to play it, these pieces will continually prove themselves useful. This is musical theatre in it’s most classical form.
Unlike the previous eras we’ve talked about, we don’t need to worry as much about capturing a particular sound (I’ll talk about 50’s and 60’s pop in the future). This is about finding characters and songs that you love and are excited to perform. There are definite flagship musicals from this era, but I encourage you to explore a few you might not be as familiar with. Here’s a number that I love from Camelot. It makes a great soprano upbeat number, if cut in an effective way:
Sample Shows from the Era:
The King and I
Me and Juliet
Guys and Dolls
Peter Pan
My Fair Lady
Paint Your Wagon
Can Can
The Boyfriend
Kismet
Wonderful Town
Fanny
The Pajama Game
Lil’ Abner
The Most Happy Fella
Flower Drum Song
Fiorello!
Gypsy
The Sound of Music
Camelot
Do Re Mi
The Fantasticks
Oliver!
Little Me
A Funny Thing Happened on the Way to the Forum
Gypsy
Hello, Dolly!
Pickwick
Fiddler on the Roof
Man of La Mancha
West Side Story
Movie Musicals
While movie musicals had been in production since the 1920’s, the 50’s and 60’s were the height of the genre. Don’t be afraid to utilize them as a resource. While they may differ slightly from the stage versions, the music is almost always intact. Many times the original Broadway stars perform in the film version as well (Barbra Streisand in Funny Girl, Robert Preston in The Music Man, Rex Harrison in My Fair Lady, Mary Martin in Peter Pan). Movie musicals also help bridge the gap between ephemeral theatrical performances of the past and we, the performers of today. Pop in West Side Story and see Jerome Robbins original choreography, the work of Bob Fosse, or Barbra Streisand belt out “Don’t Rain on My Parade.”
Iconic Performers of the Era
Ethel Merman Source: Sondheim Guide
Carol Channing
Ethel Merman
Robert Preston
Julie Andrews
Rex Harrison
Robert Goulet
Chita Rivera
Gwen Verdon
Mary Martin
Jerry Orbach
Pearl Bailey
Barbra Streisand
Angela Lansbury
Bea Arthur
Joel Grey
Composers
Berlin
Porter
Loesser
Rome
Wilson
Lerner and Loewe
Bernstein
Jules Styne
Jerry Herman
Bock and Harnick
Early Sondheim
Open a New Window
Edith Adams and Rosalind Russell in Wonderful Town
Jennifer Westfeldt and Donna Murphy in Wonderful Town
When exploring productions from this era, try to seek out several different cast recordings. You may find updated orchestration appeals to you more than the original. Or you may find you enjoy the immensity of the original cast recording. Hearing different versions of these productions helps expand your ability to interpret these pieces on your own. Even hearing or seeing choices you dislike can help your book. If you find yourself saying, “Ugh, why did they do that? Here’s what I would have done…” see if you can find a way to put that idea into your audition book.
Also, once you find a piece or two that you enjoy or a character you are attracted to, take a look at the original (or revival) actor who played the role. Their resume might be packed with shows and characters that are also appropriate for you and your book. For the big iconic pieces, you might really be able to immerse yourself in the production. So you might get two or three different cast recordings of Fiddler on the Roof from the library, then you might watch the movie, and maybe go check out a local production. Let yourself fall madly in love with these shows. That love will show up in your audition and it will also help guide your sails.
We’re halfway through 30 Days to a Better Book! Let’s take a moment to review what we’ve done so far:
STOP
The focus so far has been threefold. First, we want to assess who you are, what you want to show off, and where you want to set your sights. Secondly, we want to come up with a system of organization that helps your plan, prioritize, and prepare efficiently and effectively. Third we want to combine both traditional and creative sources to find vibrant repertoire that seems like it was custom built just for you.
- On Day 1 – All About You – We talk about the number one consideration when building your repertoire: YOU! Your likes, dislikes, dreams, goals and abilities will always be the most important factors when building your book, as opposed to worrying too much about the uncontrollable stuff like what the casting team may or may not be looking for, your “competition”, and whether or not you picked the “right” piece.
- On Day 2 – A B C – We talked about one way to organize and prioritize your book.
- On Day 3 – The Money Tree – We talked about how to find, use and prepare the number one piece in your whole repertoire: The Showstopper.
- On Day 4 – The Vital Few – We focused on what I call your “A Book” – the most frequently used pieces in your whole portfolio.
- On Day 5 – Living the Dream – We talked about how to utilize your dream roles by mining them for material, using them to make self-assessments, and preparing to audition for them in advance.
- On Day 6- The Big Guys – We dove into the most traditional of musical theatre sources: The flagship composers of the 20th and 21st Century.
- On Day 7 – You Need a Hero – We examined our personal performance idols and covered ways to use their resumes and repertoire to show off our own personalities.
- On Day 8 – Comedy Tonight – We redefined what “Comedic” means in an audition setting and used creative ways to find truly funny comic repertoire.
- On Day 9 – The “A” Book Part Two – We wrapped up your Top Ten to Twenty go-to pieces by analyzing your “type” and your own personal story.
- On Day 10 – A Custom Tailored Vet – We took a look at transposition, musical notation, and all the nitty gritty bits that can make or a break a piece. The Devil is truly in the details.
- On Day 11 – Variations on a Theme(Song) – We considered Novelty pieces and assessed whether or not they belong in your repertoire. Plus we covered lots of potential sources.
- On Day 12 – Shiny and New – We looked at New and Original Musical Theatre as a potential source for truly unique repertoire.
- On Day 13 – Goodbye Yellow Brick Road – We stepped outside traditional musical theatre repertoire and examined some pop singer/songwriters who have a theatrical sound.
- On Day 14 – Flop House – We put on our shit-kickers and dug around in Broadway Flops, Obscure Older pieces, and Cult Classics.
So here we are on Day 15 and I’m bringing it back to you. What is the best source for musical theatre repertoire? YOU!
What I mean is you can handpick interesting, obscure, clever, and powerful pieces ’til the chorus girls come home but if they aren’t personal to you? If you don’t connect? It’s wasted effort.
How do you do that? How do you find the goosebump, tear, and laughter-inducing stuff that feels like it was written by a friend?
Immerse yourself, grasshopper.
LOOK
Source: This American Life
See shows. Lots of them. Not just musicals either. There are so many productions that you could call “Plays Where There is Singing.” And even completely non-musical shows are important too. It’s important to see what is happening currently because that is what you are and will be auditioning for. See a wide variety of shows and not just pieces where you suspect you are “right” for a role. Go to storefront stuff. Go to big budget stuff. Go to start up stuff. Go to established stuff. Access other cultures. Why? Because knowledge makes you better at acting. Experiences help you appreciate and create comedy. Empathy increases your capacity for the dramatic.
Most importantly you begin to build your own personal aesthetic. What shows do you want to do? The most ill-advised and potentially harmful, but all too common acting advice is: Audition for everything and take every role that is offered to you. That is a recipe for burnout and resentment. There may be an actor who followed this advice who reached all their career goals and is very happy and satisfied, but I’ve never met them. What you like counts. Seeing shows helps you decide what you like, who you want to work with and how to focus your repertoire in that direction. Your future directors, music directors, composers, castmates and crew are all out there working right now. That’s exciting! Go see what they are creating. Even as an audience member, you are a part of it all and that, my friend, is a wonderful thing.
A Note: I come from rural farmland, originally, so while it is easy for me as a Chicagoan to tell someone to walk straight out their door and right into a theatre, I know this isn’t possible for everyone. At least not on a big city scale. The big shows that do come through can be exorbitantly expensive and they are only representative of Broadway- not all the theatre that’s out there.
So what’s a little girl from Grover’s Corners to do? Widen your perspective. No, that community theatre production may not have Patti Lupone in the cast, but the material they are performing is the same stuff that once graced The Great White Way. Utilize libraries, particularly inter-library loan. Even the most rural place usually isn’t too far from a college theatre department. They would LOVE for a non-university affiliated person to sit in their audience. Plus, college productions can often be a little wild and weird. Youtube and Netflix provide lots of not-ideal, but not unhelpful recordings of musicals and plays. There are tons of fun movie musicals, and lucky for the folks of Fly Over Country (Again, I am you), movie musicals are popular again. And when you do visit the bigger cities, be brave and venture beyond the tourist areas and go to a little hole in the wall theatre. Yes, you may experience this:
But you also may experience this:
And listen, don’t knock the mid-size cities. The town you used to go to buy your prom dress just might have a couple theatre companies and I promise they want you to know who they are.
So do your research. Be a little brave. And you know, go have your life changed. Even just a little.
Special Note: Save your programs. I once got a comedy number out of seeing a revue. Programs have tons of information that might come in handy for your book. They list resumes of the performers. They also list all the songs appearing in the show. They may even list the director’s influences. The point is, they are a treasure trove and they are (not including ticket price) 100% free of charge.
LISTEN
Source: Masterworks Broadway
The irony of being an actor is that when you are actually acting, you don’t have time to go see other shows. Plus, you know…life and stuff.
Get thee some cast recordings and solo albums. This can be a bit of an overwhelming prospect. There’s JUST SO MUCH STUFF. One way I like to dig into a show is to pick a piece that has had a few major productions, and listen to the different recordings. This is particularly effective for shows that are 30 years old or more. You can hear the different styles of music and how current productions may or may not have adapted the material to make it sound more current.
Another way to approach the musical theatre cannon is similar to my advice in the post You Need a Hero. Pick a performer you love (or a director, or a composer, or a lyricist) and work your way through their resume: shows, movies, solo albums. Immersion (otherwise known as obsession) can refine your palette in a way that will allow you to notice subtleties you wouldn’t have otherwise observed.
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Source: Stage and Cinema
Aside from actually being on a stage, being a theatrical consumer is probably the most important action you can take to build a strong repertoire. Experiencing the work of directors, composers, playwrights, actors and companies you would like to work with is the absolute best way to familiarize and educate yourself. It is potent information when preparing for auditions, and even more, callbacks. Plus, the first place to witness a new work is always onstage. You can even attend staged readings and workshop productions of work that has yet to be fully produced. And who knows? You might just find something for your book.
Tomorrow, and for the next several days we are going to shift gears a bit and talk about different eras in musical theatre you may want to represent in your A or B Book – Day 16: Back to Before – Audition for Shows in the Style of The Turn of the 20th Century, Ragtime and WW I.
The Incredibly Divine Ms. M
Who are your idols? Who are your faves?
I ain’t gonna lie. In my eyes, Ms. Bette Midler can do no wrong.
I mean have you seen this? It’s her performance on the final Tonight Show with Johnny Carson. It is the pinnacle of song styling. Genius. I cry. In fact, I cry so heartily that I should not watch this in public. Just one of the greatest performances of all time.
…I love Bette Midler because I love her sense of humor and the material she chooses. I’m attracted to her style and I look to her, not only for entertainment, but to learn because I would like to do what she does.
So who do you look up to? Who do you admire? They don’t even have to be performers. They could be your Mom or Dad or friend or a character. We all pick up on other people’s style. Whatever they’ve got that you really love and admire is probably lurking somewhere within you.
Take a look at your idols and their resumes. Look at their albums or body of work. Somewhere in their repertoire might be a piece just perfect for you.
Sutton Foster (Source: The Gazette)
Broadway stars and their solo albums, in particular are worth a look. Often big time or up-and-coming composers will write songs just for these ladies and gents OR they will provide them with pieces that never made it into a larger musical. This is how I found my Guettel piece, actually.
Note: I am not suggesting we turn into a bunch of creepy copy cats. This strategy is all about taking something you love and putting your personal spin on it. This is all about sourcing material, not changing who you are. It’s just one more way to utilize your preferences and sources of joy.
Special Note: The Signature Song
A warning: there’s sort of an understanding that only Judy does “Somewhere Over the Rainbow.” By now, you probably know I have a bit of an aversion to arbitrary rules. Yes, there is an argument to be made to avoid your favorite superstar’s signature number. You can try looking at their b-sides for more juicy stuff. However, a tweak of perspective can make all the difference. Take a look at Bette’s “One for My Baby” I posted above. That’s actually a big ol’ Sinatra signature. But she pared it down. Made it realllly personal, and subsequently made it her own. STUNNING!
Pant, pant. Okay. Sorry. I just…love that performance.
Common Wisdom says don’t set up bad comparisons. The idea is that if we sing someone else’s signature song, we are setting ourselves up to compete against some of the greatest performers of our time.
Another form of this theory is avoiding big popular numbers: “I Dreamed a Dream”, “Memory”, “Defying Gravity”.
Man, I hate rules like that. Here’s the deal. Is it a risk to perform songs like these? Yes. Are you setting yourself up for eye rolls and such? Maybe. But rules are made to be broken, baby. If you perform one of these undeniably, if these are the songs that speak to you the most , You just f*cking love them? Then do it. Try it out. At least at one audition. See what happens. You’ll never know until you try.
Another strategy is to do what I call the One Off. It’s not THE song. It’s the second song. Or the third. So you don’t do “Don’t Rain on My Parade”, but maybe you do “Who Are You Now” or “His Loves Makes Me Beautiful” which are also from Funny Girl.
Recommendations
Here are some interesting folks with quirky resumes who might just have a song or two in their career history that will knock you head over heels:
Doris Day
Robert Preston – He did a particularly horrific PSA in the 60’s that would be a brilliant comedic number.
Sammy Davis, Jr.
Lea Salonga
Tom Wopat
Marilyn Monroe
Rita Moreno – Quirky guest appearances (think kid’s programs, The Muppet Show, Variety Shows, late night appearances, cameos) can be ripe for the picking
Gregory Hines
Liza Minnelli
Nell Carter
Linda Ronstadt
Now, I understand you may be questioning my sanity, but I just want you to stretch your idea of what can go in your book. There is just so much good stuff and weird stuff and juicy stuff out there, you can have an absolute blast digging up pieces that may be hidden away somewhere just waiting for you to find it.
Remember: Your dreams and ideals are important. Music is written to be performed. Always question the status quo, and for the love of God, go for what you want with all your heart.
Tomorrow? Tomorrow we talk Comedy. Day 8 – Comedy Tonight!
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This is a h/t to one of my best friends. (Source: zerohourshow.com)
“We have what we seek, it is there all the time, and if we give it time, it will make itself known to us.”Thomas Merton
Okay, that might be a little high-minded for 16 bars, but what the hell?
The point is we are what we admire. So I ask you, What are your dream roles?
I ask this of all my new clients. It tells me how they see themselves. It tells me where they want to head. It gives me an idea of what they enjoy. It also helps me direct their sails.
You can use your dream roles to prepare for auditions in several ways.
1. You can prepare your audition for that specific dream role in advance. One of my dream roles is Mama Rose (I would imagine you’ve picked up on that.) I’m a little too young right now, but in a few years I won’t be. What would I use today to audition for this piece? By preparing for your dream roles in advance you often find really great material you can use right now. Plus, you won’t be panicked when the real opportunity comes along.
2. You can use your dream roles themselves for actual material. In a couple days, we will talk about the second half of your A Book which focuses less on skill, and more on character, personal preferences and type. This is where your Dream Roles often live. Let’s say we had an actor who dreamed of being Henrik in A Little Night Music. In some way, he relates to this character. Maybe he is coming of age. Maybe he is confused about his desires. Maybe he enjoys Henrik’s melancholy disposition and dark sense of humor. Maybe he is intrigued by Henrik’s oppressive morality. Henrik’s piece, “Later” is a great piece for auditions and would have a happy home in any tenor’s book. While he may not use this exact piece to audition for A Little Night Music, most likely roles like this appeal to him and he would find a lot of use for “Later.”
3. You can use your dream roles to build your repertoire by assessing what they are and then expanding from there. What other roles out there are similar to your dream roles? Let’s say you want to be Ado Annie. Well, it’s not a far cry from Annie Oakley or Calamity Jane. All three roles are juicy audition repertoire sources, and they all compliment each other nicely. One of Melody’s Dream Roles is Lizzie from 110 In the Shade. She might do well to take a look at Laurie from Oklahoma.
4. You can use your dream roles as a compass for the kind of shows you like to do, and the ones you aren’t really into. Think about a show or a role you just don’t like. Why? Is it boring? Why is it boring to you? Do you find it offensive? Or is it just not your thing? Dig down deep. Now, what show or role is the opposite? Let’s say you just do not like The Music Man. (I love the Music Man, but a lot of people just can’t get into it.) Maybe the small town stuff isn’t your bag. Maybe the Golden Age of Musicals isn’t so grand for you. Maybe you’re a dancer and you want Fosse, not Shipoopi. Let’s say you don’t love that shiny Americana thing. What would be something that has some grit? Maybe RENT? What about something weird and off beat like Bat Boy the Musical? You can use your dislikes to define and hone your likes.
So what are your dream roles? Just brainstorm. Musicals, theatre, movies, tv shows, novels, historical figures. Even general types: The Spirited Girl. The Villain. Don’t even worry about gender. No rules. Just go.
What do they have in common, if anything. Is there a particular quality or feature or style that sticks out?
My Dream Role: Mrs. Lovett. Source: tvtropes.com
Let’s do some strategic and critical thinking.
Pick roughly five or so of your favorites that you could play right now (I would love to play Desiree Armfeldt but I’ve got about a decade before I need to worry about it) and ask yourself, if someone posted an audition for this role or a role like it TOMORROW, what could I use from my current book to audition for this? Ideally we want two somewhat contrasting 32 bar pieces. If you’ve got nothing, hold that thought. We’ll get there.
Do this exercise for all the roles and note what you’ve got.
Now, if you do have some things in your book already that would work…would they reaaallly work? Or would they just get the job done without raising an eyebrow? Imagine that magically Bob Fosse, Michael Shurtleff, and James Lapine are sitting behind the table. Is this what you would bring in? If so, awesome! If not, what would be ideal? What would be the perfect audition pieces not just for this role but for YOU vying for this role? What about you is in this role? What do you need to show off?
Chita River as Velma Kelly. Source: http://www.broadway.com
Let’s use an example. Let’s say you dream of playing Velma Kelly in Chicago. What is it about her that speaks to you? Are you a kick ass dancer? Or are you sexy as hell? A little bit of a bad girl? Maybe you’re funny. Or maybe you are street smart. Perhaps you’re feisty but world weary. Things haven’t quite worked out the way you planned. You know what it’s like to have to have to do a little quickstep to avoid paying rent for a couple more days. Who knows? No two actresses should approach this role from the exact same place. It’s almost impossible. I will always advocate pushing your comfort zone a bit. That said, there is no right or wrong, just what you like. So maybe you pick “Maybe This Time” from Cabaret and then something a little upbeat from Thoroughly Modern Millie to capture the spirit of the 20’s. Or maybe you decide it’s that flapper girl thing you just love, so you pick an actual number from the 1920’s and then maybe something from Kiss of the Spider Woman. Again, no right or wrong. It’s about what you want to stand up there for 16-32 bars and perform.
Okay so let’s say you’ve got the dream roles, but you don’t have the pieces. Where to begin?
Frank Loesser. Source: http://www.npr.org
Start with the composers, if the role is a musical. What songs or roles in other shows sort of sound like or have the feel of this role, and particularly this role’s signature song? Let’s say you are auditioning for your dream role of Adelaide in Guys N Dolls (Also, get in line, honey.) What other stuff has Frank Loesser written that has that Adelaide feel? I suggest Hedy LaRue from How to Succeed in Business Without Really Trying. Maybe her cut from “Love From a Heart of Gold”…
Or, we can leave Loesser behind and focus solely on “Adelaide’s Lament.” What other shows have a character that is Adelaide-like AND/OR that sounds similar to “Adelaide’s Lament”? Maybe “Why Can’t You Behave” or “Always True to You in My Fashion” from Kiss Me Kate. If you’re feeling saucy, maybe “Paris Makes Me Horny” from Victor/Victoria. Even Dolly Levi might work. You might even decide to keep them all! (I think I just did. Hold on…note to self…)
OTHER CONSIDERATIONS
Okay. So what if your dream role isn’t from a musical? Or even a play? Or maybe your dream role doesn’t exist yet. How can you use that information to help your musical theatre audition book? Remember that the roles and character traits we are attracted to are indicators of the types of roles you want to play generally AND how you see yourself. Critically thinking about them can open up a world of material you didn’t even think to access.
Benson. Olivia Benson. (Source: lawandordersvufans.com)
So let’s go with a non-stage example. How about Detective Benson from Law and Order SVU. What does this role sound like? What does this role look like? What era? What social class? What country? What style? What other roles or performers seem to invoke this feel? Detective Benson doesn’t exactly break into song. But she’s strong. She’s got a scarred past. She’s a cop in New York City. She’s single. She has seen a lot of crap. Am I seeing Eponine and Fantine here? Or maybe Lilli in Kiss Me Kate. Anita in West Side Story. Rosie Alvarez in Bye Bye Birdie. Penny from Urinetown.
Bow down.
How about Claire Huxtable? You could head in the fabulous Mame direction (The clothes!). If it’s Claire’s motherly warmth that appeals to you, maybe Erzulie’s song “The Human Heart” from Once on the Island appeals. If we are talking young Claire, say Seasons 1 and 2, maybe Della Green from St Louis Woman would fit the bill with “Come Rain or Come Shine.”
Source: Flavor Wire
What if you dream of being Ferris Bueller? Maybe you need some Billy Flinn or Skye Masterson in your book. On the younger side, something from Big River might work. If it’s the 80’s that really attract you, perhaps The Wedding Singer could have a song for you.
Let’s look at some real life examples. Melody’s repertoire is a great illustration of how to use your Dream Roles to focus and expand.
Melody’s Dream Roles: Lizzie from 110 in the Shade. I love her. She’s so smart and strong, and I’ve drawn to those ladies. I love Lily from the Secret Garden. Clara from the Light in the Piazza. Sarah from Ragtime…I KNOW (it’ll never happen, except in my head). Cathy from Last 5 Years. Any of the March sisters…Cinderella from Into the Woods…All of the First Wives Club.
This is awesome because Melody’s already using Lizzie. (I would challenge her to ask herself what pieces she would use to audition for Lizzie, if she couldn’t use anything from the show.) Meanwhile, yesterday she mentioned that she wasn’t as comfortable with contemporary musical theatre as she was with classic musical theatre. But her Dream Roles are packed with potential to beef up the contemporary offerings in her book.
I want to talk about a particularly illuminating Dream Role – Sarah from Ragtime. “I like Sarah because A. the music for that show is written so beautifully–‘Your Daddy’s Son’ especially and B. She’s emotionally complex, and I think ingenue roles are rarely written with that much opportunity for emotional exploration. Those are the people I want to portray on stage.” Sarah is African-American and Melody knows she won’t be cast in this role, nor can she use Sarah’s pieces from the show because it would be inappropriate and distracting in an audition. However, I would encourage her to look at the Flaherty and Ahrens cannon. A number like “Princess” from A Man of No Importance might fit the bill quite nicely. The character Adele is even in comparable circumstances to Sarah.
While Lily’s pieces from The Secret Garden are common in auditions, Melody is completely appropriate for the role and has the notes. I would encourage her to put “Come to My Garden” or “How Could I Ever Know” into her A Book. They are contemporary ballads that are sung by a character of a different class than Lizzie in 110 in the Shade, so they contrast in several ways. They are also active and not narrative which is very helpful from a performance perspective.
Melody could have a great time analyzing the First Wives. Hello, Dolly!
Melody and I talked a bit about the pieces she would use to audition for some of her dream roles. If she had to audition for Lily tomorrow, she would use, “As Long as He Needs Me” and “Simple Little Things.” This works, but switching out “As Long As He Needs Me” for something a bit more refined and contemporary might be just the trick. I would suggest looking at a character like Mother from Ragtime.
As you can see, it’s easy to interpret these characters in many different ways. You can use your Dream Roles to brainstorm piles of material, or gather information about your career desires, or just plain old prepare yourself for the opportunity to audition for one of them.
Stay Tuned for Tomorrow’s Post: 30 Days to a Better Book: Day 6 – The Big Guys
If I’m going to sing like someone else, I don’t need to sing at all. – Billie Holiday
Welcome to my September series – 30 Days to a Better Book! This series is intended for any actor who wants to build a great musical audition repertoire. I believe that an actor’s repertoire is an extension of themselves– an artistic representation of how they see themselves and the types of roles, shows, and careers they desire. These next thirty days will help you define, hone and most of all LOVE your audition book.
I paraphrase Rupaul. If you can’t love your book, how the hell is anybody else going to?
I did say paraphrase.
For this exciting 30 Days of Audition Book digging, you will need your audition book (of course) and a notebook or memo app to take notes and make some lists.
I should note, if you are just starting out or if you are a straight theatre actor who is looking to begin building a repertoire, fret not. This series will help you too. (My strategies also work for monologue repertoire.) Stick with me!
But first, a little philosophy. I have three hard and fast rock solid rules about repertoire building. Everything else is just a suggestion.
RULE 1: You trump everything. Your likes, dislikes, goals, desires, preferences, your gut. In my world, “I don’t want to,” is good enough. Now. Are there consequences for “I don’t want to,” ? Yes. I just want you to know that there is not perfect template, no one size fits all formula for the perfect repertoire. Your book is only as good as your investment in it, and your love of the material you put into it. So if I say, “Day 33 – Flamenco Ballad” and you say, “meh…” Don’t include a flamenco ballad. If, on the other hand, your heart flutters and you can’t wait to get to the library to find scores of flamenco ballads, honey, put that one near the front.
Remember: This is your career. You both own and ARE the means of production. You make the choices. You control how and when you show up, and what you do when you get there. You’re in charge of you. Always.
RULE 2: This is not a zero sum game. I do not believe that auditioning and casting, as cutthroat and competitive as they often feel, must mean that if one person “wins”, everybody else loses. On the surface, it seems obvious. If Person A gets the role in Show X, persons B, C, D and E do not and therefore “lose.” But here’s the thing:
It’s very difficult to be generous if you have this point of view… On the other hand, if you believe that great talent leads to more innovation and more productivity, which then lead to more demand, generosity is the very best strategy. – Seth Godin, Linchpin.
Art is never as black and white as the Win/Lose model. The Director may have cast Person A, but the Casting Director may have loved Person C and calls them in for the next show. Show X may get postponed or cancelled. Person A might have to step down and then Person D gets hired. Or maybe everything goes off without a hitch and person E decides to finally do that damn cabaret they’ve been talking about. And then it all comes together. Yes, there is loss in the performance world. Lots of it. But art expands. There is room for all of us here.
We just have to graciously show up as ourselves with guts and vulnerability, and be ready to joyously work your ass off.
RULE 3: There are no rules.
SELF-ASSESSMENT
Before we plow into the next 29 Days, let’s do some soul digging. Who are you? As an actor, sure, but even beyond that..what’s your story? Where are you coming from? What do you like to sing and perform? What are you interested in? What gets you excited?
Take out your book and let’s get cracking.
When I meet with my clients for the first time, I ask them a series of questions that helps me assess what shape their repertoire is in (both musical and monologue), where the gaps are, what the strengths are, and generally who they are and how they see themselves. For the purposes of repertoire, the following questions will help you similarly assess your own material.
1. Do you like the songs in your book individually? Go through, piece by piece and ask yourself, Do I like this song? That’s it. No other reasoning other than like. Don’t worry about age appropriateness, or if it’s overdone or blah blah blah. We don’t care right now. Anything you genuinely like, put in one pile. Anything you genuinely dislike or are at best indifferent about, put in another pile.
There is more than a small chance you’ve got a big pile of dislike, and nothing to like. That’s okay. Right now, we are just gathering information. No discarding yet.
If you do have a small (or even large) pile of pieces you do like, go back through and ask yourself, do I genuinely LOVE and ADORE any of these pieces?
If you’ve got one or two, it’s a very strong start.
I ask this question first because, as performers, we often put our own preferences aside in an attempt to do the “right” piece or to somehow mold yourself to the elusive “what they are looking for.”
By putting aside your own personal likes, dislikes, and joy, you’ve just discarded your own creative power, your presence, and your personal genius.
While I assure you that we will definitely address standard audition protocol and common categories of pieces you may want to acknowledge during this series, I want to start from the strongest foundation available to you: YOU.
What you like matters.
What you dislike matters.
What you don’t really care about matters.
What you desire matters.
How you show up matters.
It’s always worth asking: do I enjoy this?
2. Of the pieces that you dislike, why do you keep them in your book? What purpose do they serve?
3. For the pieces you like and love, ask yourself what is it about them that is appealing to you?
4. What are your strengths? (Don’t just stop at your acting and singing ability.) What can you do that nobody else can? (There’s always something.) What types of shows make you shine? What is your bread and butter? What do you want to show off? What about your personal story do you want to shine through?
5. What are your weaknesses? Where do you think you could use some help? What do you try to hide?
Full disclosure: I don’t believe in being well-rounded. See this post from one of my favorite writers that says it perfectly. Read it. It’s going to feel like divine heresy. Balance is boring. I don’t want to soften your edges. I want to sharpen them.
As we move forward I will continually ask you variations of these questions in regards to certain specific concerns. What is your ideal? What would work best? What do you dream about? What would be absolutely perfect, even if it seems impossible? Do you love it? Is it fun? Does it give you joy? Does it challenge you in that exciting creative way? Is it a drag? Are you dragging ass about this?
Those five questions are great filters for the rest of the this 30 day romp through repertoire. The ideal audition book should be a joyous, powerful collection of pieces that are an extension of you as a performer and you as a human being. Lyrics you love. Notes that make your voice soar. Comedy that makes you shine. Depth that evokes empathy. Novelties that seem (or very well may be) custom built for you. Most of all, they should each be pieces you look forward to sharing.
Thanks for joining me on this journey!
Stay tuned tomorrow for 30 Days to a Better Book: Day Two- A B C
I’m a big fan of TED talks just as a human being. However, in that actors are in the art of human behavior, many of these talks apply to our work in specific ways. I have two to share with you that have practical implications in your work.
First, Amy Cuddy talks Power Posing. Try some of her techniques before you audition. Why? Because you deserve to be there.
Secondly, check out Brene Brown who tells you to “lean into the vulnerability.” You guys. Go there. Go to the sucky place. In that weird actor way, if go to the dark place, you go to a higher level of performance.
The number one question I get asked as a coach is “Should I take this job?” or “Should I audition for this job?”
Conventional wisdom says, “YES. ALWAYS.”
I say, well. I don’t say that.
I’m kind of grossed out by working yourself to death. What can I say? I’m a Pisces. We lounge. We actors kill ourselves with work and obligations and eventually risk turning into angry stress balls who resent the things we used to love. We take jobs we don’t want or are not jazzed about because of money, ego, prestige, goal planning, you name it. We give up a lot of time to a project, and if it’s a project of joy, we do it gladly, of course.
But sometimes joy is Mob Wives and a bottle of Menage. Not rehearsal. I say this from experience.
So back to the question at hand:
Should I take this job?
Ask yourself:
Do you want to? Put everything else aside. No obligations. Don’t worry about other people. Do you want to?
Do you want to take this job? Is doing this job better than Mob Wives and a bottle of Menage? (Feel free to insert YOUR hobby here) If the answer is no…
Don’t take it.
I’m going to say that again because it’s so simple and it’s also actor-heresy:
If you don’t want to, don’t.
Enter the What If’s:
What if the money is great?
What if I completely screw myself with this company?
What if I piss someone off?
What if’s screw like rabbits, by the way, and have broods of their own what ifs.
I’m not saying ignore the what ifs, I’m saying first and foremost ask yourself:
Do you want this job?
If the answer is a resounding joyful GOD YES, then girl, go for it.
If the answer is “I don’t know.” Then ask yourself this: Are the What If’s I’m having just plain ol’ fear? Or is it that feeling of “I know this isn’t right for me”? Plain ol’ fear isn’t a good reason not do something. That icky sinking feeling of “UGh…I don’t wanna. I know this isn’t my bag.” IS.
Do Less Work.
Do less work you don’t want to do, and more work you do. Do less chores. Do more joy. Do less slog. Do more jazz. Do less trudge. Do more fun.
Might that leave you with a little free time to…dare I say, relax? Why yes. Yes it just might.
Do joyful work. Work that makes you happy. You don’t have time for the other stuff.
Ah, the audition.
The audition is a funny thing. It’s two minutes. Yet sometimes it’s a whole day. If you count callbacks it can add up to weeks of engagement. Sometimes auditions run late. Other times they run early. Not to mention the stress, rejection, and anxiety. What should you bring? What should you leave at home? Musicals, new work, revivals, straight plays, staged readings, conceptual shows…no two auditions are ever truly alike (although they do blend together). How do you prepare when you don’t know what you are walking into?
The philosophy of the Stage Manage Yourself Series is:
- Define your process.
- Create your ideal conditions.
- Have what you need.
Let’s start from the stage manager’s perspective. According to my stage management handbook:
“The primary function of a stage manager during auditions is to prepare the space, making sure the room for the audition is well lighted and that there is a place for the auditionees to wait and prepare or freshen up. The stage manager should also maintain accurate lists for the director if there are appointments, and make signs and/or notices that will help people find the entrance to the room, studio, or theater. Remember that this is a time when everyone involved is nervous and on edge – the creators are anxious that they might not find what they are looking for, and the performers are often tense about their auditions. It is helpful to maintain a formal but calm air in your handling of both groups. If you can, provide as much information as possible for the auditionees. Perhaps print up a sheet that includes the production’s title, dates, creative staff, and- most important to auditionees- whom they will be meeting or performing for that day.
…Throughout the audition process, whether it is at the highest level of agent submissions and appointments, or a large group call, the stage manager can do much to help humanize and ease tensions. Have water, tissues, and plenty of change for the phone available. Treat people as courteously as possible, and try to avoid condescension when answering their questions. Try to introduce each person individually whenever possible, after having checked the pronunciation for their name. Double-check that they are ready; sometimes that one extra breath or straightening of clothing is necessary to give them the confidence to go out and put themselves on the line.
If actors are reading from the script, be sure they are absolutely clear about what section is to be read. Sometimes the stage manager is called upon to read with the actor…Also indicate on the stage with tape where the actor should stand for the best light and acoustics. The audition process will be the first contact you have with the future cast of your show, so let them see from the outset that stage management is well-organized, supportive and aware of the performer’s needs.”
– The Back Stage Guide to Stage Management, 2nd Edition by Thomas A. Kelly (linked to 3rd ed)
(Allowing for the fact that my stage management handbook was published in 1999 and suggests change for the phone, know that this information is highly accurate.)
The first thing I want you to notice about that passage is this: We really are all in this thing together, aren’t we? The production staff is nervous about seeing you just like you are nervous about seeing them. It’s like one big group blind date.
Now let’s flip this on it’s head.
While this book insists it’s the stage manager and/or production staff’s responsibility to provide these items and information, sometimes they don’t. Sometimes signals get crossed. Sometimes the snow comes down in June.
How to Stage Manage Yourself at Auditions
1. Find a place to wait and freshen up. If you’ve auditioned in Chicago, that might be easier said than done. Sometimes lobbies are small or non-existent. So find out the audition location as soon as you can, and suss it out. You don’t actually have to visit the location ahead of time. Just ask around. “Does this place have a bathroom?” Sometimes the answer is “Yeah, it’s in the restaurant down the street.” It’s nice to have a mirror on hand in those cases.
2. Once you get there, it’s fine to ask where you will be auditioning and how long (approximately) it will be before you go. So rather than wait for this information to come to you, it is fair game for you to politely seek it out. The key is in #3.
3. Be polite. Listen. And don’t ask the same thing a million times. Don’t irritate stage management or monitors. They have a relationship with the director already. They won’t hesitate to tell them you are a pain in the ass. Or that you are late. Sure, they might not, but they could. Just keep your panties on.
4. If an info sheet is not provided, try to find out the production’s dates including rehearsals and performances, creative staff and who you are auditioning for. Sometimes this information is available on a theatre’s website or on a breakdown, but sometimes it’s not. If the production staff doesn’t have answers for you, then they don’t. Don’t belabor it.
5. Although it’s great if water and tissues are provided, it’s even greater to have your own. Same with pens, pencils, and copies of sides. Don’t assume that because you submitted your headshot and resume they won’t ask for another copy. It’s not unheard of to show up and have them as for 5, one for each person at the table. (See my Performer Checklist for additional items)
6. If you are reading from sides, make sure you have the right ones and you are clear on when they begin and end. (Most of the time, this is information you procure before you arrive.) If you are sent sides via email, go ahead and ask if a copy of the script is available beforehand. Worst case, they’ll say no. If you are trying to get as much information as possible, there is no better information than the script.
7. Stage management knows you are nervous. They know what you are doing is not easy. Believe it or not, 9 times out of 10, stage management loves actors and really do want to be their advocates. You’ve got a friend. Treat them like an ally deserves to be treated. While I adore the book Audition by Michael Shurtleff (adore to the point of tatters and recommending it in most of my coaching) I disagree with him that the stage manager is part of the “enemy camp.” I disagree because I’ve seen that proven wrong on many occasions. Still, while they may be there to help you out, they aren’t your buddy and they have a complicated job to do. Be nice. Ask appropriate questions. Then get out of their way. Let them do their jobs.
8. Once you are in the room, if it isn’t indicated, ask the folks behind the table where you should stand or at least start. Before anything else, your job is to be seen and heard. Get all the information you can about doing that.
9. Truly, this is like the first date for you and the production staff. You really want to go on a second date, too. Even if you know the director, the stage manager or anyone else, it’s the first date for this role, this production. Have high standards for yourself and your performance, but also cut everyone (including you) a little slack. Auditions are unnatural things at their heart. Relax, go with the flow, and get what you need.
Special Situations
My Stage Management Handbook has a special section for dance auditions. I will cover that as well as a couple extra thoughts on musical auditions, or auditions where you will play an instrument or exhibit a special talent.
But let’s look at dance first.
“On a musical, there will often be large chorus dance auditions. These take a great deal of organization to avoid chaos… groups of twenty or thirty dancers [go] into the audition space and learn a dance number with the choreographer. ..After teaching the combination or dance to a large group, the choreographer may dismiss some people and then start auditioning the smaller groups…this screening process will go on until all the smaller groups have been seen, then those who have been asked to remain will return to learn what is usually a more extensive combination or dance number and perhaps to be seen individually as well…This may also be the time to hear the auditionees sing, and sometimes men will be called back in order to be paired with different women and vice versa.”
If you don’t know already, that can make for a long day. For extended auditions such as dance calls, conference style and cattle calls, callbacks, open calls, and Equity crashes; if you aren’t prepared for a long day, you’re not doing all you can to help yourself be successful. Packing a small snack, lots of water, dance shoes, dance clothes, a book or two (I like to knit. It’s something to do, while still being alert) can be a life saver. Ipads and smart phones have made this more bearable (I might add, bring a charger).
Prepare yourself, and be glad you’re doing theatre all day, even if it’s the tense part. Also, think of your comfort. It’s nice to have a sweater or a sweatshirt for overly air conditioned spaces, or for balling them up into a cushion when seating is limited. I like to have a pair of flats or flip flops for when the heels or the dance shoes come off. (I’m reading a book right now with a section on the joys of taking off a bra, but we won’t go that far.) Think of a day long audition as a short, stationary road trip. You might just need Twizzlers, the latest Cosmo, and a Coke Zero. For a dance call, it’s best to be prepared for any genre from ballroom to tap. Bring different styles of shoes.
If you don’t end up at the dance call and do your singing there, you will probably have an audition involving 16-32 bars. As this is not a post on HOW to audition, but rather How to Make it easier on yourself, I will simply add that having a pitch pipe or a keyboard app, lots of water or tea, any sort of honey or throat lozenge, and well-marked music would be added onto your list of supplies. Even if you aren’t a dancer, having a pair of dance shoes available is never a bad idea. Although in Chicago it’s rare, they just might ask you to come back in and learn a quick combination.
At this point, you are probably considering hiring a Uhaul just to get yourself in the door. Remember, it’s not about bringing a LOT of stuff. It’s about bringing the RIGHT stuff. So to repeat:
- Find out as much as you can ahead of time.
- Know what YOU need personally and provide that for yourself.
- Be flexible.
Check out the Performer Checklist for a comprehensive list of supplies actors often use in auditions.
Also, check out the Audition Tracker and Audition Journal for additional resources to help you organize your audition process.
Go get ’em, Tiger,
Your Audition Coach
Authentic Auditioning 